"Czegoś podobnego dotychczas w Warszawie nie było". Wystawa Towarzystwa Polska Sztuka Stosowana w Zachęcie w 1908 r.

Author(s): Agata Wójcik / Language(s): Polish / Issue: 2/2019

In February and March 1908, the Zachęta Society for the Encouragement of Fine Arts in Warsaw presented a summing-up display of the activity of the Kraków Society of Polish Applied Art (TPSS), active from 1901. According to some comments: ‘The goal of the Exhibition was to demonstrate that Polish applied art existed, that there were already a number of artists who for the last several years had been aware of their purpose, thus demonstrating that when it came to decorating dwelling interiors, particularly when cabinetmaking and wall decorating were concerned (...), they were able to take an independent and thoroughly artistic stand in the full meaning of the term’. The display filled in ten rooms, seven of them being dwelling interior arrangements. The presented designs included those by: Karol Tichy (entryway), Edward Trojanowski (Władysław Reymont’s study, Papal bedroom), Stanisław Wyspiański (the Żeleń- skis’ dining- and drawing-rooms), Ludwik Wojtyczko (the Dziewulskis’ dining-room), and Józef Czajkowski (hall in the flat of Kraków’s Mayor; the Reymonts’dining-room). Arranging Zachęta’s spaces as a line of dwelling interiors aroused much interest of the critics, while Eligiusz Niewiadomski wrote: ‘Warsaw has never seen anything like it’...

"The Message of Protest”: Artistic Expressions of Punk / Hardcore Subculture Ideas

Author(s): Reda Šatūnienė / Language(s): English / Issue: 1/2008

Nekomerciālā panku / hārdkora subkultūra izveidojās no britu pankiem un amerikāņu hārkora 20. gadsimta septiņdesmito un astoņdesmito gadu mijā. Galvenās panku / hārdkora subkultūras iezīmes iemieso pankroka brīvības, kritiskās domas un vienlīdzības principus. Lietuvā daudzas jauniešu subkultūru paražas ienāca pēc valsts neatkarības atjaunošanas 1990. gadā. Raksts pievērš uzmanību nekomerciālās panku / hārdkora subkultūras idejām un vērtībām, kādas ietvertas lietuviešu trafaretu mākslā. Raksta empīriskais materiāls ir savākts, pateicoties atbilstošai metodoloģijai un kvalitatīvam (etnogrāfiskam) lauka pētījumam, kas veikts 2005.-2007. gadā. Raksta autore secina, ka panku / hārdkora subkultūras idejas - protestēšana pret "Sistēmu", ekonomisko un politisko uzkundzēšanos, patērētājfilozofiju, konformismu un starptautiskajām aliansēm - izpaužas trafaretu mākslā. Tā atklāj globālās un vietējās sociālās, politiskās un ekonomiskās aktualitātes.

"Viss" par Jēkabu Strazdiņu

Author(s): Eduards Kļaviņš / Language(s): Latvian / Issue: 25/2021

The book review analyses the monograph "Jēkabs Strazdiņš" (Riga: Neputns, 2020) by art historian Jānis Kalnačs who has gathered all available data about the noted Latvian figural painter and art collector of the inter-war period.

"Wandering Stars" by Leonid Zatulovskyi: Traditions and Innovation in the Interpretation of the Symphonic Suite Genre

