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The word “deri” comes from the word “tirik”, which is used in the sense of tax paid to the khan in old Turkish tribes. This etymological meaning is the best indication that leather is a value for our culture in our social and economic history. Today, leather which is used to make shoes, clothes, decorative home and office goods, and even furniture and which was used in old Turkish societies from the caps to boots, from back packs toharness, was also used as “parchment”- writing material due to its durability and because it can be stored for many years. Parchment is of great archaeological importance due to its cultural role. There are many detailed studies on the technical structure of parchment, production technology, conservation and restoration and application areas. But it was revealed that there is no academic and scientific study about the latest craftsmen who still deal with parchment production in Turkey. In this study, it has been tried to give information about İsmail Araç and his apprentices Demet Sağlam Tokbay and Nesrin Ermiş, who continue the parchment production in our country with traditional methods. In addition, the current usage areas of the parchment are examined by interviewing with craftsmen, on-site research and documentation with photographs. As a result of the study, the fact that there are very few masters who know the parchment production by using a completely natural and traditional method without using technological tools and chemicals is a problem as in all other handicrafts and crafts. Therefore, in order to sustain this cultural value of Anatolia, new craftsmen should be trained and necessary support should be provided for this profession
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The main purpose of the research; To explore the technical, embroidery, motifs and material features of traditional weaving carpets of Azerbaijan’s weaving culture and use them to gain the quality of fabrics in new designs as a source of inspiration. National elements are often used in textile sector. Especially, in the late 60s during the modern period this trend was very noticeable in the fabric sector which continues nowadays. These kinds of design works have cultural environmental and economic benefits which are often emphasized today serve the concept of sustainability providing the transfer of traditional techniques and materials to the existing designs. Therefore, the aim of flat-weave carpets such as “jejim” , “palaz” and “shedde” produced in Azerbaijan is to contribute sustainable textile production by evaluating the existing design language. With the perspective of research three of the traditional Azerbaijani plain weaving types will be used as a source of inspiration in fabric design and garment design by taking a holistic approach and new designs will be achieved. During the working process, garment design and woven fabrics which are its working material will be worked with deductive approach by considering form-pattern, color and touch relations.
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Historical values and motifs that societies show as a reference point in the search for identity play an important role in the advancement of culture. The place of the double-headed eagle motif in Turkish culture stands out at this point. This motif, which originated in Mesopotamia, spread to Anatolia and has taken place in almost all cultures, points to divinity and the balance of opposing forces. In Turkish understanding of the universe, these characteristics are also observed in the perception of kut coming from heaven and the value given to the elements of nature in the belief of Sky God. In the depictions of birds of prey that appeared in the first Turkish works of the Islamic period, the mutual balance of opposing forces is mentioned, as in Kutatgu-bilig. The double-headed eagle motif was the most widely used in the Anatolian Seljuks, and was included in the Beyliks period carpets, which were in great demand in Europe. It is known that the motif, which is seen to be reflected in the Turkmen women's jewelry, is separated from the meaning of sacred mythological being and joins usage area of the public as a cultural symbol. It is possible to read some of the social cultures and movements through clothing styles. In this study; In addition to expressing the value of a deep-rooted traditional motif representing Turkish identity, it is aimed to present design proposals that will expand and extend its usage area. During the study; literature was searched, drawing programs such as Photoshop and Illustrator were used in the design sheet and pattern creation process, and various crafts and textile prints were planned to be used during production.
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In this research, the social effects of the festivals, the satisfaction of the participants and the relationship between the social effects of the festivals and the satisfaction of the participants were investigated. The population of the research is the participants of the 7th International Orange Flower Carnival in Adana in April held between 3-7 April 2019. The sample of the research was 454 participants who agreed to participate in the research. In the research, was used relational scanning method in the descriptive scanning model. In the research, the questionnaire technique was used as the data collection technique. The statistical analysis of the questionnaire, which was answered by 454 participants, was carried out with IBM SPSS 22 statistical package program. Frequency distribution, descriptive statistics, t-test one-way ANOVA and correlation analysis tests were used in the analysis of the data. As a result of the research, it was observed that the perceptions of the festival participants were higher than the social cost dimension. There was no statistically significant difference in terms of social benefit, social cost and festival satisfaction according to the gender of the participants, and it was seen that male and female participants perceive these factors in the same way. t was observed that those who earn income from the festival perceive the social benefit dimension of the festival higher and lower the social cost dimension compared to those who do not generate income from the festival. It was observed that as the number of arrivals in the festival increased, the general satisfaction towards the festival increased further, and the general satisfaction of the festivals was highest. It has been observed that women are more satisfied than men, singles, married people and local people who come to the festival from outside. In addition, a statistically significant relationship was found between the perceptions of social benefit dimensions, perceptions of social cost, and satisfaction of the festival participants.
