Európai műemlékvédelmi tendenciák különös tekintettel a Kárpát-medencére I–II. Fehérvárcsurgó, 2017–2018
Current Trends in European Heritage Preservation with a Focus on the Carpathian Basin I–II. Fehérvárcsurgó, 2017–2018
Contributor(s): Endre Raffay (Editor), Anna Tüskés (Editor)
Subject(s): Museology & Heritage Studies, Architecture, History of Art
Published by: Pécsi Tudományegyetem Művészeti Kar Művészettörténet Tanszék
Keywords: Hungarian monument protection; Heritage Protection; Monument Protection
Summary/Abstract: The volume presents the proceedings of two international conferences held in Fehérvárcsurgó in 2017 and 2018, focusing on current trends in European heritage preservation with special attention to the Carpathian Basin. The editors emphasize the importance of international dialogue concerning monument conservation, restoration theory, cultural heritage management, and the future of historical monuments in Central Europe. The studies discuss both theoretical and practical questions of heritage preservation, including restoration ethics, reconstruction methods, adaptive reuse, and the tensions between tourism, investment, and authenticity. Several essays analyze the history and changing institutional structure of Hungarian monument protection and its relationship to broader European restoration traditions. A major part of the volume is devoted to medieval castles, churches, monasteries, and palace chapels, including case studies from Hungary, Slovakia, Serbia, Romania, and France. The book examines famous restoration projects such as the Esztergom Castle, the Esztergom Palace Chapel, the church ruins of Arača, the Füzér Castle, and the Royal Abbey of Fontevraud. Special attention is given to interior reconstruction, historic furnishings, and the methodological challenges of recreating lost architectural environments. The conference papers also highlight the growing importance of digital technologies, museum interpretation, cultural tourism, and educational programs in contemporary heritage preservation. Several contributions present successful examples of transforming historical buildings into vibrant cultural centers, museums, research institutions, and tourist attractions while preserving their historical significance. The volume ultimately demonstrates that modern heritage preservation requires a careful balance between scientific authenticity, historical memory, architectural creativity, and the social and economic demands of the present.
- Print-ISBN-13: 978-963-429-440-5
- Page Count: 279
- Publication Year: 2019
- Language: English, Hungarian
A magyarországi műemlékvédelem stílustörténetéhez
A magyarországi műemlékvédelem stílustörténetéhez
(To the stylistic history of Hungarian monument protection)
- Author(s):Ernő Marosi
- Language:Hungarian
- Subject(s):Architecture
- Page Range:15-34
- No. of Pages:20
- Summary/Abstract:Since 1872, the foundation of the Temporary Committee on Hungarian Monuments and 1881, the establishment of the National Committee of Monuments until the reorganization of the latter institution in 1934 the protection of the Hungarian monument has evolved essentially based on the historicism in the stylistic sense, while from the turn of the century, the need for modernization has become more and more pronounced. This prevailed in post-medieval art monuments, especially of the opening to the baroque however, only moderate historicism has been realized and created a school. In the last one and a half- decade of the National Committee for Monuments and then throughout the entire period of the National Monument Inspectorate, which was founded directly after the 1956 Revolution this heritage prevailed. Gradual alienation of the traditional monumental approach, its regulatory nature and its characteristics that are difficult to reconcile with the market economy were characterised by grotesque reorganizations and name changes from 1992. In these, from environmental protec tion and cultural heritage concepts to helpless orientation ideas seeking support and protection through different instances prevailed. Today it is impossible to speak about institutional monument protection. For the time being, the outside observer cannot discover where new initiatives are hiding.
