A casting mould of a pilgrim flask with the depiction of St. Symeon Stylites the Younger

Author(s): Maurizio Buora,Ergün Lafli / Language(s): English / Issue: 30/2020

In this short paper a formerly unpublished casting valve for a metal eulogy ampulla from the museum of Gaziantep in southern Turkey will be presented. This casting mould by soap stone has an inscription as Eὐλογία [Κ]υρίου καίτοῦΑγίου [θαυματουρ]γού (eulogia of the Lord and saintly thaumaturgist- a performer of miracles). It also bears the depiction of St. Symeon Stylites the Younger from the sixth century A.D. and two knights riding mounts in a heraldic position on below. The mould at Gaziantep can be dated to the middle Byzantine period, more precisely to the period between A.D. 969 and 1074. For its size and the unusual scene of the two pilgrims (?) on horseback our matrix appears to be a unique one.

A COPPER COIN OF THE ARTUQID RULER NAJM AL-DIN ALPI WITH SIX COUNTERMARKS

Author(s): Wolfgang Schulze / Language(s): English / Issue: 4/2020

Scope of the study. A specific series of copper coins of the Artuqid rulers Hussam alDin Timurtash and his son Najm al-Din Alpi were extensively countermarked during the twelfth century. The scientific novelty The author discusses this system of countermarking and presents a countermark naming Najm al-Din Alpi, which was applied six times on his own coins. The Artuqids were a Turkmen dynasty that ruled in Eastern Anatolia, Northern Syria and Northern Iraq in the eleventh and twelfth centuries. On Il-Ghazi’s death in 516 (1122) his kingdom was divided among three heirs, with Timurtash retaining Mardin. He was succeeded by his only son Najm al-Din Alpi in 547 (1152), and the Artuqid kingdom of Mardin became the largest and most enduring, lasting until 812 (1409), when it was seized by Timur (Tamerlane) and later controlled by the Qara Qoyunlu (‘Black Sheep’) Turkmen. The description of the ‘copper dirhams’ of Husam al-Din Timurtash and Najm al-Din Alpi are given. One of the well-known problems in the series of the Artuqids of Mardin is the countermarking of the copper dirhams of Husam al-Din Timurtash and his son Najm al-Din Alpi. During the early part of the reign of Najm al-Din Alpi, the coins of his father continued to circulate. However, they were soon countermarked by Alpi, evidently to avoid confusion. We know of two countermarks, with ‘one line’ or with ‘two lines’ randomly applied on the obverses of Timurtash’s dirhams, sometimes both on the same coin. Alpi’s countermarks on the Timurtash coins could have been used to avoid confusion between the coins of father and son. The reasons of the appearance of the countermarks are described. Double countermarking did not necessarily occur simultaneously. Apparently, Alpi used the countermarks extensively to differentiate himself from his father and to achieve the greatest possible popularity through the medium of coin. This is also shown by the fact that the old Byzantine coins circulating in Alpi’s dominions were countermarked with his laqab ‘najm’.

A felvilágosodás kori Erdély könyvek, kéziratok tükrében (kiállításkatalógus)

Author(s): / Language(s): Hungarian / Issue: 3-4/2007

Catalogue of the exhibition entitled "Transylvania in the Enlightment in the Mirror of Books and Manuscripts", organized by the "Lucian Blaga" Central University Library of Cluj-Napoca.

A FOST UN OM

Author(s): Vasile Barbu / Language(s): Romanian / Issue: XXII/1991

De curînd a plecat pe drumul fără întoarcere cel ce a fost Iulian Antonesc. Este incredibil, dar aşa a fost să fie.

A LO CUBANO: UTOWAROWIENIE TAŃCA I REPREZENTACJE KUBAŃSKOŚCI W KONTEKŚCIE TURYSTYKI KULTUROWEJ

Author(s): Ruxandra Ana / Language(s): Polish / Issue: 1/2018

The article looks at the intangible cultural heritage and its importance as a resource that creates economic revenue in the context of rapid transformations currently taking place in Cuba, and integrated in a complex network of tourism imaginaries and representations. Given the increased demand for “experiential tourism” (Salazar 2011), dance practices become central not only to institutions in charge of safeguarding and promoting heritage, but also to emerging small businesses as alternative forms of revenue outside the state sector. Dance schools aimed at foreign tourists, and the increased popularity of Cuban dance genres outside Cuba, indicate how parts of the tourist imaginary are adopted and adapted in Cuban narratives about Cubanness, and how bodies become transactional in more than one way. Economic realities and social inequalities that stem from contact with foreigners result in creative approaches for financial gain, perpetuating expectations about Cuban fantasies. The phenomenon is often racially marked, as many of the darker skinned Cubans, with no access to legal jobs in the tourist industry, seem to be capable of exploiting the appearance of ‘authenticity’ in dance spaces commonly associated with blackness. The article is based on the findings of long term fieldwork conducted in Havana in 2015 and 2016 and from March to May 2018 among professional dancers, instructors and dance school owners.

