Situația actuală a bisericilor de lemn din județul Sălaj

Author(s): Adrian Rauca,Irina Crețeanu / Language(s): Romanian Issue: 7/2018

The wooden churches in Sălaj county are architectural monuments representative for the religious art alongside the other wooden churches in Romania. They were built between the 16th and 19th centuries, yet most of them were erected between the 17th and 18th centuries. There were 128 wooden churches in Sălaj county of which 92 are still standing and only 62 are Historical Monuments. The conservation state of the ones enlisted as Historical Monuments is generally problematic with numerous deteriorations and various repercussions on their durability and integrity. At the same time, the artistic components of the monuments, the religious objects and the exterior and interior painting are in a precarious state. Some of these churches have been salvaged, being included in extensive conservation and restoration programs and then integrated in touristic circuits. The rest of them are preserved poorly, damaged by abusive and inappropriate interventions or abandoned. Without a responsible attitude, these buildings will shortly become ruins and lose the documentary, historic and artistic values they hold.

Vitralii: degradări ale componentelor din sticlă. Metode de conservare a crăpăturilor și lacunelor

Author(s): Angela Horvath,Răzvan Gavrilă / Language(s): Romanian Issue: 7/2018

The state of preservation of a stained glass window is determined by the state of preservation of its constituent elements. These elements are the lead network, the glass, the support and reinforcement system (ferramenta) and putty. The breakdown of one or more of these systems tends to hasten the breakdown of the remaining systems and ultimately the entire stained glass panel fail apart.Cracks and lacunae repairs can be classified into two categories: traditional – mending lead and copper foil repairs; modern methods – use of synthetic resins for edge gluing of broken pieces and infills.None of these methods are perfect, each will have its own advantages and disadvantages, technical or aesthetic, instead the decisions about the type of intervention are determinative for the success or failure of the conservation approach.

Xilogravura japoneză Ukiyo-e, de la creaţie la restaurare

Author(s): Andreea Maria Teodorescu / Language(s): Romanian Issue: 7/2018

Ukiyo-e, or Japanese traditional woodblock printing, was initially a popular form of art intended for and largely spread among the lower class of the time in the country of origin (while only the higher class afforded the traditional paintings). Lately it has spread in Europe and America as well, having a strong impact on Western art in the early twentieth century while the Japanese stream evolved.Although considered a popular form of art in the beginning, the Japanese woodblock printings have become considerably widespread and highly appreciated among collectors. The lack of in-depth knowledge of its origin, the type of materials used and their characteristics, the storage and exhibiting conditions as well as certain reactions to the applied treatments have led to their deterioration for a long period of time.It is of particular significance the fact that in time the Oriental specific materials and conservation techniques have become widespread and highly appreciated in the conservation of European art as well.

Picturile murale budiste din Ladakh (India) – tehnica, problematica și restaurarea

Author(s): Anca Nicolaescu / Language(s): Romanian Issue: 7/2018

The paper briefly presents a summary of the Buddhist paintings from Ladakh in the Himalayan region, their technical details, recurrent damages and conservation approaches. To illustrate, three case studies are outlined from the THF wall painting conservation projects; temples built in the 13th and 15th centuries, revealing the various techniques and specific degradations encountered in this type of earthen building. The general conservation strategy is described, emphasising the necessity of using the local natural materials due to their compatibility with the original and their availability in the area. The program also recognises the need to share conservation knowledge and building maintenance through training programs for local students and monks.

