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The study includes the presentation of sacralized rock mushrooms from megalithic sanctuaries in the Eastern Rhodopes Mountain, in the Western Rhodopes Mountain, images of mushrooms from the sanctuary in the Magura Cave in Western Stara Planina and a number of other monuments from the Bulgarian lands. A semantic and functional analysis of the images in the context of Indo-European religion and in particular of Thracian religion and mythology is proposed.
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The icons of the painter Alexander Popgeorgiev in the “St. Demetrius” church in the village of Zimnitsa, Yambol region, dates from 1857–1858. The “St. George on horse” despotic icon of the iconostas is is restored in 2019. During the restoration the painting was freed from late picturesque layer. This is a reason to analyze the colorful, style and technical characteristics of church icons. Part of the creative work of the Yambol icon-painter, who holds a worthy place among the masters of Bulgarian Revival painting, is presented.
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Metal detection is a controversial topic within the contemporary cultural environment, due to its complex and sensitive implications within national legislations, cultural policies and participative involvement of cititzens in scientific data collection. However, this technology proved to have a huge potential for any research and investigations, especially for artistic research projects. The amount of data, archaeological context and artifacts is impressive and enables approach, development, progress and fair conclusions, at the scientific level, for artistic projects based on the study of modern history artifacts. The investigative project presented here is based on the last five years of research activity as Romanian artist practitioner of metal detecting, with comparative references to the main and trend setting Romanian artistic project of metal detecting R.A.P.I. – Romanian Archaeological Photography Index, developed by Michele Bressan and Bogdan Gоrbovan, both professional photographers and graduates of National University of Arts, Bucharest. Our approach is oriented towards the potential sculptural value of artifacts detected and unearthed within the world war 1 sites from the specific area of Prahova Valley, the place of fierce mountain battles at the end of 1916. As in the R.A.P.I. project, we used the wide ranging photographic documentation of detected and dig-out military artifacts, but in more creative approach,rather than documentary, following the sculptural potential of free composition of objects and artifacts. Overdesigned and over-engineered, fabricated under high quality military standards or on the contrary, under industrial war effort ersatz regulations, these artifacts, wearing the centennial decay of underground and oblivion, express certain aestehtic qualities if composed in creative ways, as sculptural objects. The main objective of this study is the potential of metal detecting as a research tool to identify artifacts with sculptural ready made potential,composed and photographically investigated within creativity methods of contemporary sculpture. Used in the appropriate circumstances of legality, ethics, scientific rigor and also artistic creativity, metal detecting would acquire a major status within cultural environment through interdisciplinary artistic research projects combining art, archaeological survey, immersive history and participative citizen science.
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The text is based on Hubert Damish’s thesis in „A theory of (cloud): toward a history of painting“(2002), where the cloud is interpreted as non-inclusive, not participating in the perspective model as a painting system. Respectively, the cloud as an anachronism of the picturesque as opposed to a linear (perspective) dominant Western norm (in Damish terminology) is traced as functioning in Eastern, Chinese painting itself as a kind of cultural and historical rudiment. And it is through the synthesis of painting and word in Chinese painting:1 / it is demonstrated in contrast to Foucault’s thesis in “This is not a pipe“ how it is possible for a verbal sign and visual representation to be given simultaneously; 2) the historical origin of the letter is displayed as a sign from the image as a hieroglyphic symbol; 3) demonstrates how the third dimension is constructed not in perspective,but in a meaningful depth, and precisely through the clouds as a metaphor for the Maya (illusion) of the visible and all-in-one nature of things; 4) so summarizing: the cloud rises from scenic scope and instrument to the level of universal cultural metaphor.
