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A conversation with Stanislaus von Moos on the rooftop terrace of the Getty Research Insitute
Interview with Stanislaus von Moos by Celia Ghyka.
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The dialogue with Petru Hadârcă, director of the “Mihai Eminescu” Chișinău National Theater,but also a scientific researcher whose works include the doctoral thesis in the study of arts on the History of theRomanian Chișinău National Theater (memoirs of Romanian theater – places, performances, actors), has as itstheme the history of the Chișinău National Theater. The discussions were held both on the history of the institution (establishment, founders, repertoire, personalities: actors, art critics and historians), and on the buildingsin Chișinău where theater was made (in Romanian and Russian language) still from the tsarist period. Soviethistoriography covered several aspects with prohibitions and even instrumented some data through which itessentially modified the information about the past of the Chișinău Romanian-language theater. Arguments areput forward in favor of the fact that the history of the Chișinău National Theater, the first Romanian-languagetheater, but the first permanent, repertory theater, financed from public money from the east of the Prut, it beganon 6 October, 1921, thanks to the support of senior officials, Victor Eftimiu and Octavian Goga, the Minister ofCults and Arts of Romania.
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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.
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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.
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Far Eastern ceramics have had an important place in the development of ceramic art in the historical process. Owing to the technological developments in the Far East, the discovery of loam resources, the high degrees kiln technology and the discovery of glazes, remarkable changes have been experienced in the field of ceramics. In addition,these changes have also led to a development in aesthetic understanding and the emergence of different types of artistic glazes. Celadon glazes, one of the Far Eastern glazes, have taken their place among the artistic glaze types as a special glaze type used by ceramic artists in their works. In this study, a literature review was considered on a preferential basis and the development of Seladon glazes in the historical process was examined through accessible document. Examples are given from artists who do research on Celadon glazes and use Celadon glazes in their works. In the process of creating the recipes, the mixtures of ash and clay, which formed the first Celadon blends of the Far Eastern potters, were used. In the first part of the research, in which the triple diagram method was used, mixtures consisting of feldspar, ash and kaolin, and in the second part, feldspar, whiting and kaolin were prepared. The iron oxide additive, which gives the main color to the celadon glazes, was determined as 1%. The firings were carried out in the Anagama kiln in a reducing atmosphere at 1250°C for 36 hours. The optained Celadon greens are presented with their recipes, surface images and comparative results.
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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.
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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.
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Through the natural, simple language, largely different from the operatic style and yet influenced by the expressive vocality of the opera, Stabat Materimpresses with the character of high spirituality, a nobility of the musical message. However, conservative critics blamed Pergolesi for the slightly romantic air of the work, a division between feeling and comprehesion. The melancholy of his latest creation, foretelling the death that would occur only a month after the completion of the composition, also reflects a psychological dimension of preclassicism. That is why it can be called the swan song, comparable to the Mozartian Requiem, composed in similar conditions, which is why some see in Pergolesi an Italian foreshadowing of the Mozartian spirit and destiny.
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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.
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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.
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The action of "The Pickwick Papers" begins in 1827, ten years before the novel was published. Quite how seriously we should take this date is debateable. In Chapter 2, Mr Jingle claims to have been present at the deposition of the Bourbons, which leads Dickens to issue a correction (of sorts) in a footnote to the 1847 edition: “A remarkable instance of the prophetic force of Mr Jingle’s imagination; this dialogue occurring in the year 1827, and the Revolution in 1830”. So, Dickens was not exactly scrupulous in setting up the novel’s original chronology, and may have thought that being so would have been slightly absurd (a kind of Pickwickian pedantry). Nevertheless, he does eventually spot the mistake with the Bourbons, and draws attention to it. And there are reasons for thinking that, in some ways, he may have been deeply invested in 1827 as the opening year. To be precise, "Pickwick" begins in May of that year, a month that Dickens will have vividly recalled, as it was then, as a 15-year-old office boy in Gray’s Inn, that he began his white-collar career. In fact, it is by no means impossible that May 12th, 1827, the day on which Mr Pickwick delivers his epoch-making paper on ponds and ‘tittlebats’, may have been the very day (in the real world) on which young Charles began work. Taking its starting point from a range of internal and external hints, forms of evidence, and loose ends, such as these, this article anatomises the dating of "Pickwick" in terms of Dickens’s personal history; his sense of the social and political specifics of the 1820s; the amateur antiquarianism that is satirised within the novel; and its fictional placement in a literary no-man’s-land between Romanticism and the Victorian.
