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ТРАДИЦИОННАЯ КЕРАМИКА БУКОВИНЫ XIX–XX вв.: ИСТОРИКО-КУЛЬТУРНЫЕ И ХУДОЖЕСТВЕННЫЕ ОСОБЕННОСТИ

Author(s): Romana Motyl / Language(s): Russian Issue: 1/2022

The article is devoted to the traditional ceramics of Bukovyna – one of the ethnographical regions of Ukraine, where in the XIXth–XXth centuries the pottery of high-quality technology and high artistic level was developed. The historical and cultural processes, which occurred on this territory and influenced the development of handicraft are considered. The pottery centers are highlighted and the creative works of leading potters are analyzed. The peculiarities of manufacturing technology, the local names and the purpose of clay products are recorded. The characteristic features of the traditional pottery of Bukovyna are researched: the typology and the main shapes of wares, the artistic qualities of ceramics decoration, the dominant motifs of the ornaments, the characteristics of individual techniques and of expressive methods. On the basis of art-critical analysis, by comparing the pottery vessels from Bukovyna with the ones from neighboring ethnographic regions of Ukraine (Prykarpattia, Podillia), as well as with the pottery ware from foreign countries, the local peculiarities of traditional ceramics of Bukovyna are determined and common features with the samples of pottery ware from Moldova, Romania are found. Previously unknown artworks and names of craftsmen are introduced in the scientific circulation.

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Tematica operelor pictorilor basarabeni între anii 1888-1917

Author(s): Tudor Stavila / Language(s): Romany Issue: 1/2021

The themes and subjects approached by the plastic artists, in a certain period of time, in a certain geographical space, including the names of the works, indirectly reflect the existing tendencies in the respective epoch. These moments are indisputable, regardless of the evolutions of art in various cultural environments, in the centers of international art or on its peripheries, objectively reflecting the styles and priorities of the time. Thus, realism operates with certain terms that define the options of the current, different from those of impressionism, expressionism, etc. The Bessarabian visual arts are no exception in this case. More refractory and more specific, the evolution of local culture was due to the historical situation of the land, ruled by the Tsarist Empire for a century, with the late emergence of professional art and the direct influences of Russian and Ukrainian itinerants’ realism characterized by special themes. But these trends were also marked by the emergence of non-conformist representatives of Russian art, such as Vladimir Falileev, Alexander Shevchenko, Nathan Altman, participants in Bessarabian salons in the early twentieth century. More eloquently, these renewals of local art occur after the internship of Eugenia Maleshevsci in Europe, the sporadic return to the homeland of Pavel Shilingovschi, but also the appearance in Bessarabia of a true representative of the new currents, such as Auguste Baillayre.

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Ceramica artistică din Republica Moldova. Anii 2001-2010

Author(s): Constantin Spînu / Language(s): Romanian Issue: 1/2021

Artistic ceramics, as a genre of professional decorative arts, being actively practiced in the second half of the twentieth century by a small number of artists in the Republic of Moldova, has seen an upward evolution, resulting in original achievements. The article examines the changes in the art of ceramics of the Republic during the first decade of the 21st century that have not been explored so far. As a result of the analysis of the art works, a number of thematic and aesthetic aspects were identified that reflect the creative goals and stylistic preferences of artists working in the considered period of time. The article examines the morphological features of the composition of the artistic shape of the ceramic artworks. Special atention is paid to the influence of technological methods of operation with ceramic materials (classical and mixed techniques) on achieving the aesthetic and semantic values of the ceramic artworks. An important place is reserved in the study to the principles of creative processing of folk motifs and the analysis of stylistic innovations that played an important role in achieving a meaningful image of the ceramic works of the time.