Author(s): Yuliya Kapliyenko-Iliuk / Language(s): English / Issue: 4/2018

The purpose of the article is to identify the peculiarities of the genre made on the basis of the analysis of the symphonic suite by L. Zatulovskyi and to characterize the features of the works of the Bukovynian composer. Methodology. The methods of historical-cultural, theoretical and genre-style analysis were used, which allowed to reveal traditional and innovative techniques of interpretation of the genre of the symphonic suite. The scientific novelty consists in understanding the development process of the professional musical art of Bukovyna; in revealing features of creative thinking of the composers of the region; in clarifying the principles of orchestral music of the region; in the analysis of music by L. Zatulovskyi, whose work was not explored in contemporary musicology. Conclusions. The orchestral suite "Wandering Stars" concentrates the signs of creative thinking of L. Zatulovskyi, his principles of work, which combine the properties of various fields of music, thereby denoting the formation of polystylistics, where the classical traditions of European and Ukrainian music, folk music creative work and traits of Bukovynian multinational musical culture are interwoven. L. Zatulovskyi’s suite is an example of the scene-genre programme symphonism, where the background of the colourful national environment reveals the relationship between the heroes of the novel by Sholem Aleichem. On the basis of this work by L. Zatulovskyi one can identify the features of his individual creative style. The composer, relying on genre features of folk music, was able to achieve his own originality of writing. L. Zatulovskyi, intertwining the intonation and rhythmic features of the Ukrainian, Bukovynian and Jewish song and dance traditions, enriched the melody of his works and brought it to a new level of interaction with harmony and a tone-key component.

"Музикалната естрада продължава да живее в културната памет на българите"

Интервю с Розмари Стателова за новата й книга 'Естрада и социализъм: проблясъци'

Author(s): Zhana Popova / Language(s): Bulgarian / Issue: 5/2019

Interview with Rosemary Statelova about her new book „Estrada and Socialism: Glimpses“

"Певецът на Бах"

"Певецът на Бах"

Author(s): Valentina Ganeva-Raycheva / Language(s): English,Bulgarian / Issue: 18/2009

(Hе)написаните чешки страници на първостроителство в музикалната история на Русе

Author(s): Diana Nikolova Marinova / Language(s): Bulgarian / Issue: 3/2020

The study deals with the pioneership of the earliest Czech kapellmeisters in the rich musical tradition of contemporary Bulgaria. A specific regional model is brought forth structurally based on the known and less known records by contemporaries and the earliest chroniclers with the focus put on the constructive work of the pioneering kapellmeisters in Ruse as well as on renowned Czech musicians and teachers at the Prague Conservatory, who laid their Czech basis for the development of professional musical culture in Ruse, and for the Bulgarian musical culture, respectively. The figure of Kapellmeister Franz Stross (1851–1917) with his career of almost two decades and a half as an organiser, performer and teacher is central. He and his student Alexander Yorgandjiev had a creative contribution to Ruse’s musical history. Finding new information and rethinking the already known facts shed light on important pages of the development of our musical history.

(Ne)istorinis istorinio Atgimimo laikotarpio tyrimas

Author(s): Tomas Vaitelė / Language(s): Lithuanian / Issue: 46/2020

Review of: Tomas Vaitelė - Rec.: Anna Mikonis-Railienė, Renata Šukaitytė, Mantas Martišius, Renata Stonytė, Politinis lūžis ekrane: (po)komunistinė transformacija Lietuvos dokumentiniame kine, videokronikoje ir televizijoje, Vilnius: Vilniaus universiteto leidykla, 2020.

(Nowe) trendy w muzealnictwie — spojrzenie subiektywne

Author(s): Marcin Zdanowski / Language(s): Polish / Issue: 1/2020

The article presents (in subjective terms) the directions of museology development, and shows issues related to the change of approach to museum audience. It is indicated that the viewer, recipient, or even participant, is more and more often placed in the center of the interest of a contemporary museum. The article pays attention to the change in mu-seum’s attitude in recent years. The once common transfer of knowledge, was changed to stimulating thinking and personal development. The set point for this attitude can be, the still little known, though dating back to 1957, Tilden’s principles of heritage interpretation. An attempt was also made to transfer Ray Oldenburg’s theory of Third places to museum context. In addition, arguments for an entrepreneurial and strategic approach to museum functioning and management were presented. Furthermore, a number of examples were shown, supporting the thesis that building a network of relationships and partnerships is one of the most interesting and effective tools in managing a contemporary museum.

(Re)construction, (Re)evaluation, or (Re)interpretation of the Past: What Happens When the Past Meets with the Present?

Author(s): Lukáš Makky / Language(s): English / Issue: 4/2020

The image of the ancient past represents just a fragment. When we stand in front of such an image, we are standing in front of time. This text reflects the possibilities of aesthetic evaluation of ancient artifacts with the emphasis on the contextual perception of received phenomena. The defining concept of context is based on Jan Mukařovsky’s approach. The aim of the paper is also to present aesthetic interpretation as a regular method of verifying prehistoric artifacts.