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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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The baroque style has been often regarded by specialists as one of the first international movements transcending the limits of time and space, manifesting in areas found far from the centre that set the trend. The ideological discourse promoted by the Habsburgs had as a model the scenery of the great cities in the empire, with urban principles that stated the importance of the parochial church, or the main square adorned with monumental sculptures as visual rhetoric. It was quite a fashion to assert allegory and symbols as forms of power manifestation, having didactic and decorative values at the same time. The image instructs, the form sets boundaries to what is seen, and becomes a model to be followed in a manner that sets the prototype. The architectural prototypes of the churches raised in Hungary and Banat in the 18th century were configured by Lipót Kollonich. During Leopold I the Serbs were allowed to build churches made of stone replacing the wooden ones from the previous century. The study aims to present a comparison between the Serb architectural topography and style in two of the provinces found in the boundaries of the Habsburg Empire. How the central European models were received and set as trends in religious architecture is the main target of this research.
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Trabzon maintained its importance and strategy throughout history because of its geographical position and harbour. The defense of the city against attacks and threats has been an important issue since it is an important location of Silk Road trade, which serves as a gateway to Europe and Russia by sea and a passageway to the inner parts of Anatolia, Caucasus and Iran. The city has witnessed the construction of a bastion which has changed the military architecture with the invention of firearms and emerged as a new type of building. The spatial organization of the local, which is now Kalepark/Ganita, has brought the castle to the fore and it became the military committee and command center. Trabzon and Çömlekçi bastions were built to protect especially harbors, coasts and regions where is concentrated active trade, including the main bastion in Güzelhisar. Hagia Sophia, which is the most important structure of the city and has many ideological and symbolic meanings, is located quite far from the city walls so it had to be defended against the attacks and dangers from the sea. For this reason, a bastion was built in front of Hagia Sophia. Also, another basiton was built in Polathane Harbour. Polathane Harbour, which was used in both commercial and military purposes, had been a strategic point especially in the 19th centruy as it was the first defence point in the sea aganist to Trabzon. So there were built Kireçhane and Sargana bastions due to Russian invasion to protect for harbour in the 19th centruy. Within the scope of the current study, a research was carried out regarding the bastions situated in Trabzon, and their importance was explained. This research employs archival material from Presidency of The Republic of Turkey Directorate of State Archives - Ottoman State Archives and Ottoman and French maps and plans. Bastionss are discussed in the light of archive documents in the context of repairs and reconstructions, budgets, construction decisions and architectures. Some financial difficulties in the construction of the buildings, have security problems caused by the location of bastions and sent from the central authority in the organization of the construction works and assist the city administrators were determined in the study.
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František Adolf Šubert, Director of the National Theatre from 1883 to 1900, was one of the first managers of Czech culture. With his organisational talent and ability to enter into public affairs, he put the idea of a national theatre into practice; an institution which is not only a place for staging first-rate productions, but above all a centre for the whole society. He managed to come up with strategies to bring new social groups to the theatre, as well as people outside of Prague - anywhere where residents identified themselves as being Czech. In this respect, an important role was played not only by the theatre trains, but also by the involvement of the theatre in large events such as jubilees and ethnological exhibitions. No less significant was the staging of unusual productions for less affluent groups. However, from its very opening the theatre had to face criticism from a host of theatre critics over the poor quality of its repertoire and its general orientation. Often the contradictory nature of the criticisms precluded the possibility of addressing them, and today it raises the question as to what extent the expectations of the professional public created adequate conditions for the National Theatre to operate in.