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Reflexiuni integrative în abordarea contemporană a arhitecturii edificiilor pentru spectacol

Author(s): Aurelia Trifan / Language(s): Romanian Issue: 1/2021

The current approaches, materialized in studies and research programs, further explain and complete the general picture regarding the identity of buildings for shows in the Republic of Moldova. The need to update existing information and correct errors and unconfirmed assumptions arises as a result of identifying new data. The research carried out in the field of buildings for shows focuses both on the detailing of its constitution and on the revelation of the architectural-artistic value – starting with the 19th century. The first buildings for shows (the Nobles’ Meeting Club and the „Pushkin” Auditorium), the refurbished buildings („Patria” Cinema and the Organ Hall) and adaptations to new programs such as soviet cinemas are highlighted. Thorough research of the history of construction and reconstruction of the two most famous buildings for shows, which were the headquarters of the Romanian National Theater in Chisinau, contributes to the identification of valid novelties in the correct and coherent dating and interpretation, as well as the names of the authors of the projects. Programs based on appreciating the value of the cultural heritage of the Soviet period are submitted to the attention of the professional environment, the interested public and the administrators of the built heritage and represent an attempt to raise awareness of the importance of re-evaluating this heritage.

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Identitatea spectacolelor din anii 1960 în regia lui Valeriu Cupcea

Author(s): Elfrida Coroliova / Language(s): Romanian Issue: 2/2021

The fruitful activity of Valeriu Cupcea in the 1960s was manifested in the identity of his plays. In the comedy Take, Yanke, and Kadar by I. Popa, this is a union of people overcoming national and religious prejudices. In the socio-psychological drama from the life of a collective farm village The Wheel of Time by A. Lupan, this is the drama of the era, manifested in life situations, in dramatic collisions of the characters in the play. In the philosophical drama about the life and death of A. Levada’s Faust and Death, this is a clash of human destinies, in the struggle of worldviews. The play I Don’t Want You To Do Good For Me Anymore by G. Malarciuc is a satire against favoritism and nepotism. In the play Two Lives and the Third by F. Vidrascu, this is psychological certainty in revealing the spiritual dramas of the heroes. In the play The Crane Feathers by J. Kinoshita this is a poetical and philosophical reading of an old Japanese legend. In the play Eminescu by M. Stefanescu, this is a highly artistic embodiment of the images of Eminescu, Creanga, Alecsandri. In the play Blanduzia’s Fountain by V. Alecsandri, this is the disclosure of the tragic life of a poet who selflessly strives to bring love and goodness to people and dooms himself to death. And others.

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Arta dialogului sau „Cum dramaturgii basarabeni ai anilor ’90 discutau cu Platon”

Author(s): Dorina Khalil-Butucioc / Language(s): Romanian Issue: 2/2021

The inner mobility of the theater, doubled by the fast pace of life under the wave of postmodernity at the end of the twentieth century, conditioned not only the re-definition of a new theatrical language, but also the re-writing of dialogic forms specific to theatrical art. Or, in the texts of Constantin Cheianu, Val Butnaru, Nicolae Negru, Mircea V. Ciobanu, Dumitru Crudu, Irina Nechit, Maria Șleahtițchi and Nicolae Leahu, dialogue does not only have the classic role of triggering and motivating the action. The (sub)layers of conflict dialogues and „deaf dialogues”, parallel and echo dialogues, seemingly „absurd” association dialogues and „thesis-antithesis” dialogues, the dialogue monologues and the monologue dialogues evoke the alternation of linguistic registers and the play of languages. Completing and continuing the openness to multiple textual styles, the language of dialogues triggers and finalizes the communicative process between written and spoken, but also between text-show-audience. The „palpation” of the types of dialogues and the „immersion” in the mise en abysses of language give us the revelation of deciphering the symbols and meanings of contemporary national and universal drama and theater.

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Filmul moldovenesc Balada haiducească: fenomenul inovației prin tradiție

Author(s): Ana-Maria Plămădeală / Language(s): Romanian Issue: 2/2021

The polemical character of the paper is explained by the need to reconsider the generative factors in the configuration of the new cinematic wave of the “thaw” era. Unlike the popular postulate, the author launches the novel conception: the change in the face of Soviet cinema is entirely due to the ideational-aesthetic performances of the most ideologized genre of historical film, the historical-revolutionary one. Namely in the films, dedicated to the Russian revolution, there happened a reversal of values of the existential equations: “man – history”, “individual – collective”, “general – human-soviet”. Appealing to the generous virtualities of the mythical-archetypal analysis, we specified the change of the vector of cinematographic knowledge in the Balada haiducească/Outlaw Ballad by updating the patterns of the mythical-folkloric complex as the millennial censorship of the nation. Assigning the inspired cinematographic work both to the context of the “thaw” era and to that of the exponential Balkan genre – the film with outlaws, the singularity of the local discourse inscribed in the identity grid of the neo-romantic type was stated.

