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Batthyány Ignác püspök és az alvinci kastély

Author(s): András Kovács / Language(s): Hungarian Issue: III-V/2010

In 1716 the castle from Vințu de Jos, an emblematical building of the Principality of Transylvania, got into the possession of the Transylvanian Bishopric. The surveys dating from around the turn of the 18th and 19th centuries, as well as the inventories of the domain reveal data regarding the original aspect of the building. Among the pictorial sources, the reconstruction plan of the castle drawn between 1792-1798 is of utmost importance. According to the coat of arms and the initials visible on the plan this was commissioned by Count Ignatius Batthyány. Even though the reconstruction had not taken place, the survey of the existing building that was taken as part of the preparation works, shows the original renaissance openings that were largely destroyed later during the 19th century. According to this survey, the 17th century façade of the castle was decorated with paired windows on the ground floor and windows with triangular pediments on the first floor. The analysis of the survey led to the conclusion that the paired windows of the northern façade of the castle also date from the 17th century – and not from the 16th – thus being the results of the constructions commissioned by Prince Gabriel Bethlen between 1615 and 1629.

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Prace rewaloryzacyjne w klasztorze i nowe wyposażenie wnętrza kościoła św. Józefa karmelitów bosych w Poznaniu w latach 1984–1990

Author(s): Józef Benignus Wanat / Language(s): English,Polish Issue: 1/2011

Karmelici bosi przybyli do Poznania w 1618 roku. W ogrodzie nabytym od Elżbiety Michanówny zbudowali – początkowo drewniany – klasztor pod wezwaniem św. Józefa. W latach 1635–1687, na gruncie zapisanego im dworu przez Barbarę Orzelską, wybudowali murowany barokowy klasztor i kościół św. Józefa3. Architektami i budowniczymi kościoła św. Józefa byli: Jerzy Catenaci oraz Krzysztof Bonadura starszy i Krzysztof Bonadura młodszy. Karmelici bosi po II wojnie światowej odzyskali swoją własność w stanie ruiny. Odbudowa i rewaloryzacja zabytku sztuki trwała wiele lat. Obecne wyposażenie kościoła wykonane zostało w latach 1985–1990.//The Discalced Camaldolese arrived in Poznań in 1618. In a garden purchased from Elżbieta Michanówna they built the original wooden monastery dedicated to St Joseph. In 1635–1687, on the land of the manor bequeathed by Barbara Orzelska, the Camaldolese built a stone monastery and St Joseph's Church. Among the architects and builders of St Joseph's Church were: Giovanni Catenaci, Krzysztof Bonadura the Older and Krzysztof Bonadura the Younger. After the Second World War, the Discalced Camaldolese regained their property in a state of ruin. It took many years to reconstruct and renovate the heritage site. The present furnishings of the Church were made in the years 1985–1990.

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Rekonstrukcja części ołtarzowej cerkwi Zwiastowania NMP w Supraskiej Ławrze

Author(s): Adam Musiuk / Language(s): Polish Issue: 18/2016

Reconstruction of the XVI century church of the Annunciation of the Mother of God of the Suprasl Laura enters now the period of the reconstruction of the interior décor. Due to the lack of sufficient number of historical materials decisions concerning the design must be taken based on hypotheses and comparative analysis. In the work, solutions of the question of the program of frescoes in the sanctuary as well as the altar were suggested.

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Kościół bernardynów w Rzeszowie. Mistagogia przestrzeni prowadzącej do wnętrza świątyni

Author(s): Grażyna Ryba / Language(s): Polish Issue: 1/2016

In the years 1610–1629, a church founded by Mikołaj Spytko Ligęza was erected in Rzeszow on the site of apparitions of the Virgin Mary, and entrusted to the care of Bernardine monks. In connection with the jubilee of the 500th anniversary of the apparitions in 2013, a series of renovations were conducted in the church; and the porch, which occupies the bottom floor of the tower, built on the axis of the west facade of the building, was rebuilt. Currently, there are two pairs of double bronze doors, carved on both sides, which lead to the interior of the porch. Another door, also covered with sculptural decoration, separates the porch from the nave. Its partial glazing inscribes the entire interior of the rich Mannerist-Baroque building into its image field, creating a spatial stage design arrangement developing into the interior, towards the very tabernacle and the main altar in the chancel. Obviously, the moving wing system allows for creating variable configurations with varying messages, developing in time and space. Images of the history of the local apparition and the figures of the local saints gradually lead the viewer through biblical presentations and quotations to the mystery of the Incarnation. The space of the vestibule, skillfully combining the iconography message with the symbolism and expression of the form (such as the symbolism of the light and the symbolism of the material), constitutes a significant element and, at the same time, a metaphor of mystagogical initiation, achieved when crossing the border between the profane and the sacred.

