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Посейдон Латеран. Копиране на оригинал или копиране на мотив?

Author(s): Marina Koleva / Language(s): Bulgarian Issue: 9/2014

With regard to a bronze statuette found in Thrace and a replica of the Lateran Poseidon type attention is drawn to a particularity of replicating statuary during the Roman period. The Lateran Poseidon type allows for arguing, which this paper does, over whether a sculptured original is behind the figure or we have here a copy of a popular motif.

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Akathistos and Pokrov: A Case Study of Iconographic Contamination

Author(s): Nazar Kozak / Language(s): English Issue: 9/2014

The Virgin’s protection as the main concept of Strophe 19 of the Akathistos Hymn demanded an appropriate visualization. Thus in some of the Akathistos cycles the illustration of this strophe was definitely influenced by the iconography of the Pokrov, which embodied the same idea. Actually, the specific representation of the Virgin holding a cloth (in several cases looking like an omophorion) in her arms had been borrowed. We will discuss how this variant of the illustration of Strophe 19 had emerged, when and where it was spread and why? The Virgin’s protection as the main concept of Strophe 19 of the Akathistos Hymn demanded an appropriate visualization. Thus in some of the Akathistos cycles the illustration of this strophe was definitely influenced by the iconography of the Pokrov, which embodied the same idea. Actually, the specific representation of the Virgin holding a cloth (in several cases looking like an omophorion) in her arms had been borrowed. We will discuss how this variant of the illustration of Strophe 19 had emerged, when and where it was spread and why?

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Virgin (Holy Mother) Iconography of Moldova and its Balkan Origins

Author(s): Tudor Stavila / Language(s): English Issue: 9/2014

The Virgin iconography of Moldova Among refers to rare models of Holy Mother, which have direct tangency to Bessarabian art of the 18th and the 19th centuries. Aware of irretrievable losses during the Soviet times, when monasteries and churches were closed (1957–1961), and cult items were confiscated or destroyed, it is too difficult to assess the national medieval icon, because of this void left of masterpieces from different epochs. This is also true for the Virgin of Moldova icon, mentioned by the Russian researcher Evgeny Poselyanin in Holy Mother: Illustrated Description of Her Life and Wonderworking Icons (Moscow, 1914) and served as a model for Bessarabian painters during the medieval period. The Virgin of Moldova icon from the Monastery of St. Nicholas, Kherson eparchy (the early 19th c.) is a specific interpretation of the 12th-century Virgin iconography of the Monastery of St. Catherine in Sinai; The Mother of God Pelagonitissa fresco (1318) at the church of Staro Nagoričane or Playful Child (Evhaitskaia, 1345) iconography at Chilandari Monastery, Mt Athos; in The Mother of God Pelagonitissa from Dečani (14th century), and similar icons from Skopje (1422, artist Makarios), of Nikolo-Ugreshsky Monastery (18th century, Russia) and many more. The article seeks to show how this iconographic model for the respective icons had been formed and developed, but also their common and specific peculiarities.

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За спецификата в декорацията на възрожденските къщи по българските земи

Author(s): Miglena Milchova / Language(s): Bulgarian Issue: 9/2014

The paper deals with the mural decoration of the houses during the National Revival period as part of a complex process of adoption of European culture. The issues related to this decoration are overviewed and analysed seeking to offer a better understanding of its specifics. Drawings of murals, unknown to researchers, from demolished houses are included.