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I offer a glimpse at the essence of the visual arts, which is related to the conceptual and the visual constructions through which the image is constructed. Although very different from painting, cinema, as a visual art, is influenced by it at a depth that is hard to imagine.I am taking into account the views of Sergei Eisenstein – one of the proponents of the formal theory of cinema, displayed in his theoretical works, as well as several of his films. Changes in the visual arts that result from the advent of photography give new meaning and role of painting. Artists occupied in painting are beginning to look for new ways to solve the problem of three-dimensional space in a two-dimensional surface. In the time that cinema develops own language, it sets to itself similar tasks. At that moment, cinema turns to the familiar visual-artistic experience and its forms in order to construct its own imaginative language. Cinema, like painting, gives us the joy of looking at the form in which the correlation of the elements is sensed. Accordingly, in order to bring pleasure and meaning, this form is created in constructions that we know from the field of painting. Editing, the basis of cinematic language, is built by putting together frames that serve as building blocks of the film. In this capacity they are of utmost importance. It is frame’s compositional organization, which at first takes place in a two-dimensional space as in picture that plays a major role in the approach to the editing. The composition of the frame which is the core of the editing process is built in the parameters of the main points through which the composition in painting can be built – rhythm, dynamics, statics, symmetry, asymmetry, analysis and synthesis of form, and at a later stage of the development of cinema – even color. The visual arts are based on similar structures and ways of building the form though they do it through different languages. There are unifying principles that define the world of images. Whether they are moving or static, their construction is often done on the basis of similar intentions and through similar instruments. Knowing them, understanding them, is a tool for creating quality images.
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“Worn Dresses” is realized as a creative experiment in 2017 at “Radikalno” hall of department “Sculpture” at The University of Veliko Tarnovo. Technically speaking the project is a continuation and development of an author’s method, which has been set and elaborated since 2007 till now. Inspired by elements of collage art, this technique offers unlimited abilities for an interpretation of shaping and spatial models. The conception “Worn Dresses” is a combination of two basic creational ideas. The first one is a synthesis of the subject matter content and the architectonics of visual objects viewed by a precise combination of practical and real social dimensions. The second one aims to create a united literary image of the exhibition, which itself without any negative context, translates the item “absence” as a condition of the dualistic character of Nature. In ability to realize the sensible insight which generates “absence” and “presence” as aims to affirm not just the physical essence of a human, but the humanity in the artistic fact. The experiment is an original shaping solution, an aspect of spatial relationships and author’s intrusion in between the intersection of a piece of art and audience.
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Article deals with some points in philosophy of symbol by Losev stemming from his early works. First notes on theory of symbol belong to his study of Ancient mythology and dialectics. During a period of one decade Losev (twenties of XX) had examined a variety of issues similar to the nature of symbol. His concept of ipseitas claims the symbol is the one possible appearance of an unknowable essence, where none of predication approaches the genuine act of thought. The symbol overcomes the antinomies and gets through a gap between word and image, saying and doing, man and God.
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The phenomenon of self-portrayal resulting from accumulations and developments during the Italian Renaissance period is under discussion in this text through the optics of Postmodernity. Changes that have occurred with the progress of technique in mirror positioning – auxiliary equipment in self-portrayal – have led to a radical change in the ways of creating and perceiving of self-portrait. Conditionally transmitted in self-portrayal, the “Casimir Effect” helps to understand the notion of self-portrayal decline. Postmodern self-portrayal represents not only the creator but paradoxically it includes the viewer within itself too, in a more general sense, its potential audience as well in one with the events in which it is encompassed as a phenomenon.
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Our encompassing digital world imposes a new digital aesthetics. Applied visual software, printers, etc. offer a new imagery of plastic arts. Digital possibilities lead to the delusion that they can dethrone the classical arts. Painting has brought its adaptability to the new media over time, but the modern digital era puts it under a new set of problems. Extremely material (painting) against non-material (virtual), war in territory.
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The public environment and in particular its monuments and historical sites are the focus of a certain cultural dynamism in the early twenty-first century. Different modern groups and individual artists express their public position by using elements of them or by including them in a certain context. How much does it affect the integrity of existing works? Do they “live” in our times through these actions?
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The desire to participate in the 1960s was symptomatic of this period.Through the “Tap and Touch Cinema” action of Valie Export and “Society of Spectacle” a movie of Guy Debord, attempts have been made to present two methods for making the audience an active participant. What connects two authors is their struggle against alienation and passivity.
