Európai műemlékvédelmi tendenciák, különös tekintettel a Kárpát-medencére III–IV., Fehérvárcsurgó, 2019, 2021
The current European heritage preservation trends with focus on the Carpathian Basin III–IV., Fehérvárcsurgó, 2019, 2021
Contributor(s): Endre Raffay (Editor), Anna Tüskés (Editor)
Subject(s): Museology & Heritage Studies, Architecture, Visual Arts, History of Art
Published by: Pécsi Tudományegyetem Művészeti Kar Művészettörténet Tanszék
Keywords: monument protection; restoration; authenticity; reconstruction; adaptive reuse; tourism; scientific conservation; economic interests;monument preservation
Summary/Abstract: The study volume contains the papers of two international conferences held in Fehérvárcsurgó in 2017 and 2018 under the title European Monument Protection Tendencies – with Special Regard to the Carpathian Basin. The volume aims to create an international forum for dialogue among monument conservation professionals, researchers, architects, and restorers from Hungary and neighboring countries. A central objective of the conferences was to address the changing institutional and professional situation of heritage preservation in Hungary and Europe. The essays discuss theoretical and practical questions of restoration, including authenticity, reconstruction, adaptive reuse, tourism, and the tensions between scientific conservation and economic interests. The 2017 conference focused mainly on castles, palaces, churches, and monument restoration projects, presenting both successful examples and problematic interventions. The 2018 conference concentrated on historic interiors and the reconstruction of interior spaces, especially those from the eighteenth and nineteenth centuries. The bilingual volume includes studies in both Hungarian and English, with English summaries accompanying the Hungarian papers. Among the topics discussed are medieval castles, church restorations, aristocratic residences, museum collections, the Budapest Academy of Music, and the preservation of cultural heritage in the Carpathian Basin. Overall, the collection demonstrates that contemporary monument preservation requires interdisciplinary cooperation and a careful balance between historical authenticity, cultural memory, modern functionality, and public engagement.
- Print-ISBN-13: 978-963-626-022-4
- Page Count: 486
- Publication Year: 2022
- Language: English, German, Hungarian
Örökségvédelem: eltérő megközelítések
Örökségvédelem: eltérő megközelítések
(Heritage protection: different approaches)
- Author(s):Áron Tóth
- Language:Hungarian
- Subject(s):Museology & Heritage Studies, Architecture
- Page Range:16-27
- No. of Pages:12
- Summary/Abstract:The study examines different contemporary approaches to heritage preservation in Hungary through the concept of genius loci, or the “spirit of place,” as interpreted by architectural theorist Christian Norberg-Schulz. According to the author, historic buildings embody both tangible and intangible cultural heritage, since architecture visually expresses the intellectual, spiritual, and historical meanings attached to a place. The paper raises the central question of whether monument restoration can remain faithful to the spirit of a place while also respecting twentieth-century conservation principles focused on authenticity and material preservation. As an example of this dilemma, the author discusses the 2012 restoration of the Benedictine basilica at Pannonhalma, where certain nineteenth-century furnishings were removed in order to restore the monastery’s earlier liturgical character. The study argues that such interventions inevitably modify the historical meanings embedded within the material fabric of monuments, even when they aim to revive spiritual continuity. Two ICOMOS-awarded restoration projects are presented as positive examples: the restoration of the Esterházy Palace complex at Fertőd-Eszterháza and the renovation of the Camaldolese Hermitage at Majk. In both cases, the restorations carefully preserved historical structures and architectural layers while reintroducing functions and atmospheres closely connected to the original spirit of the sites. The author emphasizes that contemporary architectural elements can successfully coexist with historic environments when they are applied with restraint, sensitivity, and scholarly precision. In contrast, the paper critically examines recent reconstructions in Budapest’s Castle District, including the rebuilt Royal Riding Hall and Guard Building, questioning whether copies of destroyed monuments can truly recover the original genius loci. Overall, the study concludes that meaningful heritage preservation must balance authenticity, historical continuity, and contemporary interpretation, while recognizing that the spirit of place cannot simply be recreated through architectural imitation alone.
Hogyan tovább, párizsi Notre Dame? Isten dicsőségére és az emberiség javára
Hogyan tovább, párizsi Notre Dame? Isten dicsőségére és az emberiség javára
(What next, Notre Dame of Paris? For the glory of God and the good of humanity)
- Author(s):Tamás Fejérdy
- Language:Hungarian
- Subject(s):Architecture, History of Art
- Page Range:28-41
- No. of Pages:14
- Keywords:Paris Notre-Dame Cathedral; restoration; reconstruction; authenticity; cultural heritage; Venice Charter; world heritage; intangible heritage; Gothic architecture; monument conservation
- Summary/Abstract:The study examines the restoration dilemmas that emerged after the devastating fire of Notre-Dame Cathedral in Paris on 15 April 2019. The author emphasizes that Notre-Dame is not only one of the greatest masterpieces of Gothic architecture but also a universal symbol of European and Christian cultural heritage. Special attention is given to the nineteenth-century restoration led by Eugène Viollet-le-Duc, including the reconstruction of the famous spire that later became an iconic part of the cathedral’s image. The paper discusses the international debate that followed the fire concerning whether the cathedral should be restored to its previous state or redesigned with contemporary architectural additions. The author strongly criticizes several spectacular modern proposals that ignored the historical, spiritual, and symbolic significance of the monument. The study presents important international restoration principles, including the Venice Charter, the Krakow Charter, and the Riga Charter, which define the conditions of authentic reconstruction after destruction. Examples such as the reconstruction of the Campanile in Venice, the Chapel Bridge in Lucerne, and the Old Bridge of Mostar demonstrate that faithful rebuilding after catastrophic loss can be internationally accepted. According to the author, the decisive factor in reconstruction is the availability of reliable documentation and the continuity of cultural memory associated with the destroyed monument. The article argues that Notre-Dame should not primarily be treated as a tourist attraction or architectural experiment, but as a sacred place embodying both tangible and intangible heritage. The study concludes that the only acceptable solution is the complete and authentic reconstruction of the cathedral in its pre-fire form, carried out with patience, professional humility, and respect for its spiritual and historical significance.