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Uloga Varaždinskih baroknih večeri u promociji graditeljske i likovne baštine u Hrvatskoj i šire te njezinoj obnovi

Author(s): Ana Kaniški / Language(s): Croatian Issue: 27/2016

The forty five years of continuous tradition of the Varaždin Baroque Evenings music and performance festival is an expression of the desire of its founders to support and promote music to the audiences in Varaždin, its immediate surroundings and the north of Croatia, as well as in Europe and the world. Musical performances and the accompanying programmes introduced the audience to the history of Varaždin, its musical, architectural and artistic heritage, as well as the beauty of its nature and tourist destinations. When the festival, with its beautiful performance spaces, countless associates and an excellent reputation, started growing out of its local framework and gaining international recognition, it started to contribute to the promotion of art not only in the north of Croatia, but also on a wider European level as well. This was achieved by using the urban locations and the magnificent architectural heritage of the region as concert venues. Even more importantly, the artwork on the posters, invitations and records published by the festival also featured the cultural heritage of the region, which was the subject of research of the many participants of conferences and symposiums that were part of the festival’s accompanying programme. Also part of the accompanying programme were the numerous exhibitions which, just like the performances that took place in the castles of Hrvatsko zagorje, testified to the organizers’ attitude towards the preservation and renovation of national heritage sites. More recently, in addition to promoting the arts in Croatia, the festival has also been promoting the heritage of partner countries. This dedication to the promotion of artistic heritage is an expression of the sensibilities of those who have been the moving force behind the Varaždin Baroque Evenings in the past forty five years.

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"Seramik Tasarımında Güzeli Arayış Sürecinde Yerel Değerlerin Esin Kaynağı Olarak Kullanımı"

Author(s): Mehmet Fatih Karagül / Language(s): Turkish Issue: Special/2017

The beauty that has been tried to be addressed with such fields as mathematics, architecture, geometry has been among the subjects of philosophers since antiquity. Although the concept of beauty varies according to the periods, beauty is in fact related to the conception of the people. According to Aristotle, the values we can grasp will be beautiful, otherwise considered as non-aesthetic. Although 144 there is not a formula of the ideal beauty, the concept of beauty changes in an abstract and concrete way, according to the persons who monitoring. Throughout the ages, we can see that the Anatolian coasts have been governed by different civilizations and are a source of rich cultural composition. With its strategic and geopolitical importance, Çanakkale shores also witnessed a significant part of this process. Foreign powers always want to possess these lands and the beauty of the richness of these lands. The word "Hellespont" is one of the names used throughout the history of the Dardanelles. Hellespont is a local value for Çanakkale as geographical environment, cultural wealth and sense of meaning. A series of thematic works on using Hellespont as inspiration in designs will be addressed in this notice.

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Tendencies of Transformations in Rural Landscape of the Former Collective Farm Villages of Lithuania

Author(s): Deividas Marcinkevičius,Vilma Karvelytė Balbierienė / Language(s): English Issue: 2/2017

The process of agricultural collectivization and formation of collective farm villages[1] started in 1948. There was started an intensive expropriation of land, the intensification of mechanization as well as concentration of the production of agricultural commodities; there was initiated the development of the villages for the newly organized collective farms. During the Soviet period, all villages were classified according to the number of the population in the villages, spheres of control, social and production potential. (Bielinskis F. Stanevičius St.,). Within the development of new large farming centres, the other classification of new villages was introduced according to the functions and administrative division. (The Administrative Territorial...of the Republic of the Soviet Lithuania ..., 1972). The central and secondary villages developed as the derivative structures of the collective farming system or as the principal urban formations. The process of collectivization itself in rural areas together with the industrialization in towns had to serve the increase of economy in the Soviet Union. Afterwards, all the processes related to collectivization significantly slowed down and finally in the nineties of the previous century, were doomed to fail together with the collapse of the Soviet Union. A huge number of the former existed collective farm villages as well as rather dense location of them throughout the whole territory of the country indicate the impact of those villages on the urban and land management framework of the country. Heretofore, every collective farm village turned to be a guarantee of employment for the population residing in the village because in each collective farm village there were economic-industrial buildings and goods were manufactured by an abundant work force. At present, when a great number of the buildings have been abandoned, the villages have confronted with the urgent problem of unemployment which has caused social problems. The mentioned above problems have derived from one aspect, i.e., the loss of the function of the former collective farm villages. In case, a newly derived function could be provided for those villages, there might be solved the issues of unemployment, neglected buildings, impoverishment of the landscape, demographic decline of the population in those rural areas as well as certain social economic problems could be solved.

