KÉPEK BŰVÖLETÉBEN

Author(s): Ágnes Pethő / Language(s): Hungarian Publication Year: 0

The essay tries to contribute to a better understanding of the role of paintigs or pictorialism in Alfred Hitchcock’s films. Classical narrative films (musicals, film noirs, the films of Orson Welles or Sternberg) often used pictorial techniques or incorporated paintigs or portraits within the the filmic narrative. It is argued that Hitchcock’s films on the one hand present typical instances of filmic pictorialism or use of portraits (mainly in his gothic romances or women’s melodrama type films), however his art can also be considered as a deconstruction of these techniques, as a transition from the avantgarde “cinema of attractions” of early cinema to an abstract and modernist type film language. The films referred to are: Rebecca (1940), Suspicion (1941), Spellbound (1945), Stagefright (1950), Strangers on a Train (1951), Vertigo (1958). In these films the portrait or the painterly image becomes a sort of abyss or a portal through which we are transposed on a metanarrative level about the nature of images in general or the nature of cinema itself. Painting appears as cinema’s double, but not in a conventional sense (as used by most hollywood narratives: that is a mere image that needs a narrative explanation and therefore presents itself as a riddle or enigma soon to be solved during the plot), but as a threat, as something that is capable of opening up the image both to an infinitiy of meanings and both capable of emptying it of all meanings and throwing its spellbound viewer into the horror of the Unnamable.

„A RÉGI AZ ÚJBAN”

Author(s): Gábor Zoltán Kiss / Language(s): Hungarian Publication Year: 0

The essay offers an interdisciplinary approach to the analysis of the new medium of computer animation. The concept of old forms being preserved by new media is not a new one. Literary narratives often become film histories, while film integrates the language of "still" images. In the process of intermedial mutations, animation – such as cartoons and the comic medium – becomes a model: it reinterprets the traditional adaptational and distributional notions of film. Intermediality – the filmic employment of the computer generated imagery in this case – at the same time raises the question of transition from one technological register to the other. The significance of computer generated images (CGI) has been obscured by the new mediums' spectacular and financial issues, and the latter are superficial (usually shallow) symptoms of a primary process that may change the role of filmic and literary narratives. On the other hand, the spreading of CGI is just a recent chapter in the history of illusion-generating devices, ranging from perspective and trompe l'oeil to film itself. The paper examines the two basic types of CG animation (real time and prerendered) with a focus on such terms as interactivity, immersion and machinima.

Иконата „Молебное пение ко Пресвятой Богородице“ в Националната художествена галерия

Author(s): Elena Popova / Language(s): Bulgarian Publication Year: 0

„Българският“ св. Георги Нови Янински

Author(s): Ivanka Gergova / Language(s): Bulgarian Publication Year: 0

Темата „Покров Богородичен“ в живописта на самоковските зографи

Author(s): Elena Genova / Language(s): Bulgarian Publication Year: 0

Über die Möglichkeit Visuellen Denkens

Author(s): Alexei Krioukov / Language(s): German Publication Year: 0

In letzter Zeit ist die Ansicht populär geworden, dass auf dem Grund des Denkens die visuelle Vorstellung liegt. Auf den ersten Blick scheint es zwar so, dass alles Gesehene ursprünglich in einer willkürlichen Unordnung besteht. Doch dieser Anschein ist falsch, da die visuelle Wahrnehmung eine eigentümliche Logik aufweist. In diesem Beitrag möchte ich drei Aspekte davon ansprechen: Erstens: Das visuelle Denken liegt im Hintergrund des Denkens in einem weiteren Sinne. Das läßt sich sehr gut mit Hilfe der phänomenologischen Analyse zeigen. Zweitens: Das Sehen läßt sich selbst erziehen, was von bestimmten Praktiken abhängt. Sehen und Betrachten sind mithin nicht das gleiche. Drittens: Das Sehen ist kein willkürlicher Akt, wenngleich vorausgesetzt werden kann, dass jeder das sieht, was er will, sondern es gibt eine eigentümliche Logik des Sehens und bestimmte Organisationprinzipien der visuellen Wahrnehmung. Mein Beitrag besteht aus drei Teilen. Im ersten Teil Sehen als vorprädikative Erfahrung skizziere ich diejenigen Positionen, die die These vertreten, dass das Denken auf der Anschauung als Prinzip basiert. Im zweiten Teil Erziehung des Sehens diskutiere ich diejenigen Positionen, die das Sehen als Erziehungsprozess in Betracht nehmen. Im dritten Teil Logik des Sehensstelle ich einige Aspekte der eigentümlichen Logik des Sehens dar.