(Re)konstruowanie narracji – działanie w przestrzeni publicznej – edukacja. Postpamięć zagłady Żydów lubelskich: studium przypadku

Author(s): Marta Kubiszyn / Language(s): Polish / Issue: 65/2020

Although originally the term ‘post-memory’ referred to the experiences and memories of the survivors that influenced the biographies of their children, in the following years its meaning was extended and the concept started to be used to describe the processes of transmitting the memory of any traumatic experience within any group, not necessarily bound by blood. In the case of Lublin, where one third of the pre-war community consisted of Jews, most of whom were murdered during World War II, the position of non-Jewish vicarious witnesses seems to be particularly important. This article discusses some aspects of the Holocaust post-memory discourse referring to the cultural activities of the ‘Grodzka Gate – NN Theatre’ Centre. Research questions will concern the artistic language and means of expression of these projects as well as the aesthetic codes that are being used by vicarious witnesses.

100 години професионален оперетен театър в България. Постановъчно-изпълнителски опит и репертоарни тежнения

Author(s): Rumyana Karakostova / Language(s): English,Bulgarian / Issue: 4/2018

This paper intends to sum up, from a contemporary critical perspective, the cultural significance of various periods of the centenary history of Bulgaria’s professional operetta theatre, focusing on the social function, the institutional and aesthetic physiognomy of Sofia-based leading private operetta companies in the interwar period and its only genre-profiled National Musical Theatre as their direct successor, which this season marked its seventieth anniversary. The main problematised assumption is that the marked trends in the repertoire polices, stage and performing practices in the centenary development of operetta art on Bulgaria’s professional stage can only be correctly brought forth on the basis of a scientifically objective, rationalised both by the dynamism of historical events and the respective shifts in the sociocultural paradigm and the topical critical reflection.

