Note privind reconstituirea unor etape de refacere a picturii Bisericii Icoanei din București

Author(s): Gabriela Ştefăniţă / Language(s): Romanian Issue: 6/2017

Icoanei Church from Bucharest was built between 1784-1786 by Panait Băbeanu, a great captain in the military forces (lefegii). It was the product of troubled times marked by a new type of social and economic life, intended for the urban space par excellence and the development of the architecture and auxiliary arts in Wallachia and Moldavia corresponded to the Turkish-Fanariot regime. The fresco ensemble from the Icoanei Church in Bucharest was overpainted in many stages in different techniques, the final layer being oil paint. Recent restoration work between 2010-2017 on the mural highlighted the evolution of the interventions in time and mostly led to the discovery and assigning of the 18th century iconography.

Zidăria americană în perioada interbelică și îmbunătățirea performanței energetice a clădirilor moderniste

Author(s): Raluca Zaharia / Language(s): Romanian Issue: 9/2020

Rehabilitation of interwar buildings is a challenge both structurally and in terms of finishes and energy efficiency. Interwar architecture, the modernist built fund represents a significant percentage of the existing built fund. The lack of consolidation and rehabilitation interventions in the last 20 years offers the opportunity for such projects to appear. The specialized technical literature on construction solutions and finishes specific to that period is limited, with emphasis on using the traditional materials and techniques or the import of some techniques by means of Italian craftsmen. This article explores a construction technique less known today but quite popular in the interwar period – American masonry.

Distemper-paint – probleme de terminologie în contextul identificării tehnicii picturilor murale din bisericile de lemn din România

Author(s): Andreea Darida / Language(s): Romanian Issue: 9/2020

Degradări întâlnite la două picturi Extrem Orientale şi stabilirea tratamentului de restaurare

Author(s): Andreia Teodorescu / Language(s): Romanian Issue: 9/2020

The initial state of the two artworks presented in this paper is questionable regarding their exposure in the context of the opening of the Oriental Art Gallery. In the case of the damages presented by these paintings, we are dealing with two different situations compared to the ones encountered in the Occidental graphic artworks. In the same time they represent two particular cases because these degradations are the product of countless inadequate interventions during a long period of time. All these damages are the proof of some old interventions on the materials that make up the artistic object. All these deteriorations have appeared prior to the entrance of the artworks in the patrimony of the National Art Museum. Even though at the moment they are in a balanced state due to careful conservation, aesthetically speaking their display is not possible in this condition. The purpose of this paper is to present the typologies of the two artworks and the technical characteristics based on the mounting technique, the initial materials and the adaptations of the restorations treatment to each of them.

Triunghi. Sculptură-arhitectură-agricultură. Un centru pentru arte și viață

Author(s): Andrei Tache,Alexandra Mihailciuc / Language(s): Romanian Issue: 9/2020

At the Art Farm we are building together with sculptors Marian and Victoria Zidaru, the project Triangle architecture-sculpture-agriculture, a set of houses, modular art galleries, conference rooms, workshops and concerts, in a concept of cultural and human ecology. We hope to make in the area a place for people, arts and crafts, with training experiences, increasingly necessary in the landscape of contemporary life. Keywords: Triangle: architecture-sculpture-agriculture, a new rurality, transmission and permanent learning, restoration in the broadest sense, architecture as a pretext, cultural and human ecology, art farm, rural specific, eco-economy, heritage and manual labour for all, education through arts and architecture.

ДУН ЦИЧАН: СТАНОВЛЕНИЕ КИТАЙСКОГО ХУДОЖНИКА

Author(s): Konstantin K. Petrov / Language(s): Russian Issue: 4/2021

The article examines the identity formation of Dong Qichang, a prominent Chinese artist, calligrapher and art theorist of the late Ming dynasty. In recent decades, the heritage of this versatile historical and cultural figure has been actively researched both in China and abroad. The author analyzed the prerequisites and circumstances of the personal development of Dong Qichang, who was the main representative of the Songjiang school of painting, and identified the key factors and aspects of this process. Dong Qichang’s rise as a painter was facilitated by the favorable conditions of the Jiangnan region where he grew up, his personal ambitions, which were also influenced by the environment, and the general intellectual upsurge of the late Ming period. Regular communication with other representatives of the Chinese intellectual elite, active study of paintings from previous eras, and constant travels around China made the greatest contribution to the formation of the artist’s views and style.

