
Avangarda i politika
One always searches for some symbolic point from which one can claim that something ended and something else began, even though there are no beginnings and no endings.
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One always searches for some symbolic point from which one can claim that something ended and something else began, even though there are no beginnings and no endings.
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U organizaciji Franjevačke teologije u Sarajevu održan je 14. i 15. listopada 2005. godine Međunarodni znanstveni skup posvećen uglednom arheologu i povjesničaru dr. Pavlu Anđeliću (1920-1985). Gotovo cijeli svoj radni vijek Anđelić je posvetio istraživanju bosanskoga srednjovjekovlja. Prvotno je studirao pravo, a po završetku studija radio kao kotarski sudac u zavičajnom Konjicu. Već za vrijeme sudačke službe počeo se zanimati za povijesno-kulturno nasljeđe. Po prelasku u Sarajevo (1956), ubrzo je, kao uposlenik Zemaljskoga muzeja, upisao studij povijesti i sasvim se okrenuo proučavanju prošlosti Bosne i Hercegovine. Bavio se pitanjima arheologije od prethistorije do srednjega vijeka. U svojim se istraživanjima s posebnim interesom okrenuo srednjovjekovnim gradovima bosanskih vladara, te pitanjima arheološko-historijske topografije, sfragistike, heraldike, epigrafike i diplomatike. Sam je vodio iskopavanja na više arheoloških lokaliteta: grad Bobovac, vladarski dvori u Kraljevoj Sutjesci, crkva Sv. Marije u Jajcu, grad Blagaj kod Mostara, krunidbena i grobna crkva u Milima (Arnautovićima) kod Visokog. Zapaženi doprinosi rasvjetljavanju povijesti bosanskoga srednjovjekovlja, akribija u znanstvenom radu, utemeljenost i visoka pouzdanost rezultata istraživačkoga rada Pavla Anđelića, razlozi su koji su nas potaknuli da znanstvenim skupom obilježimo dvije njegove obljetnice: osamdeset pet godina od rođenja i dvadeset godina od smrti. Pritom smo se vodili i činjenicom da je on, kao franjevački đak, osam godina pohađao Franjevačku klasičnu gimnaziju u Visokom gdje je stekao klasičnu izobrazbu. Skup je inicirao Dubravko Lovrenović s ciljem da se njime oda ne samo počast uglednom znanstveniku, nego također svrati i pozornost na njegove znanstvene doprinose na polju arheologije i historiografije Bosne i Hercegovine. U Zborniku je sabrano i objavljeno ukupno devetnaest referata. Jedan dio njih bavi se Anđelićevim doprinosima na polju arheoloških istraživanja, a drugi dio zahvaća tematiku koja prostorno i vremenski ulazi u okvir njegova istraživačkoga područja.
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Since the mid of 1950-ies a visual arts scene, specific in many ways, has flourised in the region of the city of Zenica. Firstly, the association of amateur artists was founded in 1956; afterwords the Visual Arts Association Zenica founded in 1974 whereas the Art Gallery started its activities within the City Museum towards the end of 1981. Visual arts scene of the second half of 20th century involved the artists of different sensibility and poetics of art; among them most famous ones were Ljubomir Perčinlić, Mirko Marić i Anto Kajinić. In addition to these artists we should also mention Tomislav Perazić, Muhamed Bajramović, Irfan Handukić, Miroslav Šetka, Jelenko Butina, Anto Čabraja, Mensur Begičević, Duško Abramušić, Jasmin Kukavica and others. Yet, the first visual artist with the academic education was Stjepan Totić, born in December 1927 in Zenica. He started his education at the Visual Arts Academy in Ljubljana in 1959 and graduated in 1963. Later, he finished his specialist studies at the same Academy in 1964/1965. Throughout his career Stjepan Totić worked in graphic and printing industry (he worked as the visual illustrator and later as the technical editor of the city periodical Naša Riječ). He made over 100 of different illustrations for the newspapers (the first ones appeared during 1956); he also gave the artistic form for about ten books (cover page illustartions), and he also wrote visual arts critiques and created a relatively small but very specific artistic collection. As he used to describe his own painting he was, primarily, a painter of figuration and portraits. Many visual arts critics wrote about his work, just to mention a few: Azra Begić, Branka Perišić, Meliha Husedžinović, Slobodan Blagojević. He was a member of the Visual Arts Association Zenica from 1974 until the beginning of the recent war. The artistic expression of Stjepan Totić was mostly influenced by the Slovenian painter Gabrijel Stupica. Totić had only one independent exhibition in Zenica in 1980 and it was accompanied by the catalogue. He withdrew from active artistic life of the city in the second half of 1980-ies. In Spring 1992, at the very beginning of the war activities, Stjepan Totić left for Innsbruk (Austria) where he lived for the rest of his life and died in 2009. He was married to Marija Helena Totić and had two sons, Josip and Krunoslav, and the daughter Margareta. His painting „Trapez“ used to be the permanent exhibit of the City Museum of Zenica from 1986 to 2007.
