Доволно ли е да си жена? Кон Соња Абаџиева, „Длабоко дишење“
Review of: Sonja Abazieva, “Deep Breathing”, Skopje: Scenpoint, 2001.
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Review of: Sonja Abazieva, “Deep Breathing”, Skopje: Scenpoint, 2001.
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Na početku školske godine – Dana 25. rujna 2017. malom svečanošću započela je nova školska godina na Franjevačkoj teologiji u Sarajevu. Na početku je bila misa koju je predvodio provincijal fra Jozo Marinčić uz prigodnu propovijed. Potom je uslijedio inauguralni govor na temu značenja i važnosti obreda dekana fra Danimira Pezera. Na početku i na kraju njegova govora nastupila je flautistica Mirna Mlikota sa po dvjema skladbama.
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Phoenix. Das Gemälde Phönix von Nagy Albert (Torda 5. Okt. 1902–Klausenburg 24. Febr. 1970) stammt aus der fruchtbarsten Zeit des Malers, als er endlich die langerwartete Anerkennung gewonnen hatte. Nach seinen Bildern: Gänse, Beregneter Hahn, welche Durst, Zerzaustheit und Trotz ausdrücken, steht der Phönix, der mitologische Wundervogel erneut da. Von Kraft strotzend befreit fliegt er auf, um frei beschwingt, ohne jede Bindung und Last der Vergangenheit hochzufliegen.
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The text presents a preliminary study of ten unpublished reliquaries from the collection of Bachkovo Monastery and briefly comments on their artistic and functional characteristics. At the beginning, it is summarized the information from rare written sources about the relics, which have belonged to the monastery until the end of the nineteenth century. The main part of the article deals with the reliquaries, presented in chronological order with their descriptions, translation and interpretation of Greek inscriptions on them. The reliquaries, dating from the early eighteenth century to the late of nineteenth century, are keeping up with the tendencies of goldsmithery of that period; most of them were manufactured in the small goldsmiths’ workshops in places, located near the Bachkovo Monastery such as Pazardzhik and Sliven. Among them, there are few examples, which were imported from Western Europe as well as Greek goldsmiths’ workshops. In conclusion, it is outlined the different aspects of functional characteristics of reliquaries. Judging to their form and decoration, some of them may have belonged to the group of so-called “taxidiot boxes” which were used from the travelling monks of Bachkovo Monastery. The role of contained relics in the iconographic programme of the monastery’s katholikon as well as in the development of local cults of saints such as St Cyricus, St James of Persia, St Haralambos, St Tryphon, St Marina, etc., is drawn briefly at the end of the article.
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Art is the manifestation of beauty in the world of man, art which is expressed through the opening of the form. Form carries with it the content of its own form and the content that it addresses. Like form, content has its own form in which it expresses ideas and the proper concept of the idea itself. There exists the form of the content and the content of the content, just like there exists a form of the form and the content of the form. An artist works subconsciously, instinctively, spontaneously, emotionally, in a syncretistic manner – in order to create a complex mixture of both form and content which comprises his or her work, a work which is born into the world as an inseparable whole. In the profane arts, the shape of the form reflects its sensory, touchable, physical perception of its form. In religious arts, the form is a canon, inseparably tied to its content. From the form of the form (the canon) – (the face or hypostasis of a Saint) – through the content of the form (the sainthood of the person), through prayer (the form of the content) forms traverse into the sanctity of eternity of God (in the content of their content). This is the manner in which we can describe an icon, a holy painting from the point of view of its form and its content, and its role in life. Let us look at architecture in the same manner in which we look at icons. A painting in religious architecture is a complex structure, replete with semantic meaning, which is comprised of a comparison, synthesis, the context of methods, which are also characteristic of the Bible, and which correlate with the latest scientific multi-criteria of the multi-dimensional methods of perception. The article discusses the results of the analysis of the role of the painting as a resource that can be used to infuse the setting of a Christian temple with the element of sacrum and with the personal vision of its creator, based on the works of Jerzy Nowosielski and Stanisław Niemczyk.
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Textile artist Marijona Sinkevičienė is known as a longtime lecturer at the Faculty of Arts and Education of Kaunas Collegium, and a participant of numerous exhibitions in Lithuania and abroad. The artist focuses on creation of artworks for exhibitions. The most notable among them are the latest artworks among which are the series of tapestries, portraying sacral and Lithuanian history subjects. The characteristic feature of the artist‘s creative process is her personal outlook, her focus on text insertions and the language of symbols. Extraordinary awareness and individual understanding of materials and techniques that the artist employs facilitates the specific shaping and the highly suggestive and esthetic plasticity of the artworks.