The Preservation of Medieval Historical Monuments in the Spiš/Szepes/Zips Region
The Preservation of Medieval Historical Monuments in the Spiš/Szepes/Zips Region
(The Preservation of Medieval Historical Monuments in the Spiš/Szepes/Zips Region)
- Author(s):Béla Zsolt Szakács
- Language:English
- Subject(s):Architecture, History of Art
- Page Range:42-57
- No. of Pages:16
- Keywords:medieval architecture; monument preservation; Spiš region; Gothic churches; restoration; cultural heritage; neo-Gothic architecture; historic monuments; conservation; architectural history
- Summary/Abstract:The study examines the preservation and restoration of medieval historical monuments in the Spiš/Szepes/Zips region, an area rich in medieval churches and architectural heritage in present-day Slovakia. The author explains that the region developed rapidly after the Mongol invasion of 1241–1242, when German settlers founded numerous villages and churches under the Kingdom of Hungary. Many medieval churches survived because successive generations of German, Hungarian, and Slovak communities continuously cared for and adapted these buildings to changing liturgical and social needs. The paper presents several examples where valuable medieval architectural elements, especially portals and stone carvings, were carefully preserved during later Gothic, Baroque, or neo-Gothic renovations. Special attention is devoted to nineteenth-century Historicist restorations led by important architects such as Frigyes Schulek and Imre Steindl, who sought to harmonize modern additions with medieval forms. The study also discusses restoration campaigns at major monuments including Levoča, Spišská Kapitula, Spišský Štvrtok, and Spišská Nová Ves, highlighting both successful and controversial interventions. A significant part of the article analyzes the role of Václav Mencl, one of the most influential twentieth-century scholars and restorers of medieval Slovak architecture. The author critically examines destructive interventions during the socialist period, including the demolition of churches and the irreversible loss of medieval murals and architectural details. Recent restoration projects demonstrate a growing effort to balance modern conservation principles with the presentation of authentic medieval structures and artworks. The study concludes that the preservation of Spiš’s exceptionally rich medieval heritage has depended on the continuous cooperation of local communities, scholars, restorers, and monument protection institutions across changing political and historical contexts.
Az esztergomi vár műemléki helyreállítása(i)
Az esztergomi vár műemléki helyreállítása(i)
(The historic restoration(s) of the Esztergom Castle)
- Author(s):Gergely Tolnai
- Language:Hungarian
- Subject(s):Museology & Heritage Studies, Architecture, History of Art
- Page Range:58-73
- No. of Pages:16
- Keywords:Esztergom Castle; monument restoration; medieval architecture; heritage preservation; archaeological reconstruction; royal palace; conservation theory; historic monuments; architectural restoration; Hungarian cultural heritage
- Summary/Abstract:The study examines the history of the restoration campaigns carried out at the royal palace complex of Esztergom Castle, one of the most important medieval royal residences in Hungary. The author explains that the palace evolved over several centuries and reached its most magnificent form by the beginning of the sixteenth century before suffering severe destruction during the Ottoman wars. A major challenge for restoration has been the fragmentary survival of the medieval remains, the lack of detailed written descriptions, and the limited reliability of early visual representations of the castle. The study also highlights how nineteenth-century construction works connected to the basilica radically altered the topography of Castle Hill, further complicating archaeological and architectural reconstruction. Particular attention is devoted to the first major restoration campaign between 1934 and 1938, directed by Tibor Gerevich and architects Kálmán and Géza Lux, which combined archaeological excavation with monument restoration. These restorations applied different contemporary conservation methods, including anastylosis, brick reconstructions, reinforced concrete structures, and the principle of distinguishing modern additions from medieval remains. The paper discusses later interventions as well, including the unrealized comprehensive planning competition of 1972 and the reconstructions carried out during the 1980s and the millennium celebrations around 2000. Modern additions such as the Marble Hall, the reconstructed gate towers, and the so-called “Little Romanesque Palace” deliberately employed contemporary architectural forms and extensive brick surfaces to distinguish them from the original medieval structures. The author critically evaluates the eclectic character of the castle today, where different restoration philosophies and architectural styles from successive decades coexist within the same monument complex. The study concludes that despite numerous restoration campaigns, Esztergom Castle has never been reconstructed according to a single coherent concept, making it a unique architectural record of changing monument preservation theories in Hungary.
Az esztergomi királyi palota Szent István-termének átalakítás-története
Az esztergomi királyi palota Szent István-termének átalakítás-története
(The history of the transformation of the Saint Stephen Hall of the Royal Palace of Esztergom)
- Author(s):Endre Raffay
- Language:Hungarian
- Subject(s):Architecture, Visual Arts, History of Art
- Page Range:74-101
- No. of Pages:28
- Keywords:Esztergom Castle; Saint Stephen Hall; medieval architecture; Romanesque art; monument restoration; historic preservation; neo-Romanesque architecture; architectural history; heritage conservation; archaeological research
- Summary/Abstract:The study examines the architectural transformation history of the so-called Saint Stephen Hall in the royal palace of Esztergom Castle, one of the most significant surviving medieval interiors in Hungary. The author emphasizes that the hall has remained continuously known and used since its construction during the reign of King Béla III, while preserving many original Romanesque architectural elements. Over the centuries, the space underwent several functional and architectural changes, including its adaptation as a chapel and later monument restoration interventions. The paper carefully reconstructs the sequence of alterations through archaeological evidence, historical descriptions, architectural drawings, and nineteenth- and twentieth-century visual documentation. Special attention is devoted to the major neo-Romanesque transformation commissioned by Archbishop János Simor in 1873–1874 according to the plans of József Lippert, when the hall was officially consecrated as Saint Stephen’s Chapel. The author shows how this historicist reconstruction introduced new decorative windows, painted surfaces, and architectural details that substantially changed the medieval appearance of the room. Twentieth-century monument preservation campaigns later removed many neo-Romanesque additions in an effort to restore the hall’s medieval character. The study also analyzes how repeated excavations and restorations modified the floor levels, doorways, windows, and structural interpretation of the space. Detailed examination of the surviving columns, capitals, vaults, and wall structures demonstrates the complexity of distinguishing original medieval fabric from later reconstructions and replacements. The article concludes that the present appearance of the Saint Stephen Hall is the result of multiple historical layers of restoration, reflecting changing attitudes toward monument conservation and medieval architectural authenticity.