Heritage Protection in a Changing World
Heritage Protection in a Changing World
(Heritage Protection in a Changing World)
- Author(s):Áron Tóth
- Language:English
- Subject(s):Architecture
- Page Range:35-45
- No. of Pages:11
- Summary/Abstract:The study discusses the problem of monument reconstruction in an international context, in relation to the emergence of postmodernism, the ever-spreading pluralism of values and the accelerating globalization. In the practice that has been spreading in Hungary in the past two decades, not only the search for identity after the regime change, not only the reassessment of the national past, and not only the raw assertion of economic interests, but also the aforementioned effects play a role. The ethical foundations of monument protection laid at the beginning of the 20th century, after several precedents, were most clearly manifested in the 1964 Venice Charter. However, the fundamental principles of the Venice Charter regarding reconstruction have been increasingly challenged since the last decade of the 20th century. It is true that we find examples of reconstructions after both world wars as a result of the losses in the world wars, but it still seems that in recent decades, compared to the middle of the last century, they have multiplied due to the above-mentioned global processes, and the monument protection profession itself has become more lenient towards them. However, it seems that in Hungary the concept of reconstruction is used imprecisely. On the one hand, we extend it to concepts that only form part of the reconstruction activity, such as restoration, renovation, or rebuilding. On the other hand, we also consider architectural activities as reconstruction that cannot necessarily be called such. Such an example is a “copy” that is intended to be a copy, but only superficially resembles the original, not in all details, and does not exactly follow the original architectural and spatial system. In my opinion, we should limit the word reconstruction to those cases when we rebuild destroyed parts faithfully following accurate visual and written sources, and these rebuilt parts are connected to the surviving originals by restoring the original system of connections. In other cases, we should use the words copy, replica, imitation or afterthought. In my opinion, the latter no longer fall into the field of monument protection, but into the field of contemporary architecture. In light of this, interventions such as the reconstruction following the fire of Uppark House in England, the restoration of the castle in Lunéville, or the Alexander Palace in Budapest can be considered monument protection interventions, but the reconstruction of the Stadtschloss in Berlin, the royal stables in Buda Castle, or the castles of Vígľaš (Slovakia) and Füzér cannot be mentioned on a single page.
Past, present – future? An ambiguous relationship
Past, present – future? An ambiguous relationship
(Past, present – future? An ambiguous relationship)
- Author(s):Áron Tóth
- Language:English
- Subject(s):Architecture
- Page Range:47-57
- No. of Pages:11
- Summary/Abstract:The study examines current tendencies in heritage protection, especially the growing spread of reconstruction practices since the late twentieth century. The author argues that the conservation principles established by the 1964 Venice Charter have increasingly been challenged by postmodernism and globalization, both of which introduced more pluralistic interpretations of authenticity. While in Europe authenticity is traditionally connected to original material substance, other cultures, particularly in the Far East, often emphasize spiritual continuity and ritual renewal instead. Within this broader context, the paper focuses on the restoration of ecclesiastical monuments in Hungary, most notably the renovation of Saint Martin’s Basilica in the Benedictine Archabbey of Pannonhalma. The Benedictine community intended to restore the medieval church’s monastic simplicity and adapt the interior to contemporary liturgical needs inspired by the reforms of the Second Vatican Council. However, this process involved the removal or transformation of significant nineteenth-century historicist furnishings and decorations, which heritage protection authorities regarded as integral parts of the monument’s historical development. The author critically analyses the completed restoration, acknowledging the high architectural and artistic quality of the new interior designed by John Pawson and the Hungarian 3H Architecture studio. Nevertheless, he argues that the extreme perfection and sterility of the newly created elements produce a dissonance within the authentic medieval environment. According to the study, modern materials and machine-made precision lack the irregularities and traces of human craftsmanship characteristic of historical architecture. The paper further discusses similar interventions in other Hungarian churches, including the cathedrals of Győr and Vác, where liturgical and theological arguments were likewise used to justify the removal of historical furnishings. These examples demonstrate the recurring conflict between preserving material heritage and satisfying the changing spiritual and liturgical needs of religious communities. Finally, the author broadens the discussion through the example of the Ise Grand Shrine in Japan, where ritual rebuilding every twenty years reflects a fundamentally different understanding of authenticity rooted in intangible religious tradition. Although the author considers such an approach incompatible with European heritage traditions, he concludes that the contradiction between tangible and intangible heritage remains unresolved even in the West. The study ultimately emphasizes that present-day interventions in heritage sites may themselves become contested in the future, illustrating the inherently ambiguous relationship between past, present, and future in heritage protection.
