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Strategies of Early Modern Royal Representation

Author(s): Oleksii Rudenko / Language(s): English Publication Year: 0

The representation of Sigismund II Augustus is an interesting example of royal image-making in the context of Eastern European Renaissance. His childhood was decisive for the formation of his future representation. In my article, I argue that the image of Sigismund Augustus as an erudite ruler corresponded to the artistic and humanist requirements of the sixteenth century and was constructed during his childhood and youth under the influence of his parents and his mother’s milieu. Sigismund’s representation highlighted his descent from two noble families, Jagiellon and Sforza, his classical education, and the hopes for his future successful reign. The royal heir’s image was disseminated through visual (arrases, coins, medals, and portraits) and textual (literature, poetry) means by a range of diverse actors that included his closest family, poets, writers, and artists of early modern Poland and Lithuania. Sigismund Augustus’ self-fashioning persisted throughout his reign and outlived him, but its crucial foundations were constructed in his childhood and youth.

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Poetyckie funeralia żegnające królową Elżbietę Habsburżankę – uwagi bibliograficzne i historycznoliterackie

Author(s): Bartłomiej Czarski / Language(s): Polish Publication Year: 0

The text discusses the publications in verse issued in connection with the funeral of Queen Elizabeth of Austria, the first wife of Sigismund II Augustus. These works are presented both from the bibliographic and historical-literary point of view. The article takes into account not only the preserved materials, but also those unknown today and considered lost, knowledge about which can currently only be derived from archival sources. The article offers a comparison of individual texts with each other on the one hand, and the assessment of the entirety of the works bidding farewell to Queen Elizabeth, published in the Jagiellonian and Habsburg states, on the other. They represent different genres and forms: from the epitaph, through the mourning elegy, to the epicedium. The collected funerary poems are a good illustration of the changes taking place in Polish culture and literature in the mid-16th century. They show the existence of various Renaissance traditions, as well as new elements heralding the growing popularity of mannerism.

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Egzemplum z pieśni Mikołaja Reja "Podobieństwo żywota człowieka krześcijańskiego" alias "Ku temuż to krześcijańskiemu rycerzowi napominanie"

Author(s): Radosław Grześkowiak / Language(s): Polish Publication Year: 0

The full text of the song by Mikołaj Rej with the incipit: “What do you want to do, my dear man” [“Cóż chcesz czynić, mój miły człowiecze”] had as many as nine editions in the years 1556–1600, all of which are briefly discussed here. The article contains a critical edition of the song (the three existing contemporary editions do not meet the criteria for a critical edition) and a discussion, but it focuses primarily on the exemplum presented in the initial part of the poem. This exemplum tells the story of a young man who was chased by a lion to the edge of a precipice and saved himself from the fall by grabbing a branch of a tree growing out of the rock wall. Ignoring the lion above him, the dragon at the bottom of the precipice, and the mice that were gnawing on the branch, the young man focused his attention on apples growing on the branch. The parable is meant to illustrate the stupidity of people who are hunted by death (the lion), lurked by the devil (the dragon), whose time passes quickly (the white and black mice symbolising day and night represent the passage of time), and who, oblivious to the dangers, focus on worldly goods. The article points to the Old Indian source of this parable, discusses the way it reached Europe, and mentions the editors Rej may have used. It also shows the reception of the parable from Rej’s song in the sixteenth century, both textual (Benedykt Herbest, 1566) and visual (Stanisław Kołakowski, 1584).

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Kachlové série

Author(s): Not Specified Author / Language(s): English,Czech Publication Year: 0

Analyses were conducted with five groups of stove tiles connected by various attributes, which are known from many locations in the Czech lands of the second half of the 15th century, from the neighbouring Austria or Poland, as well as from the nearby Hungary.

