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KÉP ÉS KÉPNÉLKÜLISÉG A KÁRPÁT-MEDENCÉBEN A 6–10. SZÁZADBAN

Author(s): Ádám Bollók / Language(s): Hungarian Issue: 1/2013

The study analyses a peculiar feature of the archaeological material known from the 6th–10th-century Carpathian Basin, i.e. the mostly aniconic nature of the visual arts during the Avar and Hungarian Conquest periods. The author attempts to explain the generally rare appearance of human depictions and anthropomorphic ornaments. Thus he seeks to investigate the main reasons for employing visual ornaments and proposes some probable reasons that may lie in the background of the increase of human depictions in the Late Avar period.

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PHALLIC KHIAR CHARMS

Author(s): Astghik Israelian / Language(s): English Issue: 2/2011

There are seven silver and brass charms called khiar (“cucumber”) in the Armenian History Museum’s collection of amulets. They originated in Moks, Gyavash and other regions of Western Armenia and in Yerevan (Eastern Armenia) in the 19th century. These ornamented charms with pendants and chains are prismatic and cylindrical in shape. They are hollow and are supposed to have written prayers inside them, though only one paper is preserved. Like the plant itself, these khiar-s symbolize the phallus with its connotations of fertility, fruitfulness, renewal, rebirth, revival. These objects are also believed to give protection from evil spirits and the evil eye. Owing to these meanings women used to wear khiar-s, believing that the objects would protect them from harm and help them to have children. In popular beliefs it was common to ascribe preternatural power to parts of the human body. And the most important parts were the endings – head, feet, hair, nails and phallus, which embodied the idea of growth and initiated life. Phallic decorations of different periods are valuable not only from the point of view of folk beliefs but also as precious samples of decorative art.

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REVIEWS

Author(s): Éva Jeremiás,Éva Alaxai,Yuka Kadoi / Language(s): English Issue: 3/2012

Reviews of: 1. The Ornament of Histories. A History of the Eastern Islamic Lands AD 650–1041. The Persian Text of Abū Sa῾īd ῾Abd al-Ḥayy Gardīzī. Translated and edited by C. EDMUND BOSWORTH. New York, I. B. Tauris & BIPS Persian Studies Series, 2011. (A Joint Publication with the British Institute of Persian Studies), (13), 169 pp. by: Éva Jeremiás 2. Fażl Beyhaqi. Engl. tr. C. E. Bosworth, rev. Mohsen Ashtiany, 3 vols, New York, 2009; paperback ed. Boston, Ilex Foundation, Massachusetts and Centre for Hellenic Studies, Trustees for Harvard University, Washington, D.C., 2011. by: Éva Jeremiás 3. MAURO MAGGI – PAOLA ORSATTI (eds): The Persian Language in History. Wiesbaden, Dr. Ludwig Reichert Verlag, 2011, 349 pp. (Beiträge zur Iranistik, Band 33.) by: Éva Alaxai 4. IVÁN SZÁNTÓ: Safavid Art and Hungary: The Esterházy Appliqué in Context. Piliscsaba, The Avicenna Institute of Middle Eastern Studies, 2010, 213 pp., 124 illustrations. (Documenta et monographiae VII.) by: Yuka Kadoi

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Luteranizm na Śląsku w świetle pieśni śląskich protestantów

Author(s): Joanna Giel / Language(s): Polish,German Issue: 1/2017

The initial point of this article is a content of the hymnal “Das Schlesische Provinzial-Gesangbuch” (Breslau, sine datu) by the Silesian Lutherans. The historical and poetological analysis presented here on the one hand try to answer the questions how the Silesian authors expressed their religiosity and how the image of God and Jesus Christ was presented by them; on the other hand, it has to point to the common theological motives that are consist in these songs. The presented analysis is accompanied by the belief that music has an fundamental significance to the Christian faith and practice, as it was pointed out also in the treaty "Lob der Musik" by Martin Luther.

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SUROCOLO BRONZES AND THEIR TANTRIC TEXT

Author(s): Nirmala Sharma / Language(s): English Issue: 2/2011

New identifications of seven statuettes from Surocolo are proposed on the basis of the Nayasūtramaṇḍala from the Shingon denomination of Japanese Mantrayāna, whose central Buddha is Vajrasattva.