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Proceedings of the Spring Pastoral Missionary Conference of the Clergy from the Archdiocese of Bucharest with the theme: „2019 –The Solemn Year of the Romanian Village (of Priests, Teachers and Diligent Mayors). The article presents the house interiors of Romania's villages, underlining its artistic feature and diversity.
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The poem "Blue Horses" by an outstanding Georgian poet Galaktion Tabidze, (1892-1959) was published in 1916. It attracted the attention of a wide circle of readers and literary critics at once: how this idea arose to the modernist poet, which was implied in the symbolism of the “blue horses”, etc. Our article is dedicated to this topic and aims to reveal how different information ripens in the thoughts of a brilliant poet at the beginning of a new century against the background of modern cultural thinking.In the poem "Blue Horses" color, longing and a feeling of approaching death are combined. It shows an unclosed, peculiar reflection of reality conveyed by an artistic word. Blue attracted the attention of Franz Marc (1880-1916)artist, who created the painting “The Blue Horse” in 1903.In 1911 with Vasily Kandinsky (1866-1944) organized a creative association of representatives of the Expressionism “The Blue Horseman”in Munich. The union strove to achieve a kind of equality of poetry of all forms of art.This article explores only those theoretical and artistic premises that caused inspiration in G. Tabidze in the poem "Blue Horses". The first impressions were reflected in the painting by Georgian artist Lado Gudiashvili "Poet Galaktion Tabidze and" Blue Horses "(1919). When working on the topic, we used a theoretical methodology: comparative-typological, critical, paradigmatic.
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Asparuhovo Art Gallery was founded in 2006. It appears on the cultural scene of Varna as a space for new pursuits and connects tradition with modern art. The gallery features both works from our folklore and contemporary installations. It is the initiator, creator and principal exhibitor of the FUTURO International Festival of Digital Arts
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The purpose of this article is to determine the level of reverence towards the archangels in the scenes depicted in the program of the Church of the Nativity, the iconographic traditions it reflects, as well as point out the peculiarities and the innovations in the painted angelic and archangelic imagery and scenes from the archangel cycle. Among the scenes and images visualizing the position taken by archangel cult, it is noticeable that the images of ethereal forces take center stage in the vast gallery of scenes in the Church of the Nativity. This iconographic decision leaves a strong impression for the enlightenment of the temple, as archangels are not its patron. The compositions and images depicted include angels and archangels in the progressively more complex iconographic program of the 17th-century mural scenes. Angels, archangels and seraphs are the characters complementing each composition along the vault and the altar. These images are included in the murals not only in the places established during the festive cycle, but also in the multiple depictions of scenes from the archangel cycle. Scenes of it are included all throughout the temple. It is of note that the old tradition in painting scenes of the archangel cycle is preserved and adapted to the changes in the architectural forms of the temple. Alongside it, completely new scenes are established and imposed, which multiply and enhance the storylines of the archangel cycle. Rarely depicted subjects are also introduced, and some traditional scenes are repeated few times over. The common depiction of these personages is an expression of a strong and established tradition of reverence towards them.
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Dieser Artikel untersucht die ästhetischen und politischen Ansätze verschiedener kultureller Untergrundpraktiken in der Tschechoslowakei während der Phase der Normalisierung nach der sowjetischen Invasion von 1968. Zu diesem Zweck wird nachvollzogen, welche Herausforderungen bei der Konzipierung einer Ausstellungsreihe, gedacht als ein temporäres „Museum des Widerstands“, bewältigt und welche Strategien dafür verfolgt werden mussten. Unter dem Titel „Samizdat. Die tschechische Kunst des Widerstands, 1968-1989“ gastierte die Ausstellung in New York City (2011), Washington, DC (2012) und Cedar Rapids/IA (2015). Sie präsentierte mehr als 300 Artefakte, die den Widerstand in Form von heimlich hergestellten Büchern, Journalen, Postern, Kunstwerken und magnetizdats (unter der Hand kursierenden Tonbandaufnahmen) anschaulich machen, sowie Foto- und Filmdokumente von tschechischen kulturellen Untergrundaktivitäten zwischen 1968 und 1989. In dem Artikel wird der ästhetische und materielle Quellenreichtum dessen, was Ivan Martin Jirous die „Zweite Kultur“ nennt, diskutiert, unter besonderer Berücksichtigung der formalen Diversität und den komplexen historischen Kontexten ihrer Produktion und ihres Konsums.