12.–13. gadsimta bronzas bļodas ar gravējumiem

Author(s): Elita Grosmane / Language(s): Latvian / Issue: 23/2019

The rich material of bronze items produced by local masters on the territory of medieval Latvia testifies to a high level of metalworking skills. The diversity of artefacts increased during this period, as imported objects were often used as samples for local imitations. Bronze bowls are part of the applied arts that flourished in the course of these two centuries; they are common in various European regions and have caught the interest of art historians not so much due to their form but because of the iconography of their engravings. There was quite a high demand for such bowls and the numbers found continue to grow in excavations, even if their origins and function remain unclear. Another complex issue is that of the relationships between the paradigm-setting centre and periphery because there are no known written sources of the time describing bowl making. However, the high level of bronze processing allows us to assume they could have been made anywhere with a larger concentration of finds. All bowls are made of tin bronze. Their forms are quite similar. They consist of a slightly thickened round base from which thinly forged sidewalls rise up to 5–6 cm, and an upper edge about 1 cm wide. The diameter of bowls is about 20 to 30 cm. These vessels could be either decorated or plain but their classification is based on the content of the interior engravings. The issue of datingAll known artefacts are dated from the second half of the 11th century to the 13th century when bowls were especially popular; they were no longer made after that. It remains dubious whether such bowls already existed in the first half of the 11th century. None of the vessels found so far has any year number allowing for further assumptions. The same can be said of signs suggesting any development. Therefore, the grouping and systematisation of these finds has so far been unsuccessful. Different explanations of the origins and function of bowlsThe origins of bowlmaking are usually related to monasteries where monks became the sole experts and keepers of the classical cultural heritage. Monasteries were probably responsible for iconographic samples while the bowls could be made by town craftsmen; merchants who distributed the ware were townspeople too. In the late 19th century, researchers interpreted these bowls in the context of sacred art, seeing them as either christening bowls or vessels for the collection of donations. The researcher Josepha Weitzmann-Fiedler related the origin of bowls to the ritual of confession and purification of the soul performed by nuns. No less popular is the hypothesis about the bowl as a decorative interior item. The form of the vessel was adaptable to polyfunctional use while the large numbers of finds demonstrate that it was a highly demanded good ending up in various social strata. The latest research emphasise the use of bowls for hand washing. IconographyThe complex iconography of inside engravings derived from both Greco-Roman mythology and Christianity endows bronze bowls with particular value. Winged youth was a common image and the so-called bowls of virtues and vices with Latin inscriptions are also often found. Insight into the local historiography Eastern Baltic bronze bowls became the focus of attention right after the finding of the so-called bowl of Otto the Great discovered in Viljandi (Estonia) in 1886. Jelgava painter and librarian Julius Döring made a drawing of the precious find and published it and historian Hermann von Bruiningk provided an analysis. At the turn of the 19th–20th centuries, art historian Wilhelm Neumann turned his attention to bronze bowls, stating that they had come from Western Germany between Aachen and Cologne. Archaeologist Tatjana Pāvele wrote about bronze bowls 50 years later. She concluded from a broader historical perspective that bronze bowls indicate that “active trading with Western Europe was going on in the 11th–13th century”.Bowls found in Latvia Bowls are largely held in the collections of the Riga History and Navigation Museum and the Latvian National History Museum; in addition, two fragments of bronze bowls from Latvia are in the Museum für Vor- und Frühgeschichte Berlin. Riga is the place where the most impressive and luxurious bowls have been discovered – precious items imported from Europe, featuring high-quality execution of the vessel and its décor. These artefacts could have ended up in Riga in the late 12th or early 13th century when the most active contacts formed with the potential centres of their origin – Lower Saxony and North Rhine-Westphalia. Two bowls are thematically part of the so-called group of vices. The top-quality example features a crowned superbia image in the centre with five surrounding vices – IDOLA–TRIA (idolatry), INVI–DIA (hate, envy), ӿ IR–A ӿ (rage, revenge), LVXV–RIA (luxury) and LIB–IDO (lust). The second bowl can be interpreted as a modified and simplified version of the vices vessel, with the main image of a winged figure – angel – while the inscription has been lost. This piece can be said to exemplify an intermediary phase and was probably made at some workshop near Riga, considering the local craftsmen’s high level of skills. Among the most valuable pieces is a bowl rich in representational elements, featuring a rhythmical procession of knights; this vessel was taken out of Latvia in 1940. A thematically rare example is a bowl with a bird similar to a gryphon. Several bronze bowls have been discovered in Latvia in archaeological excavations: two were found in a burial ground in Liepenes (Krimulda) while one emerged from the Pūteļi graveyard (Turaida), placed at the foot of the deceased together with other valuable items. During restoration, a forged rosette consisting of about 1 mm large dots and lines was discovered on the bowl. Conclusions The total number of bronze bowls found in Latvia so far is eight to nine (some fragments are hard to define): five of them are engraved, four appear to lack engraving, although such a conclusion has emerged due to their fragmentary condition. The bowls are similar with regard to their form but they do not make up a homogenous group. Two bowls found in Riga stand out for their narrative message: the so-called superbia with surrounding vices and the procession of knights; both are thought to be imported. These items belong to high-quality pieces in the context of Latvia but also reflect characteristics typical of mass production. The next group consists of two bowls also found in Riga whose engravings reveal the transformations resulting from the long route of dissemination, pointing towards a peripheral origin. The last group is made up of bowls uncovered in archaeological excavations. It is noteworthy that all four bowls were discovered in the burial grounds of the Liv people near the River Gauja; no such finds have emerged so far in either Latvian or Lithuanian archaeological materials elsewhere.