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Икони на дебърските майстори зографи Нестор Трайков и Данаил Несторов в църквата „Успение Богородично“, Лом, 1894

Author(s): Rumiana Alexandrova / Language(s): Bulgarian Issue: 9/2014

The activity of the icon-painters from the Mijak region grouped around Nestor Traikov (1840–1919) and his son Danail Nestorov (1870–?), who worked in the second half of the nineteenth century and the early twentieth century in Bulgaria’s central and north-western parts, is a typical example of collective work. Still unstudied, their murals at the Church of the Dormition of Theotokos (1894) in the town of Lom on the Danube reveals various aspects of the West- European styles and techniques of that age combined with local art practices. Along with the memory of the linear-decorative principle, no less attractive is the highly original manner in which these masters from the region of Debar, Macedonia interpreted academic expressiveness. Unburdened by the instructions of any art schooling, holding views of art that were a far cry from the international standards, they made use in a really creative way of everything offered by the past and the contemporary period, painting ingenious and powerfully expressive artworks of significance to Bulgaria’s history of culture.

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Архитектурна метаморфоза на съвременните хотели

Author(s): Maria Davcheva / Language(s): Bulgarian Issue: 9/2014

Over the recent years, the need to search alternative models in architecture is becoming increasingly apparent, globally and particularly, in certain archetypes. The increasing mobility, informedness and the necessity of a new format of the environment of contemporary individual’s temporary stay gives a sign of exhaustion of the hitherto known models of hotels, regardless of whether a building or a complex, of the scale, location and the intended use. Through grouping the new lines of development with key elements––water, air, ice, towers, ethno, reconstructions, art––a ground for hypotheses of the future development of hotel as architecture, philosophy, a message of concrete historical and geographic affiliation is sought.

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The impact of Christo on the development of Australian art

Author(s): Sasha Grishin / Language(s): English Issue: 9/2014

Christo [Vladimirov Javacheff] and Jeanne-Claude [Marie Denat] came to Australia in 1968 and with their site-specific installation had a profound impact on the development of conceptual art in Australia. Christo was born in Gabrovo in 1935 and was a graduate of the Fine Arts Academy in Sofia. His partner in art and life, the Frenchborn artist, Jeanne-Claude (1935-2009), met Christo in Paris in 1958 and together they became two of the most influential artists involved in conceptual art on the world stage. A peculiarity of their work was the ‘wrapping’ of objects leading to a transformation in their physical and conceptual existence. Their project in Australia was immense in scale, raised many significant conceptual questions and involved a large number of Australian collaborators for whom this was a defining moment in their development as artists. Christo and Jeanne-Claude’s project was titled Wrapped Coast, One Million Square Feet, Little Bay, Sydney, Australia and was held over two months in 1968-69. It involved the spread of 1,000,000 square feet (92,900 square meters) of erosion control fabric with 35 miles (56.3 kilometres) of rope, with a total length of 2.4 kilometres and a height of 26 meters which completely transformed a scenic stretch of the Australian coastline. This was a controversial event which divided the Australian art community and in retrospect has been viewed as a transformational moment in the development of Australian art. This paper examines the significance of the event from the perspective of almost fifty years.

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Обучение по „Арт и креативно предприемачество“, или светлата и тъмната част на пътя по превръщането на произведения на изкуството в продукт и стока

Author(s): Todor Madolev / Language(s): Bulgarian Issue: 9/2014

Art and Creative Entrepreneurship taught at the University of National and World Economy, Sofia stirs interest despite the feeling of an ‘ice wall’ between artists and economists: unexpected parallels with creativity are drawn, common traits, but also differences... Some of the students will become business and just a few art entrepreneurs, still, conditions are sought to be created for building a new entrepreneurial behaviour in art management, in making creative work a business and a fast-growing industry. Cultural and creative industries are held in respect (rather just on paper) in the EC recommendations, because the impact of the global economic crisis on them is negligible and they have an unrealised economic potential. Still, the approach is bureaucratic, inconsistent with the specifics of creative processes and the individual act of creating artworks. The study seeks to draw to economists and artists’ attention to the fact that there are common paths that could pave the way to a new attitude towards education and its natural relation to arts.