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This article concentrates on the photographic mediation practices by Malvina Jelinskaitė. The characteristic feature of the artist’s creative process is her personal deeply intuitive outlook, her focus on the hidden semantics of the structure of the image. At some point, Jelinskaitė’s photographic practices could be treated as photographic mediation practices, (relatively) based on some mystical dogmas of Pseudo-Dionysius the Areopagite, as well as, some ideas of British philosophical realism, such as the ideas of Alfred North Whitehead, and French intuitivism, such as the ideas of Henri Bergson, and some other philosophical and/or aesthetical concepts. I is assumed that some rudiments of these ideas could be found in Jelisnakitė’s performative photography. To summarize, it could be said that all these concepts as well as Jelinskaitė`s photographic practices, are united by the leitmotif of the Neoplatonist philosophical thinking tradition.
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Taking the most important concept of Chinese aesthetics – yun 韵 – as the object of study, this paper explores its two core connotations or different levels of meaning - 1) the „elegance/refinement“ ya 雅 and 2) „inexhaustible more“ you yu bu jin 有余不尽. The paper explores how yun is expressed in art by taking several classical Chinese paintings and analyzing them from the point of view of three Chinese aesthetic concepts: 1) dan 淡 (bland, as in „suave“, „smooth“, „unperturbed“, „soothingly pleasing“, 2) kong bai yu liu dong 空白与流动 („unfilled space and movement“) and 3) ping heng 平衡 („balance“). Then the same principle of yun is used to analyze the paintings of Lithuanian artist M.K. Čiurlionis in comparison with Chinese paintings. Through the analysis and comparison of the paintings it is concluded that the art of Čiurlionis shares core principles with traditional Chinese paintings; moreover, the yun category can be used as a subtle aesthetic measure of both Chinese and non-Chinese masterpieces of art.
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Im späten 16. Jahrhundert war das erstmalige Erscheinen eines neuartigen räumlichen Rahmens für die Darstellung von Abbildungen zu verzeichnen: der Gemäldegalerie. Diese kulturelle Innovation vereinte christliche Gemälde sowie mythologische Szenen, Stillleben und Landschaften unter einem Dach. Seit den 1990er Jahren haben Kunsthistoriker die Meinung vertreten, dass dieser neue Ausstellungsraum derart erfolgreich die bis dahin unüberbrückbaren Differenzen zwischen religiösen und profanen Abbildungen eingeebnet habe, dass ein säkularisiertes und entzaubertes Kunstwerk entstanden sei. Dieser Aufsatz argumentiert, dass die Aufhängung christlicher Gemälde in einer Kunstgalerie diesen Bildern nicht notwendigerweise einen unveränderlichen säkularen Status verliehen habe. Bezogen auf das Gebiet Polen-Litauens unter der Herrschaft zweier Monarchen aus der Wasa-Dynastie, Sigismund III. (reg. 1587-1632) und Ladislaus IV. (reg. 1632-1648), wird in dem Aufsatz die Ansicht vertreten, dass die katholischen Eliten der Wasa-Zeit beim Umgang mit christlichen Gemälden, unabhängig vom Ort der Aufhängung, zwischen künstlerischem Genuss und religiöser Hingabe wechselten. Zwei Örtlichkeiten wird besondere Aufmerksamkeit gewidmet: dem Königsschloss in Warschau und Mikołaj Wolskis Galerie in Schloss Krzepice. Beide Fallstudien offenbaren, dass der Status eines Bildes in der Frühen Neuzeit von den Praktiken und Anschauungen des Besitzers abhing und folglich kein Galerieraum – wie säkular auch immer – die Bedeutung und Funktion der ausgestellten Bilder festlegen konnte. Der Beitrag untersucht den vorgegebenen katholischen Diskurs in Polen-Litauen über religiöse Bilder und die Art und Weise ihrer Darstellung und stellt so die vermeintlich klare Abgrenzung zwischen der Gemäldegalerie als einem angeblichen Garanten säkularer Kunstwerke und der Kirche als Raumhülle, mit der die kultische Funktion des Bildes garantiert worden sei, infrage. Indem man den Darstellungsräumen, die zwischen dem Heiligen und dem Profanen oszillierten, Aufmerksamkeit schenkt, erschließen sich Anhaltspunkte, um sich kritisch mit den bestehenden Theorien über die Kunstgalerien in der Frühen Neuzeit auseinanderzusetzen.