Az experimentális tervezés, mint a rekonstrukció módszerei: Az esztergomi érseki palota 15. századi nagytermének fadonga tetőszerkezete
Az experimentális tervezés, mint a rekonstrukció módszerei: Az esztergomi érseki palota 15. századi nagytermének fadonga tetőszerkezete
(Experimental design as a method of reconstruction: The wooden log roof structure of the 15th-century great hall of the Esztergom Archbishop's Palace)
- Author(s):Konstantin Vukov
- Language:Hungarian
- Subject(s):Architecture, History of Art
- Page Range:102-123
- No. of Pages:22
- Keywords:experimental reconstruction; medieval carpentry; wooden barrel vault; Esztergom Palace; Gothic architecture; timber roof structures; architectural history; monument research; medieval engineering; reconstruction methodology
- Summary/Abstract:The study presents an experimental design methodology for reconstructing the lost wooden barrel-vault roof structure of the fifteenth-century great hall in the archiepiscopal palace of Esztergom. The author combines archaeological research, architectural surveys, historical illustrations, and written sources in order to recreate the original structural system of the monumental hall. Special attention is devoted to eyewitness descriptions from the Ottoman period, which confirm that the large hall was covered by an unsupported wooden barrel vault. The paper explains that medieval carpentry techniques remained remarkably consistent between the thirteenth and seventeenth centuries, making historical analogies useful for reconstruction. Two principal types of wooden barrel-vault construction are analyzed: curved arch-frame systems and roof structures integrated with timber vaulting elements. Based on geometrical and structural considerations, the author argues that the Esztergom hall most likely employed a slightly pointed barrel-vault form rather than a semicircular one. The reconstruction process investigates dimensions, roof pitch, timber sizes, support systems, iron tie rods, and the organization of medieval carpentry work. The study also discusses the enormous logistical and technological challenges involved in selecting, transporting, assembling, and lifting the massive oak beams required for the roof. Comparisons with major European examples, including Padua, Vicenza, Paris, and Regensburg, demonstrate that the Esztergom hall belonged to the highest level of late medieval architectural achievement. The author concludes that experimental reconstructive design provides valuable insight into lost architectural forms and highlights the outstanding patronage of Archbishops Dénes Szécsi and János Vitéz in creating one of the most monumental halls of fifteenth-century Europe.
Megjegyzések III. Béla székesfehérvári temetkezéséhez
Megjegyzések III. Béla székesfehérvári temetkezéséhez
(Notes on the funeral of Béla III in Székesfehérvár)
- Author(s):Endre Raffay
- Language:Hungarian
- Subject(s):Architecture, Visual Arts, History of Art
- Page Range:124-141
- No. of Pages:18
- Keywords:Béla III; Byzantine influence; royal burial; Székesfehérvár; red marble; medieval Hungary; royal representation; Holy Crown; Esztergom; funerary art
- Summary/Abstract:King Béla III of Hungary, who spent part of his youth in Byzantium as the heir apparent of Emperor Manuel I Komnenos, adopted many elements of Byzantine culture, politics, and representation. The study examines whether Byzantine influence can also be identified in the artistic and funerary representation connected to Béla III after his return to Hungary as king. Particular attention is devoted to the Porta Speciosa of the Esztergom Cathedral, whose decoration and iconography were once considered Byzantine in character. The author argues, however, that the architectural and sculptural features of the monument are primarily linked to masters trained in Parma and Modena, with Provençal artistic connections. The paper also discusses theories concerning the transformation of the Hungarian Holy Crown and the possibility that Béla III intended to imitate Byzantine imperial crowns. Special emphasis is placed on the symbolism of red marble, which may have served as a substitute for imperial Byzantine porphyry associated with royal and sacred representation. The study analyzes the burial place of Béla III and Queen Anna of Antioch in Székesfehérvár, describing the red-marble-lined graves discovered in 1848. According to the author, these tombs were not true sarcophagi but carefully constructed burial pits lined with marble slabs and assembled with metal clamps. The article further reconstructs the possible burial ritual, suggesting that the king may have been ceremonially re-crowned in death before the grave was sealed. The author concludes that although the artistic forms of Béla III’s age were mainly Western European in origin, Byzantine-inspired ideas of royal representation strongly influenced the symbolism, materials, and funerary concepts associated with the Hungarian king.
Templom körüli temető és az alapító Smaragd nemzetség sírjainak feltárása a zsámbéki premontrei prépostsági romban
Templom körüli temető és az alapító Smaragd nemzetség sírjainak feltárása a zsámbéki premontrei prépostsági romban
(Excavation of the cemetery around the church and the graves of the founding Smaragd family in the ruins of the Premontre provostship in Zsámbék)
- Author(s):Ilona Valter
- Language:Hungarian
- Subject(s):Archaeology, Architecture, Visual Arts, 6th to 12th Centuries, 13th to 14th Centuries, History of Art
- Page Range:142-157
- No. of Pages:16
- Keywords:Zsámbék; Premonstratensian provostry; Smaragd clan; medieval cemetery; private church; archaeological excavation; Árpád Age; burial practices; medieval Hungary; anthropological analysis
- Summary/Abstract:The study presents the archaeological excavation of the church cemetery surrounding the Premonstratensian provostry ruins in Zsámbék and the graves of the founding Smaragd clan. The medieval church complex, originally built in the first half of the thirteenth century, survived for centuries before being severely damaged by the 1763 earthquake. Excavations conducted between 1986 and 1991 uncovered 487 burials dating from the eleventh to the eighteenth centuries. Archaeological evidence revealed that the earliest cemetery developed around a small eleventh-century rotunda that served as the first Christian church on the hill. Later, a semicircular-apsed private church was erected above the remains of the rotunda and became the burial place of the Smaragd family. Anthropological and serological examinations carried out by Imre Lengyel identified both Hungarian and Western European population groups within the cemetery. According to the study, French-origin settlers connected to the Smaragd clan probably arrived in Hungary during the reign of King Coloman in the late eleventh century. The paper reconstructs the history of the Smaragd family, whose members established the Premonstratensian provostry in the early thirteenth century. Special attention is devoted to the identification of elite burials, including the possible graves of Lady Pena and the founding brothers Egyed and Smaragd. The author concludes that the archaeological remains of Zsámbék provide important evidence for medieval settlement history, family burial traditions, private churches, and the development of ecclesiastical institutions in Hungary.
A sepsikilyéni középkori eredetű unitárius templomról és helyreállításáról
A sepsikilyéni középkori eredetű unitárius templomról és helyreállításáról
(About the Unitarian church of medieval origin in Sepsikilyén and its restoration)
- Author(s):József Sebestyén
- Language:Hungarian
- Subject(s):Architecture, Visual Arts, History of Art
- Page Range:158-179
- No. of Pages:22
- Keywords:Sepsikilyén; Unitarian church; medieval architecture; Gothic murals; Saint Ladislaus legend; church restoration; cultural heritage; earthquake damage; Gothic portal; Székely region
- Summary/Abstract:The study presents the architectural history and restoration of the medieval-origin Unitarian church of Sepsikilyén (Chilieni) in present-day Romania. The village was first mentioned in written records in 1333 and became predominantly Unitarian by the end of the sixteenth century. Archaeological and architectural investigations revealed that the original church was a thirteenth-century single-nave structure with a semicircular apse built on the site of an earlier cemetery. The surviving walls of the nave were decorated in the early fifteenth century with extensive mural cycles, including scenes from the Legend of Saint Ladislaus and the Passion of Christ. Particularly remarkable are the depictions of the Last Supper, the Carrying of the Cross, and the mystical representation of the “living cross” in the Crucifixion scene. After the major earthquake of 1473, the church underwent significant Gothic reconstruction, including the construction of a polygonal sanctuary, ribbed vaulting, tracery windows, and a new southern portal marked with the date 1497. Further earthquakes in 1802 caused severe structural damage, leading to the collapse of the sanctuary vault and the introduction of a painted wooden ceiling that still survives today. Research and restoration campaigns carried out from the late twentieth century onward uncovered hidden medieval architectural elements, wall paintings, Gothic stone fragments, and liturgical furnishings. The restoration project, completed mainly between 1994 and 2004 with Hungarian, Romanian, and European support, successfully reconstructed the late Gothic southern portal and conserved the mural decorations. The rehabilitated church today preserves an outstanding example of medieval ecclesiastical art and architecture in the Székely region, while also symbolizing international cooperation in cultural heritage preservation.