MENAZİLNAME YAZMA ESERİNDEKİ CAMİİ TASVİR ÖRNEKLERİYLE GÜNÜMÜZ MENTEŞE SANCAĞI’NDAKİ CAMİ MİNYATÜRLERİ

Author(s): Ömür Koç / Language(s): Turkish Issue: 50/2021

Miniature writing is the art of painting, which has its own technique and features, which is made to better explain and decorate the subjects in the work. Miniature art, which started with the Uyghurs, developed with book decoration and gave rich examples until the 18th century and represented Turkish painting art. Ottoman miniature art, which is a palace art, was developed with the support of the sultan and administrators, and miniatures of important events that took place around the sultan in historical matters were made. The most well-known features of Ottoman miniatures that distinguish them from other country miniatures are their documentation quality. The manuscripts written by Matrakçı Nasuh and made miniatures also have the feature of documentation. The most well-known feature that distinguishes it from previous and contemporary miniatures is that it is the first artist to design landscape-themed miniatures. Suleiman the Magnificent made his second important expedition to Rhodes Island, stayed on the Menteşe Sanjak during the campaign and ruled the state from here. Although many architectural works from the period of the Menteşoğulları Principality have reached the present day, Matrakçı Nasuh and later artists did not make miniatures of the region. With the stylistic features of Matrakçı Nasuh, it is aimed to introduce the values of the Menteşe region with new designs that reflect the characteristics of miniature art of our age and also have documentation qualities.

Oko njegovog gospodara

Author(s): Mieke Bal / Language(s): Serbian Issue: 7/1997

(lz: Modernity and the Hegemony of Vision, prir. David Michael Levin, Univ. of California Press, Los Angeles 1993, str. 379-405)

Русская религиозная живопись конца XIX – начала XX вв.

Author(s): Natalya Valentynovna Mickу,Larisa Aleksandrovna Koroleva / Language(s): Russian Issue: 05/2016

Development of religious art, namely – religious painting, its specifics, in Russia of the end XIX – the beginning of the XX centuries, caused by system changes in the Russian society, on the example of painters – V. M. Vasnetsov, M. V. Nesterov, M. A. Vrubel is analyzed in article.

Kunstiajalugu kui rahvusteadus. Tartu Ülikooli kunstiajaloo õppetooli rajamisest ja esimese professori valimisest 1920.–1921. aastal

Author(s): Eero Kangor / Language(s): Estonian Issue: 01+02/2021

The article discusses the relationship of art history and the national discourse in Estonia at the beginning of the 1920s. It is based on a close reading of the correspondence of the officials of the University of Tartu when they were seeking to find prospective candidates, informing and persuading them and discussing their terms for taking part in the competition for the chair of art history. The candidates were concerned about the political and financial situation in the newly established Estonian Republic and also about Germanophobia. The former social elite – the Baltic Germans – who were dispossessed of their properties in 1919 by the Land Reform Act, did play a part in contributing to the formation of the Act. The Act left the Baltic German noblemen their movable private property, such as art collections. The most valuable private art collection in Estonia at that time – the Reinhold Karl von Liphart bequest in the Raadi manor – was allowed by the Estonian parliament to be deported from Estonia in return for donating a third of the collection to the republic.

Teadmisjanu ja dialoogivajadus: Eesti NSV kunstiajaloolased kirjutavad Sten Karlingile

Author(s): Krista Kodres / Language(s): Estonian Issue: 01+02/2021

The article deals with the correspondence between three acclaimed and distinguished art historians from the Estonian SSR and University of Stockholm professor Sten Karling from the late 1950s to 1987. Karling was a colleague of Voldemar Vaga and taught Helmi Üprus and Villem Raam at the University of Tartu in pre-war Estonia. The correspondence (consisting of more than 300 letters) is in the care of the Getty Research Institute in Los Angeles. The article focuses on the art historians who lived in the Estonian SSR, above all the main directions of their study of art history. As such, the letters are reflections of art history’s discursive attitudes and methodological mindset.

Eesti kunsti internatsionaalsed ahelad. Tallinna graafikatriennaalide rollist

Author(s): Kädi Talvoja / Language(s): Estonian Issue: 01+02/2021

Using the case of the Tallinn print triennials as a model, this article examines the role of Baltic art triennials in the region’s art during the Soviet era. One of the most important areas under observation is the attempts to broaden the print triennial into an international event and the impact of the triennial format on perceptions of the development of Estonian art.