Profilul barocului în societatea românească. Idei şi arte plastice vizuale în secolele XVII-XVIII

Author(s): Cătălina Ionescu / Language(s): Romanian Issue: 12-13/2008

Barocul este expresia unei maturări interioare a sensibilităţilor europene, chiar dacă aceasta nu traduce şi un echilibru; barocul înseamnă contrast, noutate, contradicţie, spirit aventurier şi temere. Barocul a luat naştere printr-o lovitură de teatru şi sub amprenta acesteia ajunge să guverneze vieţi, ridicându-le din neant sau prăbuşindu-le. Omul baroc manifestă o dizabilitate accentuată, emoţională şi psihică pentru că timpurile pe care le trăieşte îl supun unor experienţe traumatizante. Cu o doză de nebunie şi cu o doză de pragmatism cinic, el trăieşte zilnic lupte fizice şi morale, vede cum în faţa lui lumea cunoscută se schimbă din clipă în clipă, cum certitudinile dispar. Prin „om” înţelegem ceea ce se află în spatele categoriilor profesionale, sociale, economice, religioase, etnice şi prin urmare este normal ca fiecare dintre aceste segmente să se producă sub un anumit comportament, influenţat de cotidian. Mărturiile sale existenţiale, discursurile sunt măsura epocii respective. Creaţia artistică a secolelor XVII-XVIII este îndeosebi una dintre cele mai importante surse privitoare la epocă, a cărei decriptare poate permite o altă ecranizare a intervalului. Artele plastice majore româneşti încifrează metamorfozele care au loc la nivel ideatic dar şi în plan material, ilustrând noile forme ale gândirii şi fiinţării autohtone. Prin însăşi creaţia materială luăm la cunoştinţă despre începuturile maturizării societăţii româneşti, despre asumarea noilor responsabilităţi şi temeri, despre valorile acumulate de-a lungul timpului, despre noul statut. Oglindirea fidelă a trăirilor şi sensibilităţilor populaţiei în programele culturale şi artistice denotă o existenţă tranzitivă, între vechi şi modern, între Orient şi Occident, dar fără a neglija originile şi moştenirea. Documentul vizual, ce însumează edificii de cult (biserici, catedrale), clădiri civile, publice sau particulare (conace, palate), sculptură în relief sau ronde-bosse, fresce votive sau reprezentări canonice, vorbeşte prin punct, linie, pată de culoare, volum, despre lumea proiectată de mentalul şi imaginarul social al românilor. Dacă un palat de talia celui de la Mogoşoaia sau fastul maladiv ce-l înconjoară pe Vasile Lupu sunt mai explicite cu privire la imaginea pe care o aveau despre sine sau doreau să o creeze aceste societăţi, nu mai puţin lipsite de importanţă sunt formulările ceramice decorative parietale, arborii genealogici „portretizaţi” sau analogiile istorico-mitologice. Fie că sunt exprimări subtile, discrete, metaforice sau dimpotrivă, declaraţii directe, pline de patos (ale omnipotenţei şi strălucirii curţii de la Viena, de pildă), enclavele de creaţie artistică românească, de sorginte barocă, surprind prin complexitate şi elocvenţă, prin verticalitatea şi pertinenţa mesajului.

Učenje o regeneraciji čovečanstva. Chamberlainova kanonizacija Wagnerove nove religije

Author(s): Dragana Jeremić Molnar,Aleksandar Molnar / Language(s): Serbian Issue: 2/2016