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This article analyzes one of Horst Eckert’s comics to show its uniqueness. At the moment when one of the heroes breaks completely out of the frame of the piece, its subsequent layers are deconstructed. The entire textual definition of the comic is verified. The comic strip, which is customarily taken as a low-grade genre, automatically raises questions about the functions of mediated education in people’s lives and needs, which are directed towards literature. Considering that the comic, which primarily engages the reader by means of visual cues, is very popular today and testifies to the pauperization of the written word, and the advantage of the image over the word, reading Janosch’s comic book, which indeed is not a comic book, leads to many bold conclusions about the social realms of literature
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This essay is about art of Joseph Beuys and his philosophical concepts. He was a German Fluxus, happening, and performance artist as well as a sculptor, installation artist,graphic artist, art theorist, and pedagogue.Joseph Beuys’s Works are motivated from authentically weltanschauung. From the initial stage of creative activity he combines concepts in a broad social, psychological and philosophical context. Critics have appreciated the emblematic character of Beuys works, the essence of which has motifs from the animal world (swans, deer,rabbits, sheep, bees etc.), tying them with a mythological and anthropological inner thread.
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The subject of the presented research is the creative workshop accompanying artistic creation. A workshop is a form of artistic activity that is contained in the scope of participatory art. Its assumptions have their roots in the theory of aesthetic education, whereas its goals and structure indicate pedagogical inclinations. In the pedagogical perspective, creative workshop can be seen as a method of working with another person, focused on the subject’s development. The aim of the research was to show the scope of subjective development taking place in workshop activities. Qualitative research was conducted based on material collected in interviews with workshop participants. It was confirmed that the creative workshop, alongside artistic creation, initiates self-aware reflection, consequently leading to a deepening of self-knowledge. The workshop process results in cathartic feelings. The findings allow for the recommendation of the creative workshop method to be used in pedagogical practice.
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Juan de Valdés Leal (1622-1690) was one of the most original personalities of Seville painting, sometimes considered even the most Baroque of Spanish painters, an artist who created expressive works, showing tense figures, with nervous gestures and gloomy faces, often exceptionally ugly. He is thought to have been an apprentice at Antonio del Castillo’s studio in Córdoba from around 1644. His oldest works show naturalistic features with hard brush, lively colours and certain sharpness. They show the influence of Juan de Uceda, Francisco Varela, Francisco de Herrera the Elder, Antonio del Castillo and Francisco de Zurbarán. On the other hand, the expression of characters and the use of chiaroscuro evoke the works of José de Ribera. After 1655, his canvases indicate the evolution of the style towards greater dynamism, which was influenced by Francisco de Herrera the Younger. At that time, the artist’s brush became lighter, the colours more shiny and transparent. In 1659 he was appointed the city examiner of Seville painters, and a year later he was one of the founders of the Academy of Painting, of which he even became president. In 1664 he stayed at the royal court and became acquainted with the rich royal collections and established numerous contacts with other painters, including Francisco Rizi and Claudio Coello. In 1667 he became a member of the elite La Caridad brotherhood in Seville, for which he produced several works in 1672, including the famous “Hieroglyphs of Death” (In ictu oculi, Finis gloriae mundi), in which the artist incessantly fascinates the viewers with his vision that crosses the boundaries of life. He was also often undertaking activities other than easel painting, most often gilding reredos and making polychromes. He also created engravings, book illustrations and sculptures, which, however, have not been preserved.