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This paper aims to analyze the difficulties of conducting a provenance research for Nazi era looted art, in order to function within the premise that every object has an owner. Public and private collections worldwide contain an unknown number of objects for which there is no provenance, no history. Therefore, there is no understanding of who owned these objects. The purpose of this paper is to illuminate the axiom that no object is heirless unless it is labeled as such. Every object begins with an owner, its maker or its creator. Therefore, once it leaves its original, primal owner, the path of the object will be either licit or illicit depending on the circumstances of its removal, transfer, transactions that it was subjected to and the larger historical context in which these movements or translocations took place. This paper begins with a brief history of Nazi’s organized plunder. The paper then moves to describe Provenance research and its importance within the field of Looted Art of Nazi Era. Furthermore, the paper reviews the efforts made by various actors, to raise the issue of looted art to an international level, and the attempts made to set various European Governments Cultural agendas. We will then discuss the Gurlitt Trove, which will lead us to describe the German national initiative, and raise questions as for what can be done to change the ongoing situation within European Culture, what can be done with lack of due diligence and can there be change by increased scrutiny of the trade.
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Visual arts from the oldest ages to the present day has established relations with the artspace. The artspace where the artwork is presented is extremely important in meaning and understanding the artwork. In fact, sometimes the value of an artwork can be claimed to be not sufficiently understood without considering the effects of artspace. In explaining the effects of this perception, apart from its architectural and sociological effects, it can be considered that the meaning of the artwork has an effect. Especially in this case, the transformations and progress of art has a share. Considering the possibilities of today's technology tools, you don't need to travel for hours to see any artwork at the farthest distances. This situation is also likely to change the detection and meaning of the artspace to artwork. Especially not only in the presentation of the artwork, but also in the sharing of information cannot be denied these effects. In this study, it is aimed to examine the impact of the search for innovation in artspace after 1960 on the important art organizations that are seen today in the context of the subject. In addition, the contribution of today's technologies to this perception has been discussed within this framework. The contribution of alternative artspace experiences to the development of art has been discussed also in this context. In addition, how this situation affects the production and presentation of artworks in today's conditions will affect the near future. In this context, the artspace has an important impact on perception of the artwork.
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Review of: Anja Rasche: Studien zu Hermen Rode. Imhof. Petersberg 2013. 224 S., zahlr. Ill. ISBN 978-3-86568-846-0. (€ 49,95.). Reviewed by Burkhard Kunkel.
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Jovan Zograf is among the most significant members of the Samokov painting workshops in the 19th century. Data on his activity are mainly known from the memoirs of his son, Nikola Obrazopisov, with whom he has been working together since the fifth decade of the nineteenth century. The information from Nikola’s memoirs indicates their work in Leskovac, which was completed independently by Nikola Obrazopisov in the year followings Jovan’s death. Recent research has shown that the record refers to the iconostasis of the Church of the Holy Apostles in the village of Turekovac, west of the city. Jovan Zograf signed with the year 1853 on the back of the royal icons, in some cases together with the son. Compared with the known material, this iconostasis is the most mature and iconographically developed work of Jovan Zograf. With his son Nikola, Jovan painted 44 icons in total, while the only preserved osculating icon is attributed to Nikola Obrazopisov. The icons rely on iconographic solutions frequently used by the painter. Icons are well preserved, which provides an insight into the technique and original coloring. Contributory inscriptions testify of the patronage system guided by Church-school municipality in Leskovac that hired painters from Samokov, whose poetics were in line with the aspirations of ecclesiastical authorities.
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The paper presents the role of the Bucharest photographers from the end of the 19th Century and the first decade of the 20th Century in the research of the scenographic art evolution on the territory of Romania. Based on archival studies and bibliographical references, the work follows the collaboration of photographers with the theatre and the impact of this invention on society. The photographers invited to craft their art are representatives of the Royal House, specializing in portraits and landscapes. In the case of theatre, the photos are more than portraits, the works prove an exquisite artistic spirit through the stage layout and the impressive presence of the actor. Thus, portraits capture characters and an enthusiastic embodiment of the role, an attempt to immortalize the movement and keep alive the memory of a performance.
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Media systems and information systems are increasingly being used in the design of systems and structures. Computer-aided design is no longer just part of the early stages of design, but accompanies product realization from first to final stage. The visual aspect is an integral part of the design, and the new design is created not only by the design of a completely new shape or structure, but also often by the addition of parts to an existing whole. This will create an old and new composite, requiring design adjustments and customizations to maintain visual integrity. As a powerful photo-editing tool, Photoshop can support this design stage.
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