Incursiune în istoricul ex-libris-ului: demers comparatist

Author(s): Clara Fulea-Kranyák / Language(s): Romanian Issue: 22-23/2013

Apărut ca o metodă de afirmare a proprietății asupra unei cărți sau de delimitare a unei colecții de cărți, ex-libris-ul a depășit condiția de semn al proprietății devenind o mică operă de artă. Originile sale sunt strâns legate de utilizarea semnelor heraldice, însă chiar și la începuturile sale, ex-libris-ul cuprinde uneori elemente suplimentare care exprimă aspecte mai puțin formale decât cele legate de blazon. O a doua etapă a evoluției ex-libris-ului marchează desprinderea sa de heraldică și apropierea de zona miniaturilor artistice. În această etapă, pictori și gravori cunoscuți sunt angajați pentru a crea ex-libris-uri, iar acestea cuprind o mare varietate de teme: portrete, peisaje, obiecte, animale, alegorii, nuduri, etc. Imaginile din ex-libris sunt deseori însoțite de o deviză sau de un citat considerat a fi reprezentativ. În cazul ex-libris-uri-lor care au aparținut unor personalități istorice, acest citat poate să ne releve un aspect inedit legat de viața lor privată. În articol sunt expuse câteva momente importante legate de istoria ex-libris-ului din unele țări europene și din arealul țării noastre. Spre deosebire de alte țări în care ex-libris-urile sunt folosite curent încă din secolul XVI, în țările române și Transilvania el apare mai târziu, fiind adoptat pe scară largă doar din secolul XIX. Lucrările care analizează ex-libris-urile din România sunt puține și de obicei tratează unele aspecte particulare legate de subiect – ex-libris-urile heraldice, tehnici tipografice folosite pentru realizarea gravurilor sau ex-libris­-urile dintr-o colecție muzeală sau particulară. Datorită acestui fapt, cercetarea domeniului poate scoate la iveală aspecte inedite, neexplorate încă de alți autori.

Ex-libris-uri ale unor intelectuali din Transilvania

Author(s): Clara Fulea-Kranyák / Language(s): Romanian Issue: 34/2019

Extinderea dominației habsburgice în spațiul transilvan a oferit noi oportunități intelectualilor locali. Împărații austrieci au încurajat numirea în posturile din administrație a unor persoane competente și au oferit deseori burse de studii tinerilor care nu aveau mijloace financiare pentru a studia în universitățile din marile orașe austriece. Această politică a avut drept rezultat creșterea prosperității intelectualilor din Transilvania, care și-au permis să cumpere cărți științifice alcătuindu-și biblioteci personale. Acest fenomen poate fi constatat și prin apariția unui număr de ex-libris-uri personale ale oamenilor de cultură ardeleni. Studiul de față își propune să prezinte câteva dintre ex-libris-urile celor mai importanți intelectuali din Transilvania, însoțite și de câte o scurtă schiță biografică. Ex-libris-urile studiate aparțin lui Nicolaus Olahus, Michael Gottlieb Agnetheler, Daniel von Cornides, Huszty Miháli, Jakosics József, Csiba Mihály, Ivánsics János, Ignaz Edler von Born și Miller Jakab Ferdinand.

Mittelalterliche Architektur in Polen. Romanische und gotische Baukunst zwischen Oder und Weichsel. Hrsg. von Christofer Herrmann und Dethard von Winterfeld

Author(s): Tomasz Torbus / Language(s): German Issue: 1/2019

Review of: Mittelalterliche Architektur in Polen. Romanische und gotische Baukunst zwischen Oder und Weichsel. Hrsg. von Christofer Herrmann und Dethard von Winterfeld. 2 Bde. Imhof. Petersberg 2015. 1136 S., zahlr. Ill., graf. Darst. ISBN 978-3-7319-0087-0. (€ 99,–.). Reviewed by Tomasz Torbus.

Die Hungarica Sammlung der Franckeschen Stiftungen zu Halle. Hrsg. von Brigitte Klosterberg und István Monok. Porträts. Bearb. von György Rózsa und Attila Verók