Johannes Vermeer: Mlékařka – Wisława Szymborska: Vermeer

Author(s): Veronika Kubecová / Language(s): Czech Publication Year: 0

Obraz Mlékařka od Johannese Vermeera, holandského barokního malíře známého (nejen) díky dílu Dívka s perlou, byl vytvořen kolem roku 1660. Právě toto výtvarné dílo je základem pro báseň Vermeer polské básnířky Wisławy Szymborské, která svou ekfrázi vydala roku 2009 v rámci sbírky Tutaj (česky Okamžik. Dvojtečka. Tady, 2009, přeložila Vlasta Dvořáčková).

TASTING THE MILK OF CELESTIAL KNOWLEDGE. NOTE ABOUT THE RHETORIC OF THE PORTRAYAL OF THE SACRED IN ALONSO CANO’S PAINTING THE LACTATION OF ST. BERNARD (1653–1657) FROM THE NATIONAL GALLERY IN PRAGUE

Author(s): Pavel Štěpánek / Language(s): English Publication Year: 0

This is an attempt of interpretation of a picture that draws from mystical tradition. It is about the comprehension of a topic in a painting by the Spanish artist Alonso Cano (1601–1667, Granada), from the National Gallery in Prague (O 14 690) Lactatio S. Bernardi – presenting the miracle of lactation, in which the Virgin Mary is squirting milk from her breast into the mouth of St. Bernard of Clairvaux (a historically very famous saint and major representative of the Cistercian Order). Traces of iconography lead up to the Coptic Church, where the typology of the milking Virgin was probably first originated (Galacto Trofusa in Greek or Maria lactans in Latin). The starting point is perhaps the portrayal of the virgin goddess Isis milking her son Horus. In many cultures, milk symbolises physical and spiritual food (e.g. the Milky Way evoking the ancient myth about spurted divine milk). On the other hand, milking is also present in the Old Testament as the image of special blessing; it is a symbol of eternal beatitude and wisdom. The dream/vision of her milk is then – apart from the rest – a sign of abundance, fertility, love, and fullness. The lactation of St. Bernard is an allegory of the penetration of the divine science in the soul. Thanks to this act the saint receives God’s guide, which he can then discharge into his writings

TRACING THE ABSENT. HILMA AF KLINT’S MYSTICAL LANGUAGE

Author(s): Mónica Sánchez Tierraseca / Language(s): English Publication Year: 0

The main aim of this paper is to study the mysticism of the Swedish artist Hilma af Klint (1862–1944) in relation to her religious experience and her searching for existential answers through contact with divine entities. Although the identity of these figures is not clear, we are aware of their familiarity with Christian beliefs. Thus, in this paper we attempt to approach Af Klint’s Christian, metaphysical and anthroposophical message by analysing her notebooks. Particularly, we focus on the symbolic aspect of one of them made between 1919 and 1920, entitled Flowers, Mosses, and Lichens.

THE MYSTICAL MEANING OF THE TABLE IN CONTEMPORARY ART REINTERPRETATION OF THE LANGUAGE OF GIVING AND RECEIVING

Author(s): Eva Pariláková / Language(s): English Publication Year: 0

The author interprets two forms of figurativeness of the mystical experience – the touch of man with the spiritual world, God, and the experience of amazement at being – by analysing the symbol of the table in contemporary art. The author first identifies the figurativeness of the fragmentary experience contrary to the mystical experience. Subsequently, she examines the mystical table in the icon of the Trinity by Andrei Rublev as a symbol of sacred hospitality and the eucharistic sacrifice. She also examines the icon’s philosophy as a meeting of the human and the transcendent world (Florensky, Trubeckoi, Evdokimov etc.). Finally, she explains the signs of the figurativeness of the mystical semantics of the table in three contemporary paintings (Jakabčic, Podhorský). These include, for example, Christian allusions, visual minimalism, white colour, contemplative immobility, mysterious to paradoxical imaginations, or the expressive-symbolic use of red and blue.