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У монографії оприлюднені наукові результати дослідження соціології музеїв відомих у соціологічній науці та музеєзнавстві авторів. Мета монографії полягає у презентації нового наукового напряму – соціології музеїв, що дозволить об’єднати множинність розрізнених знань про музеї, напрацьованих у сучасній гуманітаристиці, у єдину систему, виокремити новий напрям наукового знання, а також визначити соціальну місію та перспективи розвитку музеїв у новому українському суспільстві.
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Bibliografia „Bălţi – important centru urban din Nordul Moldovei” propune cititorilor peste 3 500 documente despre evenimentele istorice desfăşurate pe teritoriul municipiului Bălţi, despre realizările în toate domeniile de activitate umană, începînd cu anii 90 ai sec. 20 pînă în 2015, perioadă marcată de importante transformări sociale, economice şi politice. Poate servi drept un suport documentar şi educativ de mare importanţă în cultivarea dragostei pentru pământul Moldovei. Dispune de indexuri de nume şi titluri.
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Před zhruba půlstoletím napsal prominentní britský prehistorik Gordon Vere Childe (1892–1957) jeden z prvních, ne-li vůbec první, novodobých úvodů do studia archeologie: A Short Introduction to Archaeology (Krátký úvod do archeologie). Od té doby byly takových úvodů napsány desítky, až po volnou, žertovnou formou napsanou repliku knihy G. V. Childa, Archaeology. A Very Short Introduction od Paula Bahna (Oxford University Press 1996, 2002; český překlad Anna Kalmanová, Archeologie. Průvodce pro každého, Vimperk: Dokořán, 2007). U nás byly nejvíce používány příručky: H. J. Eggers, Einführung in die Vorgeschichte (München 1959); S. J. Laet, Archeologija i jejproblemy (polské vydání, Warszawa 1960); F. Felgenhauer, Einführung in die Urgeschichtsforschung (Freiburg 1973); H. Müller-Karpe, Einführung in die Vorgeschichte (München 1979) a možná i poněkud náročnější polský sborník W. Hensel – G. Donato – S. Tabaczyński, eds., Teoria i praktika badań archeologicznych I. Przeslanki metodologiczne (Wrocław–Warszawa–Kraków–Gdańsk–Łódź 1986).
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Ve chvíli předávání tohoto svazku „Postav moravské archeologie“ do tisku cítí autoři povinnost připomenout čtenářům jednu důležitou okolnost, která – jak se ukazuje – provází a do budoucna stále bude vydávání „Postav“ provázet. Jde o úplnost či neúplnost a o kritičnost jednotlivých svazků. Malé monografie stěží mohou osudy a životní dílo jednotlivých protagonistů moravské archeologie vyčerpat bezezbytku. Ne kvůli limitovanému rozsahu svazků – žádný limitkromě ekonomického není stanoven, nýbrž z heuristických důvodů. Co se týká kritičnosti, resp. hodnocení té které osobnosti, pak – pokud se ho ten který autor vůbec „dopustí“ – bude vždy především subjektivním pohledem, ovlivněným celkovým rozhledem pisatele, jeho odvahou a dobovým nazíráním. Autoři ostatně nejsou k hodnocení osobností vyzýváni.