Author(s): Detlef Haberland / Language(s): German Issue: 1/2019

Review of: Die Hungarica Sammlung der Franckeschen Stiftungen zu Halle. Hrsg. von Brigitte Klosterberg und István Monok. Reviewed by Detlef Haberland; Porträts. Bearb. von György Rózsa und Attila Verók. (Hallesche Quellenpublikationen und Repertorien, Bd. 7.) Verl. der Franckeschen Stiftungen – Niemeyer Verlag. Halle – Tübingen 2003. XXX, 269 S., zahlr. Ill. ISBN 3-931479-33-1 – 3-484-84107-9. (€ 42,–.). Reviewed by Detlef Haberland; Historische Karten und Ansichten. Bearb. von László Pászti und Attila Verók. (Kataloge der Franckeschen Stiftungen, Bd. 22.) Verl. der Franckeschen Stiftungen. Halle 2009. 103 S., zahlr. Ill., Kt. ISBN 978-3-939922-14-8. (€ 16,–.). Reviewed by Detlef Haberland; Handschriften. 2 Teilbde. Bearb. von Zoltán Csepregi. (Adattár XVI-XVIII. századi szellemi mozgalmaink történetéhez / Materialien zur Geschichte der Geistesströmungen des 16.-18. Jahrhunderts in Ungarn, Bd. 39/1-2.) MTA Könyvtár és Információs Központ. Budapest 2015. XXIV, 1158 S. ISBN 978-963-7451-25-6. Reviewed by Detlef Haberland; Alte Drucke 1495-1800. 2 Bde. Bearb. von Attila Verók. (Adattár XVI-XVIII. századi szellemi mozgalmaink történetéhez / Materialien zur Geschichte der Geistesströmungen des 16.-18. Jahrhunderts in Ungarn, Bd. 40/1-2.) MTA Könyvtár és Információs Központ. Budapest 2017. XLII, 1235 S. ISBN 978-963-7451-33-1, 978-963-7451-34-8. Reviewed by Detlef Haberland.

Препрочитане на текстове от 1956: критически полета срещу сталинизма

Author(s): Angelina Petrova / Language(s): English,Bulgarian Issue: 4/2019

In terms of meaning and events, 1956 was among the most significant years after the fall of the Iron Curtain. At the Union of Bulgarian Composers that year began as a time of protest letters, of an initial expression of resistance against the ideological canon. An overview of the musicology of March 1956 unleashes unexpectedly severe criticisms of the Zhdanov Decree against musical formalism of 1948 by both renowned historians, humanitarians, musicologists and classical composers in an attempt to put an end to the Stalinist regime. It was the first recorded effort ever made by Bulgarian musicians to denounce the Decree of 1948 as seen from the shorthand reports of the Review of Musicology and Criticism. The year 1956 saw the most stringent control over twelve-tone music and the works of Konstantin Iliev and Lazar Nikolov, who established a ‘creative under-ground’ by withdrawing their participations in the 1956 Third Review of Musical Oeuvre held in December, which occurred in the wake of the Plenary Meeting of the Bulgarian Communist Party in April 1956. The Review attempted to promote a young generation of composers such as Tsvetan Tsvetanov, Dimiter Christoff, Zdravko Manolov, who were in quest of a contemporary language outside the twelvetone system (except for Vassil Kazandzhiev). One of the goals of the official discussion held after the Review was to reaffirm the Decree of 1948 in setting new limits to socialist innovation. Konstantin Iliev’s article Ignorance or Malevolence of 1957 rekindled but did not finalise the 1956 discussions, making yet another attempt to ideologically criticise the dogmatic cannon. The plethora of 1956 texts is multidirectional. They evince, first and foremost, an act of rebellion against dogmatism, illiteracy, gross simplification, and ultimately, represent an attempt to break down the ideological canon.

Държавният ансамбъл за народни песни и танци, композиторите, властта и самодейността през 1952

Author(s): Goritza Naydenova,Goritza Naydenova / Language(s): English,Bulgarian Issue: 4/2019

