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This text explores the subject of minimalist renovations in the sacred interiors of the Roman Catholic Church, based on a selection of representative examples, geographically and culturally diversified. Starting from the assumptions of the Second Vatican Council and the artistic and socio-cultural changes that could be observed as early as the 19th century, the article analyses the factors that led to an extreme formal reduction in church decoration. Apart from the obvious issue of interior architecture, a reflection is undertaken on the way in which art, which is both a cult and an aesthetic element, is displayed. Legal factors, liturgical and psychological aspects are also taken into account. To analyse the problem, realisations and projects from the circle of European architecture have been used.
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The article describes the usefulness of the language corpus resources and the corpus platform during the creation of the Polish-Russian dictionary „Architecture and urban planning.” The following tools were used: National Corpus of Polish Language, National Corpus of Russian Language, Polish-Russian Corpus of the University of Warsaw and Sketch Engine platform. It has been shown that the implementation of resources proceeds with varying intensity at different stages of dictionary development Language corpora (together with available tools) are most helpful at the first stages, i.e. building dictionary entries (basic entries and their derivatives). To a much lesser extent, language corpora are used in the process of searching for Russian equivalents due to the relatively poor collection of specialised and even applied texts available in parallel corpora. Often the results obtained have only a probing value. It is important to combine data obtained from different corpus resources in order to obtain information relevant to the content of the headword article of the designed dictionary.
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Prague's Loreto is one of the oldest Baroque pilgrimage sites in the Czech lands. It became a distinctive spiritual centre of Baroque Prague in its heyday. Since its foundation in 1626, Loreto has been next to the Capuchin monastery in Hradčany, whose brothers it was officially entrusted in 1651. The whole complex developed until 1737, but partial works of artistic decoration were still worked on thereafter. The spiritual guide Lauretanischer Blumen-Garten was published in 1700. It was written by Loreto´s sacristian P. Josef of Bílina. The text leads the reader through the pilgrimage site and offers him several prayers to local chapels. Some of these prayers are accompanied by graphic images. The aim of this text is to prove, based on a comparison of preserved artistic decoration and print Lauretanischer Blumen-Garten, that the basic layout of Loreto was established as early as 1691. And the place is thus one of the early evidence of the development of religious reverence in the Czech lands returning to Catholicism during the 17th century, moreover with an emphasis on Franciscan spirituality. The text of some prayers was based on the fact that the reader simultaneously contemplated the altar canvas or statue (so works of art that has been preserved in Loreta to this day) to deepen its spiritual experience.
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La notion de « patrimoine » este entrée plutôt récemment dans le droit de l’urbanisme roumain ; sans avoir, en droit public, une définition légale précise, elle signifie d’abord un héritage reçu du passé, dont on a une obligation de conservation et de gestion efficace, pour pouvoir le transmettre aux générations futures. Au niveau international, sous la forme du patrimoine commun de l’humanité, le concept a connu déjà une consécration juridique particulière (par exemple, dans le cas de la Lune, de l’espace extra-atmosphérique ou des fonds des mers et des océans), qui s’étend aussi sur les sites et les monuments. Dans ce sens, le grand numéro de documents internationaux (la Charte européenne du patrimoine architectural de 1976 ou la Convention pour la sauvegarde du patrimoine architectural de l'Europe de 1985) confirme la création d’un régime juridique spécifique et complexe.
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Maramures is renowned for its vernacular architecture, with over one thousand wooden gates of different ages, old traditional gates and newer ones. They are important not only from an anthropological perspective, but within a larger heritage consumption process, in cultural tourism and political discourse. Therefore, the paper examines the relationship between the wooden gates and the land, revealing new ways of place legitimization and community resilience through ethnographic insights. Consequently, the study focuses on several main categories: the visual elements, metaphors, patterns and themes linked to identity place-branding processes, and heritage tourism. Initially placed at the limit of properties, the gate has played the function of architectural structure and of social status symbol. The new gates are erected in a separate paradigm, and two main functions derive from their position as private art in the public space—the frame and the portal, both static and dynamic roles of the same wooden structure, mediating between the artist, the patrons, the work of art, and the art consumers.
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The Ottoman Cemetery in Malta, constructed in 1874, represents a monumental complex which involves a mausoleum erected in honor of soldiers who laid their lives during the siege of Malta in 1565, and graves of Turkish soldiers who died during World War I, and a significant part of Ottoman cultural heritage in the Mediterranean. Built on the initiative of the Sultan Abdulaziz, the Ottoman cemetery in Malta does not represent the only architectural monument of the Ottoman provenance, but it is the only complex that represents a part of Ottoman cultural heritage and a testimony to the cultural identity of Ottomans in this part of Europe. This paper aims to indicate the necessity of preservation of the Ottoman immovable cultural heritage within the Islamic heritage, to accent the importance of memorial culture which is an integral part of the identity of Ottomans, but also Muslims. This study also deals with the history of the cemetery origin and basic architectural characteristics of the complex, so it provides an overview of the Ottoman memorial culture. Besides illustrations, this work contains the transliteration of inscriptions of the central monument dedicated to the soldiers who gave their lives in World War I, and the translation of the inscriptions into Serbian. The paper is a result of the field research, but also of implementation of an interdisciplinary approach to the subject, use of primary historical sources preserved in the National Archives of Malta, transliteration and translation of monument inscriptions, and relevant literature.