The Royal Abbey of Fontevraud: Reconstruction and New Technologies in the Absence of Original Furniture
The Royal Abbey of Fontevraud: Reconstruction and New Technologies in the Absence of Original Furniture
(The Royal Abbey of Fontevraud: Reconstruction and New Technologies in the Absence of Original Furniture)
- Author(s):Florian Stalder
- Language:English
- Subject(s):Architecture
- Page Range:59-72
- No. of Pages:14
- Summary/Abstract:The study examines the Royal Abbey of Fontevraud in western France as a remarkable example of how a major historical monument can survive despite the almost complete disappearance of its original interiors and furnishings. The author analyses the challenges of restoring, redesigning, and digitally reconstructing a monument whose historical decoration has largely been lost through centuries of transformation, destruction, and adaptive reuse. Founded in 1101, Fontevraud became one of the most influential monastic centres in medieval Europe and served as the necropolis of the Plantagenet dynasty. Over nine centuries, the abbey accumulated numerous architectural, decorative, and artistic layers, ranging from Romanesque and Gothic art to Renaissance and Baroque interventions. However, the French Revolution caused extensive destruction and dispersal of its furnishings and ornaments, while the conversion of the abbey into a prison under Napoleon in the early nineteenth century further transformed the site. Although some important decorative elements survived, most historical interiors disappeared, leaving the restored monument largely empty today. The paper discusses the ethical and methodological difficulties of reconstructing lost interiors in such a context. Since archival evidence is limited and the abbey contains architectural layers from several centuries, restoration choices are particularly problematic. Referring to the Venice Charter, the author stresses that restoration must avoid conjecture and should respect the historical complexity of the monument. Consequently, only a few interiors, such as the apartment of the great prioress, have undergone careful restoration, while many other spaces remain intentionally empty or are adapted for contemporary use. At the same time, Fontevraud has evolved into a major cultural and tourist centre hosting exhibitions, concerts, conferences, and hospitality services. These new functions required the creation of modern interior designs and furnishings. The rehabilitation of the abbey hotel is presented as a successful example of integrating contemporary minimalist design into a historical monument while remaining sensitive to the site’s medieval heritage. A major focus of the study is the role of digital technologies in compensating for the absence of original decoration. Interactive tablet applications, educational visualizations, and virtual reconstructions help visitors imagine the lost interiors and understand the historical significance of the monument. The paper highlights ongoing research on the seventeenth-century Baroque funerary ensemble known as the “Cimetière des Rois,” parts of which have recently been identified through archival and material investigation. These discoveries now form the basis for immersive three-dimensional digital reconstructions and virtual reality projects. The author concludes that Fontevraud illustrates the complex balance between preserving the authenticity of an empty historical monument and adapting it to contemporary cultural needs. While modern design provides functional solutions for present-day uses, digital technologies offer innovative ways to restore memory, visualize lost interiors, and reconnect visitors with the monument’s rich historical past without resorting to speculative physical reconstruction.