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Интердисциплинарен подход при оценка на архитектурата в контекста на „флуидната модерност“

Author(s): Aneta Trifonova / Language(s): Bulgarian Issue: 9/2014

How does an interdisciplinary approach influence the making of an assessment of architecture? How does such an approach clarify the processes against a backdrop of a varied ‘liquid modernity’? A common ground is searched of architectural theory and the fundamental scientific and social-economical evaluation systems, regarded in the light of quantum physics and the philosophy of Heisenberg, Whitehead and Hocking. Parallels are drawn between physical space, time, set, evaluation methods of science and engineering systems. The theory of social studies (Baudrillard, Lumen, Bauman) is compared with architecture as a social system and the changes in the professional manner, consumer’s behaviour, prevalent economic assessment. Multi-directional studies provide ontological knowledge as well as keys to rationalize the complicated manifestations of architecture in the post-industrial society in their full gamut from sensuousness to fluidity to sociality to power-wielding rationality. The study seeks to clarify the philosophical basis of the processes and hence, to generate new ideas of contemporary professional achievements and architectural creativity.

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Дизайн за всички или персонализиран дизайн – предизвикателства при проектирането на достъпна градска среда

Author(s): Silvia Sulkova / Language(s): Bulgarian Issue: 9/2014

Urban environment is complex and multifunctional as are people and activities it serves to. Unlike manufacturing or housing environment, urban environment is used by all regardless of their sex, age, ethnic or social status, behavioural specificity, capabilities or limitations. Diversity provides a good scope of work though facing a serious challenge to designers to combine the unique with the unified, consumer’s individuality with social necessity. The idea of an ‘universal solution’ has been gaining popularity for two decades now, i.e. if a product suits for someone with dexterity or mental impairments, then it is suits for those without disabilities. At the same time a number of same-function products are offered on the market, the personalisation or orientation towards a certain consumer group of which makes them more preferable as they would bear a message of the identity of their owners. The balance between these two trends shapes the unique appearance of social space.

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Нови музикални ръкописи в Научния архив на БАН

Author(s): Asen Atanasov / Language(s): Bulgarian Issue: 9/2014

In the documentary heritage of the Scientific Archives of Bulgarian Academy of Sciences there is a small collection of 15 musical manuscripts – 13 church-slavonic and 2 Greek. Archived in the inventory 6 of the music collection 14 which has a variety content, the manuscripts remain undiscovered for long. As a whole the church-slavonic musical manuscripts come from the Institute of Music. The Greek manuscripts entered in the archive by different paths. the 2 Greek – from otherwise. The first manuscript – a fragment of the second half of the 14th century (BAS gr. 22) comes from another collection of musical manuscripts (EHAI) and the second manuscript – short Anastasimatarion (BAS gr. 15) was discovered in the personal fund of Nicola Nachov (f. 63k). In recent years during inventories were found three church-slavonic musical manuscripts from the 19th century: Heirmologion (a.u. 12), Anthology (a.u. 13) and Doxastarion (a.u. 14). This work presents them for the first time with preliminary description. Their analytical description is a future task.

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Модни тенденции в опаковъчния дизайн. Влияние на водещи брандове върху опаковки при изделия за деца

Author(s): Martha Madjarova / Language(s): Bulgarian Issue: 9/2014

The packaging manufacturing industry is rapidly evolving and energetically developing. The barometer pointer for the promotion of a particular product depends almost entirely on the packaging. The article traces out the world trends in the packaging sector, presenting emblematic brands that have developed the fundamentals of packaging design. The earliest significant packages of the past as well as contemporary trends are analysed. The focus is on leading brands, which are trailblazers in the sector such as Coca-Cola, Walt Disney, LEGO, McDonald’s, Nestlé, Royal Dutch Shell, P&G. Children’s packages inspired by actual fashion trends not necessarily consistent with the age group of the consumer body are under consideration. The packaging design of children’s products is the essence of public taste and culture, reflecting fashion nowadays.

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Кога е публикувана „Литургия за смесен хор“ от Апостол Николаев-Струмски?