Výšivka z Bayeux: předmět posvátný či profánní?

Author(s): Martin Lešák / Language(s): Czech Publication Year: 0

Tzv. Tapisérie z Bayeux, jež ve skutečnosti není tapisérií, nýbrž výšivkou, patří mezi nejstudovanější objekty dějin umění a tomu odpovídá i nesmírně obsáhlá bibliografie k ní se vztahující. Badatelé se této textilii, na níž jsou znázorněny události vedoucí k invazi Viléma Dobyvatele a jeho konečnému vítězství v bitvě u Hastingsu roku 1066, věnovali od jejího „objevení“ ve dvacátých letech 18. století a otázky, jež si kladly, vždy byly, a stále jsou, nesmírně rozmanité. Rozsáhlá bibliografie, skutečnost, že je výšivka téměř 70 metrů dlouhá, a fakt, že se narace skládá ze tří vizuálních element (z hlavní dějové linie středního pásu, z drobnějších výjevů v bordurách a z latinského textu), které, jak připomíná J. Bard Mc-Nulty, musí být čteny na základě různých vzájemných vztahů mezi nimi, jsou důvodem nutnosti upozornění čtenáře na to, že tento příspěvek nemá ambice na komplexní rozbor předmětu. Snahou práce je spíše vyjasnit konkrétnější a frekventovanou otázku v historiografii tohoto skvostu z 11. století: měli bychom výšivku vnímat jako předmět posvátný či profánní? Jinými slovy se tato práce pokusí objasnit povahu či snad lépe charakter objektu a to zejména z pohledu jeho funkce a její proměny.

„Musíte je omluvit, jsou to jen děti“. Karikatury kubismu ve Francii a Čechách (1911—1918)

Author(s): Dagmar Ždychová / Language(s): Czech Publication Year: 0

Žánr karikatur, které přemalovávaly a opravovaly obrazy viděné na oficiálním Salonu, přetrvával oslabeně do období let rané avantgardy počátku 20. století. S multiplikací konkurenčních salonů – zejména Salonu nezávislých a Podzimního salonu – tento žánr ztrácívitalitu a rozřeďuje se v napodobeninách anonymních děl, dale se však objevují různé scény znázorňující umělce v ateliéru nebo ohromené návštěvníky před obrazy vystavenými na Salonu. Stopy této tradice pokračují v humoristickém tisku, jako byl ve Francii Le Journal amusant, Le Rire či La vie parisienne. V Čechách se karikatury kubismu objevovaly v populárních ilustrovaných časopisech jako Humoristické listy, Švanda dudák nebo ve specializovaném časopise Skupiny výtvarných umělců Umělecký měsíčník, kam přispíval svými karikaturami Zdeněk Kratochvíl.

Soutěže na Žižkův pomník v Praze na Vítkově

Author(s): Petra Šimánková / Language(s): Czech Publication Year: 0

Jezdecký pomník Jana Žižky z Trocnova, jenž se majestátně tyčí na vrchu Vítkově v místech, kde roku 1420 husitské vojsko úspěšně odrazilo Zikmundovy křižáky, tvoří již více než půl století nedílnou součást pražského panoramatu. V dnešní době ohromí obyčejného, umělecky nezaujatého diváka pouze svou impozantností. Málokterý z návštěvníků české metropole se při obdivování rozměrových předností pozastaví, aby zapřemýšlel, jak tento pomník vůbec vznikal. Neboť cesta k jeho současné podobě byla strnitá a pokryla téměř padesát let minulého století.

Art Centrum — podoby instituce

Author(s): Barbora Ševčíková / Language(s): Czech Publication Year: 0

Příspěvek Art Centrum – podoby instituce se věnuje tématu mezinárodního obchodu s uměním před rokem 1989 a monopolní organizaci Art Centrum, která tento obchod zprostředkovávala. Představení činnosti a fungování instituce vychází z rozdílnosti pohledů a názorů, které jsou dodnes s Art Centrem spojené. Text vychází z mé diplomové práce, která sleduje oficiální rétoriku, výpovědi bývalých zaměstnanců i dnešní kritiku a ukazuje Art Centrum zbavené výsadní role v zahraničním obchodu s uměním.