A Mécs-hagyaték és -versadatbázis a Gödöllői Premontrei Apátság Levéltárában

Author(s): Anna Kara / Language(s): Hungarian / Issue: 2/2021

The spiritual legacy of László Mécs is not concentrated in one place in the Carpathian Basin. Its largest stock is in the Archives of the Prémontré Abbey in Gödöllő, Hungary. The Mécs poem database, also created here, helps to identify any work(s) of Mécs that may be found in the future and to make a research on those already available in the database.

A Registry for Movable Cultural Property of Significant Importance to Switzerland: Limit to the Cross-Border Movement and Right of Ownership

Author(s): Carine Simoes / Language(s): English / Issue: 2/2019

Switzerland now has a federal registry of its movable cultural property of significant importance. This measure is based on the national legislation implementing the 1970 UNESCO Convention on the Means of Prohibiting and Preventing the Illicit Import, Export and Transfer of Ownership of Cultural Property. Only Swiss cultural property or property with a close link to Switzerland is targeted. The registry includes, inter alia, archaeological objects, sculptures by Alberto Giacometti, paintings by Ferdinand Hodler, and also a correspondence by Albert Einstein from the period when he lived in Berne and discovered the theory of relativity. The inclusion of cultural property in the federal registry has two major effects: it restricts both cross-border movement and property rights. On one hand, the permanent export of a listed cultural property is prohibited. Although a temporary export may be authorized for research, conservation, or exhibition purposes. On the other hand, registered cultural property becomes res extra commercium: acquisitive prescription, even in good faith, does not apply. As a result, registered cultural property benefits from enhanced protection against permanent loss due to theft and illicit export.

A Roman cameo with the representation of Gorgo Medusa from the collection of Botosani County Museum

Author(s): Ana Cristina Hamat,Adela Kovács / Language(s): English / Issue: 30/2020

The current article brings back into discussion a special artifact discovered over 25 years ago and currently located in the deposits of the Botoșani County Museum. It is a cameo with the representation of Gorgo Medusa, which so far has not benefited from an adequate presentation, being brought to the attention of the general public through a short note in a local publication. The cameo was discovered in 1994 (Pl. II, Fig. 1, 2), with the occasion of archaeological research carried out in the village of Coțușca (Botoșani County). It appeared in a survey conducted 1 km away from the necropolis of the 4th -5 th centuries from Nichiteni. The item is a cameo made of onyx in two layers, being dated in II-III centuries AD. The depiction of Gorgo Medusa on cameos is one of the most popular subjects for such artifacts and therefore it became the pretext for one of the most famous glyphic series, with a popularity that predates the Empire era and lasts until late Antiquity, being also, one of the favorite symbols in the art of the Middle Ages and even in the modern times.

A siliquaeous treasure of the sec. IV discovered in Viespeşti village, Sprâncenata village, Olt county

Author(s): Constanța Știrbu / Language(s): Romanian / Issue: 3/1976

On fait la présentation du trésor mentionné, découvert en 1926 et réunissant 30 monnaies d'argent, acquisition récente (1974) du Musée d'Histoire de la R. S. de Roumanie. Les pièces du trésor sont : deux monnaies de Constantinus II (352—353), dont une est frappée à Nicomédia et l'autre à Sirmium ; une monnaie de Iulianus Apostata, frappée en 363 à Constantinople : trois pièces de Jovianus (363—364), dont une frappée à Constantinople et deux à Nicomédia ; deux monnaies de Procopius (365—366), frappées à Constantinople ; neuf monnaies datées de Valentinianus I, frappées à Constantinople (365—366), et anfin 13 monnaies de Valeus, toutes frappées à Constantinople (365—366). On fait des observations, spécialement concernant les légendes inscrites dans l'exergue des monnaies ; sont aussi présentées quelques variants des monnaies depuis Valentinianus I et Valens ; on souligne de même l'importance historique du trésor qui représente, à côté des autres sources — écrites et archéologiques —, un témoignage du développement économique de la région, des liaisons que celle-ci entretenait avec l'Empire romain. Ce trésor constitue en même temps une preuve de la continuité de la romanité au nord du Danube.