Author(s): Stefka Venkova / Language(s): Bulgarian Issue: 9/2014

This paper deals with the year when Liturgy for Mixed Choir by Apostol Nikolaev-Strumski was published. Was it published in 1926, as it is widely believed now, or was it in the early 1930s? Was the Liturgy republished? Did it change its significance to the historical context of Bulgarian music, quite different in the 1920s and the 1930s? This question is relevant for three reasons: first, for the sake of scholarly striving for precise information; second, in view of a more accurate timeline of the events in Strumski’s life, both biographically and creatively; third, due to the desire to trace the path of Apostol Nikolaev- Strumski’s most significant work.

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Crossing the Cultural Divide: the Collaborative Public Art Projects of Velislav Georgiev

Author(s): Anita Pisch / Language(s): English Issue: 9/2014

This paper examines the role of Bulgarian-born artist, Velislav Georgiev (1957 –), in transforming both his local and the wider Victorian landscape through his accessible and interactive artworks which invite the audience to experience the art object by engaging all five senses. Georgiev’s art practice in Australia stretches over 30 years and encompasses sculpture, painting, public art, furniture and architectural detail. Georgiev has created more than 28 public sculptures through which he engages in ongoing dialogue with a broad audience of all ages and backgrounds. These include a number of ‘play sculptures’, which encourage people to touch, feel, and immerse themselves in the pieces and also a number of collaborative pieces with a variety of ‘communities’ in which children, senior citizens, and members of disadvantaged groups have participated in the creative act. A current ongoing project in his home town of Ballan in western Victoria aims to bring the invisible to visibility by drawing attention to the workings of the wind. Georgiev is a founding figure in Ballan’s ‘1000 Weathervanes in Ballan’ project which has the ambitious aim of setting up 1,000 pieces of wind art in the draughty town. In March 2011 Georgiev’s Omnibus studio/ gallery participated in a joint exhibition with the National Museum of Earth and Man in Sofia, which grew out of the notion that Bulgaria and Australia are at the ‘opposite ends of the earth,’ so that if one were to drop a stone through the centre of the earth in Bulgaria, it ‘would most likely land in central Australia.’

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Символът в светските стенописи и мозайки в България от 80-те години на ХХ и началото на ХХI век

Author(s): Anelia Alexandrova / Language(s): Bulgarian Issue: 9/2014

The role of symbols was significant and definitive in Bulgarian murals and mosaics of the Socialist era. They included in their symbolism the most significant ideological postulates of the Communist Party. Through these pieces, the political and social ideals were directly pushed through. The ideological symbols of the Communist Party were a means of mass propaganda. Along with the symbols of propaganda, there were also such of universal significance. Some of the symbols were double-natured: on the one hand, they were universal and on the other, of ideological nature. Such double-natured symbols were typical of the Socialist era. National symbols were also used, i.e. images of historical and cultural origins that have established themselves over time, evincing the national psyche, shown symbolically. These were representations borrowed form the past and the history of the nation. The ideological symbols widely used in the monumental mural artworks were the Party; the fatherland and the victory. The double-natured symbols used in the mural pieces were hand, fire; the tree of life and lion, while these of universal nature were phoenix; the Sun; cock; serpent; fish; dolphin; seashell; water; wings and DNA. With the advent of political changes following 1989, universal symbols have been used without the presence of ideological connotations, as well as national symbols.

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Опит за анализ на състоянието и тенденциите в съвременната българска дърворезба

Author(s): Denitsa Dakova / Language(s): Bulgarian Issue: 9/2014

The art of woodcarving as part of the rich Bulgarian cultural heritage of the applied techniques and crafts, is an issue consistently and thoroughly studied by Bulgarian art historians. What escapes the attention of the published studies is the change in the typological nature of this art in contemporaneity. The term ‘woodcarving ‘ has established itself in Bulgarian contemporary art; still, its practical manifestations are a far cry from the characteristics of the definition itself. Going beyond the framework, which binds it to the functions of the craft, it has established itself as a plastic art with a number of applications, while the ongoing processes change the significance of the generational relations and of the legacy of the major creative approaches. Contemporary woodcarvers make experiments, leaving aside the figurative and image systematisation and bringing their artworks closer to the trends assumed by the conceptual painting and statuary. The pieces created now blur the boundaries of categorisation in terms of the morphological analyses of this art. The paper seeks to trace these changes in parallel through a review of some exhibitions held recently and prove that the visual and plastic images and creative quests in contemporary artworks are closer to the vitality of the trends in the contemporary art context.