A tökéletes kompromisszum: Az esztergomi vár 1930-as évekbeli helyreállítása
A tökéletes kompromisszum: Az esztergomi vár 1930-as évekbeli helyreállítása
(The perfect compromise: The 1930s restoration of Esztergom Castle)
- Author(s):Viola Pleskovics
- Language:Hungarian
- Subject(s):Architecture
- Page Range:73-90
- No. of Pages:18
- Summary/Abstract:The study examines the reconstruction of Esztergom Castle between 1934 and 1938 as one of the most influential achievements of Hungarian monument preservation. It argues that the restoration marked a turning point between nineteenth-century historicist reconstruction and modern conservation principles. The project was directed by Tibor Gerevich, who introduced contemporary Italian restoration theories to Hungary through his collaboration with architects Kálmán and Géza Lux. The reconstruction combined three different approaches: conservation, anastylosis, and modern architectural additions. One of the most remarkable achievements was the reconstruction of the castle chapel using original medieval fragments reinforced with hidden concrete structures. The study emphasizes that the Esztergom restoration represented a sophisticated compromise between authenticity and contemporary architectural expression. Italian theories developed by Camillo Boito and Gustavo Giovannoni strongly influenced the project, especially the principle that modern additions should remain distinguishable yet harmonious. At the same time, the architects experimented with historical forms and occasionally proposed stylistic reconstructions before Gerevich rejected them. The completed castle complex created a new type of archaeological museum where medieval remains and contemporary architecture coexisted within a carefully designed visitor environment. The author concludes that the Esztergom reconstruction was not a perfect restoration, but rather a “perfect compromise” whose lessons remain highly relevant for present-day castle reconstruction projects in Hungary.
Az esztergomi palotakápolna és falképeinek helyreállítása (2000–2017)
Az esztergomi palotakápolna és falképeinek helyreállítása (2000–2017)
(Restoration of the Esztergom Palace Chapel and its murals (2000–2017))
- Author(s):Mária Prokopp
- Language:Hungarian
- Subject(s):Architecture, Visual Arts, History of Art
- Page Range:91-110
- No. of Pages:20
- Summary/Abstract:The study presents the restoration and scientific investigation of the royal chapel of Esztergom Castle and its wall paintings between 2000 and 2017. It emphasizes Esztergom’s historical importance as the first political, religious, and cultural center of the medieval Kingdom of Hungary. The chapel was originally rebuilt in the late twelfth century during the reign of King Béla III, whose court maintained strong political and artistic connections with both Byzantium and Western Europe. The architecture of the chapel represents one of the earliest and most outstanding examples of Gothic rib vaulting in Central Europe. The article explains that the chapel’s richly decorated interior combined architectural harmony, symbolic sculpture, colored glass windows, and elaborate fresco painting. Restoration work after 2000 uncovered important twelfth-century decorative paintings, including monumental lion motifs symbolizing royal authority and divine power. The research also revealed sophisticated ornamental painting with vivid red, blue, yellow, black, and white colors that originally created a dazzling visual effect inside the chapel. During the fourteenth century, Archbishop Csanád Telegdi commissioned a new cycle of frescoes in the Italian trecento style, depicting scenes from the lives of Christ and the Virgin Mary. The author argues that these frescoes demonstrate direct artistic connections between Hungary and contemporary Italian painting, especially the Sienese school and the circle of Ambrogio Lorenzetti. The study concludes that the restoration of the Esztergom chapel has significantly deepened our understanding of medieval Hungarian art and confirmed its outstanding place within European cultural history.
Az aracsi templom pusztulástörténete és műemlékvédelme
Az aracsi templom pusztulástörténete és műemlékvédelme
(The history of the destruction and monument protection of the Aracs church)
- Author(s):Endre Raffay
- Language:Hungarian
- Subject(s):Museology & Heritage Studies, Architecture, History of Art
- Page Range:111-133
- No. of Pages:23
- Summary/Abstract:The study examines the destruction history and monument preservation of the medieval church ruins of Arača, located in the Banat region of present-day Serbia. The church was originally built in the first third of the thirteenth century as a three-aisled basilica with three apses and an eastern tower. Architectural and sculptural details indicate that the monument belongs to the transitional period between late Romanesque and early Gothic art in medieval Hungary. Archaeological evidence suggests that an earlier, probably eleventh-century church once stood on the same site. The building survived the Mongol invasion and later conflicts, but it suffered devastating destruction during the Ottoman attacks of the sixteenth century, most likely in 1551. After the fire and collapse of the vaults and roofs, the abandoned church gradually deteriorated further because of weather damage and the systematic removal of its stones and bricks for reuse. The article discusses nineteenth-century scholarly interest in the ruins, especially the work of Imre Henszlmann and Péter Gerecze, who recognized the monument’s exceptional artistic and historical value. Several restoration concepts were proposed over time, ranging from complete reconstruction to partial rebuilding, but most of these plans were never realized. Major conservation works carried out in the 1970s stabilized the remaining structures and introduced limited reconstructions, although the author criticizes some of these interventions for lacking historical authenticity. The study concludes that the ruins should be preserved primarily as authentic historical remains, with conservation efforts focusing on protection and careful restoration rather than speculative reconstruction.
