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The article, written in 2013, the Constantinian Year, takes back and develops some ideas which can be found in my previous articles concerning the murals in both of churches in discussion. „The Exaltation of the Holy Cross” of the former nun’s monastery Pătrăuţi and the church dedicated to „The Beheading of St John the Baptist” in the village Arbore. The first is the foundation of the Moldavian prince Ştefan the Great (!487) and the second was built by Luca Arbore, chef of the army of the same Ştefan and of his hairs, Bogdan III and Stephen the Young, in 1503. The last was under the guardianship of Arbore during his nonage time, but was beheaded by him for high treason in 1523.As a reflex of the political situation of the Moldavia, see the military actions of the Ottomans in their endeavor to conquer Stephen’s country, the prince took the Emperor Constantine as a model in his struggle against the enemies of the Cross. The great „Cavalcade of the Emperor Constantine the Great/The Vision of the Emperor”, painted on the western wall of the narthex of the church in Pătrăuţi and the presence of the same Emperor as intercessor in front of Christ in the Votive painting of Stephens’s family and in the company of his mother, Helen, in some other images, so as in the scenes illustrating the History of the Holly Cross, found by Helen in Jerusalem, proves the special spiritual and political interest of the founder in this issue.The great chef of the army, Luca Arbore, demonstrates a similar idea when he asked the painters of his church to introduce in the narthex, on the western wall „The vision of the Emperor Constantine”, „The Discovery of the Cross” and „The Exaltation of the Holy Cross”. The datation of the painting rests an open discussion. I offered some supplementary arguments supporting the painting of the church during the life time of the founder (until 1523) and a restoration of the parts damaged by the Turks in 1538, as a disappeared inscription mentioned. Discovered in 1926, these inscription mentioned the name of Dragos Coman and the year 1541. The information was considered by the majority of researches that Dragos painted the whole ensamble in 1541 without taking in consideration visible modifications in some parts of the painting itself.
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This paper presents a small sample of the results Creatology has achieved during its first thirty years of existence from 1977 to 2007. The main chapters below deal with the short prehistory of Creatology, its paradigmatic framework and applications. The author’s ambition was first and foremost to outline the theoretical foundation, because pragmatic work in this domain is over-represented at the expense of losing even the theoretical minimum obligatory for any scientific enterprise. The article gives also descriptions of what it calls the “Big Bang” of Creatology and the mainstream view about creativity based on the generalized market structure.
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Tove Jansson is known worldwide as the mother of the Moomins. She was a visual artist and writer. The first Moomin books deal with the threat of apocalypse. The 1946 book about the comet approaching the Earth is interesting because of the changes Jansson made in the later versions (1956 and 1968). The first edition is shown to reflect the fear of possible Soviet occupation of Finland after World War II. In the last, 1968 edition this was replaced by a fear of a global nuclear war. In her illustrations and texts, Jansson drew inspiration from several scientific sources, many of which are identified in the article. The case of a meteorite falling in Finland in 1899 is also discussed.
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The paper discusses the coats of arms of ancient Slavic countries, regions and cities, as given in Hristofor Zefarovic’s Stematografia (published in Vienna 1741), which were painted on the deacon’s gates of the iconostasis in the church Nativity of the Blessed Virgin Mary in Rila monastery. These images are an example of apocryphal painting influenced by ideas of history and sacredness. The paintings are a representation of the new way of thinking manifested in the Bulgarian culture of the beginning of XIX century, which became possible with the secularization of culture.