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Позднескифская «цитадель» городища Кара-Тобе: планировка, хронология, периодизация

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Позднескифская «цитадель» городища Кара-Тобе: планировка, хронология, периодизация

Author(s): Egor E. Antonov / Language(s): Russian Issue: 3/2017

The article focuses on the reconstruction of the layout of Kara-Tobe hillfort’s central part (North-Western Crimea). “Citadel” existed there during the heyday of the Late Scythian settlement (mid 1st century BC — the 1st quarter of the 1st century AD). The relatively short chronological period counts approximately ten rearrangements, both within individual buildings or houses, and within the site. Edward Harris’s method made it possible to synchronize the rearrangement and distinguish four building horizons of different duration. It was possible to date some of them. Comparing observations of the «citadel» and houses layouts with neighboring and distant sites complemented our understanding of the Late Scythian housebuilding. It also provided a clue to the social structure of their society.

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Княжеские резиденции в домонгольской Руси: летописные известия и археологические реалии

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Княжеские резиденции в домонгольской Руси: летописные известия и археологические реалии

Author(s): I. O. Popov / Language(s): Russian Issue: 5/2000

Making a synthesis of written records, illustrations and archaeological evidence, the author of this article distinguishes five groups of features in the residential complex of Russian Knyaz in the pre-Mongol period.The first group unites features of representative nature meant for Knyaz’s ceremonies, receptions and feasts. A stone or wooden terem was an architectural dominant of a Knyaz’s court and represented a tower-like building with golden tent-like top. Remains of monumental stone features were found in Chernigov, Polotsk, Grodno and Bogolyubov; wooden ones – in Novgorod, Staraya Ryazan, Vshchizh and Lyubech. Knyaz gridnitsa represented a large (possible two-storey) building with a vast throne hall and many windows. It seems that all Kiev palates, as well as buildings in Peremyshl’, Zvenigorod, Kholm are all stone gridnitsas. Traces of wooden gridnitsas were found in Novgorod, Lyubech and Belgorod. A porch – seni – was a large light unheated premise built on pillars. All the listed types of buildings had a typically rich interior and decorated with luxurious utensils.The second group of buildings – dwelling proper of Knyaz’s residence – “khoromy”, which make a whole complex of buildings. Khoromy could comprise heated izbas (houses), cold gornitsas-“povalushi” (rooms), small sleeping rooms – “lozhnitsas”, poly-functional “kleti” (storeroom), baths – “istopki”, luxurious “polati”, prisons –“poruby”.The third group of buildings of Knyaz’s court included household constructions (various storerooms, cellars, granaries). The fourth group of buildings was of military and defence use; it seems that it was represented by buildings of tower-like type.The fifth group of features in a Knyaz’s residence included court temples.

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Misir-Kahire Nâsiriyye Medresesi Vakfiyesi

Author(s): Ahmet Sağlam / Language(s): Turkish Issue: 01/2017

The Sultan al-Nasır Muhammad Madrasah in Egypt-Cairo begins to be built first by Al-Malik al-Adil Zeyn al-Din Ketboga. It was completed in 703/1303 by Sultan al-Nasır Muhammad. The Madrasah was built as a four iwan structure. Besides the structure also stands out as the first Madrasah in which four different sunni jurisprudence’s education were given. The wagfiyya of the al-Nasır Muhammad Madrasah was published in the work of the Mamluk author Nuwayri (d. 733/1334) who was also involved in the management of the madrasah for a long time.

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Basic dimensions of experience of architectural objects’ expressiveness: Effect of expertise

Author(s): Slobodan Marković,Đorđe Alfirević / Language(s): English Issue: 1/2015

The purpose of the present study was to compare the structure of experience of architectural expressiveness of architects and non-architects. Twenty architects and twenty non-architects rated twenty photographs of architectural objects on thirty expressiveness scales. Principal components analysis revealed four factors for both groups of participants: Aggressiveness, Regularity, Color and Aesthetics. In a cluster analysis two clusters of architectural objects were obtained: Choleric (high Aggressiveness and Color) and Phlegmatic (low Aggressiveness and Color, and high Regularity). All objects were highly rated on Aesthetics. Analysis of variance has shown that architects rated both clusters as less aggressive than non-architects. Also, experts rated the Phlegmatic cluster as more aesthetic, while non-experts rated the Choleric cluster as more aesthetic. These results supported the Processing Fluency model: compared to non-architects, architects processed the expressive information of minimalistic objects (Phlegmatic cluster) with ease, which led towards positive hedonic reactions and higher.

