Publikacje
Detailed information on Polish publications concerning photography in 2002. Digitalized and reedited material
More...We kindly inform you that, as long as the subject affiliation of our 300.000+ articles is in progress, you might get unsufficient or no results on your third level or second level search. In this case, please broaden your search criteria.
Detailed information on Polish publications concerning photography in 2002. Digitalized and reedited material
More...
Exhibition review: “Railroad Vision”. New view of the relationships between railway and photography, Los Angeles, J. Paul Getty Museum, March, 5th – June, 23rd, 2002. Digitalized and reedited material
More...
Digitalized and reedited material
More...
Нашето изследване се концентрира върху изучаването на декоративната архитектурна скулптура от V до ХІV в., доколкото тя е запазена в няколко града по западното крайбрежие на Черно море: Варна, Обзор, Несебър, Поморие, Созопол и Ахтопол. Целта ни е чрез аналитично проучване на скулптурата и анализ на мрамора, от който е направена, да предложим реконструкция на общата картина на този вид монументално изкуство и на икономиката в градовете по западното крайбрежие на Черно море през византийската епоха. Произведенията на архитектурната скулптура разкриват наличието на мраморна продукция, която свидетелства за важен търговски обмен между Константинопол и градовете, разположени по западното крайбрежие на Черно море. Освен тази мраморни произведения, произхождащи от каменоделските ателиета на остров Проконес, изглежда възможно също в някои центрове на черноморското крайбрежие да са работили и скулптори от столицата. Поради загубата на информация от археологическите разкопки във Варна, все още е трудно произведенията на архитектурната скулптура, открити там, да се свържат с техния оригинален контекст. Опитваме се да свържем находките от раз- копките на ранновизантийските църкви в Несебър с някои известни произведения на архитектурната скурптура. Множеството от тях са продукция на проконеските каменоделски ателиета. Други образци, обаче, подсказват, че са били допълнително завършени или са имитирани от местни екипи скулптори. Някои скулптури разкриват също, че техните създатели са се опитвали да имитират константинополските прототипи. Анализът на скулптурния материал води до същите заключения в обзор, Бяла и Девня: мрамор и местен варовик са използвани от местни скулптори. Сега изглежда ясно, и че в този регион през ранновизантийската епоха скулптурите са внасяни от проконеските кариери, но също така и константинополски екипи скулптори са работили успоредно с местен екип.
More...
The Church of St. John the Theologian in Sozopol, dated to the late eighteenth century, has most probably been built on the foundations of an earlier one. In the early twentieth century it has been home to a rich collection of invaluable icons of the fourteenth to nineteenth century. During the wars for national reunion, the church has been left derelict and in the early 1960s was demolished despite some attempts to be preserved. So the Church of St. John the Theologian remained an unexplored site, consequently forsaken by researchers. Talks of the demolished church started only recently with the increasing interest in the historical heritage of Sozopol and the intensive archaeological explorations within the territory of the town. The facts revealed in this survey allow for clarifying a number of problems related to the design of the church, showing a number of inaccuracies in its building plan, published in 1977. A few photos of the altar murals were found in the archives of the National Institute for Immovable Cultural Heritage, which were known only from early publications. This study follows the where abouts of the icons following the demolition of the church. Over the years, these have been part of different collections and imprecise information of their provenance has occurred in scientific literature. Old photos and documents from different archives across the country have been used to identify the icons from the Deesis tier. Now the icons of the Church of St. John the Theologian are part of the holdings of the National Church Museum of History and Archaeology; of the Museum of Archaeology, Sozopol and of the Art Gallery in Burgas. The icon of the patron saint was identified and dated to the fourth quarter of the fourteenth century, been acquired by a private collector after being taken from the church.
More...
Analysis of the evolution of museum practices in terms of Lacan’s concept of the Gaze demonstrates how processes of display in the cultural-history museum produce cultural knowledge. This paper offers a theoretical model of the visitor-object relationship as a means to establish the museum visitor and museal object in dynamic interconnected roles. Their respective positions are evaluated in terms of the changing modes of museum practice, which comprise three typologies: the legislating museum, the interpreting museum, and the performing museum. While these categories overlap, they also appear in historical chronology, where the modern art museum of the early 19th century is the “legislating” type, the pedagogically focused museum of post-WWII represents the “interpretive” mode, and the contemporary livinghistory museum is classified as “performing.” Analysis of the social issues around these museum practices informs the development of relevant and meaningful interactive technologies for visitors in the contemporary museum. This research has focused on Western cultural-history museums, often specifically American museums. The applicability of this theory of the viewer to museums outside the U.S. is the subject of current research.