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This article aims to bring some information on the architectural, economic and social aspects of roman life from Ist to VIth century Dobrodja by creating and analyzing a catalogue of thermal edifices. From the vast range of possibilities for reconstruction of this topic we chose to examine archaeological findings of buildings and its components. We 'll try to offer a pattern for research regarding the importance of urban and rural life. At the same time we want to provide an image on the current stage of knowledge by presenting a catalogue of archaeological findings.
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Dans cet article, l'auteur présente un bref historique du monastère Răchitoasa, département de Bacau. On présente, brièvement, l’histoire de l'évolution des bâtiments qui se sont succédés au fil du temps dans ces endroits.
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The purpose of the article is to analyze the changes that took place in the urban fabric of Paris during the times of Napoleon (consulate and empire). So these will be buildings, monuments erected by Bonaparte himself, which were to serve the glory of his Grand Army, his own, but also Parisians, i.e. his subjects. Famous Parisian buildings will be discussed, such as: Triumphal Arch at Place de l’Étoile, Triumphal Arch at Place du Carrousel, church of St. Mary Magdalene, the Louvre, the Column on the Place Vendôme, Rue de Rivoli, three bridges built during his reign, etc. The article is divided into two main parts, the first of which focuses on the aforementioned discussion of buildings and their brief characteristics, the second part is devoted to Parisians – their numbers, their professions, etc. A specific epilogue touches on two other important places related to Napoleon, and they are Château de Malmaison and Les Invalides, which had and are so obviously related to the Emperor.
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L’auteur met en evidence, par son etude, un église en bois qui a été construite avant l’année 1666, par le magistrate Apostol Talpeş. Après, l’église en bois neuve a été construite sur le meme lieu et avec les memes caractéristiques architecturales, pendant l’année 1820.
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The medieval cathedral is a relatively common theme in art, and the fascination that these buildings evoked among artists even soon after they first appeared can be traced through history. Nonetheless, artistic attitudes toward medieval architecture have evolved over time and by the late 20th century, interest in depictions of Christian places of worship had waned almost entirely. By the end of the century, however, spirituality was rediscovered as a subject of art and the theme was addressed in several important works of art in subsequent years. Some of these works attempted to foster a dialogue between history and the field of digital technology, and this study will examine examples of this approach with examples from two artists. The first of these is the world-renowned German artist Gerhard Richter’s design for the window of the south transept of Cologne Cathedral. Richter used a random number generator in the preparation of his design to express the understanding of God as the cosmic principle of the infinite, of an abstract and inconceivable order. The second artist is Marko Blažo, part of the generation which appeared on the Slovak art scene in the mid-1990s. His images of the cathedral are created from the repeated manipulation of original photos using a photocopier which are then further distorted by being expanded and reduced using a computer. Through this process and its subsequent reworking, the cathedral is shifted into a new visual level of the interpretative and multi-layered desanctification of the subject. The aim of this study is to offer a detailed analysis of these two approaches, examining the media character of the two works and thereby interpreting the attitude of the two artists to the specific object of the medieval church.
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Examination of the set of preserved gate lintels from the Temple of Hatshepsut in Deir el-Bahari has revealed two models of the iconographic decoration: one that emphasizes pictorial content in the form of scenes of a cultic or symbolic nature, with inscriptions playing merely a complementary role, and the other based on the textual message alone. The use of a given model of lintel decoration appears to be a measure either of the function of the room or, more broadly, of the space, accessed through the gate, or of the context of the wall decoration around the entrance.
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House H10 is a Hellenistic-Roman building that was among the first to be discovered at the site of Marina el-Alamein in Egypt. It is one of the largest and most extensive houses uncovered at the site. The following comprehensive overview is based on the results of regular research since 1997, including initial conservation work. The spatial design is a showcase of building technology typical of houses from Marina. Embedded in both Greco-Hellenic and Roman tradition, it is an oikos house with a courtyard and incomplete peristyle consisting of two columned porticoes on opposite sides aligned with the main axis and a third, perpendicular portico imitated by the architectural decoration of the courtyard elevation articulated with engaged columns. The two main rooms were located on opposite sides of the peristyle. The house was rebuilt several times, resulting in a complicated layout. The house has been re-studied, casting new light on domestic religious practices and the distinctiveness of the architectural and artistic interior design, including exceptional examples of figural wall painting. The architecture and interior décor of the house document the changes at the interface of Hellenistic and Roman traditions.