„Unde nu există tradiție, libertatea este mai mare”

Author(s): Antonia Komlosi,Péter Jecza / Language(s): Romanian Publication Year: 0

Interview with Péter Jecza by Antonia Komlosi.

За характера на еротичните фрески в крайградските терми на Помпей

Author(s): Ivanka Doncheva / Language(s): English,Bulgarian Publication Year: 0

The Suburban Baths in Pompeii were built around the end of the 1st century BC against the city walls north of the Porta Marina. They served as a public bath house to the residents of Pompeii They were originally discovered in 1958 and have since been excavated and restored. Excavation of the Suburban Baths have given historians a glimpse into an aspect of the social and cultural workings of Roman life in Pompeii. The entrance to the Baths is through a long corridor that leads into the dressing room. Excavation of the Baths revealed only one set of dressing rooms and has led to wonder by archaeologists that both men and women shared this facility. This dressing room (known as the apodyterium) is where archaeologists discovered erotic wall paintings in the 1980s. The dressing room then led to the tepidarium (lukewarm room), followed by the calidarium (hot room). The erotic wall paintings in the Suburban Baths are the only set of such art found in a public Roman bath house. Explicit sex scenes (such as group sex and oral sex) are depicted in these paintings that cannot be easily found in collections of erotic Roman art. The paintings are located in the apodyterium and each scene is located above a letterd. These boxes are thought to have functioned as lockers in which bathers put their clothes. It is speculated that the paintings possibly served as way for the bathers to remember the location of their box (in lieu with the numbering). The presence of these paintings in a public bath house shared by men and women gives some insight into Roman culture and suggests that people would not have found this offensive.

СИНТЕЗ ИСКУССТВ В РУССКОЙ ЛИТЕРАТУРЕ 1990-х —2010-х гг.

Author(s): Irina Mineralova / Language(s): Russian Publication Year: 0

The phenomenon of “Synthesis of arts” being productive in Europe during the Romantic period bore completely unexpected fruit at the turn of XXth century. As a rule of thumb, periods of crisis and changes are destructive on different levels and “crave” (Vyach. Ivanov) for synthesis. The turn of XXIth age is not an exception. This article defines specific causes and conditions for calling synthesis into life (fictional, interliterary, particularly synthesis of genres, and, furthermore, convergence of journalism, philosophy, sociology and philology). In this sense the synthesis of music and fictional literature is extremely graphic, it can be seen in works of old masters of prose and popular poets who represents “author’s song” (Russian contemporary folk music) or rockmusicians and rock-poets. Also of a great importance are the new flash fiction and poetry of modern age answering on the questions of today. The synthesis of philosophy, sociology, journalism and pictorial art is the most graphic in artistic heritage of Alexander Zinoviev, who has no match in today’s generation. The study of “synthesis of arts” phenomenon and its use in individual style of contemporary authors is not only interesting, but also fresh and meaningful. This will be shown in the analysis of particular literary works of contemporary authors. The synthesis in contemporary Russian culture differs from what it was in the first third of XXth century. The change of “exchanging” and “storing” information format leads to the fictional product that often comes out to be a surrogate pleasing the lowest tastes, without any aesthetic value. The question of value is often about creating “reputation” determining commercial worth of the product and not about artistic evaluation.