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Арт-эпистема национальной самоидентификации в условиях постколониальной культурной травмы

Author(s): Marina Protas / Language(s): Russian Issue: 2/2021

At the turn of the millennia, the narrative of the art sciences was enriched by an extensive analytical polylogue: from eschatological forecasts of the end of the crisis of theories and practices to the multicultural utopias of “global art”. A solid sector in this context is made up of trans-disciplinary studies of the problems of national self-identification and the revision of regional art epistemes in the new geocultural realities, in particular, those refracted in the field of postcolonial trauma of national consciousness discourse. This aspect is especially relevant for the countries of the post-Soviet space, because their cultural and artistic development is under the pressure of two equally traumatic paradigms: the Russification one belonging to the past, and the Westernization paradigm that declares itself to be the manifestation of democratic freedoms. However, each of them leads to amnesia in the historical and cultural memory of nations, threatening to collapse. Only a careful study of the causes and consequences of this civilizational phenomenon, as well as the study of the negative impact of the market ideology of the culture industry, will help to avoid depersonalization of national arts and cultures, while preserving the possibility of indigenous flourishing in the future. The article pinpoints the pain points identifies the sensitive issues in solving this problem by contemporary artists and critics from different countries, including Ukraine, leaving open the final effective fixation of the situation, which increases the catastrophic bifurcation by unstable development.

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„Polacy jeszcze na onym babim Herbarzu siedzą”, czyli o fenomenie polskich edycji Ogrodu zdrowia

Author(s): Katarzyna Krzak-Weiss / Language(s): Polish Issue: 12/2023

When in 1564, Marcin Siennik’s Experienced Medicines (Lekarstwa doświadczone), published thanks to the efforts of Łazarz Andrysowicz, appeared on the Polish publishing market, everything indicated that the Gardens of Health (Ogrody zdrowia), which had previously reigned supreme, would become forgotten. Especially since the graphic equipment, which plays an important role in herbarium publications, has remained largely unchanged since the first edition from 1534 (On Herbs and Their Power (O ziołach I mocy ich), Kraków, Florian Ungler), and its quality is far from perfect. Meanwhile, creators of foreign herbaria competed with each other in providing their works with illustrations that were more faithful to nature. It is enough to recall the excellent Herbarum vivae eicones by Otto Brunfels (Strasbourg, Johann Schott 1530) or De Historia stirpium commentarii insignes by Leonhart Fuchs (Basel, Michael Isengrin 1542). And although Experienced Medicines was far from reaching a similar editorial level, its publication was a clear step in the right direction. Unfortunately, only four years later, in Mikołaj Szarfenberger’s publishing house, Herbarz was created, i.e. a description of local, foreign and overseas herbs (Herbarz, to jest ziół tutecznych, postronnych i zamorskich opisanie), which is nothing more than another variant of Gardens of Health, which, on top of that, was developed by Marcin Siennik, who had previously sharply criticized this publication.The aim of this article is therefore to try to answer the question of what the phenomenon of Polish editions of Gardens of Health was. Why, at a time when pharmacopoeias were being published in foreign centers that were more and more modern and more carefully illustrated, the same work with its roots in the Middle Ages was still being published in the Polish-Lithuanian Commonwealth?