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BEMERKUNGEN ZUM CLOISONNIERTEN GOLDBESCHLAG VOM SÁRVÍZ

Author(s): Jörg Kleemann / Language(s): German Issue: 1/2007

Der cloisonnierte Goldbeschlag wurde letztens von der Forschung als Schildrahmen aus dem 5. Jahrhundert herausgestellt. Für den nicht runden, sondern asymmetrisch gebogenen Beschlag vom Sárvíz ist aufgrund seiner Größe und seiner herstellungstechnisch bedingten Instabilität eine Funktion als Schildrandbeschlag mit Sicherheit auszuschließen. Ausgehend von der Diskussion um die Rekonstruktion hunnen- und nachhunnenzeitlicher Sättel mit D-förmigen Beschlägen kann statistisch aufgezeigt werden, daß mit dem Übergang von den schuppenverzierten hunnenzeitlichen Exemplaren zu den jüngeren mit Cloisonnéverzierung ein Funktionswechsel dieser Beschläge verbunden ist. Aufgrund der sprunghaften Größenzunahme verbietet sich nun praktisch eine Anbringung an den vorderen Sattelbrettern und sie wandern bei gleicher Form an den vorderen Sattelbogen. Der Beschlag vom Sárvíz ist eher auf einem vorderen Sattelbogen als auf einem Rundschild zu plazieren. Die technische Ausführung des Beschlags vom Sárvíz ist sicher nicht mit den Arbeiten aus Apahida, Ravenna oder Tournai zu vergleichen, worauf bereits A. Kiss hinwies, sondern in den Bereich der „Imitatio imperii“ einzuordnen, wobei aber, hier A. Kiss folgend, durchaus mit einem barbarischen „roi chevalier“ zu rechnen ist, der allerdings unbestimmbar bleibt.

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ARCHAIKUS FEHÉR ARCÚ GORGÓ ÉS A RAKAMAZI KORONG

Author(s): István Tóth / Language(s): Hungarian Issue: 1/2007

Die Zierscheibe von Rakamaz ist eines der representativsten Denkmäler der ungarischen Landnahmezeit. Die Darstellung des großen Raubvogels mit den Gestalten der zwei kleineren Vögel in seinen Krallen weist eine überraschende formale und strukturelle Ähnlichkeit mit der Gorgonenfigur der archaischen griechischen Kunst auf. Der Aufsatz richtet die Aufmerksamkeit der Spezialisten auf diese Analogie und erwartet weitere Beiträge dazu.

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Театральная утопия А. Ремизова в контексте театральных исканий начала XX века

Author(s): Zsuzsanna Kalafatics / Language(s): Russian Issue: 2/2008

At the turn of the 19th-20th century, Russian theatre had an important role in the process of seeking spiritual, artistic renewal and overcoming the cultural crisis, where the synthesis of arts was to be achieved according to the aesthetic idea of symbolism following Wagner’s concept. This paper primarily observes the issue how Remizov’s theoretical essays, articles and reviews are connected to the general theatrical tendencies of the era. I intend to find and define Remizov’s rank in contemporary theatre. Russian theoreticians of symbolism are involved in a conscious considering and re-con- sidering of the role of theatre. They find the source of renewal in ancient tragedies, medieval mystery plays, and Russian folk theatre. Although Remizov did not focus on theoretical issues, his works from the first two decades of the century are connected to the theatrical Utopias of symbolism in many ways.

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Wives and Patrons: Uygur Political and Artistic Influence in Tenth-Century Dunhuang

Author(s): Lilla Bikfalvy Russell-Smith / Language(s): English Issue: 2-4/2003

This article studies the intercultural links between the Uygurs and Dunhuang in the tenth-eleventh centuries. Some of the biggest caves at Dunhuang show large-scale representations of Ganzhou Uygur brides as donors. It is argued that the marriage of a Chinese ruler of Dunhuang with the daughter of the Ganzhou Uygur kaghan acted as a catalyst for the formation of a new Sino-Uygur ruling class. A sketch and a painting from Dunhuang are examined in detail. Emphasis is on the appearance of new colours and decorative technologies such as applied gold leaf, iconography including the clothing of the figures and style, including facial features and mannerisms. It is concluded that Ganzhou Uygur brides as patrons played an important role in the formation of tenth-century Dunhuang art, and Uygur influence continued to grow in the eleventh century.