Reflections on the Reconstructed Medieval Elements of the Chancel of Saint Michael’s Parish Church in Cluj-Napoca
Reflections on the Reconstructed Medieval Elements of the Chancel of Saint Michael’s Parish Church in Cluj-Napoca
(Reflections on the Reconstructed Medieval Elements of the Chancel of Saint Michael’s Parish Church in Cluj-Napoca)
- Author(s):Edina Szathmári
- Language:English
- Subject(s):Architecture, 6th to 12th Centuries, 13th to 14th Centuries
- Page Range:180-199
- No. of Pages:20
- Keywords:Saint Michael’s Church; Cluj-Napoca; Gothic architecture; medieval restoration; chancel reconstruction; ribbed vault; keystones; tracery windows; monument preservation; Transylvanian heritage
- Summary/Abstract:Saint Michael’s Parish Church in Cluj-Napoca is one of the most important examples of medieval Gothic architecture in Transylvania. The study examines the reconstructed medieval elements of the church’s chancel, focusing mainly on the restoration works carried out between 1956 and 1964. Recent research and documentation connected to the ongoing renovation project since 2018 have provided new insights into the church’s architectural history and earlier interventions. The article discusses the reconstruction of the Gothic cross-ribbed vault, which replaced the eighteenth-century Baroque vault in order to restore the presumed medieval appearance of the chancel. The author analyzes the reconstructed keystones, including the modern reinterpretation of the Agnus Dei motif and the symbolic references added during the twentieth-century restoration. Special attention is given to the reopening and reconstruction of the interior Gothic traceried windows between the side chapels and the chancel. The paper also investigates the relocation and reinterpretation of the medieval corbel depicting the symbol of Saint Mark the Evangelist, together with the addition of newly carved corbels representing the other evangelists. Another important aspect of the study is the analysis of partially reconstructed sacrament niches that combine original medieval fragments with twentieth-century additions. The article critically evaluates the restoration principles of the period, highlighting the tension between historical authenticity and the desire to create a visually unified neo-Gothic interior. Ultimately, the study demonstrates how the reconstruction of Saint Michael’s Church reflects broader twentieth-century Central and Eastern European approaches to monument preservation and medieval architectural restoration.
Az aracsi templomrom műemlékvédelmi beavatkozásokat dokumentáló XX. századi fényképeinek leíró katalógusa
Az aracsi templomrom műemlékvédelmi beavatkozásokat dokumentáló XX. századi fényképeinek leíró katalógusa
(Descriptive catalogue of 20th century photographs documenting the monument protection interventions of the Aracs church ruins)
- Author(s):Endre Raffay
- Language:Hungarian
- Subject(s):Architecture, History of Art
- Page Range:200-223
- No. of Pages:24
- Keywords:Arača church ruins; monument preservation; architectural restoration; medieval heritage; conservation photography; archaeological excavation; Gothic architecture; reconstruction history; historical documentation; Carpathian Basin
- Summary/Abstract:The study presents a descriptive catalogue of twentieth-century photographs documenting monument preservation interventions carried out at the ruins of the Arača church. It analyzes visual sources ranging from the nineteenth century to the late twentieth century in order to reconstruct the history of restoration activities and architectural transformations of the site. The article emphasizes that the earliest known depictions of the ruins appeared in illustrated Hungarian newspapers in the mid-nineteenth century, while the first scientific documentation dates from the 1860s. Particular attention is devoted to the preservation works of 1898, whose traces remained visible on photographs taken during the twentieth century. The author examines the photographic legacy of Konstantin Vukov from the 1920s, which provides the earliest visual evidence of the restoration interventions and structural stabilizations undertaken at the ruins. The study also discusses the photographs made by R. Mamuzić in the 1950s, documenting the condition of the monument before the extensive archaeological excavations and reconstructions of the 1970s. The article analyzes the excavation and restoration photographs of T. and K. Pivnički, which illustrate the rebuilding of pillars, arches, walls, and roofing elements during the campaigns directed by Milka Čanak-Medić. Detailed architectural observations are provided regarding masonry repairs, reconstructed vaulting elements, stabilization methods, and the use of reinforced concrete structures during conservation works. The study highlights the importance of historical photographs as primary sources for understanding lost architectural details and for evaluating the authenticity of restoration approaches. Ultimately, the catalogue contributes to the broader history of monument preservation in the Carpathian Basin and demonstrates how visual documentation supports the interpretation and conservation of medieval architectural heritage.
Bélapátfalva, apátsági templom, kutatási és helyreállítási kérdések
Bélapátfalva, apátsági templom, kutatási és helyreállítási kérdések
(Bélapátfalva, abbey church, research and restoration issues)
- Author(s):Lajos Bozóki
- Language:Hungarian
- Subject(s):Archaeology, Architecture, Visual Arts, 6th to 12th Centuries, 13th to 14th Centuries, History of Art
- Page Range:224-239
- No. of Pages:16
- Keywords:Bélapátfalva Abbey Church; Cistercian architecture; monument preservation; medieval heritage; Baroque restoration; architectural history; Gothic decoration; heritage conservation theory; Romanesque church; historical reconstruction
- Summary/Abstract:The study examines the unresolved research and restoration issues surrounding the Abbey Church of Bélapátfalva, one of Hungary’s most significant medieval Cistercian monuments. It discusses the ongoing debates concerning the planned “re-medievalisation” of the church and the possible removal of Baroque architectural additions. The author raises theoretical questions about monument preservation, particularly whether later historical layers possess the same value as the original medieval structure. The paper revisits Alois Riegl’s concept of “age value” and questions whether Baroque and nineteenth-century elements can legitimately be considered less valuable than Romanesque architecture. Historical evidence presented in the study shows that the abbey was founded in 1234 and that its construction was interrupted and modified several times during the Middle Ages. The article analyzes the architectural features of the church, including its striped western façade, Gothic decorative painting, and surviving medieval stone carvings. Special attention is given to unresolved research questions related to the western porch, spiral staircase, façade coloration, and sculptural details discovered during excavations. The author also compares Bélapátfalva’s architectural forms with other important Cistercian sites such as Heiligenkreuz, Casamari, and Pontigny. The Baroque restoration campaigns of the eighteenth century are presented as historically valuable interventions that contributed significantly to the church’s present appearance. The study ultimately argues that removing Baroque additions, such as the sacristy and gallery, would diminish both the architectural integrity of the monument and the richness of Hungarian architectural history.