A pöstyéni Szent István király-templom és faragványai
A pöstyéni Szent István király-templom és faragványai
(The Church of King St. Stephen in Piestany and its carvings)
- Author(s):Tibor Rostás
- Language:Hungarian
- Subject(s):Architecture, History of Art
- Page Range:135-170
- No. of Pages:36
- Summary/Abstract:The study analyzes the medieval Church of Saint Stephen the King in Piešťany, Slovakia, and examines its surviving architectural sculptures and decorative fragments. The church was probably founded by Palatine Miklós Kont around 1360, as confirmed by a papal indulgence mentioning a newly built church dedicated to Saint Stephen. Archaeological research revealed that the Gothic structure was erected on the remains of an earlier Árpád-period parish church dating from the twelfth or thirteenth century. The building had an unusual two-sanctuary arrangement with diagonally positioned polygonal chancels connected to a vaulted nave. Its architectural details, including rib vaults, tracery windows, sculpted capitals, and decorative corbels, demonstrate a high-quality Gothic artistic tradition. The church was damaged several times during its history, including by lightning in 1772 and flooding in 1813, after which it gradually fell into ruin. Nineteenth-century scholars, especially Baron Alajos Mednyánszky, documented many of the surviving carvings through drawings and descriptions before further destruction occurred. Excavations carried out during the twentieth century clarified the ground plan of the church and uncovered additional fragments of architectural sculpture and earlier building phases. The study identifies and reconstructs the original placement of numerous sculptural elements, including figurative corbels, capitals, keystones, and a richly decorated niche frame connected to the church interior. The author concludes that the Piešťany church represents one of the most remarkable examples of fourteenth-century Gothic architecture and stone carving in the medieval Kingdom of Hungary.
A párizsi Vincennes-kastély, mint a műemlékek helyreállítási elveinek példája Franciaországban
A párizsi Vincennes-kastély, mint a műemlékek helyreállítási elveinek példája Franciaországban
(The Château de Vincennes in Paris as an example of the principles of monument restoration in France)
- Author(s):Gábor Mester de Parajd
- Language:English
- Subject(s):Museology & Heritage Studies, Architecture, History of Art
- Page Range:171-176
- No. of Pages:6
- Summary/Abstract:The study discusses the principles of monument restoration in France through the example of the restoration of the Château de Vincennes near Paris. It explains that French monument preservation has been regulated since 1913 by a national system of chief architects responsible for historic monuments. The author reflects on the destruction caused by the Second World War and the problematic reconstructions that often sacrificed historical authenticity. Special emphasis is placed on the principles of the 1964 Venice Charter, including authenticity, readability, and reversibility in restoration practice. The paper argues that modern restoration methods rely increasingly on detailed historical research, archaeological investigation, and scientific documentation. The Château de Vincennes is presented as one of the most important royal residences in France, with origins in the eleventh century and major Gothic additions by King Charles V in the fourteenth century. Recent restorations revealed that important interior decorations and painted surfaces inside the famous Donjon are original medieval works. The study also describes the restoration of the royal chapel, seventeenth-century pavilions, fortifications, and former military structures damaged during later historical periods. According to the author, the successful preservation of monuments depends primarily on finding sustainable contemporary functions for historic buildings. The paper concludes that the restoration of Vincennes Castle demonstrates how historical authenticity, scientific conservation, and modern reuse can be successfully combined in contemporary heritage practice.