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Prostorna struktura grada Tuzle

Author(s): Danijel Barišić / Language(s): Croatian Issue: 5/2008

Tuzla je jedno od najstarijih naselja u Europi s kontinuitetom življenja. Dokaz tome su pronađeni ostaci sojeničkoga naselja iz vremena neolita. Arheolozi su u bližoj okolici i u samom gradu, otkrili brojna naselja sa bogatim ostacima materijalne kulture prastarih stanovnika ovoga područja. Među pronađenim arheološkim materijalima ističe se keramička neolitska posuda čija je namjena bila kuhanje slane vode i proizvodnja soli.

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REPREZENTĂRI ICONOGRAFICE ALE MORȚII ȘI ECOURILE LOR ÎN IMAGINARUL CULTURII TRADIȚIONALE ROMÂNEȘTI

Author(s): Cosmina-Maria Berindei / Language(s): Romanian Issue: 1/2018

Iconographic Representations of Death and Their Echo in the Romanian Traditional Culture Imaginary. The present research focuses on a few elements that define the unrepresentable figure of Death, introduced in the Romanian cultural space by the traditional books and taken over by iconography; later, these elements had an echo in folklore adaptations or popular beliefs. We started from the conclusions of our research on the Romanian eschatological imaginary built on the idea of posthumous salvation. The travelling soul makes the posthumous journey – difficult and full of tests – successfully, almost without exception. It reaches a wealthy rest place, God’s Kingdom, due to the multiple salvation opportunities. We observed a few motifs present in the eschatological iconography, which are part of the images’ inventory of Death: the righteous’ death and the sinner’s death, the old man’s Aesopic dialogue with Death, Death’s arsenal, the deadly glass, the motif of Dance Macabre. Our research conclusion is that the iconography of Death was a privileged support of knowledge transmission toward the village world and the transmitted knowledge was interesting and available to anyone, without exception. That’s why, as an answer to a European cultural current, the representation of Death entered the iconography of the Romanian area from where it lent motifs to folklore (death’s glass, good death and bad death, scythe and the other instruments); at the same time, it left an equally strong belief in posthumous salvation or maybe it increased – through its unwanted and horrific presence – the more involved participation in the rituals of the deceased soul’s salvation.

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Quelques notes sur l'iconographie du cycle de la Vita de Saint Gérasime du Jourdain dans la peinture roumaine

Author(s): Constantin I. Ciobanu / Language(s): French Issue: 1/2019

St. Gerasimus of the Jordan – founder of the monasteries in Palestine – died on March 5, 475 AD. The Latin and Syrian calendars honor his memory on March 5. In most Greek calendars the saint is mentioned on March 4, but there are certain calendars – related to the status of Studios Monastery – where his commemoration takes place on March 20. This article presents a brief overview of the evolution of St. Gerasimus iconography over the centuries, from the first known image, preserved in the mural painting of St. Anthony's monastery in Novgorod, to the examples of some of the seventeenth-century icons or some illustrated manuscripts from the eighteenth century. A special role is given to the description of the scenes contains The Story of St. Gerasimus' lion preserved in the Moldavian mural paintings of the 16th century. This story is inspired by one of the chapters of John Moschus' The Spiritual Meadow and has many similarities with The Story of St. Jerome and the Lion. The frescoes of the Humor and Voroneţ monasteries have preserved the Slavonic inscriptions, thanks to which we can today reconstruct the contents of the mural cycles dedicated to this story.

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SİNEMADA ANKARA KENTİNİN İZDÜŞÜMÜ: BİR KENTİ SİNEMA ÜZERİNDEN OKUMA DENEYİMİ

Author(s): Göknur Satur / Language(s): Turkish Issue: 2/2018

The Republic was shaped by the city of architecture, architecture Ankara culture of cinema films which set out the idea to make reading through the main purpose of this study, a city that has undergone change over time-is to identify and highlight the conversions. In other words, for the purpose of this study; the saving potential of reality; Ankara city skyline, date of each and which serve as a document of the architecture of the films that the city's architecture through the work we can define as saying. For this purpose, as witness the city's transformation in the film cited evidence/snapshot discussion reveals the authenticity of this work.

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Стена княжеского двора в Киеве и вопрос об истоках древнерусской сырцовой фортификации X в.

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Стена княжеского двора в Киеве и вопрос об истоках древнерусской сырцовой фортификации X в.