Bélapátfalva, ciszterci apátsági templom barokk fa berendezésének különleges értékei
Bélapátfalva, ciszterci apátsági templom barokk fa berendezésének különleges értékei
(The special values of the baroque wooden furnishings of the Cistercian abbey church of Bélapátfalva)
- Author(s):László Bíró
- Language:Hungarian
- Subject(s):Visual Arts, History of Art
- Page Range:240-247
- No. of Pages:8
- Keywords:Bélapátfalva Abbey; Baroque furnishings; wooden liturgical objects; monument preservation; church restoration; gilding; lustre painting; Baroque pulpit; ecclesiastical heritage; cultural conservation
- Summary/Abstract:The study examines the exceptional artistic and historical value of the surviving Baroque wooden furnishings of the Cistercian abbey church of Bélapátfalva. Besides the medieval architectural remains, the author argues that the untouched eighteenth-century furnishings represent an equally important layer of the church’s cultural heritage. The Baroque reconstruction of the originally thirteenth- and fourteenth-century church preserved a remarkably coherent ensemble of liturgical objects, including altars, confessionals, pews, an organ, and a pulpit. Unlike many church interiors in Hungary, these furnishings were never substantially repainted or stylistically transformed, allowing their original surfaces and techniques to survive almost intact. Special attention is devoted to the sophisticated decorative techniques employed on the furnishings, such as gilding, silvering, lustre painting, and the imitation of lapis lazuli marble effects. The study explains how transparent coloured varnishes applied over silver surfaces originally created brilliant metallic visual effects that have darkened and altered over time. The Baroque pulpit is presented as a particularly valuable object because its original lustre decoration, carved wooden reliefs, and structural elements have survived without dismantling or major reconstruction. The author also emphasizes the rarity of open eighteenth-century confessionals and original pews, which today preserve important information about historical liturgical customs and ecclesiastical aesthetics. A central argument of the paper is that the aesthetic and historical value of these furnishings cannot be judged solely according to modern artistic taste or by comparison with medieval monuments. The study concludes that the preservation of the Baroque furnishings within their original architectural context is essential, since they form an inseparable part of the church’s historical continuity and monument value.
Tévedések az enteriőrbemutatásokban I. III. Béla király esztergomi várbeli írókabinetje; Mátyás király reneszánsz lakosztálya Kőszegen; víziváraink és vízivárkastélyaink; gödöllői lovarda; barokk alkóvos hálószoba
Tévedések az enteriőrbemutatásokban I. III. Béla király esztergomi várbeli írókabinetje; Mátyás király reneszánsz lakosztálya Kőszegen; víziváraink és vízivárkastélyaink; gödöllői lovarda; barokk alkóvos hálószoba
(Errors in interior presentations: King Béla III's writing room in Esztergom Castle; King Matthias's Renaissance suite in Kőszeg; our moated castles and moated castle mansions; Gödöllő riding school; Baroque alcove bedroom)
- Author(s):Károly Bugár-Mészáros
- Language:Hungarian
- Subject(s):Architecture, History of Art
- Page Range:248-277
- No. of Pages:30
- Keywords:historic interiors; monument preservation; castle restoration; interior reconstruction; heritage interpretation; medieval residences; Baroque architecture; Renaissance interiors; historical authenticity; cultural heritage
- Summary/Abstract:The study critically examines widespread errors in the presentation and interpretation of historical interiors in castles, palaces, and monumental buildings. The author argues that authentic monument presentation should reconstruct the original functions and lifestyle context of historical interiors instead of creating unrelated modern exhibitions within restored spaces. One major example discussed is the royal residence of King Béla III in Esztergom, where a medieval writing cabinet (scriptorium) was mistakenly reconstructed as a double-seated toilet despite its ceremonial architectural setting. The paper demonstrates that the original spatial hierarchy of medieval royal apartments can be understood through international analogies such as the papal palace in Avignon and the archiepiscopal fortress in Salzburg. Another important case study analyzes the Renaissance apartments of King Matthias in Kőszeg Castle, where original room divisions were removed and transformed into a modern theatre hall, destroying the authentic residential sequence. The author also criticizes the restoration of Hungarian moated castles whose defensive water systems were left dry, thereby eliminating an essential component of their historical character. Special attention is devoted to the Baroque riding hall of Gödöllő Palace, whose original monumental interior was divided by modern constructions that concealed its historic architectural structure. The study further examines the destruction and inappropriate modernization of rare Baroque alcove bedrooms, including the insertion of elevators into historically significant sleeping alcoves. Additional examples from Gyula Castle illustrate how Empire-style ceremonial halls, bedrooms, dining rooms, and residential towers were transformed into modern exhibition spaces, cafés, offices, and escape rooms, ignoring their historical functions and decorative programs. The author concludes that such interventions seriously damage the visual and cultural integrity of Hungary’s architectural heritage and calls for restoration practices that respect original spatial organization, interior decoration, and historical lifestyle representation.