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This paper examines Oliver Parker’s Othello (1995), an excellent American filmic production of Shakespeare’s play . The article also offers a reading to Oliver Parker’s film production of Othello (1995) where the story offers yet an opportunity to explore anti-Black sentiment in the American society with focus on black masculinity. Othello is therefore portrayed as “indolent, playful, sensuous, imitative, subservient, good natured, versatile, unsteady in their purpose… they may but be compared to children, grown up in the stature of adults while retaining a childlike mind”. (cf. Collins 1996: 89) This article is particularly interested in how Parker’s Othello fetishizes the black male body through exploiting the racialist dogmas about black Americans. Heavily punctuated with flashbacks, this production constructs a two-fold narrative; one approaching the plot from a traditional perspective whereas the other dealing with a rightly African American subjectivity. In conclusion, although Oliver Parker’s rendition of Shakespeare’s Othello preserves much of Shakespeare’s poetry, it is however a new mediatising form produced at an age “the white elite uses filmic representations of African Americans” as means to control and even contain race relations in the USA. (Hogdon qtd. in Aldama 2006: 198)
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The research is devoted to the play “Rozghrom” by I. Bahrianyi, which is describing the period of Ukrainian-German conflicts during the Second World War. The purpose of the study is to consider militarism not only as a postulate state ideology, but also to describe this term as a specific metaphorical projection of the Second World War as well as to trace the interpretation of collective militaristic consciousness in the author’s representation in the nativity-scene “Rozghrom”. An insufficient study of both this author’s play and his drama works in general due to the forced inaccessibility of the writer’s artistic texts for a Ukrainian reader during long time is determined. The research uses such methods as biographical (the influence of I. Bahrianyi’s biographical factors on his creative manner as well as on the representation of Ukrainian authentic culture among world community); historical-cultural and sociological methods (allowed to enter the analyzed play in the scope of the contradictory socio-political process of the Second World War); mythopoetic method (conceptual effects of myth-creation on the formation of Soviet ideological practice); structural-semantic and structural-semiotic methods (understanding of the text as a special sign system in the cultural context of its time). Scientific novelty. For the first time the article analyzes militarism as a specific artistic concept which is considered in the author’s play in three versions: anti-colonial, adventurous and intellectual. The anti-colonial direction of the play consists of de-ideologization of the so-called liberating militaristic myth, built on the pathetic heroization of the victories of Soviet Red Army. The adventurous version of the militarism in the proposed writer’s play is marked by tragedy due to ambiguous feat of brigade commander Maxim. The intellectual discourse of the war in the drama metaphorically appears on the chess field, which corresponds to the reality in a symbolic way. Conclusions. The conclusion is made that the fascist attempt to militarize Ukrainian culture, to lower its spiritual potential is collapsed in the author’s dramaturgical version.
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The article attempts to compare two sequential statements on the basis of semiotic analysis. One of statements is the novel “Zhovtyi kniaz” by V. Barka and the other one is the film “Famine – 33” by O.Yanchuk, because the film is based on the novel. It is given the overview of scientific works in the first part of article. Scientific novelty. As a result of the bibliographic review it was clarified that the film hasn’t been explored and more- over nobody has compared “Zhovtyyi kniaz” by V. Barka and “Famine – 33” by O.Yanchuk yet. Therefore, the article, in which we compare the two presented works,is relevant and has a scientific novelty. Methodology. It was used a descriptive method and a method of discursive analysis. It was considered the novel and the film as a communicative system with its own language. We have translated the language of cinema and literature into a common language of signs and tried to investigate the extent of producer's intervention. Also it was given a detailed analysis of motives, symbols, compositions in both of these works. Conclusions. Despite the fact that the film coincides with the novel in key story moments, the film differs from the novel by different accents. For example, director reduced religious symbols, psychology in the film. And on the contrary ideology and revealing pathos increase.
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The aim of my paper is to show how to perceive the art and the influence of perception of it on human’s taste in so called standard aesthetics. I start with discussing levels of human’s perception. Then I turn to the question what is practise and theory contributing to the (aesthetic) taste. I distinguish between aesthetic pleasure and aesthetic experience. Next I argue that the (aestehtic) taste has subjective content. The taste is a complex or collection of aesthetic judgements (reasons).
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The article examines the philosophical and historical aspects of the development of theatrical, chronicle art in the eighteenth century in the context of social and political changes, reveals the inner life of society through the philosophy of culture. The purpose of the article is to reveal the peculiarities of the cultural development of Ukraine during the national revival of Ukraine with the help of analysis of chronicle sources, the cultural phenomena of theatrical and fair art, the role of I. Mazepa in the development of book printing and public education, the first universities. The research methodology is subject to the purpose of the article and is based on a descriptive method, historical and analytical is also used. cultural-contextual approaches. The novelty of the study. The author tried to conduct for the first time in the presented article a dialectical connection between the multilayered historical cultural picture of the 18th century. and the theatrical art in the socio-historical context of Ukraine. The role of political and historical figures (for example, I. Mazepa) is not identified with their social activities, but is revealed in the context of the prospects for national development. Conclusions. Proceeding from the purpose of the article, we come to the conclusion that there is a kind of "national psychological form" due to the multi-layered and differential nature of the socio-political context of the nation.
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The paper deals with several mosaic techniques used in Roman and Late Antique mosaic art in Bulgaria. Each technique is presented with short historical background and its development stages illustrated by famous examples of the Greek and Roman world aswell as the ones from Bulgarian provinces of the Roman empire. The main aim of the paper is tocontribute to unifi cation of the specifi c terminology used in scientific researches of mosaic art in Bulgaria according to the established scientific practices in this field.