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HÁZASSÁG ÉS HALÁL. - AZ APULIAI VÁZAKÉPEK KOMPLEX SZIMBÓLUMRENDSZERE

Author(s): Katalin Vandlik / Language(s): Hungarian Issue: 1/2006

In der Studie werden jene von den apulischen Vasen im Budapester Museum der Schönen Künste behandelt, auf deren Darstellungen von zwei oder drei Gestalten – Eros, Frau, Jüngling – häufig auf mehreren Ebenen bedeutungsvolle Symbole (Kranz, Spiegel) bzw. zum dionysischen, aphroditeischen und orphischen Kreis gehörige Elemente (thyrsos, Weintraube, tympanon, Vogel, Blume, Ei usw.) gemischt, nebeneinander vorkommen. Die Geschenkdarreichungs- (Abb. 1; Abb. 3) und die sog. Verfolgungsszenen (Abb. 2) hat G. Schneider-Herrmann als aufeinander folgende Elemente der Eheschließung interpretiert. Die Verfolgungsszenen sind jedoch nicht unbedingt als Paare zu deuten, die zum Schauplatz der Hochzeitszeremonie eilen, sondern ähneln viel mehr dem Frauenraub, für den es auch in der Mythologie Beispiele gibt: die Hochzeit der Thetis oder Persephone. Vielenorts wurde der Pseudofrauenraub auch ein Teil des Hochzeitsrituals. Im Falle jener Szenen, auf deren Eros vorausgeht und die Frauengestalt ihm folgt, kann auch an einen Typ der Liebesmagie (agog#) gedacht werden, wenn das Opfer der Beschwörung (die Frau) vom Trieb zum Haus dessen geführt wird, der sie angewandt hat.

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Nomadyczność w cieniu Mordoru

Author(s): Jakub Alejski / Language(s): Polish Issue: 2/2017

The article Nomadicity in the Shadow of Mordor analyzes the tools of reproducing ideologies in video games based on Tolkien’s legendarium, including Middle Earth: Shadow of Mordor (2014). Alejski tackles its mechanics using the concepts presented by Gilles Deleuze and Felix Guatttari—the nomadic thought and dynamics of relations between particular objects, such as territory, map and diagram during the gameplay. In order to identify these nomadic strategies occurring in the game, the processes of deterritorialization, the creation of maps and diagrams, and the ways of functioning in relation to these processes occurring in the game are taken under consideration. Alejski’s particular attention is dedicated to the categories of inhabitation and movement—both in the topological and ontological context. An important source of reproduction of nomadic thought described in the article is the so-called Nemesis system— a gameplay management module contained in the code of Middle Earth: Shadow of Mordor that allows new actors to join the game, enabling them to enter into relations not only with the user but also with each other. The operation of the Nemesis system brings together the potential of the agency of all actors involved in the game (including the user) and allows for decentralized and non-hierarchical production of the story.

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Between reconstruction and interpretation

Author(s): Ladislav Čarný / Language(s): English Issue: 1/2018

Articles writen by three Slovak art theorists about the work of the artist and pedagogue Ladislav Čarný. Jana Geržová (study Between Reconstruction and Interpretation) is devoted to his work in the 80s and 90s - mirror objects, light objects and paintings, mimicrys (camouflages) for light and shadow, and processual installations. The study by Helena Markuskova (Alchemy of Media) deals with his cycles Hermeneutics, Reliquary (Homage to Duchamp) and video installation In the Epicentre. Zora Rusinová analyzes the author’s installation and exhibition in his article until the present, the latest exhibition in 2017 Schrödinger’s Cat / Cat’s Schrödinger.

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Влашко и българските земи през ХVII век: контакти и културни взаимодействия