The article draws on the shorthand report of a discussion about the earliest presentation of the National Ensemble of Folk Songs and Dances (NEFSD) at the Union of Composers, Musicologists and Concert Performers (UCMCP) on 6 February 1952, as well as on the press reviews of the same year. Drawing on the principle terms of sociological new institutionalism, the article offers the complicated picture of a dialogue between the institutions, persons and socialist authorities. A tangle of miscellaneous problems is unveiled in regard to the state of affairs in the musical culture of that period, the power mechanisms used to enforce certain trends in culture, and the personal strategies for ‘manipulating’ the authorities. The stand of UCMCP, as an institution, is one of reserved distance. According to the authorities, NEFSD was formed to comply with the Zhdanov Decree against musical formalism and its main task was ‘to bring composers closer to the people’ (which UCMCP failed to achieve through mass songs). What the authorities expected from the NFE was first, to set an edifying example to the UCMCP for their insufficient denouncement of formalism and second, to influence rural amateur art activities (villages required particular attention due to the difficulties in imposing political and economic changes). Philip Koutev believed that composers ought to get closer to folk music (a line coming from the pre-socialist period). He also addressed the Ensemble’s influence on rural amateur art activities but with a different goal: folk music ought to be rescued from mass songs rather than using it to make them better. In Philip Koutev’s opinion, NEFSD was an attempt to reorient the cultural policy of that period in a better direction. Such a ‘manipulation’ of the authorities was also a strategy of the leaders of musical life in the civilizational project, who sought to create a network of music institutions. In this context, as far as the composers under consideration are concerned, the interpretation of the new phenomenon of NEFSD is only possible by using West-European aesthetic and technological standards. It left its mark on the NEFSD’s development and the ensuing trend.

За богослужебната музикална интерпретация на псалмите в средата на IV век

Author(s): Stefan Harkov / Language(s): English,Bulgarian Issue: 1/2020

Around the middle of the fourth century Athanasius, Bishop of Alexandria (ca. 293 – 373), wrote a didactic letter (epistle) known as The Letter to Marcellinus on the Interpretation of the Psalms (Προς Μαρκελλίνον εις την ερμηνείαν των Ψαλμών / Ad Marcellinum in interpretationem Psalmorum), which contained valuable information on fourth-century liturgical music. This study focuses on the particular question of how the Psalms were supposed to be performed with music during the time of St. Athanasius according to the letter to Marcellinus. The practices of singing the Psalms like spiritual songs and reciting them with melody like intoned biblical readings are described by St. Athanasius as synonyms. Most probably, for the Christians in the fourth century both singing the Psalms and reciting them with melody were accepted as an undeniable unity (existing since the Apostolic Age), which was later abandoned for the purpose of the Church’s public worship.

„Male” and „Female” Space in Greek Vase Painting on Bulgarian Lands (SYMPOSIUM and GYNAECEUM)

Author(s): Sasha Lozanova / Language(s): English Issue: 18/2009

On the Function of One Particular Type of Gold Artifacts from the Bronze Age in Southeast Europe and Asia Minor

Author(s): Martin Hristov / Language(s): English Issue: 18/2009

Bernfried Lichtnau (Hrsg.), Bildende Kunst in Mecklenburg und Pommern von 1880 bis 1950. Kunstprozesse zwischen Zentrum und Peripherie

Author(s): Tomasz Torbus / Language(s): German Issue: 3/2015

Review of: Bildende Kunst in Mecklenburg und Pommern von 1880 bis 1950. Kunstprozesse zwischen Zentrum und Peripherie. Publikation der Beiträge der Kunsthistorischen Tagung, veranstaltet vom Caspar-David-Friedrich-Institut, Bereich Kunstgeschichte, der ErnstMoritz-Arndt-Universität Greifswald, 20.-22. November 2008. Hrsg. von Bernfried Lichtnau . Lukas. Berlin 2011. 541 S., 225 Ill., graph. Darst. ISBN 978-3-86732-061-0. (€ 36,–.). Reviewed by Tomasz Torbus.

Arnold Bartetzky, Christian Dietz und Jörg Haspel (Hrsg.), Von der Ablehnung zur Aneignung? Das architektonische Erbe des Sozialismus in Mittel- und Osteuropa

Author(s): János Brenner / Language(s): German Issue: 3/2015

Review of: Von der Ablehnung zur Aneignung? Das architektonische Erbe des Sozialismus in Mittel- und Osteuropa. Hrsg. von Arnold Bartetzky , Christian Ditzund Jörg Haspel . (Visuelle Geschichtskultur, Bd. 12.) Böhlau. Köln u.a. 2014. 297 S., zahlr. Ill. ISBN 978-3-412-22148-5. (€ 39,90.). Reviewed by János Brenner.