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The article is devoted to the etchings collected in the album Vues de Pologne, dedicated to Anna (Anetka) Tyszkiewiczówna (1779-1867). Throughout her life, she was involved in amateur artistic work: drawing, painting and, above all, design, which left its mark on the palace and garden layouts in Wilanów, Natolin, Mokotów, Jabłonna and Zator. The album was created as a result and as a memoir of her stay in Vienna in 1795. At that time she took drawing and etching lessons from the French painter Ignace Duvivier (1758-1832) – an artist that was later accepted as a member of the local academy. Apart from the title page, in its basic version the album contains nine views mainly of Warsaw and its surroundings. Tyszkiewiczówna was the author of all the drawing patterns, she also transferred them onto the printing plates. In these works she clearly preferred landscape motifs over vedutas. She tried to reflect the mood of the moment through a lively, energetic line and strong value contrasts. She composed sentimental, subjective landscapes with little care for accuracy or realism in the representation of reality. It is also possible that the latter feature was intensified by the recreation of patterns from her memory, in Vienna, far away from the portrayed places. Evaluating the artistic value of her works—in terms of the technique used they do not differ at all from the works of her teacher—one should remember that they are juvenile works since the author was only sixteen at that time. Her plates were reused at the beginning of the 19th century for commercial purposes – six out of nine etchings adorned the 1811 edition of “The Political, Chronological and Historical Calendar”, printed by Jan Ludwik Koch. On the basis of the considerable number of prints in collectors’ circulation—those from 1795 as well as those from 1811—it is possible to conclude that this part of her work is exceptionally popular for an amateur. But after this youthful experience, Anna née Tyszkiewicz, primo voto Potocka, secundo voto Dunin-Wąsowiczowa, never returned to the etching technique.
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The article concerns the reception of medieval altarpieces by the most significant Polish history painter, Jan Matejko. That was used for a creation of new works of art based upon historical forms (but not stylistic) that were derived from real historical monuments. Matejko was interested neither in contemporary pattern books for architects nor in reconstructions done according to imagined vision of style, mainly Gothic, which was proposed by restorers like Carl Heideloff or Eugène-Emmanuel Viollet-le-Duc. He gained his knowledge about real, existing medieval altarpieces during his journeys in Poland and abroad, which he took in his youth, and also through his participation in restorations of medieval monuments in Kraków, first of all – the Gothic altarpiece by Wit Stwosz in Mariacki church. Thanks to these experience he got to know a construction of altarpieces and details such as the types of medieval figures, their costumes, weapons, crafts, but also stylistic features that were not well recognized by restorers’ environment in Kraków. Additionally, that verified two types of the reception of the Middle Ages. One, philosophical and emotional, characteristic for Romanticism and propagated by the philosopher and art lover Józef Kremer and the second, characteristic for the artist, restorer and one of the first historians of art, Władysław Łuszczkiewicz that criticized artistic realisations done ages ago from the contemporary point of view. Repairing old and designing new altarpieces was a difficult task for Matejko as very often he was confronted by different points of view on restoration. The most discouraging was a dispute between followers of the unity of style (Józef Łepkowski, Władysław Łuszczkiewicz) and their opponents who appreciated the original form of the monument, including later elements from different epochs (Piotr Michałowski, Paweł Popiel, Stanisław Tomkowicz). Then Matejko’s work was located between verification of ideas of restoration, models of writing about art, opinions about style of monuments on one side and the analytical research on an external appearance and features of construction of local objects on the other side. Neither his knowledge, experience trained thanks to deep and critical observations and comparisons of historic works of art – but, unfortunately, without a support in an authority of restoration theories done by western historians of art and architecture – nor his designs, did not gained respect in Krakow among people concentrated on theoretical opinions on restoration and on ideas concerning forms and meaning of the monuments in Krakow.
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The article presents the figure of a Milanese artist Luigi Veronesi (1908–1998), one of the main representatives of Italian abstract painting. Since Veronesi’s work is not well known in Poland, this text covers the artist’s biography as well as describes and analyses individual stages of his work. The article covers various areas of the artist’s work: graphic arts, painting, photography, theatre, film animation, applied arts, typography and spatial design. Special emphasis is placed on presenting Veronesi’s relationship with the avant-garde tradition and his contacts with European artists. The article is based on a conversation with the artist’s son, Silvio Veronesi, as well as on a rich bibliographic material not yet published in Polish.