Tévedések az enteriőrbemutatásokban II. A pécsi románkori „Népoltár” inkább valami más
Tévedések az enteriőrbemutatásokban II. A pécsi románkori „Népoltár” inkább valami más
(Errors in interior presentations II. The Romanesque “People’s Altar” in Pécs Cathedral is rather something else)
- Author(s):Károly Bugár-Mészáros
- Language:Hungarian
- Subject(s):Archaeology, Architecture, Visual Arts, 6th to 12th Centuries, History of Art
- Page Range:278-287
- No. of Pages:10
- Keywords:Pécs Cathedral; Romanesque architecture; ciborium altar; medieval sculpture; architectural reconstruction; Holy Sepulchre chapel; Peter Orseolo; Romanesque porch; monument interpretation; liturgical space
- Summary/Abstract:The study critically reinterprets the Romanesque vaulted structure reconstructed from stone fragments found during the nineteenth-century restoration of the Cathedral of Pécs. The author challenges the widespread assumption that the structure functioned as a Romanesque “folk altar” or altar canopy. According to the paper, authentic Romanesque and Gothic ciborium altars were consistently supported by slender columns in order to ensure full visibility of liturgical ceremonies from every direction. Numerous examples from Venice, Milan, Rab, Zadar, Kotor, Trogir, Barletta, and Bari demonstrate that medieval altar canopies were architecturally light, open, and visually accessible. In contrast, the Pécs structure rests on massive clustered piers whose narrow openings significantly restrict visibility, making its interpretation as a ciborium highly problematic. The study therefore proposes alternative functions for the monument, including the possibility that it originally served as a vaulted entrance porch attached to the cathedral façade. A close architectural analogy is identified in the open Romanesque porch of the Church of Notre-Dame-la-Grande in Poitiers, whose sculptural decoration also resembles the carvings of Pécs. Another hypothesis suggests that the structure may have functioned as a Holy Sepulchre chapel or as a funerary chapel dedicated to King Peter Orseolo, founder of the cathedral. The author emphasizes that the elongated ground plan of the structure would be more appropriate for accommodating a sarcophagus than for housing a centrally positioned altar. The paper concludes that further analysis of the cathedral’s stone fragments, sculptures, and reliefs is necessary in order to determine the original architectural and liturgical function of the reconstructed monument.
Tévedések az enteriőrbemutatásokban III. Középkori, reneszánsz és barokk konyhák jó és hibás bemutatásai
Tévedések az enteriőrbemutatásokban III. Középkori, reneszánsz és barokk konyhák jó és hibás bemutatásai
(Mistakes in interior presentations III. Good and bad presentations of medieval, Renaissance and Baroque kitchens)
- Author(s):Károly Bugár-Mészáros
- Language:Hungarian
- Subject(s):Archaeology, Architecture, 6th to 12th Centuries, 13th to 14th Centuries, 15th Century
- Page Range:288-321
- No. of Pages:34
- Keywords:historic kitchens; castle restoration; Baroque interiors; Renaissance kitchens; medieval kitchens; monument preservation; museum presentation; culinary heritage; architectural reconstruction; cultural history
- Summary/Abstract:The study examines the proper and improper museum presentation of medieval, Renaissance, and Baroque kitchens in historic castles and palaces. The author argues that restored historical kitchens should remain operational and capable of demonstrating period cooking techniques during cultural events and film productions. Several well-preserved examples are analyzed, including the Gothic kitchen of the episcopal palace in Eger and the functioning medieval kitchen of Lockenhaus Castle. The paper describes the structural and functional elements of historical kitchens, such as smoke hoods, hearth platforms, roasting spits, cooking cauldrons, bread ovens, and firewood-drying chambers. Special attention is devoted to Renaissance kitchens at Forchtenstein and Sárospatak, where the original arrangement of cooking installations can still be reconstructed from archaeological remains and historical plans. The author presents numerous Baroque kitchen floor plans from castles and urban palaces, demonstrating the characteristic Central European system of hearth platforms and smoke-guiding chimney structures. Positive examples, such as the fully equipped and operational kitchen of Vaux-le-Vicomte, are contrasted with poorly restored Hungarian interiors converted into cafés, cinemas, souvenir shops, or ticket offices. The study strongly criticizes museum practices that destroy or conceal authentic kitchen spaces and thereby falsify the historical reality of aristocratic domestic life. Detailed case studies from Pécel, Gyula, Gödöllő, Edelény, Tata, and Eger reveal recurring restoration mistakes, including the neglect of archaeological evidence and the insertion of inappropriate modern functions into historic kitchens. The author concludes that museum professionals responsible for castle restorations should possess specialized knowledge of historical domestic architecture in order to preserve and present kitchens as authentic functional spaces within the broader context of cultural heritage.
A változás tere. Szent András kastély: Kastélyrekonstrukció egy kicsit másképp
A változás tere. Szent András kastély: Kastélyrekonstrukció egy kicsit másképp
(A space for change. St. Andrew's Castle, Bölcske: Castle reconstruction a little differently)
- Author(s):Edit Belasics
- Language:Hungarian
- Subject(s):Museology & Heritage Studies, Architecture
- Page Range:322-333
- No. of Pages:12
- Keywords:castle reconstruction; cultural heritage; sustainable architecture; biodynamic farming; historic preservation; adaptive reuse; cultural tourism; artistic residency; ecological design; community development
- Summary/Abstract:The study presents the reconstruction and contemporary reinterpretation of the Szent András Castle in Bölcske, Hungary, based on the author’s personal experience as owner and operator of the estate. The author argues that castles should not merely function as static historical monuments or hotels, but as dynamic spaces of cultural, social, and environmental transformation. The paper emphasizes that ownership of a castle is not absolute possession but participation in a historical process that links past, present, and future generations. Special attention is devoted to the integration of historical architectural values with modern technologies, including geothermal heating, wastewater treatment, and sustainable infrastructure. The reconstruction preserved the Neoclassical character of the castle while introducing contemporary artistic and interior design elements that harmonize with the historical environment. The estate’s environmental philosophy is based on biodynamic agriculture, ecological responsibility, historical garden restoration, and local food production using chemical-free cultivation methods. The study also examines the traditional social role of castles as centers of education, culture, innovation, and community influence within their wider regional environments. The Szent András Castle hosts conferences, artistic residencies, gastronomic programs, educational workshops, and cultural events designed to foster creativity, dialogue, and personal development. International and Hungarian examples, including Schumacher College, Fontevraud Abbey, and the Károlyi Castle at Fehérvárcsurgó, are discussed as models for multifunctional heritage preservation. The author concludes that historic castles can once again become active centers of knowledge, sustainability, cultural exchange, and social transformation adapted to the needs of the twenty-first century.