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The article presents the facts that contradict A. S. Syrovatko’s statement, which claims that the current territory of the Museum is not related to the Dostoevsky estate (The Unknown Dostoevsky. 2021. Vol. 8. No. 4). When studied objectively, the objects found during the excavations do not contradict the presence of “traces of Dostoevsky.” The so-called memorial period of estate ownership by the writer’s parents, which lasted only seven years, was unable to leave too many traces, and the objects found by archaeologists in the 18th — early 19th centuries could have been used by the Dostoevsky family up to 1830s. Additional arguments are introduced to resolve the dispute: the result of the dendrological examination and written sources (previously known and recently discovered), namely, boundary plans, memoirs and diaries of A. M. Dostoevsky, family correspondence. The proposed comprehensive approach and a comparison of all the currently available sources, allows us to attribute the location of the Dostoevsky manor house to the preserved wing where the museum was recently opened. In connection with the problem of identification of the museum house, the hypotheses of other authors are considered (T. N. Dementieva and L. A. Tarasova, L. A. Voronkina) about the cardinal changes that took place in the architecture of the manor Darovoe at different times. Sources indicate, on the contrary, a certain continuity in the development of the estate under all three of its owners: the Khotyaintsev, Dostoevsky and Ivanov families. The key factor is the location of two “mounds” under the lime trees as “green canteens” tied to the manor house, and on the other side, the border between the landowner’s estate and peasant homesteads remained unchanged (as confirmed by archival documents and the boundary wall and moat preserved). Conservative localization is characteristic of the life in a noble estate, once and forever inscribed in the surrounding landscape. Taking into account the experience of their predecessors, the Dostoevskys and Ivanovs did not make radical changes to the space inhabited before them, and their house did not change its location.
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Earthquake-related damage has been observed in the architectural substance recorded at the archaeological site of Marina el-Alamein on the northwestern coast of Egypt, reflecting seismic events with more widespread impact known from both written and archaeological sources in the immediate vicinity and farther out. Recent investigations in the ancient town, focused on a district in the northwestern part of the site, have uncovered more evidence of potential earthquake-related destruction in a small public bathhouse (H.39) and a building of still unspecified function (H.40) located further to the east. Apart from obvious wall cracking and floor decomposition, as well as evidence of violent fires (attributed at least in one case to the second half of the 2nd century AD), the author has also observed differences in wall construction techniques, possibly chronologically discrete, that could be explained by a desire on the part of the ancient builders to protect buildings against the effects of seismic shockwaves.
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A new Polish project, the first to be carried out in Ethiopia by the PCMA University of Warsaw jointly with Mekelle University, focused on the excavation of the ruins of a church tentatively dated to the Late Aksumite period (6th–8th centuries AD). The site, which is located in the northern region of Tigray in Ethiopia, was chosen for multiple reasons, not the least because of its location on ancient trade routes and because the surviving ruins offered the advantage of immediate visual impact. The work was unexpectedly interrupted by the global Covid-19 pandemic and recent political turbulences in the Tigray region. The paper discusses the early findings, providing, among others, a full description of the PolART excavations in the southeastern part of the church and the discovery of a rock shelter with an ancient inscription and painted pictograms.
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The army outpost on Biğān Island on the Euphrates (in Iraq) was excavated in the early 1980s, but it is only now that a thorough examination of the material from the Roman layers has been completed, giving grounds for a revisiting of issues related to the site’s chronology, function and role in the frontier zone between Rome and the empires of the East. The archaeological sources, mainly pottery and coins, are discussed in light of the army post’s island location and its role in interregional and long-distance trade. Of greatest interest in the pottery category are the transport/storage vessels that seem to belong to the same family as the widely discussed so-called Mesopotamian Torpedo Jars.
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Review of: Moravčíková, Henrieta, Szalay, Peter, Haberlandová, Katarína, Krišteková, Laura a Monika Bočková. “Bratislava (ne)plánované mesto. Bratislava (un)planned city”, Bratislava: SLOVART, 2020, 613 strán a nestránkované prílohy. ISBN 978-80-556-4696-1.
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The process of the creation of the national states in the Balkans in the 19th century was followed by the political reforms and revitalization of church life, that had been suppressed in the Ottoman period. During the 19th century, Serbs, Greeks and Bulgarians, in different periods, have staged uprisings, waged independence wars, gained autonomy, then sovereignty, and were internationally recognized. During their liberation fight, these countries have been supported by the great European powers, above all by Russia, whose assistance was particularly directed towards Bulgaria, the Principality of Serbia and the Principality of Montenegro, aiming to emancipate the Balkan Christians. Following the 1876 – 1878 wars, the 1878 San Stefano Treaty and the Berlin Treaty, the Balkan countries were recognized as fully sovereign states.
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