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The Council of Trent confirmed the Church’s teaching on the law of penance, focusing on confession of sins and sacramental absolution. It was a response to the erroneous teaching of Protestantism, which rejected most of the sacraments by recognising only the sacraments of baptism and the Eucharist. The sacrament of penance was established by Christ on the day of the resurrection. The apostles, followed by priests, received the power to forgive sins.The doctrine of the Holy Sacraments, and especially of penance and the Eucharist, was preached by the members of the Congregation of the Mission founded by Vincent de Paul during missions in many European countries. The main task of the missionaries was to encourage the faithful to confess their sins and receive the sacrament of penance. This sacrament was perceived as a spiritual cure for the sinners and through repentance they could return to the merciful God. The missionaries came to Siemiatycze in 1717. They took over the parish and the church, which they expanded and re-equipped, inter alia by adding six oak regency confessionals (ca. 1744). The finials of the confessionals featured paintings of penitents absolved by God: Mary Magdalene, King David, the prodigal son and St. Peter. The purpose of the scenes in the paintings was to make it clear to the faithful that the sacrament of penance is a sign that God never leaves people, but always opens the way for their return. Through the paintings in the finials, the sinners were to be assured that repentance and confession of sins to the priest and the penance given by him lead to the forgiveness of sins by God by virtue of the “power of the keys” – the priestly absolution. The images in the confessionals also indicated that for the sinner, the confession is the way back to and the source of God’s mercy. This was emphasised by two consecutive images in the confessionals: the Good Shepherd finding the stray sheep and the scene showing St. Peter and Christ at the moment of handing over the keys. For the faithful, the figure of St. Peter indicated that he would strengthen and guard the faith against all human weakness.
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According to more recent research, the sculpture from the staircase of Jan Klemens Branicki’s palace in Bialystok, most often referred to as Rotator (“Rotating”) or Arrotino (“Knife Grinder”) may have depicted one of the Roman heroes (Vindictius, Milichus or Fenius Rufus) who, while doing his job, overheard the conspirators and thus thwarted their scheming. It was supposed to be an allusion to the role of Hetman Jan Klemens Branicki (the founder of the sculpture) in the contemporary events – the conflict over the Ostrogski Ordination. This thesis is confirmed by handwritten satires, created in connection with the dispute over the ordination (Łysa rada kolbuszowska [The Bald Council of Kolbuszowa] and Scena tragiczno-komiczna na… [A Tragicomical Scene]), of which Branicki is one of the main characters. In Scena tragiczno-komiczna na, the division of the ordination was presented as a conspiracy against the Polish-Lithuanian Commonwealth, which was discovered and pacified by Hetman Branicki and his army. He started these actions on his own during the king’s absence, becoming the most important person in the country and the man of the moment, and then completed them in cooperation with the returning monarch. Thus, the Rotator from Białystok can be referred to Branicki, the beloved Polish son, a loyal subject and a great military leader who prevented civil war. In the journalistic texts related to the dispute over the Ostrogski Ordination, Branicki was also compared to his ancestor, Hetman Stefan Czarniecki, as similarly to him, he would prevent the Polish-Lithuanian Commonwealth from the internal conflict. Stefan Czarniecki is a very popular character in Białystok, often depicted in sculptures and paintings ordered by Branicki. In fact, Branicki did not have any serious merits as a hetman; it was only from the perspective of the dispute over the ordination and his portrayal as a great leader and the man of the moment that the cultivation of the memory of Stefan Czarniecki gained a special importance.
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The article analyses the critical reception of the Soviet art exhibition, which was organised at the Warsaw Institute of Art Propaganda in March 1933. The exhibition was in line with the tendency, which intensified in the 1930s, to highlight the cultural specificity of individual nation states through appropriately arranged exhibitions of native art, which travelled around Europe. The Warsaw exhibition of contemporary art of the USRR, brought from the 1932 Venice Biennale Internazionale d’Arte, can also be seen as an attempt to improve mutual relations between the Second Republic of Poland and the USSR in the context of the non-aggression pact signed on 25 July 1932. The proposal to show the exhibition to the Polish audience came from Boris Nikolayev, representing the All-Union Society for Cultural Relations with Foreign Countries, which was in fact an instrument of communist propaganda. The Warsaw exhibition enjoyed great interest among the audience. It was expected to present revolutionary, radically avant-garde art, coupled with the social and political goals of the Bolshevik revolution. Instead, the exhibition displayed proletarian art, which glorified the victorious communist system in a broadly conceived realistic convention. Most critics assessed the exhibition negatively, seeing it as a propaganda showcase of the USSR, not an all-inclusive representation of the Soviet art scene. For reviewers supporting the avant-garde, it was striking to see a break with the principles of revolutionary aesthetics. For commentators sympathising with neoclassicism, neorealism or colourism, the political profiling of the topics of the artworks on display was glaring. However, a general consensus was reached regarding the low artistic quality of the presented material. Commentators were looking for a style understood as an idiosyncratic unity of form and theme that would express the essence of the new political system of the USSR. The best testimony to the fact that they had not found such a style was Konrad Winkler’s conclusion: „The Lenin of the Soviet art has not yet been born”.