A füzéri vár helyreállításai
A füzéri vár helyreállításai
(Restoration of the Füzér Castle)
- Author(s):Zoltán Simon
- Language:Hungarian
- Subject(s):Architecture, History of Art
- Page Range:177-197
- No. of Pages:21
- Summary/Abstract:The study examines the history, archaeological research, and controversial reconstruction of the medieval castle of Füzér in northeastern Hungary. The author explains that the reconstruction has strongly divided both professionals and the general public between supporters of complete rebuilding and defenders of authentic ruins. Füzér Castle is historically significant because it was one of the earliest private stone castles in Hungary and briefly safeguarded the Holy Crown after the Battle of Mohács. The paper presents the history of conservation efforts beginning in the early twentieth century, including the stabilization works directed by Géza Lux in the 1930s. The author critically discusses the shortcomings of these early restorations, especially the destruction of important archaeological evidence caused by insufficient documentation and excavation methods. Large-scale archaeological excavations carried out between 1992 and 2007 uncovered the ground plans, cellar systems, architectural fragments, and written sources necessary for understanding the castle’s original structure. Architect Péter Oltai initially followed a cautious restoration strategy focused on conservation, minimal reconstruction, and clearly distinguishable modern additions. Later reconstruction campaigns increasingly aimed at rebuilding the upper castle and lower castle in a visually complete form, supported by virtual reconstructions and tourism development projects. Although the author acknowledges that many architectural details were reconstructed on the basis of substantial archaeological and archival evidence, he criticizes several newly added decorative elements as historically unfounded and misleading. The study concludes that the reconstruction of Füzér Castle demonstrates both the possibilities and dangers of large-scale monument reconstruction, especially when historical authenticity conflicts with political, economic, and emotional expectations.
From a factory to a UNESCO world heritage site: the establishment of a museum and a lively cultural site with the example of the Royal Saltworks of Arc-et-Senans
From a factory to a UNESCO world heritage site: the establishment of a museum and a lively cultural site with the example of the Royal Saltworks of Arc-et-Senans
(From a factory to a UNESCO world heritage site: the establishment of a museum and a lively cultural site with the example of the Royal Saltworks of Arc-et-Senans)
- Author(s):Grégory Le Moing
- Language:English
- Subject(s):Museology & Heritage Studies, Architecture, History of Art
- Page Range:199-212
- No. of Pages:14
- Summary/Abstract:The study presents the transformation of the Royal Saltworks of Arc-et-Senans in France from an abandoned industrial complex into a UNESCO World Heritage cultural site and museum. Designed by the architect Claude-Nicolas Ledoux, the saltworks operated between 1779 and 1895 and represented one of the earliest examples of monumental industrial architecture. The factory was built near the Forest of Chaux rather than near natural salt sources because transporting brine through pipelines was more practical than transporting large quantities of wood fuel. After the closure of production, many buildings deteriorated severely, and some parts of the complex were damaged or demolished during the early twentieth century. Beginning in the 1960s, extensive restoration campaigns gradually converted the abandoned site into a center for exhibitions, research, cultural programs, and tourism. The site now includes architecture and salt museums, temporary exhibitions, concerts, conferences, educational programs, and an internationally recognized garden festival. The author emphasizes that the restoration focused more on preserving the architectural and utopian ideas of Ledoux than on reconstructing industrial technology or machinery. A major part of the study discusses Ledoux’s visionary architectural philosophy, including his ideas about social harmony, urban planning, public welfare, and the relationship between architecture and nature. The paper explains that the museum and exhibitions help visitors rediscover Ledoux as one of the most influential and innovative architects of the late eighteenth century. The author concludes that the Royal Saltworks demonstrates how industrial heritage can successfully combine historical preservation, cultural innovation, tourism, education, and contemporary artistic activity.