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Klanění mudrců

Author(s): Markéta Tymonová,Martin Hložek,Irena Loskotová / Language(s): English,Czech Publication Year: 0

The feast that celebrates the revelation of God (Epiphany), as the Gospel of Matthew (Mt 2.1–12) says, commemorates three Wise Men (also referred to as Magi or Kings) from the East who came to worship the newborn King of the Judeans. This motif mostly occurs on medieval relief stove tiles in the form of a compositionally unified picture, comprising Virgin Mary with Baby Jesus and three figures of Kings bringing gifts in various containers. The scene is usually framed by a simple post-built building reminding of the Bethlehem Stable and by the inevitable star that guided the Three Kings arriving either afoot, or exceptionally riding on animals’ backs. Distinguished from this concept is a series of tile reliefs, whose figures, placed mostly on a two-cusped segmental arch of a tracery, became independent and were depicted on their own separate stove tiles of rectangular format (in more detail Loskotová 2011, 14–20, 35–37, 108–112, 150–156, 246–248). The owner or builder of the given stove thus got more space to combine individual figures, especially due to additional figures who enriched the series. In the basic series, which is defined by a bordure in the form of crossed bars anchored at the foot of the above-mentioned arch, we so far completely or partially identified fourteen reliefs. In some locations, these reliefs are still supplemented by another figures that imitate the style and composition of the original collection.

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Turnaj

Author(s): Martin Hložek,Irena Loskotová / Language(s): English,Czech Publication Year: 0

The tournament series comprises only four motifs, but it is easy to distinguish from the numerous relief depictions with similar content. Similarly as it was with the Adoration of the Magi series, the figures are not crowded together in the area of a single frontal heating panel, but appear individually on separate stove tiles. Apart from the overall visual design, these tiles are interlinked by the element of an ogee arch at the foot of the relief. The arch is topped by a transversal fess, on which individual figures are placed (Jordánková–Loskotová–Merta 2004, 582–583, 588–589; Jordánková–Loskotová 2007, 334–339, 352–355; 2007a; Loskotová 2011, 69–74). Inclined armorial shields are visible in pendentives on both sides of the arch. The main figures – two knights in full plate armour – are depicted just before the moment of their collision, with lance heads touching the opponent’s shield. The heraldic symbols (saltire raguly in escutcheon and a panache of peacock feathers with a fish in crest) enable to identify the knight riding to the left with Hynek Bítovský of Lichtenburk (Fig. 1; Stehlíková 1999, 227) – the leader of Moravian Catholic opposition against George of Poděbrady. The coat of arms on the other side of the relief and the armorial bearings on the shield on horse’s forehead belong to the Lords of Šternberk (eight-pointed star). The opponent can be identified on the basis of the figure preserved in the shield and crest as a member of the royal family of the Lords of Kunštát (Fig. 2). The coat of arms below the fess on the opposite side of this relief is unfortunately not preserved among the recorded finds. Behind this knight, there is a jester riding a hinny, donkey or mule.

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Rytířská kamna

Author(s): Markéta Tymonová,Martin Hložek,Irena Loskotová / Language(s): English,Czech Publication Year: 0

The name “knight’s stove” was introduced into professional literature by the Hungarian researcher I. Holl. He used the term to designate a set of stove tiles from archaeological excavations in the area of the royal palace in Budapest. Following the relief decoration and technological design, these tiles belonged to one and the same type of a heating device. The chosen name was inspired by the figure of a cantering knight in the middle of relief decoration in one of the tile groups. Holl dated the origins of this stove on the basis of a detailed analysis of heraldic elements in the whole collection to a short interval between 1454 and 1456, i.e. to the period of reign of Ladislaus the Posthumous. He first defined twelve types in the find collection (Holl 1958, 291–294). The subsequent processing of finds then identified another types (13–23) and variants of the original group (Holl 1971, 199–200). The finds treated in this chapter also are classified on the basis of Holl’s typology.

