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Building Archaeology în România?
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Building Archaeology în România?

Author(s): Ileana Burnichioiu / Language(s): Romanian Issue: 10/2021

A Presidential committee report from 2009 drew up an inventory of the issues that the built heritage from Romania had been facing for years. As part of the response to the general crisis in the management of cultural heritage, the committee proposed a series of measures to reform the training of professionals who inventory, document, analyse and interpret the built heritage. Without a straightforward connection to the field, the authors came close to the views and objectives of some traditional fields in German-speaking areas, like Bauforschung or Baugeschichte, and also to the so-called “archaeology of architecture” which spread from the 1980s-2000s under various names as Building(s) archaeology, Archeologia dell’architettura, Archéologie du bâti etc. Therefore, first, my article surveys the landscape of these consecrated multidisciplinary building researches from different western european countries. Secondly, it investigates the chances of implementing architectural archaeology in Romania, taking into account the lack of tradition in rigorous building recording, that very few of the international principles in the field of heritage protection have been applied so far, and that soil archaeology has not yet moved up to the standing buildings.

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Restaurarea ansamblului de arhitectură și a picturilor murale de la Biserica Sf. Ilie din Suceava
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Restaurarea ansamblului de arhitectură și a picturilor murale de la Biserica Sf. Ilie din Suceava

Author(s): Georgiana Cristina Zahariea,Constantin Gorcea / Language(s): Romanian Issue: 10/2021

Built in 1488 by Stephen the Great on the outskirts of today’s Suceava as a monastery of monks, the ensemble known as “St. Elijah” appears together with the church of the Exaltation of the Holy Cross from Pătrăuți and that of Voroneț. This attitude is part of the rhythmic and consistent program of the ruler to found monasteries in the cities that are related to the Courts (Iași, Vaslui, Botoșani, Dorohoi, Bacău, Piatra).The church, which was left neglected after the monastery was disbanded during the Austrian occupation, didn’t come to the attention of the Commission of Historic Monuments from Vienna, nor was it proposed for restoration, such as the churches of the Putna monastery, St. John the New in Suceava, Voroneț, the old church of Mirăuți or the one next to the former Royal Court from Milișăuți/Bădeuți.Although there are no clear documents, the church of St. Elijah went through several stages of restoration that changed in some way the original appearance of the monument. Now, the ensemble is at the end of the restoration project and for that reason this article brings to the reader information observed during the restoration from the perspective of the design architect and the mural restorer.The interdisciplinary approach of the project was coordinated by the architectural design company AGD SUCEAVA, having the collaboration on the part of construction execution - SC GENERAL CONSTRUCT SRL. The restoration of the mural paintings from inside and outside was made by SC CERECS ART SRL, SC MOLDRESTCOM SRL, SC ATELIER REMONZA SRL

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Icoanele împărătești din catapeteasma bisericii schitului Berislăvești - studiu de caz
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Icoanele împărătești din catapeteasma bisericii schitului Berislăvești - studiu de caz

Author(s): Anca Necșoi / Language(s): Romanian Issue: 10/2021

This article presents the conservation - restoration interventions of the royal icons from the iconostasis of the church of the Berislăvești Monastery, dated in the 19th century. The four icons are part of the Westernizing current of the era and are made in the oil technique, presenting a good technique, both of the support and of the pictorial layer.A good technical execution is generally the premise of good preservation over time. In this case, being used as objects of worship, and not having been properly protected, the icons presented deteriorations typical of this category of objects and the traces of aggressive, unqualified interventions, which have majorly contributed to the appearance of irreversible degradations.Thus, some objects that had the chance of a good preservation in time and would have required only minimal interventions focused more on preventive preservation, have now gone through an extensive restoration process, with a high degree of difficulty in terms of selective interventions to clean the overpaint, the materials that accidentally reached the surface and the different types of deposits.