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The focus of the present article are two lead artefacts, uncovered at the archaeological explorations of Serdica. The first artifact is a commercial seal, on whose obverse side is depicted a straight human figure between two lions, both of them with heads facing backwards towards the central figure. According to the iconographic standards, the image on the seal is associated with the Old Testament parable of Daniel in the lion’s den. The image of Daniel is one of the earliest Christian symbols. The second artefact is a lead, double-sided round plate. On the conditionally accepted as a front side is depicted the image of the Good Shepherd who symbolizes the Savior in the early years of Christianity. On the reverse there is an image, similar to the one depicted on the seal - Daniel, hands uplifted in prayer standing between two lions. The examined monuments from Serdica originate from the strata in the city and are related to a certain archaeological context. Data coincide with the time of the end of the 3rd and 4th centuries, when the described above scenes with their style peculiarities and iconography are famous among the population.
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O scurtă Prolegomena la prezentarea volumului Programul arhitectural al Bisericii Române Unite cu Roma. Episcopia de Gherla și Cluj-Gherla (1853-1947). Tendințe stilistice între Orient și Occident, Editura Mega, Cluj-Napoca 2018, datorat istoricului și criticului de artă, Ina Roșu Vădeanu, face trimitere – plăcută realitate – la o programată și succesivă alegere tematică a disertațiilor întocmite sub generoasa cupolă a istoriei artelor din cadrul Facultății de Istorie și Filosofie a Universității Napocense, cercetări integrate unei tradiții, unui proiect generos mai vechi, început încă în urmă cu o jumătate de secol de istoricii de artă din „echipa” Academicianului Virgil Vătășianu, cercetători și cadre didactice care au definitivat Repertoriul / Topografia monumentelor istorice din 10 județe ale Transilvaniei, iar între anii 1991-1998, au inventariat edificiile patrimoniale din 121 de localități săsești – dintr-un ansamblu de 241 de localități săsești – aflate în jud. Bistrița-Năsăud, în zonele Reghin, Sebeș, Valea Hârtibaciului, Sibiu și regiunea Târnavelor, topografie concepută după modelul folosit de secția de evidență a Direcției Monumentelor Istorice din Renania, Brauweiler, sub îndrumarea științifică a instituției germane și a Comitetului Național German ICOMOS (Consiliul Internațional pentru Monumente și Situri al UNESCO) în parteneriat cu Direcția Monumentelor, Ansamblurilor și Siturilor Istorice (DMASI) din România, Centrul de Proiectare, Academia de Artă și Institutul de Arhitectură “Ion Mincu” din București, Institutul de Arheologie și Istoria Artei al Academiei Române, Filiala Cluj, Institutul de Studii Socio-Umane Sibiu al Academiei Române, Muzeul Etnografic Brașov, colaboratori ai Muzeului Brukenthal din Sibiu și Birouri de arhitectură pentru relevee.
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The search for mathematical relationships in musical compositions are often studied. There are many musical compositions, in which the composer consciously used mathematical knowledge during their composing. The search for mathematical dependence in music could be called “mathematization of music”. Can we use math to music illustration of mathematical objects? The problem of using music to math illustration is analyzed in this article and the aim of the article is to present some mathematical structures consciously used in the compositions by Iannis Xenakis. His work is an excellent example of the connection of mathematics with music. There are described stochastic processes and probability theory, group theory, game theory, and Brownian motion and Markov chains. Music of Xenakis opposed any tradition in music by using mathematical modeling in it. It was unpredictable, but not accidental. There is also about the creative process when composing music and about mathematical order in musical works, as well as aesthetic and artistic values. This article facilitates the perception of Xenakis music and enables to understand his work better.
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U »Pokušaju samokritike ‘Rođenja tragedije’« Nietzsche izjednačuje jezgru svog poimanja života iz mladenačkog djela Rođenje tragedije s pogledima grčke tragedije. Sve to imenuje »dionizijskim« (Rođenje tragedije, paragraf 3-5). O »Bogu« ovdje govorimo stoga, tvrdi Nietzsche, da bismo naznačili »umjetnički« smisao svakog događaja svijeta. Taj je »Bog« »najnapaćenije, naj-zatiranije i najprotuslovnije biće« koje se stvaranjem izvan-moralnih svjetova »oslobađa« od »zatiranja« i patnje«. To se pak zbiva »samo u pričinu (nar in Schein) umjetničke vizije« (ibidem, 5). Iduči će put Nietzsche tomu »Bogu« nadjenuti ime »život«. Tragedija znači iluzorno oslobođenje Boga. Kao što u Sumraku kumira govori o »vječnoj slasti stvaranja«, tako u »Pokušaju samokritike« progovara 0 »slasti« koja prati »vječito promjenljivu viziju« (ibidem) u kojoj se Bog oslobađa boli. U tragediji Bog-život dostiže izbavljenje (die erreichte Erlosung) od boli, a to je oslobođenje iluzorna vizija umjetnosti, ono apolinijsko. Nietzsche razumije tragediju ne samo kao izražaj boli, nego i kao oslobođenje od nje - kao sredstvo protiv njeujedno pak misli da u tragediji i za tragediju »metafizička utjeha«, odnosno »moral« nije ono sredstvo koje oslobađa od boli: to je sredstvo iluzorna, »umjetnička« vizija unutar koje se oblikuje sama tragedija kao takva. [...]