17. VE 18. YÜZYILDA FLAMAN RESİM SANATINDA AVCILIK NATÜRMORTLARI

Author(s): Onur Karaalioğlu / Language(s): Turkish / Issue: 48/2018

With the enlightenment process triggered by the Renaissance movement in Europe, the rebellions against the feudal system and the dogmatism of the church became widespread with Protestantism and accompanying Kalvinism, and the process of renunciation of church from the worldly affairs was accelerated. While rapidly developing trade in the Netherlands provide the emergence of new rich people, the feudal system gradually left its place to the free market lords. The religious, economic and social changes that shaped the 17th century Holland also influenced the field of art and the artist has been obliged to turn to non-religious issues by strictly forbidding the portrayals of the places of worship where the artists provide for their lives with the portrayal of sacred scenes. While the increase in the number of capital powers who want to embellish their own private space expands the repertoire of the artists, still-lifes that seems like independent of all kinds of intangible judgments has gained a great popularity in the 17th century Holland. The hunting still-lifes that emerges in an environment where the bourgeoisie invests in artisans and traces of the natural beauty of the Netherlands has also turned into a demonstration of social status as a species where the messages take place about wealth and life views of the orderer. The hunting still-lifes which turned into a show of power that threatens its opponents with its rich content, act as a mediator heralding of the salvation of the Hereafter, moving from the attitude of Christianity blessing the richness.

17–18. századi debreceni ötvösmunkák a Nagyváradi Református Egyházmegyében

Author(s): Emőke Szalay / Language(s): Hungarian / Issue: 1/2011

The goldsmith works presented in this study prove that the goldsmiths of Debrecen were of crucial importance within the Reformed Deanery of Nagyvárad in the seventeenth and eighteenth centuries. The Reformed ecclesiastical art thus manifested itself strongly within the secular arts and crafts of the period.

18. Yüzyıl Avrupa Porselenlerinde Osmanlı Figürleri

Author(s): Memduha Candan Güngör / Language(s): Turkish / Issue: 69/2020

The Ottoman Empire's domination in Europe brings along a great appreciation, admiration and respect to the Empire, together with the fear of the Turks. In the 18th century, travelers and traders from Eastern culture acquainted with Turkey and when they came back, the travel books they told about the ethnographic richness and traditions of the east caused a trend called Turquerie to emerge in a short time. With the first production of porcelain in Europe, the artists who discovered the characteristics of the porcelain, made elegant Turkish figures with fine workmanship, under the influence of the Turquerie movement. These figures, which started to be studied in Meissen (the first porcelain factory in Europe), have been inspired by the modelers of other established factories over time. These works, which generally deal with figures about Ottoman sultans, female sultans, and palace life that are examples of culture from past to present are exhibited in private collections, museums and auctions. In this article, after mentioning briefly the Turquerie movement, which is one of the reasons for the emergence of the figures, the porcelain factory, Meissen, where figures are produced most intensely and flawlessly in Europe and its modelers will be mentioned, and examples of Turkish figure production at porcelain factories that are rapidly spreading in Europe will be given. This study aims to underline how the art of ceramics was influenced by the judgements, way of thinking and aesthetics of the society in the context of its relationship with the collective subconscious, through exemplary works. The Turquerie movement, which emerged at the point where the East and the West touch one another, and the porcelain figurines, which are the reflection of Ottoman figures, are the inevitable results of this effect and interest.

18. YÜZYIL KÜTAHYA ÇİNİLERİNDE KULLANILAN DAMGALARIN GÖRSEL VE SEMBOLİK AÇIDAN İNCELENMESİ

Author(s): Eren Evin Kiliçkaya,Oya Aşan Yüksel / Language(s): Turkish / Issue: 17/2020

Kütahya has been successfully carrying on the quality of being an important ceramic center with its traditional tile production, unique shape and variety of patterns since the 14th century. Kütahya has continued the production of traditional tile from the past to the present day, and in the 17th and 18th centuries it has given the most original and mature examples. It has been observed that, 18th century tiles have an important source in terms of archiving and examining these unique works in the hand-painted stamps on the tiles, in addition to the unique pattern and variety of shapes. Stamps used in Kütahya tiles respond to important technical and sociological information, such as when, by whom, and where the tile was made. For this reason, the marks on the 18th century Kütahya Tiles are thought to be an important symbol in terms of understanding the roots of our culture. When Kütahya Tiles, one of the most important symbols of local culture, are associated with the symbolic marks they possess, it is thought that this tradition, which has survived to the present day, has formed an important source in the study of social infrastructure. In this study, 18th century stamps containing shape, symbols, inscriptions and monograms in Kütahya Tiles were examined. These stamps are examined visually and symbolically and divided into four chapters; written in Ottoman, written in Armenian, monogrammed or signed, containing various shapes and symbols, and both written in Ottoman and contain symbolic shapes.