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The article aims to present the issues concentrated on early medieval iconography of the four elements being an integral part of the scene of the Last Judgment. The selected problem was shown basing on the representation from the western wall of the Basilica of the Assumption of the Mary on the island of Torcello (Italy). The author poses a question about the possible occurrence and symbolic significance of the four elements in the abovementioned mosaic, comparing it with other representations of the Last Judgment from the same and the earlier period. Basing on a thorough iconographic analysis of the representation present in her earlier publications and the doctoral dissertation, the author presents a new interpretation hypothesis outlined by the presence of the iconography of the four elements as a symbol of the original act of creation in the Last Judgment.
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This study investigates changes in the popularity of Brutalist buildings from the 1940’s to present. Our methodological framework is derived from three sources: (1) Reinhardt Koselleck’s work on historical consciousness in the field of conceptual history; (2) Martin Heidegger’s phenomenological approach to temporality, mood, and perception, and: (3) Ernst Becker’s work on the denial of death and the quest for immortality. Our thesis is that changing perceptions of Brutalist architecture, in many cases radically different evaluations of the same buildings, are the effects of historically specific cultural, political, and social structures. In phenomenological terms, these structures form fairly discrete systems of relevance. That which is held to be profoundly interesting, or exciting, or progressive in one system of relevance can appear dull, menacing, or foolish in another. The systems that we identity, describe, and explain, are: (1) Collective mobilization in the service of progress (1941–1978); (2) In the shadow of the tyranny of the state 1978–2001; and (3) seeking certainty and security in the ambiguity of global risk: 2001 to 2019. We show how each system has produced a distinct perspective on brutalist architecture which influences the popularity of the style, or lack thereof.
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Virtual Reality enables us to be present in a physically absent world. In the VR-play Illegitimate (Adrian Sitaru, 2018, Hungarian Theatre of Cluj), a theatre performance that combines live action on stage with VR technology, the viewers can simultaneously be present in two realities, and decide which is more convincing or more stimulating for them. This awareness works against the immersion, but at the same time gives the viewer a feeling of in-betweenness. The author argues that the loops, defined by Manovich as “a new narrative form appropriate for the computer age” are also the key for the possible reality switches and joinings.
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This essay (following Chantal Bilodeau’s call for new dramatic theories) investigates the patterns with which we are thinking about the world when re/presenting it on the stage in Western cultures. Considering the current social-political framework and the transition of our societies, the essay explores what those different dramaturgies are that can be observed in contemporary theatre. If the Aristotelian form can be described as hierarchical, conflict-led, and expressing patriarchal values, how did dramaturgy (the art of recognising patterns and thus creating meaning) respond to this challenge? What are those non-hierarchical or rather: heterarchical dramaturgies that promote a more equal worldview? What are those shaping dramatic theories that can also acknowledge, include and describe the organisation and operation of a wider range of artworks? Looking at recent examples of drama, performance and contemporary dance, Trencsényi draws up a parallel universe of new dramaturgies (including complex systems theory, stratification, game-theory, and musical dramaturgy) that are open, playful, dynamic, and instead of binary thinking promote a more complex worldview. She examines the main principles behind them and how they operate, and discerns what value and overall meaning arises from these different dramaturgies in theatrical composition.
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After the lockdowns in Romania ended, Nóra Balázs discussed with the director Botond Nagy the changes which resulted in a new situation and possibilities that will affect the genre of theatre. In the frame of the interview they discuss the working methods of this young creator, his relation to the classics, inspiration sources, and his relation to his co-creators and actors as well as his awards. In the interview Botond Nagy also reveals how he spent his lockdown period.
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