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Sapindus mukorossi, alternativă la Saponaria officinalis ca agent de curăţare a textilelor istorice
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Sapindus mukorossi, alternativă la Saponaria officinalis ca agent de curăţare a textilelor istorice

Author(s): Irina Marangic,Irina Huică / Language(s): Romanian Issue: 10/2021

Wet cleaning plays an important role in historic textiles conservation. In line with a growing concern for environmental protection, natural surfactants (such as Saponaria officinalis root extract) are increasingly used for this operation. A readily available organic surfactant is soap nut extract (Sapindus Mukorossi), but it produces a brownish color solution. The aim of this study was mainly to evaluate the safety (in terms of color retention) of the use of soap nut extract as a cleaning agent for textiles versus Saponaria officinalis root extract, and secondly, to apply the cleaning methodology to a historical piece. Different types of white fabrics - cotton, linen, wool, silk, viscose were washed with the two plant extracts in 5 and 10% concentration, with and without subsequent rinsing with water. The degree of color retention on textile samples before and after treatments was evaluated using the NS820 Portable Spectrophotometer. In most cases, the color retention was lower (and well within the acceptance limits) for soap nut extract as compared with Saponaria extract; greater differences were recorded for wool samples and the limits were exceeded when washed with the concentrated solution of Saponaria, without subsequent rinsing.

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Brama przeszłości. Fasada zachodnia kolegiaty w Wiślicy a program historyczny w mecenacie Kazimierza Wielkiego

Brama przeszłości. Fasada zachodnia kolegiaty w Wiślicy a program historyczny w mecenacie Kazimierza Wielkiego

Author(s): Piotr Pajor / Language(s): Polish Issue: 16/2015

The Gothic collegiate church in Wiślica, founded by king Kazimir the Great in 1350, replaced older structure, What were preserved from that Romanesque church, was a twotower façade included to a new building and 13th century sculpture of Madonna. It seems that the point of this action was commemoration of the both distant and close past of the town, including the time when when citizens of Wiślica supported Władysław’s the Short struggleof power. Moreover, on the Romanesque façade a statue representing Kazimir himself was placed. Similar solutions were introduced also in other Kazimir’s foundations. Another significant point of reference is collegiate church in Vienna where at the same time older façade was preserved decorated with the founder’s statue. Yet in Wiślica such historical programme was connected with the arms of the lands ruled by Kazimir. All these elements make an image of reunited Kingdom ruled by the rightful dynasty.

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Elbląskie chóry kościelne i konfesyjne, towarzystwa śpiewacze w latach 1871–1945

Elbląskie chóry kościelne i konfesyjne, towarzystwa śpiewacze w latach 1871–1945

Author(s): Joanna Szkolnicka / Language(s): Polish Issue: 16/2015

The subject of the article are church choirs and confessional choir societies that were active in Elbląg between 1871–1945. The timeframes set in the article are founding of the choir of St. Mary’s Church that was the first church choir in Elbląg and end of the second world war, as consequence of which Elbląg became a Polish city. As in the period of time considered in the article, most Elbląg inhabitants were Protestant and so was the majorityof Elbląg churches except for St. Nicholas Church and – not consecrated till 1905 though – St. Adalbert’s Church, the only catholic choir society was Cecilien-Society. The article presents history, activity and repertoire of all choirs. There are also Elbląg trombone choirs as a phenomenon typical for the Protestant Church mentioned.

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Charakterystyka pisanych źródeł do badań nad małą architekturą sakralną Warmii

Charakterystyka pisanych źródeł do badań nad małą architekturą sakralną Warmii

Author(s): Stanisław Kuprjaniuk / Language(s): Polish Issue: 15/2014

The presented description of the available sources for the research on the small sacral architecture focuses on three types of them: archives, cartographic data and memoirs. Each of them provided important information and prompted to undergo a further field research. The latter not only confirmed data already found in the sources under examination, but led to a discovery of some new valuable material sources. The analysed example can serve as a support for the thesis that employing a combination of different cognitive, empirical methods in research is justifiable.

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Dekoracja drzwiczek sakramentarium w Mątowach Wielkich jako przyczynek do rozważań nad pobożnością eucharystyczną ludu wiejskiego w średniowiecznych Prusach

Dekoracja drzwiczek sakramentarium w Mątowach Wielkich jako przyczynek do rozważań nad pobożnością eucharystyczną ludu wiejskiego w średniowiecznych Prusach

Author(s): Alicja Grabowska-Lysenko / Language(s): Polish Issue: 15/2014

This paper is an attempt to show the main forms of the Eucharistic piety in the Prussian countryside in the Middle Ages on the basis of analysis of the sacrament house in Saint Peter and Paul church in Mątowy Wielkie (Groß Montau). This work will be compared with other objects from the area of the former Teutonic Order State. The iconographic program of the sacrament house door is known today from the historical description, archival photos and the copy of the door, which is kept in the church in Mątowy Wielkie. Originally it consisted of the picture of the Man of Sorrow, placed on the obverse, and the presentation of the priest with the monstrance on the back of the door. The analysis of the iconography of this object in the context of its function allows to draw some conclusions about forms of worship of the Blessed Sacrament widespread in the Prussian countryside: individual adoration of the Eucharistic Christ in the consecrated Host or in His images, as well as Theophoric processions, mostly related to the celebration of Corpus Christi. This work seems to be a testimony to the religious climate in the Prussian Church in the first half of the 15th century and to the role of the clergy in the transformations of the religiosity of the laity, taking place in this time.