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Świadectwo krakowskiego ogrodu przełomu XV i XVI wieku

Author(s): Julia Czapla / Language(s): Polish Issue: 12/2023

One of the effects of the development of medicine and botany at the end of the 15th century was the appearance of various types of gardens where medicinal plants were grown. In addition to monastery gardens, which had been maintained for centuries, new ones were established by both theoreticians and practitioners of herbal medicine – doctors, pharmacists and the first botanists. Among the medical professionals, a new group appeared, professional gardeners who sold plants to pharmacists and probably also provided basic medical advice. In their work, they used scientific (or quasi-scientific) herbaria collecting information about the properties and uses of plants. The collections of the Scientific Library of the Polish Academy of Sciences and the Polish Academy of Sciences in Krakow include an incunabulum documenting the professional practice of a plant breeder (Inc. 31). The incomplete (120 out of over 360 leaves are missing) copy of Gart der Gesundheit from 1485 belonged to an unidentified, German-speaking gardener from Cracow, who made numerous notes in it between 1493 and 1527. The entire text was indexed by him (he wrote down the most important elements of individual plant descriptions in the margins and developed his own index).The richly illustrated incunabulum was not only a source of knowledge (it recorded the uses of plants, sometimes simple recipes and various medical and culinary observations, and also included comments he heard from Cracow doctors), but also a trader’s notebook (most plants have the purchase prices paid in several pharmacies in the Cracow agglomeration, also the selling prices and the source from which he obtained the seeds or a rare plant) and the breeder (most of the notes concern the germination and flowering time of the plants and their appearance, especially elements not shown in the woodcuts or not accurately presented).The illustrations were as important to him as the text of the herbarium. The new woodcuts, developed in Mainz at the end of the 15th century, were relatively realistic and allowed to quickly find the right keyword and identify the plant. The owner from Cracow additionally added their German, Latin and Polish names to the representations of the plants (sometimes different than in the German print). Moreover, he most likely bought his copy already colored, because the notes also include his comments on the quality of the illustrations and possible differences between the real plant and its representation, especially the color of the leaves and flowers.Even though the Cracow copy of Gart der Gesundheit was destroyed in the 19th century attempt at conservation (currently it is missing ⅓ of the pages and the original binding), which makes it impossible to identify its first owner, the notes included in it allow to see how richly illustrated were the scientific publications in the field of botany and herbal medicine used at the turn of the 15th and 16th centuries. Although the book was not cheap, for the owner it was primarily of practical importance and was treated as a kind of almanac that gives insight into the environment of plant breeders of that period, but also into the nature and climate of Cracow at the turn of the Middle Ages and the early modern period.

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Traseul stilistic al arhitecturii orașului Chișinău de la sfârșitul secolului al XIX-lea – începutul secolului al XX-lea

Author(s): Rodica Ursachi / Language(s): Romanian Issue: 1/2022

The evolution of the architecture of Chisinau from the end of the 19th century to the beginning of the 20th century was conditioned by different historical, political, economic factors, etc., which imposed a certain stylistic typology of eclectic nature. The conceptual-stylistic and typological character of the architectural monuments in Chisinau was determined by the regulations imposed by the new authorities based on the observance of urban projects specific to the Russian Empire, the preferences and aesthetic taste of architects and, to some extent, the wishes of sponsors. The conceptual-decorative aesthetics of the buildings generally reflect the synthesis of two basic styles, interpreted in a rich variation of plastic forms – neoclassicism and the modern style. During that period, several architects with training in the field and extensive knowledge in “historical” architecture were active. The architects who have left their mark on the image of Chisinau are: Alexandru Bernardazzi, Henrich von Lonsky, Mitrofan Elladi, Vladimir Țiganco, Alexei Sciusev and others. Among the buildings made in a “classical” language can be named: the the Girls’ Gymnasium of Bessarabian Zemstvo, Rascanu-Derojinschi House, etc. The modern stylistic peculiarities are visible in the City Duma Building, the Girls’ Gymnasium “Princess Natalia Dadiani”, Vladimir Herța’s House, etc., which are characterized by a pronounced eclectic aspect.