Hakikatın Ağzı Miti Bağlamında Sanatın İnandırıcılığı Ya Da Aldanışı

Author(s): Ayhan Özer / Language(s): Turkish Publication Year: 0

“Mouth of Truth” relief is known as a mythical relief thought to represent the Roman Sea God Oceanus. It is believed that Oceanus bites his hand if the person who puts his hand in his mouth is a liar. This legend has caused the relief to be named "The Mouth of Truth". It has also been suggested for a long time that the statue was used as part of a polygraph test. The statue, thought to have been made in the 1st century BC, is also considered an iconic symbol of Rome. In the post-truth era, reaching the truth is not as easy as in this myth. So much so that the relationship between the truth and the truth rather than its relationship with the lie has become worth questioning. The concepts of reality and truth, as well as being difficult to define, have often been used to refer to information that is "verifiable" or "considered true". In the modern world, on the other hand, truth is often seen as something that can be verified by scientific methods or empirical evidence. However, with the post-modern age, the situations that started to replace reality and truth have created a new definition, and a political and social concept, the concept of post-truth, which has been emphasized a lot in recent years, has begun to be discussed. The relationship between art and reality is already complex by nature. Realities in works of art are fictionalized as artist designs and are subject to the interpretation of the audience. This interpretable aspect of art can lead to opinions about whether the reality or the truth is interpretable in a way. In this respect, the cases of truth and error can be resolved within the framework of the concept of post-truth, especially in the work of the mouth of truth. With this study, Art's Persuasiveness or Deception in the Context of the Mouth of Truth Myth, it is aimed to analyze an ancient work in the context of art and persuasiveness or art and deception.

Osmanlı Saray Dokumalarında Kullanılan Doğal Boyalar ve Özellikleri

Author(s): Emine Torgan Güzel / Language(s): Turkish Publication Year: 0

Since ancient times, man has been in search of materials to decorate himself and his environment, and coloring materials have always attracted his attention. Mankind first obtained these materials from soil minerals and then used organic dyes obtained from natural products such as plants, animals, mushrooms, etc. As soon as their skills in weaving developed, they developed natural dyes and dyeing techniques. While they used to obtain monochromatic products at first, they later succeeded in using more than one color on a product in harmony. It is known that most dresses and fabrics, from caftans to plain fabrics, from dresses to baizes, which represent splendor and power in Ottoman palace fabrics, were colored using natural dyes. The dyes used by the Ottomans and the dyeing industry were passed from father to son, and continuity was ensured. Even today, the majority of the colors in the Ottoman palace weavings, which are in the museum collections and have great importance, still preserve their vitality. When it comes to natural dyes in Ottoman palace weavings, the first thing that comes to mind was the natural dye sources of animal origin, and these dyes were obtained from animals of female insect origin. The color obtained from insect-sourced dyes is almost the same as each other and formed the ground color, especially in the sultan's and prince's caftans. In addition to dyes of animal origin, Ottoman dyers also used vegetable dyes from which they obtained various colors. Sometimes by combining both vegetable and animal dye sources, they achieved various colors and hues. Here, the effect of Anatolia's rich plant diversity is quite high. In this research, after the natural dyeing process from the past to the Ottomans is briefly discussed, introduction about to Ottoman dyeing and dyeing industry was given. Then, the main plant and animal natural dyes that color the Ottoman palace weavings, their properties, and the agent dyestuffs they contain are examined.

Maurits Cornelis Escher’in “Gece ve Gündüz” Adlı Eseri Üzerine Bir İnceleme

Author(s): Berna Özlem Özcan,Ayhan Özer / Language(s): Turkish Publication Year: 0

Maurits Cornelis Escher makes a striking impact on the art world with his work "Day and Night". This work is full of complex geometric patterns and optical illusions that reflect Escher's characteristic style. The artist, who questions the perception of reality on a two-dimensional plane, manages to impress the viewer with visual contradictions. In his work "Night and Day", Escher creates a complex relationship between geometric shapes and figures when comparing black and white colors decently. Repeating patterns, endless loops and inverted forms form the main theme of the work. While following order and symmetry, the viewer, on the other hand, is drawn into a contradictory and uncertain world. Escher's ingenuity combined with his ability to create visual illusions. In "Night and Day", the motifs created by the masterful combination of positive and negative areas attract the attention of the audience. This is an example that highlights the artist's optical illusions that distort the perception of reality. At the core of "Night and Day" lies the idea that opposites can come together and exist in harmony. Escher not only presents an aesthetic experience with a visual paradox, but also refers to the complexity of human thought. All in all, "Night and Day" is an impressive work that showcases Maurits Cornelis Escher's artistic genius and extraordinary perspective. More than 600 editions of this painting have been exhibited in many countries. It should be noted that it is an important work that Turkish art audiences must see closely and examine its details.