The Restoration of Synagogues on the Territory of the Former Hungarian Kingdom, 1960–2022
The Restoration of Synagogues on the Territory of the Former Hungarian Kingdom, 1960–2022
(The Restoration of Synagogues on the Territory of the Former Hungarian Kingdom, 1960–2022)
- Author(s):Rudolf Klein
- Language:English
- Subject(s):Architecture, History of Judaism, History of Art
- Page Range:334-355
- No. of Pages:22
- Keywords:synagogue restoration; Jewish heritage; monument preservation; Holocaust memory; adaptive reuse; East-Central Europe; historic synagogues; architectural conservation; cultural heritage; former Hungarian Kingdom
- Summary/Abstract:The study examines the history, philosophy, and architectural practice of synagogue restoration in the territories of the former Hungarian Kingdom between 1960 and 2022. The author argues that restored synagogues represent a unique dialogue between two historical periods: the era of vibrant Jewish communities and the later period when Jewish presence largely disappeared after the Holocaust. The paper outlines the changing political and cultural attitudes toward Jewish heritage during Communist rule, post-Communist transition, and the period following European Union accession. Special attention is devoted to the destructive impact of totalitarian regimes, which often neglected, altered, or demolished synagogues throughout East-Central Europe. The study presents detailed case studies of restored synagogues in Sopron, Mád, Baja, Győr, Bratislava, Budapest, Lučenec, Žilina, and Subotica, illustrating diverse restoration strategies and adaptive reuses. The restoration of the medieval synagogue in Sopron is highlighted as an innovative example of integrating modern architectural interventions with preserved Gothic remains. The article critically evaluates several restorations, including the synagogue in Mád, where certain reconstructed interior elements are considered historically inaccurate and inconsistent with Jewish liturgical traditions. Many restored synagogues were successfully adapted to new functions such as museums, libraries, concert halls, galleries, and Holocaust memorial centers while partially preserving their sacred character. The study also demonstrates how international cooperation, civil initiatives, state funding, and organizations such as Europa Nostra and the World Monuments Fund contributed significantly to synagogue preservation. The author concludes that synagogue restoration in East-Central Europe not only preserves architectural heritage but also commemorates the cultural memory of Jewish communities that once played a major role in the region’s urban and cultural life.
The City Hall of Subotica as a Proving Ground for Considering Recent Tendencies in the Revitalization of Valuable Built Heritage
The City Hall of Subotica as a Proving Ground for Considering Recent Tendencies in the Revitalization of Valuable Built Heritage
(The City Hall of Subotica as a Proving Ground for Considering Recent Tendencies in the Revitalization of Valuable Built Heritage)
- Author(s):Dubravka Đukanović
- Language:English
- Subject(s):Architecture, Visual Arts, History of Art
- Page Range:356-369
- No. of Pages:14
- Keywords:Subotica City Hall; heritage revitalization; Hungarian Secession; monument preservation; adaptive reuse; conservation intelligence; architectural restoration; cultural heritage; urban heritage; historic building rehabilitation
- Summary/Abstract:The study examines the revitalization project of the City Hall of Subotica as a case study for contemporary approaches to heritage preservation and adaptive reuse. The author argues that modern conservation practice must reconcile conflicting demands arising from monument protection, tourism development, contemporary use, and technical modernization. Built between 1908 and 1912 by architects Marcell Komor and Dezső Jakab, the City Hall of Subotica became one of the most significant examples of Hungarian Secession architecture in the region. The building preserved both its original administrative function and its rich architectural decoration, including folk-inspired ornamentation, Zsolnay ceramic roof elements, and highly decorated representative interiors. The article presents the extensive research carried out during the 2019 rehabilitation project within the IPA INTERREG Croatia–Serbia programme “S.O.S. Subotica Osijek Secession Tourist Route.” Detailed structural, material, and conservation analyses demonstrated that although the building remained structurally stable, urgent restoration was necessary because of deteriorating ceramic decorations, water infiltration, outdated infrastructure, and material degradation. The study introduces the concept of “conservation intelligence,” defined as the ability to harmonize heritage preservation, technical regulations, user needs, and economic expectations through carefully balanced design decisions. Special attention is devoted to the challenges of adapting the historic building to contemporary accessibility, fire protection, energy efficiency, and tourism requirements without damaging its authenticity and integrity. The author discusses the complex debates surrounding the installation of elevators, attic conversion, tower accessibility, and visitor infrastructure, illustrating the tensions between conservation principles and modern functionality. The study concludes that successful revitalization of living historic buildings requires interdisciplinary cooperation, participatory planning, and flexible conservation strategies capable of preserving monumental values while ensuring sustainable contemporary use.
A magyarok Dobrovicsa
A magyarok Dobrovicsa
(The Hungarians Dobrovics)
- Author(s):György Várkonyi
- Language:German, Hungarian
- Subject(s):Visual Arts, History of Art
- Page Range:370-403
- No. of Pages:34
- Keywords:Central European avant-garde; Petar Dobrović; Hungarian modernism; Yugoslav art; Cubism; identity; Kecskemét artists’ colony; The Eight; expressionism; art historiography
- Summary/Abstract:The study examines the complex artistic and cultural identity of Petar Dobrović, a painter born in Pécs who became an important figure in both Hungarian and Yugoslav modern art. It explores how national art historical narratives after World War I competed to claim artists with multicultural backgrounds. The author argues that Dobrović’s career illustrates the intertwined development of Central European avant-garde movements and the instability of ethnic and cultural identities in the region. The paper emphasizes that Dobrović’s Serbian, Hungarian, and broader Central European affiliations cannot be separated from his artistic evolution. His early education at the Budapest Academy of Fine Arts and the influence of Károly Ferenczy and the Nagybánya school shaped his initial artistic direction. Later, his repeated stays in Paris exposed him to Cézanne, Cubism, and the French avant-garde, which significantly transformed his style. The study also highlights Dobrović’s connections with the Hungarian activist movement and with artists associated with the Kecskemét colony and the group Nyolcak (The Eight). Particular attention is paid to the tension between his avant-garde ambitions and his later turn toward a more classicizing and expressive style. The essay discusses how political changes after 1918 accelerated Dobrović’s shift toward Yugoslav cultural identity and altered the reception of his work in Hungary and Yugoslavia. Ultimately, the study presents Dobrović as a symbolic figure of the fractured yet interconnected artistic culture of early twentieth-century Central Europe.
Bocz Gyula szobrászati munkásságának kutatása
Bocz Gyula szobrászati munkásságának kutatása
(Research into the sculptural work of Gyula Bocz)
- Author(s):Anna Tüskés
- Language:Hungarian
- Subject(s):Visual Arts
- Page Range:404-419
- No. of Pages:16
- Keywords:Gyula Bocz; Hungarian sculpture; land art; abstract sculpture; monumental art; stone carving; nature; Spiral sculpture; twentieth-century art; artistic autonomy
- Summary/Abstract:The study presents a comprehensive overview of the life and artistic legacy of the Hungarian sculptor Gyula Bocz, emphasizing the need for a fuller evaluation of his contribution to twentieth-century Hungarian sculpture. Although Bocz never attended the Academy of Fine Arts, he created a highly original and significant body of work that remained relatively isolated from mainstream artistic movements. The essay outlines the three major periods of his career connected to Pécs, Villány/Nagyharsány, and Hosszúhetény, highlighting the decisive role of place and landscape in his artistic development. Bocz became one of the earliest representatives of Hungarian land art, producing monumental stone sculptures integrated into natural environments. His works were primarily carved from various types of stone, especially limestone, marble, basalt, and obsidian, because he believed in revealing the inherent beauty and inner energy of materials. After an initially figurative phase, his sculpture increasingly moved toward abstract forms inspired by waves, spirals, geological structures, and cosmic movement. The study stresses that Bocz rejected commercial expectations and pursued complete artistic autonomy, often working in isolation and according to his own inner standards. Interviews included in the text portray him as a deeply spiritual and nature-oriented artist whose worldview united material reality with transcendence. Particular attention is devoted to his monumental sculpture Spirál, interpreted as a symbolic and universal form connected to natural, cosmic, and philosophical ideas. The article ultimately argues that Bocz Gyula’s oeuvre deserves a more prominent place within both Hungarian and international modern sculpture history.