Sõpruskond, kunst ja suhted keset kulmineeruvat kriisi – kihhotism üleminekuaja Eestis 1985–1992

Author(s): Hanno Soans / Language(s): Estonian Issue: 01+02/2021

The article is based on the need to provide societal background for concrete artistic phenomena. Here I cover the coming together of a group of people, at first in the form of a circle of bohemian friends and later as an artistic group called Quixotists, and interpret the artistic actions that had direct impacts on their world view. This circle of friends which formed over about five years starting in 1985 consisted of the artist Jaan Toomik (b. 1961), his poet younger brother Tõnu Toomik (1965–1992), the poet and artist Jaan Paavle (1940–2010), the writer Tarmo Teder (b. 1958), the entrepreneur Jaan Jaanisoo (b. 1958), who was also involved in painting, performance art and installations, and the painter Vano Allsalu (b. 1967). As time went on, the role of performative arts became more important in their circle and in their collective identity. Their different attitudes towards performance art in the end also formed one of the causes of polarisation and the falling apart of the group. In the local art history, Quixotists as a group were important as modernisers and transformers of a cult of irrationality indirectly stemming from surrealism. Their appearances in performances turned out to be historical through the manifesting of personal truths, but remained relevant only for a brief period, therefore acting as a breaking point, a redefinition of reality which was previously determined by earlier conventions typical of the Soviet environment.

Eesti vanem graafika ootab uusi uurijaid

Author(s): Kristiina Tiideberg / Language(s): Estonian Issue: 01+02/2021

Review of: Eesti kunsti ajalugu 4. 1840–1900.; Koostanud ja toimetanud Juta Keevallik, peatoimetaja Krista Kodres. Tallinn: Eesti Kunstiakadeemia, SA Kultuurileht, 2019, 480 lk.

Сакрална баштина Јужног Баната

Author(s): Dimitrije Marinković / Language(s): Serbian Issue: 1-3/2009

The sacred heritage of Southern Banat represents the artistic creativity in the field of architecture, painting and applied art which are subjected to Christian cult. The author reviews the history, development and western influences in church art and architecture of this region.

Banaz Çeşmelerinin Uşak Çeşme Mimarisi İçerisindeki Yeri ve Korunma Durumları

Author(s): Türkan Acar / Language(s): Turkish Issue: 03/2020

Fountains are the last point where water is found among the communities in the front row among the primary life sources of people with its functional characteristics. With this important situation, the social fabric they create around the fountains creates a dominant influence on their unquestionable value. The fountains were built in different geographies, with different architectural creations and with different plans and facade features, being preferred in every period. Our work contains the plan, architecture and decorative features of the twenty-eight fountains, dating from the last period of the Ottoman period according to the inscriptions and architectural details, located in the Banaz district of Uşak province. The aim is to document and publicize these structures which are primarily open to natural or human destruction. In this context, each one of the works determined has been shot, taken detailed measurements and drawings drawn and have been taken their GPS values. Fountains were introduced with plan and mass edifices, and their places in Uşak fountains were typologically discussed.

ÇAĞDAŞ SERAMİK SANATINDA İLLÜSTRATİF ANLATIM

Author(s): S. Sibel Sevim,Özge Tan / Language(s): Turkish Issue: 70/2020

'Illustration' which derived from the word 'lustrare' meaning illumination in Latin and whose meaning in Turkish is 'drawing' can be defined as the visual description and embodying of the verbal and abstract expression beared by a text, idea or concept. Although the concept of illustration first appeared through book drawings employed to make the texts more comprehensive, some researchers show paintings and mosaics that expressed religious subjects and cave paintings as the examples of first illustration practices. It can be said that the illustration, which has been more related with the fields such as painting and graphics since the time it has emerged, has an interdisciplinary interaction with other branches of art and has artistic qualities in itself. In fact, considering the history of art, it is seen that the artists from many different fields created their works with an illustrative language of expression. Considering the subject from the point of view of the ceramic art, it is known that decorations on traditional ceramics have been used in many different parts of the world that tell stories visually since prehistoric times. It can be said that Contemporary Ceramic Art has a strong presence among countless branches of art that adopt an illustrative form of expression. This research, which deals with how the concept of illustration is handled in Contemporary Ceramic Art, includes the definition and brief history of the concept in general. It aims to make traditional examples that address ceramics in an illustrative way and in fact to inform by focusing especially on contemporary ceramic artists.