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The present work represents the first comprehensive survey of medieval jewellery located in museum depositories, galleries and archaeological institutions of South Moravia. Into the collection, the author has included items from 79 localities: 45 urban towns, 11 castles and 23 other locations (current and former villages and cultural sites). The selection has been limited to the High Middle Ages, i.e. mainly to the 13th–15th centuries, possibly extending into older and younger periods. The core of the work is comprised of a catalogue of objects with drawings or photographic documentation accompanied by detailed descriptions. The catalogue of finds is fully available in electronic form in the Digital Library of the Faculty of Arts, Masaryk University, Brno. In the analytical part of the thesis, the objects are evaluated in terms of typology and morphology, including comparisons with finds from other locations. This allows the jewellery to be set in contemporaneous context in terms of its functional, aesthetic and symbolic significance.
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The study examines the Japanese mountains as places of religious practices. The author looks at both the historical and the present-day religious practices enacted in the mountains and asks how the logic of the market has shaped them. By looking through the historical development of religious practices in the mountainous locality of Tateyama, the first three chapters offer an understanding of the relationship between mountains and notions of the afterlife. The case of Tateyama, a popular pilgrimage site during the Edo period, provides an insight into the pilgrimage place and its mountain cult taking into account the economic aspects in the maintenance of the cult. Drawing on insights gained through field research in the Japanese mountains of Tateyama and Dewa Sanzan, the author explores the present-day re-enactments and sustenance of religious practices and their intersection with the cultural heritage concept. These observations have provided a useful perspective on adjustments between providers of religious practices and participants. Although seen as marginal practices, austerities such as taki gyō and the complexity of qualities associated with them are introduced in the last chapter as examples of the creative sustenance of present-day ascetic practices.
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When Masaryk University was first established, the disciplines related to historical study were most strongly represented. This year's 100th anniversary of the founding of Masaryk University offered a unique opportunity to look back on the changes that these fields of historical study have undergone in the university's first century. Over time, they gradually separated from the history seminary, and other seminaries and institutes were established which were closely connected to history and its processes, such as those pertaining to the history of art, archaeology, museology, archival and auxiliary historical sciences, and ethnology. The authors of this publication endeavoured to answer questions concerning the significance of these Brno seminaries for the history of science and learning in both domestic and international contexts, the personalities who emerged in Brno, and what external influences were at work in the creation of fields of history as institutions at Masaryk University Faculty of Arts. The publication is divided into three parts: Institutional Development; Personalities; and Traditions, Innovations and Projects. It is from this perspective that the authors look at the development of today's Department of History, the Department of the History of Art, the Department of Auxiliary Historical Sciences and Archive Studies, the Department of European Ethnology and the Department of Archaeology and Museology throughout the twists and turns of Czech history from the founding of independent Czechoslovakia to the present day.
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This publication deals with various factors which influence destructions and reconstructions of cultural heritage in the Middle East and North Africa. The destruction of cultural property in the Middle East and North Africa cannot be characterized as purely religious but must be seen in the context of a number of reasons, which may be related to propaganda, strategic and military reasons, or political and ethnic issues. At the same time, it must be borne in mind that jihadist groups are not the only ones that kill cultural and historical objects worth. Book is divided into three main parts. The first is a general introduction to the relevant legislation and its implementation. The second part examines the reasons for destruction and main ideas in reconstructions. It presents two types of destructions present in the region: those motivated by the religion and secular ones, explaining its existence in the Muslim society from historical, sociological, and religious perspectives. The third part is the central part of the dissertation. It consists of five case studies of five countries of the Muslim World: Syria, Iraq, Mali, Yemen, and Saudi Arabia. These studies are based on previous findings and aim to present a foundation for further comparison in the conclusion of the publication.