Author(s): Margarita Kujumdjieva / Language(s): Bulgarian Issue: 3/2017

This paper seeks to outline the mechanisms behind the contacts between Wallachia and the Bulgarian lands in the ХVІІ century, using information about social groups who had more mobility in the period under consideration such as the Wallachian voevodes, members of the higher clergy, merchants, men of letters and icon-painters. The sources show that Ottoman authorities treated the Wallachian rulers as responsible for the Christians living south of the Danube in order to integrate Wallachia into the Ottoman imperial system. They enjoyed extensive rights in the lands south of the Danube, being able to support the locals. The most significant expression of this support was their donations to monasteries, to construction and painting of churches. The sources have it that when resuming a lord’s patronage of a sacred place, earlier records were mentioned in the newly issued chrysobulls. Many Wallachian voevodes were patrons of monasteries within the Bulgarian lands, yet funding was provided more often than not on a request by the ecclesiastical authorities, mostly by the hegumens, south of the Danube. A possibility that donations were initiated by the metropolitans is indicated, giving examples of relations between metropolitans of Tarnovo and Wallachian voevodes and their courts of the seventeenth and the eighteenth centuries. The practice to dedicate Wallachian churches and monasteries to certain monasteries south of the Danube as their metochia is also dealt with. The metochia in Wallachia had to transfer part of their annual surpluses to the places they were associated with. Such was the Monastery of SS Peter and Paul in Bucharest (the Târnovului, i.e. the Tarnovan Monastery), which probably was a metochion of the Monastery of the Holy Trinity in the vicinities of Tarnovo or of the Metropolitan Church of SS Peter and Paul in Tarnovo. The story of the Church of the Assumption (Biserica Scaune), which was constructed by the Guild of the Butchers in the late ХVІІ century to be refurbished as early as the turn of the ХVІІІ century, is given in a nutshell. The funds were provided by Thanasie from Tarnovo and his nephew Stavro. In Bulgarian literature, until lately, the church and the portraits of the donors in it were groundlessly dated to 1633. The study devotes special attention to the relations between the village of Arbanassi and Wallachia, to the presence of members of the Wallachian branch of the Kantakouzenos (Cantacuzènes) family. The issue is broached of the participation of icon-painters from Wallachia in the painting of Arbanassian churches at the turn of the ХVІІІ century. This information has been recorded as late as the mid-ХVІІІ century. The similarities between the church painting ensembles in Wallachia and Arbanassi of the previous decades are due mainly to the fact that the commissioners on both sides of the Danube have hired teams of painters of the same extraction and place of training related to the workshops in North Greece and especially to Linotopea. Members of those teams were, as a rule, Greek masters, but they would work with local icon-painters executing commissions by wealthy church donors from a vast Balkan area in the ХVІІ and the early ХVІІІ centuries.

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Иконографска програма на стенописите в апсидата на църквите в България от XI-XII в

Author(s): Luben Domozetski / Language(s): Bulgarian Issue: 4/2017

The article deals with the extant murals of the eleventh and the twelfth centuries within the lands of what is now Bulgaria. In those two centauries, Bulgaria was under the Byzantines. The monuments under consideration are: the Church of St Demetrios, the village of Patalenitsa; the Church of St Michael the Archangel/of the Holy Archangels, the town of Rila; the Church of St George, Kolusha, Kyustendil; Boyana Church and the ossuary of the Monastery of Bachkovo. Representations in the apse conch are extant only in Bachkovo ossuary: there are fragments of a representation of the Most Holy Mother of God and Child with two archangels and a Deesis in the crypt. The article deals mainly with the iconography of images of hierarchs in the lower registers of the apse. In two instances (Patalenitsa and Rila), frontal images of hierarchs are extant, which suggests earlier dating to the murals. Presentation of portraits in imitations of frames was another version. The church of the ossuary at the Monastery of Bachkovo features officiating hierarchs, with a probable representation of the Hetoimasia in the centre. Murals of the twelfth century, demonstrating the earliest extant representation of Christ the Holy Lamb in the middle of the apse, occur at the apse of Boyana church. An interesting iconographic version of the Holy Vernicle is depicted at the Church of St Michael the Archangel/of the Holy Archangels in the town of Rila. The Holy Vernicle has probably featured a representation of Christ the High Priest and along with framed portraits of the disciples flanking the Holy Vernicle, a composition of the Communion of the Apostles has symbolically been represented.

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A BIBLIAI PARADICSOMTÓL MOZART PÁSZTORKIRÁLYÁIG

Author(s): István Borzsák / Language(s): Hungarian Issue: 1-2/2002

Metastasio, the librettist of Mozart’s “Il re pastore” wrote his libretto on the basis of Curtius Rufus and according to the claims of his epoch and royal court of Maria Theresa with due knots. Aminta, mounted the throne by the favour of Alexander the Great, is nobody else as Abdalonymus, mentioned repeatedly by ancient authors. He was bearer of mythic oriental traditions whose figure was transformed to (the invented) Cincinnatus, incarnating the ancient Roman ideals. Recently, the orientalist W. Fauth revealed the far-ramified treasure of this oriental tradition in his wide-ranging study. By its help the classical philologist can establish unexpected coherences between the cosmological relations of the ancient oriental royal symbolics and the phenomena, unexplained so far, of the Greco-Roman culture (descriptions of paradise, Roma quadrata, political motives of the rise of Roman historiography, etc.). As addition to the subject presented itself the contemporary description of the game reserve at Vienna of the Austrian archduke Maximilian (the later Emperor and King) as an attempt to put into practice the antique idea of paradise in modern Europe.