A budavári Nagyboldogasszony-templom altemplomának átalakítása és a békéscsabai Páduai Szent Antal templom belsőépítészeti munkái
A budavári Nagyboldogasszony-templom altemplomának átalakítása és a békéscsabai Páduai Szent Antal templom belsőépítészeti munkái
(The transformation of the crypt of the Church of the Assumption in Buda Castle and the interior design works of the Church of Saint Anthony of Padua in Békéscsaba)
- Author(s):Márta Dragonits
- Language:Hungarian
- Subject(s):Architecture, Visual Arts, History of Art
- Page Range:213-224
- No. of Pages:12
- Summary/Abstract:The study examines the reconstruction of the crypt of the Church of Our Lady of Buda Castle (Matthias Church) and the interior renovation of the Saint Anthony of Padua Church in Békéscsaba. The first part of the paper presents the historical background of the Matthias Church crypt and its connection to the royal burials of King Béla III and Queen Anna Chatillon. The author explains how Frigyes Schulek designed the present crypt beneath the sanctuary as a dignified burial place inspired by medieval traditions and royal memorial culture. The reconstruction aimed to preserve the historical atmosphere of the crypt while adapting it to modern liturgical and touristic functions. A new limestone altar was created in harmony with Schulek’s neo-Gothic design principles, and relics of early Christian martyrs were placed inside it. The project also included the restoration and redesign of liturgical furnishings, lighting systems, heating, seating, and visitor information elements integrated into the historic environment. The second part of the study discusses the large-scale restoration of the neo-Gothic Saint Anthony of Padua Church in Békéscsaba, originally designed by Antal Hofhauser and consecrated in 1910. During the renovation, the damaged flooring, outdated wall paintings, and liturgical spaces were renewed while preserving the church’s historic artistic values and spatial structure. The author introduced a symbolic decorative program dividing the interior into an “earthly zone” and a “heavenly zone,” connected to medieval Christian symbolism and spiritual concepts. The study concludes that both projects demonstrate how contemporary interior design and liturgical renewal can be harmoniously integrated into historic sacred architecture while respecting authenticity, symbolism, and historical continuity.
Kastélysorsok Bánátban és Bácskában
Kastélysorsok Bánátban és Bácskában
(Castle fates in Banat and Bácska)
- Author(s):Karolina Kovács Nádi, Csilla Vázsonyi
- Language:Hungarian
- Subject(s):Architecture, Visual Arts, History of Art
- Page Range:225-244
- No. of Pages:20
- Summary/Abstract:The study presents the monument protection activities of the Institute for Hungarian Culture in Vojvodina, focusing especially on the preservation of castles and architectural heritage in the regions of Banat and Bačka. The authors explain that the Institute cooperates with Serbian regional heritage authorities while also documenting and promoting monuments important to the Hungarian community in Vojvodina. Particular attention is devoted to the medieval church ruin of Arača, which has become a symbolic monument of Hungarian cultural identity in the region. The paper also introduces the “Art and Monument Protection” program, which combines artistic activities, research, public performances, and heritage awareness campaigns to draw attention to endangered historic buildings. Another major initiative discussed is the BANATUR cross-border tourism project, which documented castles and manor houses throughout Banat and resulted in publications and digital databases about the region’s architectural heritage. The study outlines the historical development of castles in Banat and Bačka from the eighteenth century onward, emphasizing the role of Armenian, Hungarian, Serbian, and German noble families. Several detailed case studies are presented, including the Marczibányi–Lederer Castle in Čoka, the Rohonczy Castle on Biserno Ostrvo, the Karátsonyi Castle in Beodra, and the Kárász Castle in Horgoš. The authors demonstrate how land reforms after the First World War, socialist nationalization after the Second World War, and decades of neglect led to the deterioration or destruction of many aristocratic residences. While some castles have successfully been adapted into museums, schools, hotels, or cultural institutions, many others remain abandoned, structurally damaged, or threatened by uncertain ownership conditions. The study concludes that preserving the multicultural architectural heritage of Vojvodina requires coordinated cooperation between experts, cultural institutions, local communities, and international heritage initiatives.