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Белези на тоталитаризма в архитектурата у нас през 80-те години на ХХ век

Author(s): Anton Gugov / Language(s): Bulgarian Issue: 9/2014

The 1980s are quite interesting to researchers of contemporary architecture. That decade was the last under Socialism in Bulgaria, under the so-called ‘mature Socialism’, exhibiting a number of emblematic, large-scale and unique architectural works, some of which are commensurate with the world achievements. Despite of the state-of-the-art devices and the different exteriors, the official design of the governmental buildings is close in terms of its inculcations to that of the governmental edifices of the era of ‘Socialist Realism’ (1949–1956). The period of dogmatic appliance of ‘Socialist Realism’ in architecture was long gone back then, but in the Communist Party’s programmes and architectural literature it was still existing as a guiding architectural method. The representative governmental edifices of the 1980s evince typical features of a totalitarian architecture. During the decade under consideration, unique public buildings were also erected in Bulgaria, which were in tune with the world trends. The core principles of post-modernism in a number of cases were successfully applied along with those of modernism.

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Репертоарни избори на българския театър в първите години след 1944 г.

Author(s): Rumiana Nikolova / Language(s): Bulgarian Issue: 9/2014

The article is part of a study on Bulgarian theatre under socialism. It focuses on the repertory policy after the political changes from 1944 onwards. The new authorities gradually and systematically got control over all of them. The main priority was to rehabilitate the people and arts were believed to be the possible tools to achieve this goal. In this way, the authorities linked culture, arts and theatre with propaganda. A party-political regulation over culture, and respectively, over theatre, was enforced in all areas, from repertories to personal cases. Total control was exerted universally, but especially over the texts and the repertories, which were treated with increasing attention.

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Филмът „Звезди“ – пример за успешна коопродукция между две социалистически страни. Митът „забранен“ – реалността „награден“

Author(s): Wassja Ivanova / Language(s): Bulgarian Issue: 9/2014

Stars was the first coproduction between East Germany’s DEFA Studio and Feature Film Studio, Bulgaria. The Special Grand Jury Prize at Cannes International Film Festival 1959 was just one of the awards it had won. Its story was marked by hardships typical of the socialist era and it had been even promoted for years as ‘banned’ in Bulgaria. The study presents a timeline of the events and documents of the age, giving a different picture. Stars was the first movie allowing for a different view of Germans in World War Two. The film was an appeal for peace and unity, made in the days of the Cold War. ‘A must-see’ was the category assigned to the film in GDR for its exceptional qualities. In 1995, in Germany Stars has gone down in history as one of the country’s Top 100 movies, while in Bulgaria it has been almost forgotten.

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Етико-естетическите послания на викторианската детска литература

Author(s): Erika Lazarova / Language(s): Bulgarian Issue: 9/2014

The ideological clichés of the recent past made of the children’s literature of the Victorian era something that has become aesthetically and morally obsolete and unnecessary. Still, these books, being unities of text and pictures, are as popular as ever to this day, promoting lofty moral ideals for a child, a standard of decent conduct as a bearer of traditional moral values. The article shows how, though grafted on to Bulgarian cultural soil and strongly rendered Bulgarian at times, they convey messages, that continue to be significant even in the post-modern age, confirming the idea of the identity between the ethical and aesthetical, between the morally and the artistically significant as opposed to ethical relativism.

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