More...
Кръглите църкви в план са постройки с до голяма степен цилиндрична или многоъгълна форма. Те са обект на интерес, защото представляват съзнателно отдалечаване от традиционния правоъгълен план на църквите, без значение дали те са от бази- ликалния или от кръстокуполния тип. Във всеки случай за тези църкви се поставя въпросът дали са проектирани, за да изпълняват специална литургична или друга култова цел, или повтарят определен образец. Един от емблематичните паметници от Първата българска държава – Кръглата църква в Преслав, не е изключение. Предполагаемият поръчител на строежа е цар Симеон, който според изворите получава своето образование в Константинопол. Като се добави към това факта, че малко преди строителството на Кръглата църква България приема християнството директно от Кон- стантинополската патриаршия, най-вероятното място, от където може да е вдъхновено строи- телството на Кръглата църква, е Константинопол. В самото сърце на Константинопол през IX в., вероятно и по времето на престоя на Симеон в града, се издига кръгла църква, обградена със седем светилища, както се съобщава в изворите, по-строена от Василий I и посветена на пророк Илия. В предградията се намира друга църква с кръгъл план на основата – св. Архангел Михаил в Анаплус, препостроена от Юстиниян. Според сведенията на Прокопий основните черти на църквата са колонада по протежение на наоса, която се прекъсва при абсидата, купол и галерия, която обгражда серия от покри- ти конструкции, които могат да бъдат интерпретирани като странични абсидални параклиси. Друга църква, построена наново от Юстиниян, е тази посветена на св. Йоан Кръстител в Хебдомон, която съвременниците на Симеон описват като църква с кръгъл по- крив и много абсиди, като също съобщават, че прилича на св. Архангел Михаил в Анаплус дори в най-млаките подробности. Спо- ред археологическите находки тази църква е с осмоъгълен план, напомнящ Сан Витале в Равена. обграждащата колонада, описана от Прокопий, намеква за това, че вероятно стената на църквата е била дъгообразна и абсидите са били вписани във формата на ротонда, точно като Кръглата църква в Преслав и църквите в Бурса и Ани. Вероятно най-значимата църква с кръгъл план, предшестваща тази в Преслав, която би впечатлила Симеон, е църквата на св. Йоан Богослов в Дипион. Строителството на църквата, намираща се в Константинопол между Хиподрума и Св. София, е започнато от император Фока (602-610), който я посвещава на своя патрон, и е завършено от Ираклий (610-641), който я посвещава на Йоан Богослов. от изворите разбираме, че църквата обслужва култовете към св. Фока и св. Йоан Богослов, както и към редица други светци като св. Трифон, св. Антипа и св. орест. Според по-късното свиде- телство на пътешественика Клавихо църквата била много висока, с напълно кръгла форма, седем олтара и двайсет и четири мраморни колони.
More...
Late Antiquity was crucial for the transmission of elements of classical elite house architecture and décor into the Early Middle Ages. A good number of elite houses in the eastern provinces constructed during the 2nd and 3rd centuries continued to be familial residences throughout the centuries preceding the Arab conquest. Their peristyle plan was much appreciated for the facilities and pleasure it provided, while their painted, mosaic and sculpture decoration continued for centuries. This was a stable and most persuasive way of education in classical aesthetics and style. However, new buildings of importance for the development of elite domestic architecture appeared in Late Antiquity as well. The residence of Diocletian in Spalato-Split (ca. 300 AD) illustrates some features of elite house construction and design that became basic in the Middle Byzantine period: the move of the apartments to the first floor, the vaulted roofing of the premises, the luxurious gallery looking out over the sea (in other monuments onto a river or a vast landscape). At the same time rooms like the triclinium and the apsidal audience hall continued to be the core of the official quarters. Our information about the residences of the members of the imperial family of Theodosius (end of 4th and 5th centuries) is unfortunately statistical and not descriptive. There is, however, another relevant piece of evidence – the domestic architecture of the well- to-do families in Southern Syria, dating from the 5th-6th centuries. These houses were built of stone, were often multistorey, with wide windows in the dwelling rooms, balconies and terraces; the ground floors were used as stables, stores, and workrooms. At present the archaeological evidence from the Middle Byzantine period is rather scarce. Iconography is of help for the reconstruction of the domestic architecture in spite of its conventionality. There is also a very important Byzantine textual source: the description of the palace of Digenes Akrites, a legendary hero of a high military rank, whose life and deeds are extolled in the epic Akritic songs that emerged in the period of the Macedonian dynasty. The palace, as it is described, is a combination of inherited elements of a classical luxurious residence (a park with flowers and birds, marble revetment of the walls, depictions of mythological subjects in the triclinia) and typical Byzantine features (multi-storey structures, vaulted rooms,decoration in opus sectile, mosaic decoration of walls and a distinct colourfulness).