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Cudowne ikony Matki Bożej w parafii Puchły i Żerczyce

Author(s): Justyna Matus / Language(s): Polish Issue: 9/2017

The icon in Orthodox Church occupies an important place. The Mother of God and her miracle images play a crucial role in the life of Orthodox Christians. In the article the worship of miracle icons from Pukhly and Zherchitse parishes has been analyzed. The author emphasizes that the icons are still enshrined. Pilgrims who pray in front of them return to health and St. Mary the Virgin grants them mercy.

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Towards a (Ludic) Resonant and Sensory Enviroment: Space, Music and Locative Gaming

Author(s): Luiz Adolfo Andrade,Macello Medeiros / Language(s): English Issue: 1/2018

This paper discusses the relationship between locative games and music, using as reference the notions of sound space, acoustic space, and soundscape. The locative game genre reflects the opposite side considering the video game format: in this case, the action leaks from screens and consoles to the urban space with the use of locative media, turning the city into support for the actions of the players. Our hypothesis argues that by using music and other sound features (sounds, effects and so on), the locative game can create a resonant sensory environment caused by music and sound signals that are impregnated in the region. As a methodology, we analysed the locative game GPS Musical Crosswords Puzzle from these concepts – sound space, acoustic space, and soundscape – to show how they can be designed from the experience of locative games.

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„Szlakiem rosyjskiego Pierrota” — sylwetka Aleksandra Wertyńskiego

Author(s): Justyna Ślęzak / Language(s): Polish Issue: 132/2010

This article describes a great composer, romance singer, drama and movie actor Alexander Vertinsky. The subject of the analysis is characteristics of the bard’s creative activity, as well as his life story — especially during the emigration period.Alexander Vertinsky was an artist popular among the Russian audience. His specific man-ner on the stage, gestures, stage image — Pierrot’s costume aroused interest and emotions among the spectators who were attending his performances in crowds. Forced by the political situation in his homeland Vertinsky decided to emigrate from it in the 20’s. It was the begin-ning of his 20 year long separation from the country that left the trail in composer’s creative activity and life. His fame outside the country, numerous concerts, international public and his acquaintance were never able to reduce the artist’s wrench after leaving the homeland.

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Pillanatképek a sokféleségről: a társadalmi sokféleség diskurzusai migránsokról szóló dokumentumfilmekben

Author(s): Erzsébet Csereklye / Language(s): Hungarian Issue: 18/2012

The paper gives a short introduction to several theoretical approaches to social diversity,that describe multiculturalism and interculturalism as gradual approaches, from a moreconservative to reconstructive approaches to possible goals, target groups and interactionsamong dominant and non-dominant groups.On the basis of this comparative analysis three main approaches might bedescribed that are present in all these discourses: a compensatory approach, where successstrategies of both migrants and dominant groups are most commonly aim adjusting– often assimilation - to the canonized values and norms of a dominant culture. Secondlythere is an approach to cultural diversity in a static and pluralist way: tolerance- andcooperation-approaches belong to this group, where there is a contact – in diverse formsand levels – among social groups, however their everyday practices and identities stay intact. The third approach is a dynamic, transformative view of culture and society, withcritical, transformative approaches and practices, that might be discovered mostly withinlocal communities and diverse personal relations. I looked within this theoretic frameworkto documentary films, where members of the host and sending societies reflect to theirexperiences with migrants; and migrants reflect either to their own success strategies intheir new home countries or the process of their re-integration in their country of origin.

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Graffiti łódzkie

Author(s): Alicja Szubert,Kazimierz Michalewski / Language(s): Polish Issue: 37/1998

В статье рассматриваются синтактические конструкции настенных надписей и анализируется вопрос воздействия граффити на языковое поведения представителей городского общества. Степень формальной сложости этих подписей различна. Довольно часто встречаются (также однолексемные) неглагольные высказывания, но также и предложения (в том числе и сложные) и тексты состоящее из нескольких высказываний. Языковые средства зачастую соединяются с внеязыковыми. Это могут быть предметы, на которые нанесены надписы или рисунки, выполненные вместе с текстами. Анкетный опрос ноказал, что 80% городских жителей запоминает настенные надписи и может их цитировать. 20% опрошенных использует граффити в разговорах. Респонденты умеют также дополнять формулировки, являющиеся началом настенных надписей, что свидетельствует о том, что в их сознании фиксируются схемы, согласно которым можно создавать высказывания, напоминающие своим построением граффити.

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