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Chrześcijańska symbolika instrumentów muzycznych

Chrześcijańska symbolika instrumentów muzycznych

Author(s): Piotr Towarek / Language(s): Polish Issue: 15/2014

The Christian symbolism of musical instruments presented in this article belongs to one of the most beautiful and the deepest layers of theology of church writers and it is based primarily on the so-called evolution of the divisions of music: musica mundana, musica humana and musica instrumentalis (Boecius; cf. Casiodoro). They directed their attention and allegorical theology primarily to the string instruments already known in the Bible (harp, lyre, zither, psalterium). And so, the harp was to signify the spiritual, whereas the zither – the corporal; sometimes also the two natures of Christ (harp – Divine nature; zither – the human nature). In many authors we encounter a comparison of zither to a suffering body of Christ and His passion, during which the tendons were strained to its limits, and the bones were numbered, and He himself sounded as a spiritual song of virtues due to his patience(Tertullian, Casiodoro, Venantius Fortunatus). Hence, there was born in the theology of the patristic period and the Middle Ages an allegory of the so-called „harp of the Cross” on which theSon of God hanged (Paulinus of Nola, Nicetas of Remesiana, Honorius of Autun, Bernard of Clairvaux, Bonaventura), who is a Logos Singing and playing a new song on this instrument. The Father God was compared to the Ultimate Violin-Maker who built Universum in a shape of a giant zither where the spirit and the matter, celestial choruses, heaven and hell, elements and all that the senses experience were the strings (Honorius of Autun, Clemens of Alexandria, Athanasius of Alexandria, Rupert of Deutz).

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"And they all lived happily ever after": The Failure of a Happy Ending in The Piano (1993) and Barbe Bleue (2009)

Author(s): Yidan Hu / Language(s): English Issue: 12/2022

Jane Campion’s The Piano (1993) and Catherine Breillat’s Barbe Bleue (2009) are film adaptations of the tale Bluebeard, both of which have a seemingly bright closure — “and they all lived happily ever after”. “They”, as the female, are in the becoming process since “one is not born, but rather becomes, a woman” (de Beauvoir 1956: 273), which changes the nature of the film denouement. By looking at the female protagonists Ada McGrath in The Piano and Marie-Catherine in Barbe Bleue, this research aims to deal with how female “decisions” in attempting to accomplish themselves in the face of a crisis affect the understanding of the film’s ending. First, female characterisation and plot development are investigated with the construction of women’s feelings and perceptions at a given moment, influencing the subsequent outcomes. Second, the significance of narrative techniques is expounded with audience’s affective interaction with characters. The conclusion reached is that in both films, repressed female temperament allows women to make judgements and choices that predetermine the tragic core of the happy ending. The significance of this study is to draw attention to the plight of women in the undercurrent, to make it possible for the silent cries behind the beautiful fantasies to be heard.

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Kielich z kościoła Bożego Ciała w Elblągu

Kielich z kościoła Bożego Ciała w Elblągu

Author(s): Michał F. Woźniak / Language(s): Polish Issue: 23/2022

The chalice from the Corpus Christi hospital church in Elbląg is one of the most outstanding works of goldsmithing in the area of former Royal Prussia. On the basis of the goldsmith’s mark - which was still rare at the time - it is associated with the person of Dionisius Freymann, a goldsmith active in Elbląg since 1508. The chalice is distinguished by its meticulous workmanship, its high technical quality, but also by its high-class composition of form, using various means of artistic expression. It occupies a position of distinction in the entire abundant output of Prussian goldsmiths of the time. After 1945 it was thought to have been lost, donated to the Primate of Poland, Cardinal Stefan Wyszyński, after 1967 and given by him in 1970 to the Treasury of Gniezno Cathedral.