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Laika Karabey lived in the 20th century and contributed to traditional Turkish art music as a tanbur performer, composer, editor, music writer and instructor. It is known that Karabey, who was very productive in the period he lived, has an important place in the Turkish classical music tradition. Considering that the women representing the Turkish classical music tradition are few in number, it can easily be said that Karabey made important contributions to the history of Turkish music both in the context of her productive female identity and in ensuring the continuity of the tradition. Karabey's works, especially as a writer, are considered useful in terms of understanding the Turkish music tradition, as it provides important data about the music culture of the period. Laika Karabey drew attention with her regular newspaper articles, in addition to her articles in the Musiki Magazine, which was considered one of the most important magazines of the period. Music articles in the Milliyet newspaper, which was founded on May 3, 1952, both provide important data about the musical understanding of the period and contain information about Karabey's musical understanding. In line with the study, first of all, Karabey's music articles in Milliyet newspaper were obtained by archive scanning method. The universe of the study is limited to the articles that Karabey wrote in the Milliyet newspaper during 1952. The aim of the study is to reveal Karabey's views on music in line with the data obtained, and to present data on the general musical understanding of the period, especially in line with his criticisms.
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In the analysis of the ideological canon of socialist realism by P. Sloterdijk the thesis of the so-called "Prometheus Complex", which according to him is part of the life-affirming normative model of Soviet art, which in musical art is associated with the genre of symphony. In the period of the so-called "Restoration" after 1968we can speak of a new kind of apologetics of Prometheus' beginning. In fact, it was not until 1968 that the Prometheus complex was truly "regulated": of the socialist realist art, its brightest incarnations are pointed out, among which the above-mentioned Symphony No. 2, Raichev's "New Prometheus" occupies a central place. In the literature, in the autobiographical speech of Lazar Nikolov and Ivan Spasov also after the fateful 1968/69, one can see ignoring the official Prometheus complex. The restoration of socialist realism is revealed as the ideology of the omnipotence of socialist art and music after 1968 - embodied and as the symbol of Prometheus - the new, victorious Prometheus of the ideological canon. However, it does not even touch on the outcome / creation of Prometheus' tragedy and symbolism in New Music and Modernism. Prometheus' beginning of the protest stands out with Lazar Nikolov, Simeon Pironkov and Ivan Spasov.
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The second half of the 20th century witnessed many political and social upheavals in the Republic of Turkey as well as in the rest of the world. The political turmoil and chaos that occurred after 1970, which we determined as the limit of our study, and the social values that started to change with the introduction of technology in the institutional field after 1980 and in the individual life after 1990 caused the Turkish society to change at different speeds. Mehmet Güleryüz, who is the artist of the is a sensitive painter who observes, assimilates, and has succeeded in reflecting these problems in his works by passing these problems through his intellectual filter with his ability to analyze with universal accuracy. In this study, the subject and drawing of Güleryüz's paintings were studied in this context.
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Azerbaijan, which gained its independence after 1990, competed with each other for the exploitation of natural gas and oil and many projects were signed.Turkey has been involved in this project as a strategic partner. In this sense, the two countries have common history and values that Azerbaijan-Turkey political, economic, socio-cultural relations began to develop rapidly. In this study between Azerbaijan and Turkey in economic, political, cultural and artistic relations were examined. In the study, it is aimed to deal with the economic, political, social and cultural developments between the years 1990-2020. During the Soviet Union period from 1970 to 1990, a brief discussion of political, cultural and artistic data was given and the economic, political, cultural and artistic knowledge that developed after Azerbaijan gained its independence after 1990 was examined. In the research, political, historical, economic and cultural events were researched and the findings were analyzed. In the study the development of relations between Azerbaijan and Turkey were evaluated. In the study between Azerbaijan and Turkey in line with the development of cultural relations basic economic and political factors are examined. In the research between Azerbaijan and Turkey in economic, political and diplomatic relations have been placed under the same title. in the other part of the study established between Turkey and Azerbaijan socio-cultural, artistic relationships are the subject of research. At the same time, by referring to the agreements signed after the independence, the relations between the two countries with the effect of economic, political, cultural and social developments on the new level were discussed and inferences were made in this direction.
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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.
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