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Proceedings are the output of the 6th International colloquium on tourism that was focused on the action plan of tourism policy, destination management in the Czech Republic and in Slovakia, and cultural and natural heritage. Proceedings also includes further current issues in tourism.
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On 13-15 September 2022, the History of Archaeology in the Czech Lands and Slovakia conference was held at the Department of History, Faculty of Arts, Palacký University in Olomouc (with the organizational contribution of the Moravian Museum in Brno). Nominally it was dedicated to two anniversaries connected with Moravian archaeology - 70 years since the death of Innocence Ladislav Červinka (1 February 1869 - 3 October 1952), the most important Moravian prehistorian of the first half of the 20th century, and 115 years since the first congress of the Moravian Archaeological Club in Litovel, an association that since the end of 1906 has brought together most Moravian prehistorians of Czech nationality under Červinka's presidency. It was attended by 40 interested persons from the Czech lands, Slovakia and Poland. The proceedings contain two dozen texts: 16 of the 25 papers that were presented at the conference, 3 additional papers that were announced in preliminary versions of the conference programme but ultimately did not appear due to various circumstances, and an edition of one of Červinka's manuscripts. The texts are structured into five thematic parts. The first one (Innocent Ladislav Červinka) with seven papers is devoted to the personality of Innocent Ladislav Červinka. The second part (Personalities) presents eight articles on European and regional personalities associated with archaeology. Two contributions of the third part (Societies) deal with the organizational structures of Czech and Moravian archaeology. The other two articles in Part Four (Finds and Sites) deal with the history of one remarkable find from Slovakia and one important Slovakian site.
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As a result of the changes of borders in the 20th century, a large proportion of Poland’s cultural heritage found itself on the territory of present‑day Belarus and Ukraine. Over the centuries, many cultural assets were created on the erstwhile eastern territories of Poland which the contemporary Polish state, like the other two countries, considers part of its national heritage. This consists mainly of architectural and artistic monuments, archives, libraries and cemeteries. It is difficult to determine in detail how much of the Polish cultural heritage created before 1945 remained in Belarus and Ukraine, but certainly without it, the history of Polish culture and knowledge about it cannot be complete. In fact, no other countries in the world (except Lithuania) are as important to the Polish cultural heritage as Ukraine and Belarus.
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From its creation until the present day, humans have often not lived within their own borders and have constantly moved. During this change of location, they both carried their culture to where they went and adopted the culture of the places they settled. This situation either destroyed or complicated many traditions. Information on clothing, which is an important part of Kars culture, is included in historical documents piece by piece and independently from each other. It is seen that there is no holistic and comprehensive research on Kars clothing, which is important in terms of ethnic, national and sociocultural aspects. In addition, it is considered a necessity to make artistic publications on the elements of Kars clothing. In the book, the clothing characteristics of the people of Kars, as men and women, are examined; upper body wear, lower body wear and garment are detailed as complements. Afterwards, the clothes were examined and 12 women's capsule collections of size 38 were prepared. This collection is in a daily wearable style and consists of 30 pieces. Technical leaflets of the capsule collection prepared in the study were prepared and produced in the Coral Draw program. The clothes produced were dressed and photographed on the lifeless mannequin and arranged by cleaning the back in Photoshop. With this study, Kars clothes, which were about to disappear, were tried to be brought to light, and modern style women's clothes were produced based on these clothes. Thus, Kars traditional clothing, which is one of our cultural heritages and considered as cultural carrier, has been modernized technically and artistically, and has been made usable for present and future generations.