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Provinilý lev

Author(s): Zofia Jagosz-Zarzycka,Martin Hložek,Irena Loskotová / Language(s): English,Czech Publication Year: 0

The graphic design of the relief springs from an older tradition of Gothic ornaments in the form of a rosette, which is enclosed by a bordure from raguly sticks entwined with a leaved twig (Fig. 1). This motif is mainly known from the production of the royal workshop in Buda in the 2nd half of the 15th century (e. g. Holl 1971, 179, 199). Later conception replaced the raguly bordure on the sides and in the upper part by a meander (zigzag), which is interrupted by heads (putti?) in the upper corners and by small rosettes in the lower corners. Above the bottom edge of the relief, there is an inscription “scham dich” (shame on you) in Gothic minuscule, rhythmised by another rosettes. The inscription is undoubtedly related to the central figure of a hunched lion surrounded by a vegetal pattern from leaves and brier flowers that are separated from the meander by a right-angled rope (Fig. 2).

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Kachlové série – závěr

Author(s): Markéta Tymonová,Martin Hložek,Irena Loskotová / Language(s): English,Czech Publication Year: 0

Ceramic finds were analysed depending on the availability of individual methods and possibility of destructive sampling. Analyses were made with selected representatives of stove tile series and groups, which are frequently found on various sites in our territory during the 15th century and whose occurrence is not limited only to the Czech lands. Series are characterised as assemblages of finds with clearly definable common features, i.e. collections of thematically related stove tile motifs set into a unified architectonic frame (Adoration of the Magi, tournament) and stove tiles, whose belonging to one and the same type of heating device is determined by a characteristic application of elements of Gothic architecture in connection with heraldic and artistic components of their decoration (knight’s stove). Group encompasses stove tiles with hunting and courtly motifs with similar visual design, which is supplemented by a secondary connecting element in the form of a vegetal ornament. However, this ornament does not represent an integral part of relief decoration and its form and application are variable. A separate group is represented by a motif, which is found on various sites in the same relief design and proportions (guilty lion), but the find contexts do not indicate its possible connection to other reliefs in the body of a stove.

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Drobná keramická plastika

Author(s): Markéta Tymonová,Martin Hložek,Zdenka Mechurová / Language(s): English,Czech Publication Year: 0

Small ceramic sculptures were made in pottery workshops and people used them in everyday life for various secular as well as religious purposes. They were widespread throughout Central Europe and their origin was localised to the pottery-making centres in Rhineland, Bavaria, Saxony or Lusatia. Ceramic products from these centres were then imitated in the neighbouring countries (Hoffmann 1996, 158–160). We often find them in towns around the main square and in the area of former markets, because in the Middle Ages they became a popular market article and were brought as devotional souvenirs from pilgrimage sites.

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Aquamanile a konvice se zoomorfními výlevkami

Author(s): Martin Hložek,Lenka Sedláčková / Language(s): English,Czech Publication Year: 0

Due to their exceptionality and different production technology, aquamaniles and ewers with zoomorphic spouts were mostly classified as imported goods. The increasing number of finds, not only from Brno, and the use of natural scientific analyses enabled to specify the place of their origin.

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Závěr

Author(s): Markéta Tymonová,Martin Hložek,Irena Loskotová / Language(s): English,Czech Publication Year: 0

The problem of distribution of ceramic artefacts with a higher proportion of decorative component was treated with the help of standard procedures of typological, stylistic and relief analyses, using natural scientific and documentation methods which have yielded new knowledge of production and distribution of high and late medieval stove tile goods and building and decorative ceramics. The research was focused on objects made from fired clay with the aim to determine the geographic origin of raw material used for their production. The crafts that worked with this raw material shared the same sources in the place of their activity, but the production procedures used with morphologically variable ceramic wares were different, which was reflected in a specific processing of the “clays” used.

