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Цял един век в трептящата мрежа от изкуства

Author(s): Andronika Martonova / Language(s): Bulgarian Issue: 3/2020

The edition of Bratoeva-Darakchieva, Ingeborg; Genova, Irina; Levi, Claire; Spassova-Dikova, Joanna; Stoilova-Doncheva, Teodora; Tasheva, Stela; Traykova, Elka. Bulgarian 20th Century in Arts and Culture. Institute of Art Studies, 2019, ISBN: 978-954-8594-77-6, 632 рр. 333 ill. http://artstudies.bg/books/BG_XX_EN_2019_IIIzk.pdf in Bulgarian and in English in two separate books comes as a result of a collaborative interdisciplinary project supported by the National Science Fund, Bulgaria, which aims to present a general view on the history of arts in Bulgaria during the 20th century. There are specific but also general, parallel intellectual and artistic processes observed in the field of literature, theatre, music, cinema, visual arts and architecture. The accent is put on phenomena related to the modernization of Bulgarian culture and its place in the context of the flexible, dynamic cultural dimensions of modern Europe. The texts are structured in three parts: Under the Sign of Modern Europe (1878–1944), Metamorphoses of Modernity (1945–1989), Challenges in a Time of Transition (1989–2000). Splitting the period into topical parts creates convenience of sharpening the accents related to various “aspects of change” in the development of a particular art and its specific reflections from the point of view of personal and community identity analysed in synchronous or diachronous terms. The marking of such cross nodes (temporal, socio-cultural, institutional, genric, etc.) by following mosaic-chronological principle is conventional and provocative to the traditional idea concerning developmental trends in Bulgarian culture of the past century. The publication is richly illustrated and has an extensive bibliography. It is intended for a wide range of readers. It is evaluated as excellent edition by the National Science Fund, Bulgaria.

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Бежанците и съвременното българско кино – проблеми и модели на представянето

Author(s): Andronika Martonova / Language(s): Bulgarian Issue: 2/2021

The onset of the migrant crisis has caused the appearance of new works in the European cinema but Bulgaria has been lagging behind with the articulation of the ‘refugee’ theme. The figure of the foreigner does exist on our contemporary movie screen but the emphasis usually falls on the rethinking of the traumatic totalitarian past. There are, however, directors who are developing the socially engaged cinema and searching for different approaches to the study of the Other/the Alien. Unavoidably, these cinematic works tie in xenophobia, the hardened monocultural mentality, the widespread national disillusionment with the perpetual transition and the feeding of marginalization within the EU. The first short documentaries appeared in 2006 thanks to the initiative of The Red House Centre for Culture and Debate which no longer exists in Sofia. The so-called Invisible Minorities package comprises five titles. The authors of these films do not belong to the professional cinema community but they have managed to provoke a discussion. Recently several mature and young directors summoned the courage to discuss the image of the refugee, sending various messages to the audience (local and international). With the aid of the film studies toolbox – but within the contexts of the socio-cultural environment I have analyzed the documentaries Long Live Bulgaria (2017, by Adela Peeva) and The Good Postman (2016, by Tonislav Hristov); the shorts - Trials (2017, by Boya Harizanova) and Dobry (2017, by Orlin Milchev); and the feature film Fear (2020, by Ivaylo Hristov).

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ТВОРЧІСТЬ ФЕОДОСІЯ ГУМЕНЮКА У СТАНОВЛЕННІ І РОЗВИТКУ КИЇВСЬКОЇ ШКОЛИ ІСТОРИЧНОГО ЖИВОПИСУ

Author(s): Viktor Vasylovych Karpov,Volodymyr Mikhailovich Pekarchuk,Tetiana Filina,Yuliya Maystrenko-Vakulenko / Language(s): Ukrainian Issue: 44/2023

The purpose of the work is to study the main stages and stylistic characteristics of the work of the People's Artist of Ukraine F. Humenyuk as a bright representative of the Kyiv school of historical painting. The research methodology consists in the application of such scientific research methods as historical, art history, analysis, synthesis, and Semitic, which together made it possible to achieve substantiated research results. The scientific novelty of the work consists in summarising the work of the outstanding Ukrainian artist F. Humenyuk and examining it from the perspective of the formation and development of the Kyiv school of historical painting. Conclusions. As a result of the conducted research, it was established that the work of F. Humenyuk is an important component in the development of the modern Kyiv school of historical painting, within which the artist formed his own unique style, which is based on the deep traditions of folk art, icon painting, Byzantism, Baroque, and Boychukism. In his works, which are characterised by multi-component complex compositions, the historical past and modern artistic versions of his reading are combined. The author's symbolic and allegorical interpretations of historical events and persons are full of many meanings, metaphors and images, forming an original poetic background for reading the stories at a highly professional level. Heading the educational and creative workshop of historical painting for a long time, F. Humenyuk not only educated worthy students, but also significantly influenced the formation of the Kyiv school of historical painting.