Author(s): Vyacheslav I. Baranov,Denis D. Jolshin / Language(s): Russian Issue: 5/2019

The article is an attempt to give the interpretation to the unique mud-brick construction on Starokievskaya Hora near the Desyatinnaya church excavated in 1909, 1911, and 2007. The authors undertake the comprehensive analysis of the field records of the early 20th century research and the stratigraphical observations in the course of the recent excavations of the secular buildings surrounding Desyatinnaya church, and presume that the mud-brick construction was a standing wall of the princely residence, and that it was erected by the builders responsible for the construction of the late 10th century mud-brick fortifications in Pereyaslav, Belgorod and others. A few versions of the origin of these builders are considered. The links with the building techniques of the Saltovo archaeological culture fortifications on the river Tikhaya Sosna are believed to be much more grounded than the links with the contemporary fortification tradition of Byzantium or the First Bulgarian Kingdom.

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Zázemie antického stavebného komplexu v Stupave

Author(s): Vladimír Turčan / Language(s): Slovak Issue: SUPPL./2019

In the 1st – 4th centuries, several ancient buildings were constructed on the northern (Barbarian) bank of the middle reaches of the Danube. As well as military buildings standing very near to the bank (Devín, Iža near Komárno), inland buildings were also built. Along the route of the amber route, 20 km from Carnuntum, a settlement was built in Stupava in the second half of the 2nd century. By analysing the finds and evidence from the Germanic settlement of the area, the author concluded that it was a trade post dependent on cooperation with the local Germanic population.

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MUĞLA’NIN ÜÇ CAMİSİNDE ASHÂB-I KEHF SEMBOLLERİ

Author(s): İbrahim Ethem KARATAŞ / Language(s): Turkish Issue: 03/2019

It is a known fact that the sacred names in Islam have been used in calligraphy and illumination art works of our culture throughout history, especially in our mosques which are the most important elements of our religious architecture. It has been a tradition since the Ottoman era to write the names of Allah and the prophet as well as four caliphs, Ali’s sons from Ehl- i Beyt (people of the house) on the walls of the mosques. On the other hand three mosques in the Menteşe distric of Muğla - Şahidi Mosque, Keyfoturağı Mosque and Çatakbağyaka Village Mosque- have symbols about the names of Ashab al-Kahf (Seven Sleepers) among the others. It is not common to have the names of Seven Sleepers written on the walls of mosques. In addition there is no clear information about the reason why they are included. Nevertheless, inclusion of Ashab al-Kahf in the sacred book Koran and its being a well known and accepted story among the residents of the region can be seen as the main reasons for using the names in these mosques. Likewise, the fact that Muğla was an important Mevlevi city in the past suggests that it may have a Mevlevi effect. As a result the sybomls of Ashab al-Kahf must have taken place in these mosques in order to take the community lessons for itself and to direct its life in accordance with the purpose of Koran and the Masnavi.

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Māksla un migrācija jaunajos laikos. Problēmas un jaunākie pētījumi starptautiskā kontekstā

Author(s): Anna Ancāne / Language(s): Latvian Issue: 23/2019

The article informs about the international conference "The Migration of Artists and Architects in Central and Northern Europe. 1560-1900)" that took place at the Latvian Academy of Art and Rundāle Palace in 26-28 September 2019, briefly describing the issues tackled in the papers that were presented at the event.

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Архітектурно-дизайнерські протосценічі форми простору традиційних українських обрядів

Author(s): Kateryna Volodymyrivna Iudova-Romanova / Language(s): Ukrainian Issue: 1/2019

The purpose of the article is to characterize and typify the proto-scenic forms of the space of traditional Ukrainian ceremonies. The methodological basis of the study is a systematic art analysis. The scientific novelty of the research lies in typifying and systematizing the forms of the proto-scenic space of traditional Ukrainian rites regarding their architectural and design characteristics. Conclusions. Architectural-designer proto-scenic forms of the space of traditional Ukrainian rituals are interrelated with the content of ceremonial actions. The traditional Ukrainian hut, which can be interpreted as the form of the closed proto-scenic space, serves as a variant of the proto-scenic space of traditional Ukrainian rites, because the stage and spectator areas are separated there; an action takes place in the stage zone of the space and together they are decorated corresponding to the circumstances of the plot. Another option is the open space of rural streets, squares, cemeteries, shores of basins, forest lawns or pasture behind the village, etc., which also includes zonal distribution: locations for rituals and spectator places. A static and motional way of designing a space with floral and fiery tools was traditional. The location of the stage action was frontal, arenas and in motion in the form of a procession.

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