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Palác Granovských v Ungeltu a jeho propojení s pražským dvorským okruhem

Author(s): Lenka Babická / Language(s): Czech Publication Year: 0

Palác Granovských nechal vystavět Jakub ml. Granovský z Granova po roce 1558, a to na starších základech zástavby kupeckého dvora, který získal do dědičného držení. V literatuře bývá palác shodně označován za významnou realizaci a mezník ve vývoji pražské renesanční architektury – tomu však neodpovídá prostor, který je stavbě věnován. Dosavadní bádání se zaměřovalo především na severní dvorní křídlo paláce, jehož arkády a chiaroscurové malby se staly podnětem k propojení stavby s dvorským okruhem. Toto propojení bylo zdůvodněno přízní, kterou choval císař Ferdinand I. k rodu Granovských z Granova. Otázkou postavení stavebníka Jakuba ml. Granovského a jeho kontaktů s dvorským prostředím v době výstavby paláce se však nikdo podrobněji nezabýval a proto bude jedním z hlavních témat tohoto příspěvku.

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Amor Vincit: Příspěvek k ikonografické koncepci maleb Fabiána Václava Harovníka

Author(s): Vendula Prostředníková / Language(s): Czech Publication Year: 0

Domácí tradice nástěnného malířství se v Čechách plně rozvinula až v 18. století s osobností Václava Vavřince Reinera, avšak již ve druhé polovině 17. století se v dějinách českého výtvarného umění setkáváme s osobností malíře Fabiána Václava Harovníka, který se takřka jako jediný domácí umělec své doby specializoval na techniku nástěnné malby. Jeho dílo sice kvalitativně zaostávalo za soudobou evropskou produkcí, ale přesto jej výzdobou svých sídel pověřovali zástupci z řad vysoké aristokracie doby pobělohorské. F. V. Harovník působil od roku 1650 v pražském staroměstském cechu. Jeho dílo lze zhruba vymezit roky 1650−1682, nejexponovanějším obdobím malířovy tvorby se stala zejména šedesátá léta 17. století. Do roku 1654 dokončil spolu s G. Vanettim náchodskou zakázku pro Ottavia Piccolomini a v následujícím desetiletí pracoval na dvou významných pražských objednávkách pro Lobkovice.

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De Van Eyck à Vermeer : à la recherche d'une symbolique de l'espace

Author(s): Cristina Poede / Language(s): French Publication Year: 0

From the fervent universe of “The Mystic Lamb” to the tranquility of bourgeois interiors hiding secrets, Dutch painting evokes an ever more symbolic space marked by thresholds, doors and stairs, cautious or exuberant windows, interior courtyards conducive to melancholy and meditation. French writers have often revealed their attraction for Flemish and Dutch masters: Théophile Gautier (“A Tour in Belgium and Holland”), Gérard de Nerval (“Lorely. Souvenirs d'Allemagne”), Baudelaire (“Les Phares”), Marcel Proust (“The Prisoner”), Paul Valéry (“The Return from Holland”), Marguerite Yourcenar (“L’oeuvre au noir”) comment on the works of these painters, with whom they experienced subtle aesthetic affinities. The paper is an attempt to achieve a diachronic division of two centuries in order to observe certain modifications concerning the representation of space in Flemish and Dutch painting, modifications which took place from the late Middle Ages to the Golden Age, including the Renaissance.

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Türk Müziğine Maruz Kalmak ya da Kalmamak, Bütün Mes’ele Bu...

Author(s): Lale Akay / Language(s): Turkish Publication Year: 0

This article on “to be exposed or not to be exposed to Turkish experiences”; Starting from the 1970s with a little more precision until today, the properties of Turkish Music, where people listen to it, in what environments, by which instruments, and what quality of music listening to the ears of our people are exposed to have been examined. During these periods, the importance of mass media such as radio and television was emphasized. Starting from the beginning of the period when radio and television were single-channel, it was explained how our Turkish Music came to the present day, with the multi-channel mass media following each other, how to run the competition. It was stated that the first Turkish Music Conservatory, which was established in Istanbul in 1975, is important for living under the roof of the state, that our music is one of the most valuable elements of our cultural values, and that we have a very valuable treasure such as classical Turkish Music and Turkish Folk Music. In the conclusion part, we tried to explain our thoughts and recommendations such as what kind of way should be followed in order to spread and keep our national music protections alive, what kind of music policy should be followed, which institutions should cooperate in these needs.