A young audience’s expectations of a contemporary museum of art

Author(s): Przemysław Kisiel / Language(s): English / Issue: 2/2021

The aim of the article is a sociological analysis of the way young visitors (post-millennials) perceive art museums in the context of their expectations in a mobile communications era. This problem is very interesting because young visitors, members of the post-millennial generation, participate in social and cultural life in a quite different way than previous generations. This problem is also very important because just post-millennials will decide the fate of this kind of institution in the not too distant future. The analysis of the perception of museum institutions is based on the results of an empirical study carried out among high school students (16–20 years old). The main areas of interest in this study were their preferences in the style of visiting museum exhibitions, their opinions about the exhibition being visited, and their expectations regarding changes in the formula of presenting art in the museum space.

ACHIZIȚIA DE CARTE ROMÂNEASCĂ VECHE PENTRU ANTICARIAT

Author(s): Marius George Cosarca / Language(s): Romanian / Publication Year: 0

The need to acquire books has always been an unquenchable thirst for all intellectuals because through books they gain elevated knowledge. Thus, books represent a multidisciplinary treasure of the vast history of knowledge. The acquisition and collection of old Romanian books have their own history, were first printed within the Church and were exclusively intended for the wealthy and educated people. Over time, a growing number of book enthusiasts were collecting old prints, spreading further cultural values and tradition. The objective of this study is to present the way in which the purchase of books for the antique shops in Romania, especially in Bucharest, was carried out. This study reveals the essential role antiquarians and book collectors have in the acquisition of old Romanian book.

Acquisition Fund: An unrecognised treasure within the cultural policy of the Czech Republic

Author(s): Lucia Horňáková,Marek Prokůpek / Language(s): English / Issue: 2/2021

The paper elaborates on the Acquisition Fund for Contemporary Art established in 2017 in the Czech Republic by the Ministry of Culture. Paradoxically, this fund is perceived both positively and negatively by various institutions. On the positive side, from the year 2017 to 2019, the fund has allocated 41,257,888 CZK (1,517,753 EUR) for the purchase of 287 artworks by 29 institutions. On the negative side, only 29 out of 218 eligible institutions have applied for support from the fund during the three years of the fund’s existence. This low application rate is attributed partly to the time consuming and complicated administration of the application for support, and partly to apprehension from some institutions regarding the likelihood of the actual realisation of the receipt of financial support. In turn, due to this low application rate, the institutions that have applied have had a high probability of receiving funding. The paper sheds new light on the lack of financing for acquisition in art institutions and opens the question of the effectiveness of the Acquisition Fund in the Czech Republic.

ACT Digital: The Strategic Role of Analytics, Creativity and Technologies for Cultural and Creative Sector and Education

Author(s): Evita Pilege,Sandra Plota,Girts Pilegis,Marga Zivitere / Language(s): English / Issue: XI/2021

The aim of the paper is to discuss the impact of information technology on socio-economic, cultural processes and the consequent need for a balanced digital transformation, especially in higher education and the creative and cultural sectors, bridging the digital divide and fostering analytical thinking without underestimating creative skills.

Activitatea arheologică a contelui Teleki Domokos

Author(s): Fábián István / Language(s): Romanian / Issue: 18-19/2020

Founder of the Teleki collection from Gornesti, which had almost 2000 pieces from the Stone age up to the 19th century, count Teleki Domokos was also a passionate archaeologist. Although he did not have special studies, he took part in the archaeological researches in Maramures, Salaj and Mures counties, from which he gathered a great number of artifacts partly donated later to the Transylvanian Museum in 1918, and partly kept in good conditions in his private collection.

Administracyjnoprawny status muzealiów w hiszpańskim porządku prawnym

Author(s): Maja Kozłowska / Language(s): Polish / Issue: 1/2021

The paper deals with the administrative status of museum exhibits in the Spanish legal system. The assumptions of the Spanish Historical Heritage Act of 1985, which regulates the status of BIC (bienes de interés cultural) cultural property (both movable and immovable) and various levels of protection depending on the category, were presented. The procedure of granting BIC status and the systems for cataloguing cultural property were also discussed. The system of protection of cultural property in Spain is highly decentralized, which also applies to the functioning of museums. The Spanish Autonomous Communities have extensive regional legislation regulating the above-mentioned issues. The article analyses regional regulations in this area based on the example of the autonomous community of Catalonia - on the basis of statutory regulations in the field of culture and cultural heritage and the Catalan Historical Heritage Act of 1993. This allowed for a comprehensive presentation of the complexity of the system of cultural property protection in Spain (at the state and regional level) and prompted reflection on the legitimacy and effectiveness of decentralized solutions in this area.