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The history of one architectural monument in Chisinau: the building of the first stone circus, the “Express” cinema, the Moldovan drama theater and the National Philharmonic

Author(s): Alla Chastina / Language(s): English Issue: 1/2022

In the second half of the XIX century provincial traveling circuses were quite common in Bessarabia. The first attempt to build a permanent circus in Chișinău was made on April 22, 1911. In March 1912, the owner of the Bristol hotel, Constantin Kolomandi, wrote to the Construction department of the Bessarabian Provincial Board a new request for the construction of a stone two-story building of the circus theater at the corner of Mikhailovskaya and Schmidt streets (today Mihai Eminescu and Metropolitan Varlaam streets). In May 7, 1912, he received an official building permit. In general, the construction of the building of the circus theater, which was supervised by the city architect Vladimir Țiganco, was completed on October 21, 1913. Later, the “Express” cinema was opened here. In the post-war period, this building was housed by the Moldavian Drama Theater. And in 1954, the premises were transferred to the Moldavian Philharmonic. But on September 24, 2020, the cultural heritage of Moldova was damaged as a result of a fire which seriously damaged most part of the building of the National Philharmonic „S. Lunchevici”. Today the building is in the need of restoration in order to preserve its historical, architectural and artistic value.

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Pe marginea unei expoziții

Author(s): Tudor Stavila / Language(s): Romanian Issue: 1/2022

The National Art Museum of Moldova constantly surprises with vernissages and original themes, regardless of whether it refers to personal or group exhibitions, to regional or international activities. The presence of the exhibition “Five couples”, which was opened this year, on May of 17 and it confirmed the actuality of some events, which have became a tradition and an evolution of the performances of that institution. The moment refers to painters and their works, which were active in various cultural spaces of modern Russia and interwar Bessarabia, from the Romanian Kingdom before the Second World War and the period of the emergence of the Moldavian SSR, following a not simple artistic way, in completely diverse and incompatible environments. Their creation demonstrated the existence of two value systems: one was of European formation; another was of Russian production, both were belonging to the opposite visions. Mihail Grecu and Lidia Arionescu, Mihail Grecu and Fira Grecu, Moisei and Eugenia Gamburd, Valentina Rusu-Ciobanu and Glebus Sainciuc, Ana Baranovici and Dmitrii Sevastianov were honored at the exhibition.

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Texte et langage visuel: un procès de mise en abîme

Author(s): Ludmila Braniste / Language(s): French Issue: 1/2022

The problem of the pictorial past in literature and of literary influences in painting has created a whole tradition. The literary experience of the image and the pictorial exercise in literature demonstrated the affinities between them, based on a specific view of the world. From contemporary philosophy, culture and literature, painting chooses its elements, symbols and ideational background, which is the substrate of the pictorial work. Translating them into the language of images, the painter reaches a more personal interpretation of literary works. The article presents a reflection on the prolific artistic career of the artist Cezar Secrieru, whose work creates a unique creative dynamic by transposing the mental and literary image into his canvases. The “Correspondences” of the arts enrich the deep ideational background of his creation, but also the diversification of the pictorial meanings potential.

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Neurocinematica și dincolo: imagini ale culturii contemporane a ecranului

Author(s): Iryna Zubavina / Language(s): Romanian Issue: 2/2022

The paper focuses on the features of emotional perception of screen-displayed videos and images, when the neural response of the viewer is included into the subject fi eld of neuroaesthetics—an interdisciplinary sphere of knowledge at the intersection of art studies, philosophy, psychology of perception, and neuroscience. Th e study describes innovative methods of neuroscientifi c research for studying the reception of a “screen product.” One of such methods is determining the algorithm of evoking certain impressions in the mind of the viewer— “consumer” of the screen culture. Further ways of development of dialectical ties between neuroscience and screen studies are formulated as a research hypothesis. Practical signifi cance of the study is determining the parameters of regulatory/manipulative infl uence of the audiovisual stimuli on the viewer’s behavior in the contemporary situation when objective and subjective realities are gradually substituted by the virtual reality.

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THE GREAT PERSONALITY OF SAINT METROPOLITAN ANTHIM THE IBERIAN

Author(s): Nechita Runcan / Language(s): English Issue: 1-2/2023

The Brancovan age is known in history as one of greatest cultural development, managing to gain its place through its own style (the Brancovan style) in architecture and increasing the prestige of the Romanian Principalities in the world. Through the generosity of the Romanian Prince, who did his best in attracting ecclesiastical and secular scholarly personalities highly appreciated at that time, this period ended up marking the pinnacle of culture and civilization in Romanian pre-modernity. Meanwhile, we can decisively affirm that without the presence and providential activity of Metropolitan Anthim the Iberian, this glory would not have been so remarkable.