More...
In the late sixteenth century, Nessebar has seen a significant upsurge in its artwork. Information about that is provided both by ktetors’ (donators’) inscriptions on the extant artworks and an inventory of the properties owned by the Metropolitanate of Nessebar in the end-century. The record holds both the names of the benefactors of the Metropolitanate and the donations they have made, as well as what the funds have been intended for. The inventory commissioned by Christopher, the new Bishop of Nessebar, who arrived here in 1594, allows for reconstructing to a considerable degree of the art activities in the city. At the same time the role of the figures with the greatest contribution to this upsurge could be specified. The record, translated into Bulgarian by Emanuel Mutafov, is given as a supplement. It shows that the renovation of the compound of the Metropolitanate of Messembria started as early as 1597 with the reconstruction of the residential and farm buildings. As seen from a wall ktetor’s inscription, published herein for the first time ever, the renovation and decoration of the metropolitan Church of Mother of God of the Life-Giving Spring (Zoodochos Pighi), now Church of St Stephen, started next year. The overhaul was completed in August 1599. An array of ktetors’ inscriptions on murals and icons of Nessebar are indicative of bustling art activities in the town in 1597–1609. Apart from Bishop Christopher and his departed predecessor Ignatius, among the most generous donators and patrons were Manuil Yulianus, Alexius Veropoulos, Theotoki Kapadoukas, Konstantinos Pangalos and shoemaker Tranos, a tenant of the Metropolitanate. The donators to the Metropolitanate of Messembria were representatives of various strata of society, both of town’s gentlefolk and common Christians.
More...
A remarkable graphic sheet from The National Gallery for Foreign Art in Sofia (Inv. no. НГЧИ – IIг-1-1263) is identified here as an etching and attributed to the French scholar and reproductive printmaker Anne Claude de Tubières-Grimoard de Pestels Levieux de Lévis, comte de Caylus, (1692-1765). The print is in mirror reversal of a pen drawing by Raphael, now at the Ashmolean Museum at Ox- ford (inv. no. WA1846.179). The drawing depicts a violent battle of nudes in a composition that is not coherently integrated, suggesting that it was a preliminary sketch. It has been considered by experts as a study belonging to the end of the Florentine period of the Raphael, around 1508. An etching identical to the print in Sofia is to be found in the so-called Cabinet de Crozat or Recueil de Crozat, two massive folio volumes published in 1729-1742 in Paris by the great French art collector Pierre Crozat (1661-1740). That edition arranges by schools a canonical selection of Italian Renaissance paintings and drawings from several major French collections, including the one of Crozat. The publication is pioneering in that it combines a systematic approach to the works (e.g. the arrangement by schools, the use of a wide range of critical scholarship on the masters and the precise reconstruction of provenance records of the works) and illustrates them with 183 repro- ductive prints commissioned for the occasion by some of the most accomplished French masters. This article makes a special note of other pioneering aspects of the Recueil – its rare hybrid printmaking techniques that combine intaglio and relief processes and its use of colored inks simulate the medium of drawing in attempt to accurately reproduce the models.
More...
The mosaic icon of the Virgin Hodeghetria is part of the perma- nent exhibition of the National Archaeological Museum in Sofia. Its beauty, skilful execution and mysterious past make it one of the rarest and most interesting icons in Bulgaria. The missing information about its author and donors leads to complicated research of icon’s history and provenience. Discovered in the present village of Eregli in Turkey and transferred to the National Archaeological Museum in Sofia in 1912, the icon was most probably produced in Constantinople in the late 13th or early 14th century. In ancient times Eregly was known as Heraclea Perinthus – the capital of Thrace - a harbour city of com- mercial importance at the junction of several great sea-routes. One of the theories for icon’s history involves its production in Constantinople and further transportation to Heraclea as a gift of supreme nobleman for the metropolitan’s church in the city. After several restoration interventions in the 20th century, the icon was restored again in 2010 -2011. The last restoration treatment acquired important information for the wood type, used for icon’s panel and for the pigments, used in icon’s frame colouring. Hundreds of original smalt and natural stone tesserae were revealed, hid- den during previous interventions under deep layers of wax.