Adrian Jusupović, Kronika halicko-wołyńska (Kronika Romanowiczów) w latopisarskiej kolekcji historycznej [The Galician-Volhynian Chronicle (The Romanowicz Dynasty Chronicle) in the Historical Chronicle Collection], Avalon, Kraków–W-wa 2019, pp. 203.

Author(s): Mirosław J. Leszka / Language(s): English / Issue: 9/2019

Advent u tradicijskoj kulturi trogirskoga kraja

Author(s): Barbara Žaja / Language(s): Croatian / Issue: 54/2021

The Advent period covers a time of four weeks before Christmas. Christmas is a holiday in Christian traditionary culture when celebrating the birth of Jesus Christ. St. Barbara and St. Nicholas are the first Saints of Advent period and they announce the arrival of the Christmas holiday. Except St. Barbara and St. Nicholas, St. Lucia stands out in Christmas customs and the Advent period. On St. Lucia Day, tradition is described as the last day for sowing wheat. On Christmas Eve, Christmas candles and Yule logs are lit, lenten dishes are eaten and preparation is underway for the Holy Mass at midnight. The traditional customs of the Trogir region during the Advent period are similar to the remnants of the customs of the central Adriatic, but there are stories and customs by which the Trogir area is special. Special dishes were prepared, special songs were sung, and special legends of medieval Trogir were preserved. In Croatian traditionary culture, the custom of the first guest is also present, on Christmas Eve, in the Trogir region. According to belief, the first guest brings good luck. Christmas Eve is the richest day in Christian traditionary culture, and this is proven by the customs in the Trogir area.

Afinităţi istoriografice în opera lui Vasile Netea

Bibliologica

Author(s): Corina Teodor / Language(s): Romanian / Issue: 11/2012

The present study intends to render the part of the historian Vasile Netea in the Romanian historiography, not by a full analysis of the content of his work, but by merely trying to show who were the heroes that determined his research and who were the historians that he placed at the basis of his research. It is not a top, impossible to achieve given the impressive dimensions of his work, but rather the affinities with other historians’ writing, predecessors without whom his speech would have been less consistent.Hence, the investigation of those pages in which Netea showed his attachment to and also his sympathy towards the historical ideas of Şincai, Maior, Papiu Ilarian, Treboniu Laurian, Bariţiu or Iorga.

African Art: The Journey from Ethnological Collection to the Museum of Art

Author(s): Aneta Pawłowska / Language(s): English / Issue: 4/2020

This article aims to show the transformation in the way African art is displayed in museums which has taken place over the last few decades. Over the last 70 years, from the second half of the twentieth century, the field of African Art studies, as well as the forms taken by art exhibitions, have changed considerably. Since W. Rubin’s controversial exhibition Primitivism in 20th Century Art at MoMA (1984), art originating from Africa has begun to be more widely presented in museums with a strictly artistic profile, in contrast to the previous exhibitions which were mostly located in ethnographical museums. This could be the result of the changes that have occurred in the perception of the role of museums in the vein of new museology and the concept of a “curatorial turn” within museology. But on the other hand, it seems that the recognition of the artistic values of old and contemporary art from the African continent allows art dealers to make large profits from selling such works. This article also considers the evolution of the idea of African art as a commodity and the modern form of presentations of African art objects. The current breakthrough exhibition at the Bode Museum in Berlin is thoroughly analysed. This exhibition, entitled Beyond compare, presents unexpected juxtapositions of old works of European art and African objects of worship. Thus, the major purpose of this article is to present various benefits of shifting meaning from “African artefacts” to “African objects of art,” and therefore to relocate them from ethnographic museums to art museums and galleries.

Against the “Moonlight and Magnolia” myth of the American South. A new materialist approach to the dissonant heritage of slavery in the US: The case of Whitney Plantation in Wallace, LA

Author(s): Dorota Golańska / Language(s): English / Issue: 4/2020

The article presents an analysis of the operations of the Whitney Plantation Museum, which opened in 2014 in Wallace, LA (USA), situated within the context of plantation heritage tourism in the American South. The argumentation offers an illustration of the significant transition, even though still of marginal character, of the dominant tendencies of representing slavery in heritage sites (plantation museums) devoted to cultivating knowledge about the history of the region. New materialist in its orientation, the analysis subscribes to the most fundamental assumption of this philosophical tendency, namely that knowledge is generated in material-semiotic ways, and applies this approach in an enquiry into the educational experience offered to visitors by this heritage site. The article argues that although the emergence of institutions such as Whitney Plantation is meant to pluralise the memorial landscape of a given community, rather than serving as multivocal spaces they tend to remain steeped in fragmentation.