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From 1920 to the period of independence, the Azerbaijani art was shaped by the influence of Social Realism, which led to the formation of the Soviet Union's model of 'Soviet man'. After Khrushchev came to dominate in 1960s, as in all Soviet Union countries, there was a tendency to turn towards national values in Azerbaijani art. With the gain of independence after 1990, contemporary Azerbaijani artists gave more weight to their own expression methods. In this research, the works produced with innovative, contemporary art understanding which has an important place in contemporary Azerbaijan painting art are included.
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In this study, examples of carpets woven in the period between Republican period and present which are located in the district of Ulaş were discussed. The study was conducted on 10 carpet weaving examples were found in Ulaş District, Aciyurt, Eskikarahisar Village and Gümüşpınar Village Mosque. Information forms were created from the data obtained in the research and raw materials of yarns, yarn production and coloring, technical properties were examined. The motif and pattern features are determined and explained in the local and popular meanings in Turkish carpet weaving. The similarities and differences of motifs with other district textures of Sivas are discussed. In consequence of the research; It has been determined that weaving were woven in types of rugs (2), cushion (6) and runner (2) via Turkish Knot Technique and woolen yarns are used both in weft and warp procedure. The fabrics are designed exactly symmetrically according to geometric center in terms of pattern compositions. It was also determined that tree of life, monster foot, wolf mouth, Turkmen rose, rosebud, star, eye, hook, flower, blessing, pitrak, cattle, amulet, medallion and elibelinde motifs with red, black, green, orange, brown, white, yellow and grey colors were predominantly used.
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In 1883, Sanayi-i Nefise Mektebi, which provides art education in the Western sense, was opened. İhsan Özsoy, İsa Behzat, Mahir Tomruk and Nijad Sirel, who completed their education in this institution before the Republic, are the names that have passed to the history of art since they gave their original and mature sculpture works during the Republican period and they were responsible for raising the sculpture artists who will carry Turkish Sculpture Art to future generations. In the early post-Republic period, the foundations of contemporary sculpture education were laid thanks to art educators and artists sent abroad to provide modern and contemporary art education. Fine Arts Academy and Gazi Institute of Education,Painting Teaching Department, with the contributions of competent art educators in the field of new artists,took part in the Turkish sculpture art. In the 20th century, with the development of the industry, the “form” in the Plastic Arts undergoes change. Naturalist and Realistic forms are replaced by deformation-weighted geometric abstracted forms. This concept settled albeit belatedly, to Turkey, was developed in a very short period of time by the Artist and Arts Educator.In the 1950s, the artists, who instructor in the Academy, did not leave the “reality” they saw in nature with the effect of the education they gave, but they gave a sculpture education in which modern formal searches and social influences in the west were at the forefront.In this sense of abstraction, which does not turn its back on the external reality of the object, some artists have turned to formal analyzes by deformation and in others by breaking the forms. In this period, abstraction became the main tendency of artistic production in Turkish Sculpture art. These objects, which are interpreted by moving away from a realistic understanding while making abstraction in formatting about nature, also carry traces from nature. There is no way that this study, which has a different form than the natural form, can be found in nature.
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Music therapy is an applied science still making its way in Bulgaria. Therefore, in its opening part, the article presents some definitions of music therapy and its types according to different characteristics. The main part treats individual and group music therapy focused on self-consciousness and self-development; reviews in brief the psychological defence mechanisms involved in this process and points out some of the psychological theories at the base of this type of music therapy.
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Fashion and art concepts are often used together. The fashion phenomenon emerged from the second half of the 19th century to the day-to-day fashion and artistic interaction, which was the subject of many researchers and researchers. Dress has been prepared according to the principles and methods of design and has begun to relate to art from the turn of a design. This has caused the wearer to be involved in art and be influenced by artistic trends. The purpose of this research; surrealism, one of the artistic trends, is to try to explain with examples the effects of the art movement from the beginning of 1920s until the day when the effects of the art movement began to be seen.
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