U pohvalu svojih starih: u povodu izložbe Visovac: duhovnost i kultura na Biloj Stini

Author(s): Sanja Cvetnić / Language(s): Croatian Issue: 52/2020

Izložba Visovac: duhovnost i kultura na Biloj Stini u Muzeju za umjetnost i obrt u Zagrebu (30. studeni 2019. – 2. veljače 2020.) uvela je posjetitelje u doista skrovitu a bogatu kulturnu baštinu. Teško je dostupna, jer su franjevački samostan Majke od Milosti i crkva Gospe Visovačke, gdje su sakupljeni, nalazi na riječnom otočiću Visovcu, zapravo riječnoj hridi, povijesno zvanom i Bila Stina (lat. Lapis albus). Taj je krajolik odavna pojam prirodne ljepote [sl.1], ali je teško dostupan i tek sada je njegova likovna, liturgijska i knjižna baština približena javnosti. Visovac je jedan od onih malobrojnih povijesnih samostana Bosne Srebrene, koji bilježi neprekinuto trajanje od predosmanskoga vremena do sada. Prekid od nepuna tri desetljeća tijekom kojih su se franjevci sklonili u Šibenik od polovice XVII. stoljeća do 1670-ih jedino je napuštanje samostana od oko 1445. godine, kada su ga franjevci iz tadašnje Bosanske vikarije naselili. Takve trajnice su i samostani u Kraljevoj Sutjesci, Fojnici i Kreševu, s kojima je visovački bio povezan do sredine četvrtoga desetljeća XVIII. stoljeća, a potom je pripao – dijelom i zbog prethodne odluke mletačkih vlasti da na osvojenim područjima pod njihovom upravom ne mogu pastoralno djelovati „stranci“ – novoosnovanoj Provinciji sv. Kaja pape i mučenika (1735), preimenovanoj ubrzo („jer im se svijet rugao govoreći ‘vi ste kainovci’“, kako je zabilježio fra Bono Benić u Ljetopisu sutješkoga samostana) u Presvetoga Otkupitelja (1743).

Иконостасът в църквата „Успение Богородично” в Хасково и неговите паралели

Author(s): Simeon Tonchev / Language(s): English,Bulgarian Issue: 1/2020

The woodcarvings at the Church of the Assumption in Haskovo are unstudied. Judging by the payments entered in the kontakion kept at the church, it took a long time to complete its decoration. The ambo, the bishop’s throne and the proskynetaria were made by woodcarvers from Edirne before 1837. The iconostasis was carved in 1840 by Diamandis Teladour from Edirne and Stamatis Marangoz (The Woodcarver) from Madytos. The iconostasis and its parallels give an idea of the activities of a woodcarving workshop of the second half of the nineteenth century in Thrace. In 1835, Stamatis Teladour carved the altar screen at the Church of St Anastasius in Didymoteicho, and in 1861, the iconostasis at the Church of St George in Souphlion, bearing his signature. The style and the compositional similarities allow to attribute to him the iconostasis at the Church of Theotokos in Didymoteicho, made in collaboration with Diamandis Teladour; the iconostasis (1847) at the Church of Christ the Saviour in Didymoteicho, the templon at the Church of St Michael the Archangel in Haskovo. It also dates from 1861 and was wrongly attributed in the literature to Yane Spirov, who was a painter, according to recent studies. To this body of works belong also the altar screens at the catholicon of the Monastery of Kornofoleá and at the Church of St Anastasius (1908–1913).

Нов етап в изучаването на европейската кавалетна живопис между Античността и Средновековието

Author(s): Biserka Penkova / Language(s): Bulgarian Issue: 1/2020