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THE EVOLUTION OF ROMANIAN CHURCH MUSIC FROM COMPLEXITY TO SIMPLIFICATION AND THE RETURN TO BYZANTINE MUSIC

Author(s): Nicolae Gavrilă / Language(s): English Issue: 1-2/2023

This paper aims to present a historical retrospective of the causes and effects due to the introduction of linear music within the liturgical worship and practice of the Romanian Orthodox Church in the 19th-20th centuries. It, also, provides an overview on the precursors from the 19th century of the idea of standardization in church music interpretation: ruler Al. I. Cuza, Metropolitan Melchisedec Ştefănescu, and musician Ion Popescu Pasărea. Moreover, it underlines, on one side, the pastoral-missionary strategy of the Romanian Holy Synod, under the leadership of Patriarch Justinian Marina, by the use of standardized homophonic and choral singing in the Romanian mOrthodox Church in the 20th century, explaining the necessity of this choice, but, on the other site, it presents the recent approaches initiated in order to reduce the negative effects of this process, through the rediscovery and reuse of the Romanian psaltic art in present time.

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„Tańcz, opowiedz im wszystko...” Losy tancerek żydowskich w czasach Holokaustu

Author(s): Małgorzata Leyko / Language(s): Polish Issue: 1/2024

This article offers the first discussion of the fate of Jewish female dancers during the Holocaust. For young Jewish women who challenged the existing model of upbringing based on patriarchal tradition, modern artistic dance was an attempt at defining their own identity. Therefore, education in dance schools was very popular among Jewish girls and women, so much so that their pre-war graduates could be counted in hundreds. In terms of methodology, the article focuses on presenting individual life stories that can illustrate the scale of oppression experienced by Jewish female dancers. Their fates are presented as manifestations of three biographical matrices: emigration/fleeing/exile, life in the ghettos, and the attempt to survive on the Aryan side. At the same time, the article calls for systematic research on the subject.

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Particularităţile artistice ale regiei lui Alexandru Grecu din ultimul deceniu al secolului XX

Author(s): Elfrida Coroliova / Language(s): Romanian Issue: 2/2023

The article provides a brief analysis of the process of the artistic development of Alexandru Grecu’s creative personality and the manifestation of his distinct directorial peculiarities in the performances: Ce e viaţa omului/ What is the life of a man, Moţoc, Hercules, Unde mergem, domnilor?/Where are we going, gentlemen?, Triunghiul păcatului/The triangle of sin, Moliere, Căsătorie cu de-a sila/Forced Marriage, Ciuleandra, Care-s sălbaticii?/ Who are the savages?, Metamorphoses I, Metamorphoses II, S.R.L, The Moldovan, the Master and Margarita. Examining the peculiarities of Alexandru Grecu’s direction, the author reveals the artistic message that identifies the interconnection and interdependence of public life and of each individual in a rapidly changing world. The article emphasizes the fact that, being a relevant component of the artistic culture of the era of postmodernism, the performances of Alexandru Grecu, as a distinct sociocultural phenomenon, reveal through the prism of a multidimensional theatrical action the essence of the phenomena of social life, basing its artistic approach on the dramatic material, its stage interpretation, the situation and the moment in which the stage creation is produced.

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Dilogia cinematografică „Quo vadis, populi?”: istorie şi destine

Author(s): Dumitru Olărescu / Language(s): Romanian Issue: 2/2023

The ideological background, the complex of problems related to dictatorship, occupation of foreign territories, freedom, national identity, etc. addressed by director Vlad Druc in the feature films “Alternante/Alternatives (1991) and “Frontiere/Frontiers” (1992) in the dialogue “Quo vadis, populi?” (“Where are you going, people?”) will be elucidated parallel to the investigations of the ways of expression through the cinematographic language. At the basis of these films, being, for the most part, the cinematic chronicle, the director’s work on this material is of interest, which on the screen goes far beyond the informative limits, obtaining the qualities of an artistic-aesthetic state, which provokes meditation and even emotions. These are the repercussions of a profoundly creative attitude on the part of the director V. Druc towards all the components of his cinematographic discourses.

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