Liszt Ferenc budapesti lakása és a Liszt Ferenc-gyűjtemény a Régi Zeneakadémián
Liszt Ferenc budapesti lakása és a Liszt Ferenc-gyűjtemény a Régi Zeneakadémián
(Franz Liszt’s last Budapest apartment and the Liszt Collection at the Old Academy of Music)
- Author(s):Mária Eckhardt
- Language:Hungarian
- Subject(s):Museology & Heritage Studies, Music, Architecture, History of Art
- Page Range:245-260
- No. of Pages:16
- Summary/Abstract:Franz Liszt remained deeply committed to Hungarian culture throughout his life, despite spending most of his career abroad. He made major contributions to Hungarian musical education by supporting the National Conservatory and later helping to establish the Royal Academy of Music in Budapest. Liszt became the founding president and piano professor of the Academy, where he taught talented students without accepting payment. In 1879 the Academy moved into a larger building on Andrássy Avenue, where Liszt received an elegant apartment connected directly to the concert hall. The apartment was carefully furnished and decorated by Liszt’s Hungarian friends and admirers, who donated furniture, artworks, and other valuable objects. After Liszt’s death in 1886, the Academy inherited his musical instruments, books, and scores, while the apartment itself was later transformed for educational purposes. During the twentieth century the building underwent several changes in ownership and function, serving at different times as a music school, offices, and commercial premises. In the 1980s the Liszt Ferenc Academy of Music launched a major reconstruction project to restore the historic building and recreate Liszt’s former residence as authentically as possible. The Liszt Ferenc Memorial Museum officially opened in 1986 and today preserves original instruments, furniture, manuscripts, books, artworks, and personal belongings connected to the composer. The museum and research centre continue to honor Liszt’s legacy through exhibitions, concerts, scholarly publications, and digital access to the rich Liszt Collection.
Stílusok és programok – a budapesti Zeneakadémia építés- és díszítéstörténetének néhány kérdése
Stílusok és programok – a budapesti Zeneakadémia építés- és díszítéstörténetének néhány kérdése
(Styles and programs – some questions about the history of construction and decoration of the Budapest Academy of Music)
- Author(s):Endre Raffay
- Language:Hungarian
- Subject(s):Music, Architecture, Visual Arts, History of Art
- Page Range:261-279
- No. of Pages:19
- Summary/Abstract:The study examines the architectural and decorative history of the Budapest Academy of Music, designed by Flóris Korb and Kálmán Giergl between 1904 and 1907. It explores how the final eclectic Art Nouveau building preserved several stylistic and compositional elements from earlier Hungarian Secessionist plans. The author reconstructs the building’s iconographic program mainly from the surviving architectural and decorative elements because few written sources remain. A central idea of the program is the opposition between the Apollonian and Dionysian concepts of art, inspired by Friedrich Nietzsche’s philosophy. The Academy presents Apollonian music as spiritually superior, symbolized by the monumental figure of Franz Liszt on the main façade. Decorative motifs such as angels, Egyptian-inspired forms, and classical Greek references emphasize the sacred and universal character of music and art. The sculptural friezes by Ede Telcs and the frescoes by Aladár Körösfői-Kriesch connect Renaissance, classical, and Hungarian national traditions within a complex symbolic system. The study also highlights how Hungarian folk and historical motifs were integrated into the otherwise classical and mythological iconographic framework. Special attention is given to Körösfői-Kriesch’s fresco The Fountain of Art, which became a symbolic culmination of the entire decorative program of the building. Overall, the article argues that the Academy’s artistic program represents a synthesis of historicism, Art Nouveau, mythology, nationalism, and spiritual symbolism, making the building a unique Gesamtkunstwerk of Hungarian culture.