More...
L'État-providence a servi de principale formule de paix des démocraties capitalistes avancées pour la période qui a suivi la Deuxième Guerre mondiale. Cette formule de paix consiste, à la base, de l'obligation explicite du dispositif d'État de fournir aide et soutien aux citoyens qui souffrent des besoins et des effets spécifiques de la société de marché; et de la reconnaissance du rôle régulier des syndicats tant dans les conventions collectives que pour la mise au point d'une politique d'intérêt public. Récemment, la théorie et la pratique de l'État-providence ont fait l'objet d'attaques de la part de la droite conservatrice et de la gauche socialiste. On trouvera ici l'analyse des principales critiques que nous offrent ces points de vue opposés, de certaines de leurs convergences majeures, et de ce qui peut emporter ou non la conviction dans ces critiques contraires. L'article se termine par quelques considérations sur le processus politique qui décidera, finalement, des résultats possibles différents dûs aux instabilités propres à l'État-providence contemporain. Der moderne Wohlfahrtsstaat hat als wirkungsvollste Friedensformel der fortgeschrittenen kapitalistischen Demokratien nach dem zweiten Weltkrieg gedient. Diese Friedensformel besteht im wesentlichen aus der expliziten Verpflichtung des Staatsapparates, denjenigen Staatsbürgern Hilfe und Unterstützung zu gewähren, die unter den spezifischen Notwendigkeiten und Auswirkungen der Marktgesellschaft zu leiden haben, und aus der Anerkennung einer offiziellen Rolle der Gewerkschaften sowohl in den Tarifverhandlungen als auch in der politischen Öffentlichkeit. Theorie und Praxis des Wohlfahrtsstaates sind in der letzten Zeit Ziel von Angriffen der konservativen Rechten wie der sozialistischen Linken geworden. Vorgelegt wird eine Analyse der gewichtigsten Kritikpunkte aus den beiden konfligierenden Perspektiven, einigen ihrer wichtigsten Konvergenzpunkte sowie dessen, was an den unterschiedlichen Kritiken...
More...
Les auteurs présentent une chronique et une analyse de propositions contraires pour la réforme des institutions en Italie durant la dernière décennie. Nous suivons le développement et les tensions entre les stratégies contraires de "compromis historique", d' "ouverture à gauche" et d' "alternative démocratique" — le brusque tournant à gauche du Parti communiste italien. Nous analysons trois phases de discussion de propositions pour la réforme des institutions: la première qui remonte au début des années soixante-dix était axée sur la discussion d'une "Seconde République" qui aurait mené à l'exclusion prolongée de la gauche de tout pouvoir réel; la seconde, survenue au milieu des années soixante-dix a été dirigée par les Socialistes et portait sur des propositions de réforme basées sur le modèle français de système électoral majoritaire à deux tours; la troisième phase, qui a commencé en 1979 est axée plus directement sur le genre de réforme exigé pour faire face à la crise de gouvernabilité. Nous terminons par une brève discussion du noeud de la "situation italienne" — la possibilité d'une transformation socialiste de la société italienne par des voies démocratiques. Die Autoren präsentieren eine Chronik und eine Analyse der konfligierenden Vorschläge für eine institutionelle Reform in Italien während des letzten Jahrzehnts. Sie zeichnen die Entwicklung der und die Spannung zwischen den sich widersprechenden Strategien des "historischen Kompromisses", der "Öffnung nach links" und der "demokratischen Alternative" nach, d.h.: die scharfe Wende der Kommunistischen Partei Italiens. Drei Phasen der Diskussion von Vorschlägen für eine institutionelle Reform werden analysiert: In der ersten Phase, beginnend in den frühen siebziger Jahren, ging es um die Diskussion einer "zweiten Republik", welche zu einem weitgehenden Ausschluß der Linken von der effektiven Macht geführt hätte. Die zweite Phase, die Mitte der siebziger Jahre begann, wurde von den Sozialisten initiiert;
More...