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The methodics, subject of the present study is based on research and analysis of the impact of the results from conservation and cultural heritage activities. At the same time, the study explores the possibilities to promote cultural heritage with artistic interactions and educational impacts through the application of modern information and communication technologies (ICT), using an interdisciplinary analysis of the scientific information for the cultural heritage sites. The concept of “authentic artistic interactions” has been introduced as a new approach to the preservation and promotion of ruined cultural heritage. It underlines the importance of the interpretation of cultural heritage in the context of ICT (ICT) capabilities for the promotion of immovable and movable cultural values. Factual examples for presentation of the European cultural heritage, using Augmented reality, are viewed. The study presents the opportunities for interpretation of the cultural heritage through visual research with information and communication technologies (ICT) in a real “in situ” and museum environment through examples from Bulgaria for using the methodics, which was introduced in the dissertation “Conservation of the cultural heritage of Bulgaria in the context of the synthesis of architecture and fine arts “(Nenov 2016). It describes the capabilities of the method with examples from projects created by a team with head arch. Ivelin Nenov. “For these objects an environment for interpretation and presentation of the cultural heritage was created through visual interactions in a real “in situ” and museum environment.” (Nenov 2018.a) In the context of the examples of application, the study highlights the need for introducing new approaches for conservation and management of the cultural heritage, and it emphasizes the serious benefits for society as: the realization of educational influences, a qualitative change in the attitude towards the historical memory, a real opportunity to organize monitoring of the preservation processes in cultural heritage, inclusion of cultural heritage in sustainable development, building a new cultural infrastructure, a powerful boost for the development of the creative industries.
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These article reveals the modern and postmodern tendencies in the artworks of four eminent Bulgarian textile artists: Maryn Varbanov, Vasil Ovcharov, Vladimir Ovcharov and Dimitar Balev.
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New idea bearers during the first two decades after the Liberation became foreign artists among whom are standing out the names of Ivan Mrkvicka, Yaroslav Veshin and Boris Schatz – who binded a decade of his life with Bulgaria. And this life is filled with difficulties, unexpected twists and noble ambitions. The remarkable personality of Boris Schatz as a talented sculptor, organizer and pedagogue stands out in the context of the artistic life of his time, where no major cultural event occurs without his energetic interference. It ishis efforts to promote modeling as one of the most important disciplines of the artistic education that leads to the creation of the Sculpture specialty at the National Academy of Art. When Schatz dies in 1932, the Bulgarian art has already passed a long way of development, of change of ideas and conflicts between trends and generations. The academism of the“realistic school”, which has earned the artist`s particiality, has long ago been rejected, but his personality remains among the most prominent representatives of the new Bulgarian sculpture.
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This is a concept related to the creation of a mental image at speculative space below surface of the picture plane. As non-representational and incompatible with it, the radical idea is might be defined as conscious infinite extension of three-dimensional field in which the matter exist. As a matter of fact it is evocation of space that is not void, but consists of multifold speculative creations from a myriad of perspectives. As a result appears a flat abstract image elicited on the picture plane. This projection breaking through the surface and reveals the essence of the imaginary objects without distortions. As a visible expression the metaphoric image preserves the identity of the things in their difference.
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Our story is about the personal history of two prominent intellectuals with a different place in the Bulgarian art studies. We are talking about the lasting and the conjuncture in the world of moral and aesthetic values. The first one, the father Nikolay Raynov, is among the pioneers in the process of Europeanization of Bulgarian art with a significant and lasting contribution, while the son Bogomil Raynov, is an apologist of socialist realism from his initial Stalinist phase to the very end, with a few exceptions, when, after the unstoppable decline, the Communist regime and its art remain in history.
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The immense interest that architecture has on bulgarian artists justifies its place among our paintings. One of the prime locations, which inspired artists to draw architecture is Balchik. By following the compositions, inspired by our seaside town, we can discover representatives of all the generations of bulgarian artists, including some of the most renowned names. The inextinguishable interest in Balchik is a phenomenon in itself. The dispersed combination of vegetation in an urban environment, along with the close proximity of the sea, gives many opportunities for establishing artistic goals, determined by the nature and attitude of the individual painter. The picturesque nook of Bulgaria provokes creativity and leads to diverse artistic achievements. As a result, we possess a qualitative and various arrangements of art pieces, which give a strong foundation for assessment and artistic analysis. The development of landscapes with a Balchik-inspired subject throughout the years is demonstrative of the improvement of painting in Bulgaria, including some of the most influential and original bulgarian artists.
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