GÜNÜMÜZ ESTETİK ALGISI VE DIŞLANMIŞA DÖNMEK: DÖVME SANATI ÖRNEĞİ

Author(s): Itır Tokdemir Özüdoğru,Turgut Efe Varol / Language(s): Turkish Issue: 75/2020

With the developing technology, it can be seen that today's tattoo art is applied at a much more advanced level. With the increase in the level of technical competence, different tattoo styles have emerged and these styles have increased in number in mainstream practice. In addition to the proliferation of tattoos reaching a photo-realistic level and the use of famous actors, musicians and movie characters in designs, it is also seen that old styles are applied with a new style, as in the New-traditional tattoo trend. Looking at the history of modern art, it has been observed that each movement has developed new works by developing attitudes towards the styles before it. Similar to this situation, traditional tattoo styles have also developed. For this research, it was found important that the preference of ugly in tattoo art and its transformation into mainstream. Therefore, the semantic changes of the tattoo have been explained from the past to the present, and today it is seen that it is not only a way of expressing oneself, but also a cultural indicator such as thought, taste, music or book preferences. It can be thought that the human skin has also turned into a social media interface in today's world, where the Internet age and social media applications almost override physical coexistence. At this point, the preference of ugly aesthetics and the frequent application of visual diversity from medieval illustrations to occult symbols in tattoo art with new designs and original compositions are very important to understand today's tattoo art.

RÖNESANSTAN MODERN DÖNEM RESİM SANATINA KORKU DUYGUSUNUN YANSIMALARI

Author(s): Neslihan Özgenç Erdoğdu,Mustafa Adil Öztürk / Language(s): Turkish Issue: 78/2021

The concept of fear includes more than humanity’s physiological responses to sudden stimuli. Although it is known that fear is constituted as a result of a certain biological reaction, cultural and socio-psychological experiences not only play a sensational role in its formation but also they are the causation of fear transferring itself from one generation to another. The types of fear varies depending on its geography, culture, and time; however, many sources of fear, such as darkness, loneliness, natural events, war, hunger, disease have survived unchanged since the moment of human existence. The only change regarding this terminology then takes place according to the way humanity has been dealing with its consequences. Likewise, humanity undergoes fear through the experiences within culture, the reflection of the feeling of fear on art also has been directly related to the cultural level and has been represented by the point of view in the age it has taken a part. Hence, while the themes of fear idealized itself with a more symbolic language in the classical era, it has reconstructed itself with a new and unprecedented reality thanks to the suggestion by the Modern Age. The prominent product of this reconstruction predicated by the modern era becomes, therefore, nothing but the fear associated with the fractured industrialization and the technology offered by the modern era. In this study, thus, the concept of fear is theoretically handled in a way that the sources of fear among human beings are defined in general terms, and the theme of fear in the history of art is examined in a chronological order. In the later chapter, the concept of fear is examined through the works of art, made by modern artists; Max Beckmann, Otto Dix, and Ludwig Meinder. Here, then the readers briefly witness an analytical and interpretive comparison between the artistic expressions from the listed artists above and the aesthetic representations formed within the classical period. The aim of this study, in conclusion, is to reveal the way the terminology of fear has been aesthetically depicted from the period of the Renaissance to the Modern era, and emphasize the comparisons between the artistic methods of both periods which have respectively expressed the concept of fear according to their way of understanding the world.

DİSİPLİNLERARASI ETKİLEŞİM BAĞLAMINDA CASTEL’İN RENK KLAVYESİ

Author(s): Zeynep Abaci / Language(s): Turkish Issue: 79/2021

In this study, the history of interdisciplinary interaction was examined, and examples of how different disciplines were handled together in Ancient Greece and the Middle Ages were given. By referring to the historical process of color and sound analogy, the versatility of the Renaissance artist and the idea of the first color harpsichord developed by Arcimboldo are emphasized. The parallel evolution of plastic arts and music with the idea of humanism and the importance of positive sciences since the Renaissance has strengthened the relationship between these two arts. In this context, the similar thoughts and parallels of the Baroque period in painting and music aesthetics have been included in this study, and the color keyboard design developed by the French priest and scientist Castel's controversial and interdisciplinary perspective was examined. The 18th century is a period of intense interdisciplinary experimentation and, unlike previous art theories, emphasizes autonomy in aesthetic sense. Inspired by Newton’s book Opticks and Pythagoras’s Law of Spheres, Castel thinks that this instrument, in which he associates notes with colors, will impress the audience as much as the music itself. Based on the interaction of color and sound, this initiative is potentially designed to combine two arts. The functioning and effects of the idea of color music in Castel's dream, his success or failure in this subject, and the views of the artists and theorists he inspired about this design constitute the center of the study.