20. YÜZYILDA METAFİZİK RESİMLERDE MEKÂN VE ZAMAN İLİŞKİSİ

Author(s): Neslihan Özgenç Erdoğdu,Önder Caymaz / Language(s): Turkish / Issue: 71/2020

Metaphysics, which deals with concepts such as existence, existentialism, space and god in its general content, is a branch of philosophy. It sought answers to questions related to these concepts through methods and perspectives different from science. The reason for all these questions is the effort to define the universe. Metaphysical philosophy has been the search for a solution to helplessness caused by the uncertainties caused throughout the history by life and death. Perspectives developed in parallel with the perception of the period have also shaped the questions and propositions. All these metaphysical approaches do not contain a definition that is independent of time and space. Time and space, as one of the most fundamental problematics of metaphysics, are accepted as the most important elements in placing and making sense of the human into the universe. In this context, metaphysics, which has a transphysical perspective as well as the accepted scientific expansions of real and reality, was mostly visible in the field of art rather than science. The aim of this article is to analyze the role of metaphysical philosophy in the emergence of metaphysical art in the context of the effects of social events, especially the destructions and disappointments caused by the world wars in the 20th century, on the artists and the reflections of the existential inquiries related to this. Furthermore this study includes definitions and processes of metaphysics. The works of Giorgio de Chirico and Carlo Carra have been interpreted in terms of form and content within the scope of metaphysics by considering the concepts of time-space.

2013-2014 YILI EDİRNE YENİ SARAY KAZISI İZNİK VE KÜTAHYA SERAMİKLERİ

Author(s): Hasan Uçar / Language(s): Turkish / Issue: 03/2019

The content of this work consists of the ceramics of İznik and Kütahya which were found in excavation carried out in Edirne Yeni Saray in 2013-2014. This palace began to be built at the end of the first half of 15th century and thereafter it was continuously used by Ottoman sultans. The palace, which started to lose its significance in classical period from 18th century, entered into the process of demolition by means of Ottoman-Russia war. Besides the architectural features of the palace with the excavation works made in different years in Republic Period, the things used in the palace are also endeavoured to be unearthed. The ceramics of İznik and Kütahya from these materials have a crucial position alongside of imported ceramics which were used in the palace. Even though the adornment techniques are the same, these ceramics of which colours and motifs show difference have the characteristics of a document in terms of reflection of pleasure approach of a period of Ottoman. While the blue-white ceramics show the adornment approach of end of 15th century and first half of 16th century, multi-coloured ones reflect the adornment approach of Ottoman entirely in solid-coloured and multi-coloured İznik ceramics. It is possible to see single and multi-coloured dyed style of Kütahya in cups which are most notably form and a couple of part of bowl in Kütahya ceramics. While Chinese influence is observed in some of these samples that are dated as 18th century, some of them shows us the style of ceramists from Kütahya entirely. In this work, it is aimed to determine the position of ceramics of İznik and Kütahya which were found in 2013-2014 within Ottoman ceramics.

21. YÜZYILDA GİYİLEBİLİR SANATIN ÖNCÜ MODA TASARIMCILARI

Author(s): Nursen Geyik Değerli / Language(s): Turkish / Issue: 51/2018

Clothing came out as a result of human being’s struggle to protect himself physically against varying conditions of nature. Wearing took shape by traditions till 16th century and affected by new fashion movements created by mid-class society dominating social events during 17th century. Brit, Charles Frederick Worth (1825-1895), was “the first fashion designer” who changed the rules of tailoring and opened his own fashion house in Paris to sell his designs during 19th century. He claims that “his hand-made belly stitch worths a valuable oil painting” and reflects his signature to his designs those express his passion and art. “Artwear” or “Wearable Art” was first pronounced in 1970’s, and then positioned in fashion and art platforms during 80s. In this article; interactions in between fashion and art, fashion designers influenced by art movements during last century and wearable art works of fashion designers of 21st century are analysed. Fashion designers of 21st century are pushing the boundaries of creativity to generate variety of wearable art designs by binding technology transformation and handcrafting. It is a strong sign and evidence that wearables may be art works and we started to see them in art galleries or exhibitions.