„Mintha álmodnám erdővé válva, – hiába tornyok, sírásók, falak – lombozok legbelül” Bazsonyi Arany 1981–2001 közötti grafikai munkássága
„Mintha álmodnám erdővé válva, – hiába tornyok, sírásók, falak – lombozok legbelül” Bazsonyi Arany 1981–2001 közötti grafikai munkássága
(“As if I were dreaming of becoming a forest, – despite towers, tombs, walls – I am leafy deep within” Arany Bazsonyi’s graphic work between 1981–2001)
- Author(s):Anna Tüskés
- Language:Hungarian
- Subject(s):Visual Arts, History of Art
- Page Range:420-439
- No. of Pages:20
- Keywords:Bazsonyi Arany; graphic art; Hungarian modern art; biblical themes; surrealism; Christian iconography; literary illustration; family motifs; female identity; twentieth-century Hungarian culture
- Summary/Abstract:The study examines the graphic oeuvre of the Hungarian artist Bazsonyi Arany between 1981 and 2001, emphasizing that this aspect of her work has received far less scholarly attention than her painting. It highlights the difficulties of researching her graphics because the works were dispersed among museums, institutions, and private collections after her death. The article identifies the period between 1981 and 2001 as the most productive phase of her graphic art, when drawing became an autonomous artistic medium equal to painting. Bazsonyi created several major thematic series during this time, including works inspired by the circus, the Bible, saints, calendars, family life, and personal memories. Her religious graphics reinterpret biblical scenes and Christian iconography in a highly individual and emotionally expressive visual language. The study also explores her literary illustrations connected to writers and poets such as Babits Mihály, Pilinszky János, Petőfi Sándor, and Vörösmarty Mihály. Family relationships, female identity, aging, death, and mourning appear as recurring motifs in both her drawings and paintings. The article stresses that Bazsonyi’s art combined realist traditions with increasingly surreal and associative compositional methods from the late 1970s onward. Her works were deeply influenced by her Christian faith, childhood memories from rural Tolna County, and her close relationships with contemporary Hungarian writers and artists. The study concludes that Bazsonyi Arany developed a unique graphic style that deserves a more prominent place in the history of modern Hungarian art.
Falfestmények életnagyságú másolatai nemzetközi kontextusban: Egy európai gyakorlat hatása Kelet-Ázsiában és felhasználása az örökségvédelemben
Falfestmények életnagyságú másolatai nemzetközi kontextusban: Egy európai gyakorlat hatása Kelet-Ázsiában és felhasználása az örökségvédelemben
(Life-size replicas of murals in an international context: The impact of a European practice in East Asia and its use in heritage conservation)
- Author(s):Beatrix Mecsi
- Language:Hungarian
- Subject(s):Museology & Heritage Studies, Visual Arts
- Page Range:440-461
- No. of Pages:22
- Keywords:wall painting replicas; Anak No. 3 tomb; Koguryŏ murals; cultural heritage preservation; North Korean art; hyperrealism; East Asian art history; mural conservation; nationalism; Ferenc Hopp Museum
- Summary/Abstract:The study examines the history and significance of life-size copies of ancient wall paintings in both Europe and East Asia, with particular attention to the fourth-century murals of the Anak No. 3 tomb in present-day North Korea. It focuses on the replicas preserved in the collection of the Ferenc Hopp Museum of Asiatic Arts in Budapest, which were created by North Korean artists in the 1950s at the request of the Hungarian embassy. The article demonstrates how mural copying practices developed differently according to historical, political, and cultural contexts. In nineteenth-century Europe, life-size mural reproductions became important tools for art education, nationalism, documentation, and heritage preservation. The author also discusses similar copying traditions in East Asia, especially in China and Japan, where reproductions served artistic, educational, and ideological purposes. The study compares Japanese colonial-era reproductions of Koguryŏ tomb murals with later North Korean copies, emphasizing their different motivations and visual approaches. While Japanese copies focused mainly on documenting motifs and forms, North Korean artists aimed to reproduce the murals with hyperrealistic precision, including visible damage and surface textures. These North Korean reproductions reflected socialist realist aesthetics and supported the construction of a new national identity after liberation from Japanese colonial rule. The article further explains how large-scale collaborative copying projects became integrated into North Korean cultural policy and museum exhibitions. Finally, the study argues that such mural replicas are valuable not only as artistic objects but also as important documentary sources for cultural heritage preservation and the study of historical change.
A művészettörténet narratívái a felső-középiskolás művészetoktatásban Dél-Koreában az 1950-es évektől napjainkig
A művészettörténet narratívái a felső-középiskolás művészetoktatásban Dél-Koreában az 1950-es évektől napjainkig
(Narratives of art history in upper secondary school art education in South Korea from the 1950s to the present)
- Author(s):Beatrix Mecsi
- Language:Hungarian
- Subject(s):Visual Arts, History of Art
- Page Range:462-486
- No. of Pages:25
- Keywords:Korean art history; South Korean education; art textbooks; national identity; cultural narratives; colonial influence; historiography; Korean nationalism; curriculum studies; visual culture
- Summary/Abstract:The study examines how narratives of Korean art history have been presented in South Korean upper secondary school art education from the 1950s to the present day. It analyzes art textbooks published between the 1950s and 2017 from linguistic, cultural-historical, and visual perspectives. The research focuses on how Korean art is described either as a unique national tradition or as a cultural bridge between China and Japan. The author investigates how political ideologies, nationalism, and changing educational curricula influenced the interpretation of Korean art history in textbooks. Early textbooks emphasized the artistic glory of the Three Kingdoms and Unified Silla periods, while later periods were often described as phases of decline. Over time, the artistic achievements of the Koryŏ and Chosŏn dynasties received more positive and balanced evaluations. The study also demonstrates how Japanese colonial scholarship strongly influenced early Korean art historical narratives and educational discourse. Later generations of Korean art historians gradually rejected these colonial interpretations and introduced more objective and internationally informed approaches. The article highlights the growing importance of cultural interactions, comparative perspectives, and less ideologically driven descriptions in recent textbooks. Finally, the research argues that the evolution of textbook narratives reflects broader transformations in Korean national identity, historiography, and cultural policy.