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Türkiye Cumhuriyeti’nde Çağdaş Seramik Sanatının Gelişim Süreci

Author(s): Selda Alp,Aysel Kürtoğlu / Language(s): Turkish Publication Year: 0

Ceramics, which has taken place in human life in Anatolia since the Neolithic period, has reached the present day by taking shape and developing according to the lifestyle of the societies it belongs to. Ceramic, which takes place in human life as functional architectural elements and auxiliary materials, has become a material that draws attention by painting and sculpture artists in the middle of the 20th century and is used to embody emotions and thoughts, by getting rid of functionality. The modernization process of ceramics, which developed with this European-centered innovation in the use of ceramics, was also reflected in Turkey, and ceramic production, which has a deep-rooted history in Anatolia, took on a new face. In the 1950s, ceramic works began to be produced by contemporary Turkish ceramic artists, which developed in parallel with Europe, completely moved away from the functional aspect, and completely embodied forms of artistic expressions. The adventure of contemporary Turkish ceramics continues today, thanks to ceramic artists, who show creativity and productivity in the country and around the world.

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Türk Halk Giyim Kuşamında Kullanılan Suzeni Tekniği ile İşlenmiş Uçkur Örnekleri

Author(s): Şerife Doğan / Language(s): Turkish Publication Year: 0

İnsanların örtünme hissinin insan üzerinde büyük etkisi olmuştur. Hem insanların estetik değerlere olan bakış açısını değiştirmiş hem de süsleme kültürünü ortaya çıkarmıştır. Asıl maksadı bedeni muhafaza etmek olan giyim, toplumun kültürel değerlerini, sosyo-ekonomik yapısını, yaşadığı coğrafyayı, kullanılan malzemeleri, iklimi, inançları vb. yansıtır. Zamanla faktörlere göre şekillenmiş ve biçim, malzeme, kullanım ve süsleme özellikleri bakımından çeşitlenmiştir

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Beyond the Penthesilea Painter: Status of Issues at Limits of the Attribution

Author(s): Pedro Luís M. Sanches / Language(s): English Publication Year: 0

An attribution is, first and foremost, an interpretative category. With the anonymous pottery painter identificated as the 𝑃𝑒𝑛𝑡ℎ𝑒𝑠𝑖𝑙𝑒𝑎 𝑃𝑎𝑖𝑛𝑡𝑒𝑟 would not be different, but this “creative personality” was implicated in unexpected workshop practices, stylistic transitional peculiarities and crossover involving parietal painting. Throughout the second half of the last century, the Penthesilea workshop generated less and less interest among the specialists in the field of Greek vase painting. The dominant interpretation that the “ethical” aspect of it’s contemporarie parietal paintings could be seen in the Penthesilea Painter’s works has given way to doubts and academic disinterest. This paper compiles main understandings on the subject.

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Българското изобразително изкуство през XIX век: скок от средновековна образност до европейска визуална култура

Author(s): Nana Melkonyants / Language(s): Bulgarian Publication Year: 0

The study "Bulgarian Fine Art in the 19th Century: the Leap from Medieval Imagery to European Visual Culture" provides a comparative analysis of the development of Bulgarian painting in relation to European art. The study is carried out through a juxtaposition and visual comparison of the characteristics and visual qualities of certain works taken for analysis. The methods of painting, the construction of the composition, and the borrowed techniques taken by the Bulgarian masters from the artists in Europe are compared. One of the most complex and remarkable periods in Bulgarian history is brought into focus as how the artists managed after a long stagnation to catch up with already developed European standards in art. In an effort to overcome cultural backwardness - a new generation of artists made a great and important leap in the development of Bulgarian fine art. A parallel is drawn between Europe, which has had time to quietly shape its art, and Bulgaria, which after a long slumber is decisively uplifting and transforming its cultural heritage. On the basis of this analysis, we get a visual example of borrowed practices and the development of Bulgarian painting. We trace how it progressed along with socio-cultural changes.

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