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In this study, it is aimed to present the source of animal figures in Turkish art and mythology, their mythological meanings and the branches of art in which they are applied, by adding a contemporary interpretation to the figures that will inspire, adapting them to clothing designs, ensuring their sustainability and the up-to-date use of cultural elements in the field of fashion and textile. Within the scope of the study, it is understood that the phenomenon of mythology and animal style have a great influence in Turkish art. Animal figures used in Turkish Art and mythology during the Hun, Göktürk, Uyghur, Seljuk and Ottoman periods; It has been applied in art fields such as stone, wood, metal, miniature, tile and weaving. Legendary animals such as double-headed eagle, dragon, phoenix (simurg), griffin, siren, sphinx, clay were frequently used in Turkish art, which has grown and developed from past to present. It is seen that the meanings attributed to the mythical (fantastic) animal figures are shaped by religious beliefs, legends and epics. These mythological animal figures contain qualities such as protection, guiding as an element of fertility, and benevolent. In Turkish Art, animal figures were used less frequently than plant and geometric motifs. In the historical process, the works of mythical animal figures such as the emerald phoenix, double-headed eagle, dragon, sphinx, siren, griffin and clay, which are animal figures in Turkish art and mythology, have been examined in detail by considering their meanings. Designs have been prepared by considering textile surface arrangement and decoration techniques such as animal figures, clothes, digital printing on garment complements, sequin-bead embroidery, embroidery, applique, needle felt. 30 computer-aided designs consisting of clothes, shawls, bags and neck collars were made using emerald phoenix, double-headed eagle, dragon and sphinx figures.
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The book presents the history of the establishment of the Pauline Order worldwide and in Poland. The importance of book culture in the spiritual and intellectual life of the Polish Paulines have been discussed. The history of the formation of the library collections of Jasna Góra and Skałeczna has been presented. The profiles of the leading incunabula printers and their professional achievements have been shown. All incunabula of both libraries have been compiled in the form of a catalogue. Descriptions have been prepared in accordance with cataloguing standards with the inclusion of provenance records, the characteristics of the bindings and the provision of bibliographic citations.
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The present book is a critical edition of Mongolian ritual manuscripts preserved in Czech collections. It offers palaeographic descriptions and transcriptions for all the manuscripts, accompanied by English translations and selected facsimiles. The edition includes the majority of popular ritual text categories written in Classical Mongolian (mostly incense offering rituals) commonly circulating in the extramonastic milieu of premodern Mongolia: texts on fire-worship, White Old Man, Offering of the Fox, Geser Khan rituals, hunting rituals, while several texts related to cults of local deities, protection of livestock, as well as popular religious songs and individual prayers are appearing in the scholarly literature for the first time.
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The publication is the result of the efforts of an international collective of authors to capture the transformation of exhibition institutions and curation during the Covid 19 pandemic, with a focus on the year 2020. It seeks an answer to the question of how curatorial strategies, communication platforms and the social function of exhibition institutions have changed under the influence of rapid and external circumstances, that forced transition from physical gallery spaces to online. It critically reflects on the exhibition project Černá skříňka/The Black Box (Galerie TIC), in which several curatorial approaches were applied, including the use of artificial intelligence, and places it in the broad context of curatorial projects that were carried out at the same time at home and abroad as well as in the network of terminology apparatus, which is built around the phenomenon of online curation. The research method is a combination of writing the history of presence, mostly from the pen of direct participants, which lends authenticity and engagement to the texts, with theoretical reflection informed by digital and network media theory.
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The study of the artworks of the Old Masters has long been the prerogative of art historians alone. Expertise and other art-historical methods can now make much greater use than ever before of the findings of the so-called exact sciences. These make it possible to acquire new knowledge about works of art of the past that is not obvious to our eyes. Imaging and instrumental methods for the study of works of art often allow us to literally “look into the painting”, below the surface of what we see, and observe the work in different areas of the invisible spectrum of electromagnetic radiation, for example. By using various research methods – with the necessary caution and awareness of their limitations – it is often possible to gain insight into the hypothetical process of the creation of the work and into the painting’s layers. It is possible to characterize the material nature or technological processes or to study the author’s changes and later interventions in the work. Various research methods allow us to see artworks from different perspectives and to study them figuratively speaking “in new colours”, often the colours in which they appear to our eyes using a variety of imaging methods. How an art historian can work with technological knowledge and to what extent he can rely on it at all is demonstrated and addressed in a total of seven case studies dealing with hanging paintings by Old Masters from the collections of the Archbishopric of Olomouc and the Olomouc Museum of Art.
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