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Sztuka Albrechta Dürera i Cranachów na artystycznym dworze Albrechta Hohenzollerna w stołecznym Królewcu

Sztuka Albrechta Dürera i Cranachów na artystycznym dworze Albrechta Hohenzollerna w stołecznym Królewcu

Author(s): Piotr Birecki / Language(s): Polish Issue: 23/2022

This article presents the influence of Albrecht Dürer’s art and the Cranach’s workshop on the art of Ducal Prussia and particularly on their participation in the creation of objects of art on the court of Albrecht Hohenzollern. Initially, the author discusses the impact of Martin Schongauer’s and Albrecht Dürer’s graphic art on the paintings in the Royal Prussia during before Reformation. The two examples comes from Frombork and Elbląg (Royal Prussia) and one of one from the church in Rychnowo (Ducal Prussia). Next the paper shows other examples of the presence of works of art by both artists at the court of Albrecht Hohenzollern, the influence of Wittenberg and Nuremberg on the early modern royal court created by Prince Albrecht. The paper presents the artistic education of local artists and objects of art made by many skilled craftsmen for Albrecht. All these activities, as shown, have created a modern manor house/court of renaissance ruler.

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Kościół pw. Matki Bożej Królowej Świata w Kisielicach i jego odbudowa (1945 – 1992)

Kościół pw. Matki Bożej Królowej Świata w Kisielicach i jego odbudowa (1945 – 1992)

Author(s): Andrzej Starczewski / Language(s): Polish Issue: 23/2022

The Gothic church in Kisielice has a medieval origin. It was built between 1331 and 1340 by the Stang family, on the southern edge of the town. It originally bore the title of St John the Evangelist and belonged to the Pomezanian diocese. At the time of the Reformation, in 1576, the church was taken over by the Evangelical community, which administered it until 1945. During the warfare of the Soviet Army, in early 1945, the entire roof structurewith its ceramic covering collapsed, damaging the interior of the church. On 25 June 1946, the first post-war parish priest in Kisielice, Fr Jan Przybylski, was appointed. His task was to create a Roman Catholic church community and rebuild the destroyed temple. His activities in this office, which he held until 21 June 1957, had mixed results. The Bishop of Warmia, Tomasz Wilczyński, handed over the post to the Pallottine Fathers on 22 September 1957. From that moment the work of reconstruction of the church began, crowned by the rite of consecration on 28 August 1960 (Bishop Wilczyński). Over the following years, this Gothic temple was successively furnished with new elements of interior decoration, in compliance with the liturgical norms contained in the documents of the Second Vatican Council. Since 1992, the church and the Roman Catholic parish in Kisielice have belonged to the Diocese of Elbląg.

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HEDONISME DE VASILE IJAC
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HEDONISME DE VASILE IJAC

Author(s): Iulia Roman / Language(s): Romanian Issue: 3/2022

Vasile Ijac was a composer, conductor, music critic and teacher from Banat, who asserted himself at the beginning of the 20th century. The composer's musical creation includes almost all musical genres, but piano works occupy a very important place. Some of the most famous and important works are the Hedonisms, a series of eight miniature notebooks. The series of Hedonisme miniatures subscribes to the trajectory imposed by the stylistic currents asserted at the beginning ofthe 20th century. Of the eight notebooks, only the first notebook, opus 13 is printed, the rest are manuscripts located in the Archives of the Timisoara Banatul Museum.

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CREAȚIA CORALĂ RELIGIOASĂ A COMPOZITORILOR BĂNĂȚENI ÎN PRIMA JUMĂTATE A SECOLULUI XX
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CREAȚIA CORALĂ RELIGIOASĂ A COMPOZITORILOR BĂNĂȚENI ÎN PRIMA JUMĂTATE A SECOLULUI XX

Author(s): Ciprian-Cătălin Roman / Language(s): Romanian Issue: 3/2022

The musical art of the Banat region has asserted itself since the 19th century due to its originality. The establishment of choral societies and gatherings in the second half of the 19th century will lead to a flourishing of choral music in this land. Among the oldest choral formations in the Banat region, we mention the Ion Vidu choir of Lugoj, founded in 1810, and the plowmen's choir from Chizătău, founded in 1857, the first village choir in Banat and in Romania. The religious choral creation from Banat at the beginning of the 20th century is very impressive.

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Popular Culture Wars: Racism, Gender and Empire and the Transformations of 21st Century Capitalism

Popular Culture Wars: Racism, Gender and Empire and the Transformations of 21st Century Capitalism

Author(s): Doru Pop / Language(s): English Issue: 2/2022

Isaac Asimov’s Foundation and Frank Herbert’s Dune were considered to be “unadaptable” works. This paper critically discusses Villeneuve’s Dune and the TV series created by AppleTV+, a revision of the “Foundation”, overviewing the controversies surrounding the recreation and transformation of these “grand narratives”. The author considers that these transmutations are relevant not only for their storytelling alterations, but also for the transformations of “cinematic capitalism”. Proposing as a working concept the notion of chimeric capitalist cinema, the paper also brings into the debate other productions that disclose ideological mutations, like Rings of Power and House of the Dragon, considering how contemporary cinematic modes of production are changing.

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THE BEGINNINGS OF THE ORTHODOX CHORAL MUSIC IN BANAT
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THE BEGINNINGS OF THE ORTHODOX CHORAL MUSIC IN BANAT

Author(s): Veronica Laura Demenescu / Language(s): English Issue: 2/2022

The present work proposes an incursion into the beginnings of choral processing of Orthodox music from Banat (a western region of Romania). Relatively new, this musical genre entered the Orthodox churches of Banat only in the last one hundred and fifty years. A great role was played by the composer Ion Vidu, the one to whom the success of this implementation in a par excellence homophonic environment is linked.

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RESTITUIRI DE ARHIVĂ: UN IMPORTANT TEXT POSTUM DESPRE ION VIDU SCRIS DE IOAN ȘTEFAN PAULIAN
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RESTITUIRI DE ARHIVĂ: UN IMPORTANT TEXT POSTUM DESPRE ION VIDU SCRIS DE IOAN ȘTEFAN PAULIAN

Author(s): Ion Alexandru Ardereanu,Veronica Laura Demenescu / Language(s): Romanian Issue: 3/2022

The present study proposes to bring back to Romanian musicologists and not only the possibility of studying a very little-known text about the composer Ion Vidu. The text, written by Ioan Ștefan Paulian in the 30s of the last century, is very rich in bio-bibliographic information about Ion Vidu but also about the Romanian choral life of those times.

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Conservarea și restaurarea icoanei rusești „Iisus Hristos Atotțiitorul” din colecția Muzeului Național al Unirii Alba Iulia, pentru proiectul RICOTRANS
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Conservarea și restaurarea icoanei rusești „Iisus Hristos Atotțiitorul” din colecția Muzeului Național al Unirii Alba Iulia, pentru proiectul RICOTRANS

Author(s): Dumitrița Daniela Filip,Elena Badea,Cristina Carșote,Iulia Maria Caniola,Emanuel Hadîmbu,Simona Maria Păunescu / Language(s): Romanian Issue: 59/2022

A group of Russian icons owned by the National Museum of Union Alba Iulia were investigated and restored within the RICONTRANS project “Visual Culture, Piety and Propaganda: Transfer and Reception of Russian Religious Art in the Balkans and the Eastern Mediterranean (16th to early 20th century)”, due to a fruitful collaboration between the restorer and the chemists. The main goal of the scientific research of the icons performed within the project was, on the one hand, to develop a suitable restoration methodology and, on the other hand, to unveil the age and provenance of the icons and to trace some specific technical elements that may help understand the transfer and reception of Russian art in Transylvania. This article aims to present the conservation-restoration methodology applied to the Russian icon of “Jesus Christ the Almighty”, inv. no. 2026/L/694-M, the conservation challenges, as well as the results of the scientific investigation, that will elucidate the age of the icon and its peculiarities of technique.

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ДА ПРАВИШ ФОТОГРАФИЯ КАТО ПРЕЗ XIX ВЕК – ЦИАНОТИПИЯ
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ДА ПРАВИШ ФОТОГРАФИЯ КАТО ПРЕЗ XIX ВЕК – ЦИАНОТИПИЯ

Author(s): Silvio Tomov / Language(s): Bulgarian Issue: 21/2022

The text describes cyanotype, invented by Sir John Frederick William Herschel. It’s part of the so called noble photographic processes which create one of a kind copies. An image can be produced by exposing sensitized paper to a source of ultraviolet light (such as sunlight) as a contact print. Engineers used the process well into the 20th century as a simple and low-cost process to produce copies of drawings, referred to as blueprints. The process uses two chemicals: ferric ammonium citrate and potassium ferricyanide. The article is about the development of this process worldwide and its history in Bulgaria. Artists like Georgi Stoyanov Georgiev and Veneta Zaharieva are mentioned. The author is making cyanotypes and it will become an Educational program of History museum Samokov.

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