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МІФОЛОГІЧНІ Й РЕЛІГІЙНІ ЗАСАДИ СИМВОЛІСТСЬКОГО ЖИВОПИСУ МИХАЙЛА САПОЖНИКОВА

Author(s): Sergii Nesmachnyi / Language(s): Ukrainian Issue: 44/2023

The purpose of the article is to analyse and systematise the figurative structure of artworks from two series of symbolist paintings by Mykhailo Sapozhnykov in the light of Slavic and ancient mythology, Christian religion. The methodology of scientific research is based on use of systematic approach in combination of general scientific and special methods of cognition, such as analytical, formal-stylistic, systematisation, and generalisation. The application of these methods and approaches contributed to the thorough processing of the identified issues and made it possible to formulate reasoned conclusions. The scientific novelty of research consists in a comprehensive approach of consideration and synthesis on range of issues regarding the influence of Slavic and ancient mythology, the Christian religion on aesthetics and figurative style symbolist painting of M. I. Sapozhnykov. This issue was considered for the first time. Conclusions. The artwork of Mykhailo Sapozhnykov (1871–1937), as a consistent symbolist artist, occupies a special place in the history of Ukrainian fine art. Range of the artist's works presented in the research proved his ultimate interest in ancient and Slavic mythology, as well as the Christian religion, which together become a specific keynote of the paintings from two symbolist series. The artist's interest in mythology is reflected in the presented images, in the titles of artworks, and in pantheistic mood of most symbolist paintings. Animism is an obligatory element of the symbolist painting‘s aesthetics by M. Sapozhnykov. According to the results of scientific research, two types of figures are allocated according to their function and status: personifications of natural forces, where elements and earthly matter itself, appear in anthropomorphic and zoomorphic forms and figures of folk demonology, among which the figure of Pan stands out – the key character of the artist's symbolist paintings. Following the results of research, it was found that 18 symbolist paintings have thematic quotations from the Bible selected by the author as a kind of epigraph, what are artist by himself called "keys".

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МИСТЕЦЬКІ ПРАКТИКИ В СУЧАСНІЙ КУЛЬТУРІ

Author(s): Olena Stalyevna Afonina,Viktor Vasylovych Karpov / Language(s): Ukrainian Issue: 2/2023

The purpose of the article is to analyse modern creative practices in interaction with cultural values. The research methodology includes scientific methods: analytical, structural-functional, generalising; comparative analysis techniques to reveal the specifics of modern creative practices from the perspective of the formation of cultural values. The scientific novelty of the work is based on the analysis of modern artistic practices. Conclusions. It is noted that creative practices influence the educational process with the preservation, reproduction, and formation of cultural values. Artistic practices are a complex communicative process, a connection between a person‘s worldview and the environment, means of expressiveness of the arts and everyday life and customs. The versatility of modern creativity is noted with the involvement of synthesised projects, which have more opportunities to attract recipients. The complexity in the relationships between personality education and the formation of cultural values is noted. It is supported by the facts of a change in ideals in modern creativity, reaching the dialectical level of the art of negation, art showing different sides of human existence. Project of the Czech National Ballet with the organisation «Consent» – the ballet ―A Streetcar Named Desires‖ with the problem of violence, changing approaches to education according to the dominance of ethical norms and values of certain groups of youth: respect for oneself, the world around us, loved ones, partners and friends; treating another person as oneself. Ballet by D. Neumeier based on the psychological drama by W. Tennessee ―A Streetcar Named Desire‖ as an example of modern creativity in understanding violence and trauma from it. The modern discourse of art about norms and rules, socio-political relations and cultural values is examined using the examples of the original sculpture by D. Czerny ― Sycophancy‖ (2003, Prague); artistic project of the Italian theatre troupe ―Malatheatre‖ on the occasion of the celebration of the 452nd anniversary of the birth of the Italian artist Caravaggio in the Church of San Michele Arcangelo. All examples are paralleled by memory studies by psychologists: J. Miller, J. Santa, C. Jung. It is noted that art practices help young people understand cultural values with the accents of the present.

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РЕСТАВРАЦІЯ МОНУМЕНТАЛЬНОГО ЖИВОПИСУ В УКРАЇНІ В 50–60-ТІ РОКИ ХХ СТ. СУСПІЛЬНІ ПРАГНЕННЯ ТА ІДЕОЛОГІЧНІ КОЛІЗІЇ

Author(s): Victor Karpov / Language(s): Ukrainian Issue: 2/2023

The purpose of the article is to consider the peculiarities of restoration of sites of monumental painting of Ukraine in the post-war years 1945-1960s in the context of the influence of social, economic, and ideological factors. The research methodology consists in the application of general scientific and special research methods, in particular, analysis, synthesis, induction and deduction, generalisation and abstraction, semitic, descriptive, which together made it possible to obtain well-founded conclusions. The scientific novelty consists in outlining the general directions and approaches in preserving the artistic heritage of the post-war period of the 1950s-1960s, identifying gains and losses. Conclusions. Against the background of the global scale of the destruction of cultural heritage monuments, which required the implementation of complex monument protection and restoration tasks, the foundations of scientific methodology in the field of restoration of wall paintings were formed. The increase in the pace and volume of the restoration of cultural and artistic monuments after the Second World War was affected by new challenges caused by the lack of a material, technical and methodological base, qualified human resources, and shortcomings in the organisation of work. At the same time, deep destructive manifestations caused by atheistic state policy with a pronounced totalitarian colour have become fatal for a number of Ukrainian historical and cultural monuments, introducing a contradictory character into the establishment of the restoration work in the country. Thanks to the active position of leading cultural figures and the founders of the new Ukrainian restoration school of monumental art – Luka Kalenichenko, Olha Plihusch, Yevhen Mamolat, the first post-war decades became decisive in the formation of the national restoration and monument protection industries.

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ГОРЯНСЬКА РОТОНДА В КОНТЕКСТІ ТРАДИЦІЙ МОНУМЕНТАЛЬНОГО ЖИВОПИСУ XIII-XIV СТОЛІТЬ

Author(s): Yuli Skakandi / Language(s): Ukrainian Issue: 2/2023

The purpose of the work is to study the traditions of monumental painting of the Goryan Rotunda near Uzhgorod in the context of the development of art of the XIII-XIV centuries. The research methodology lies in the application of the analytical approach in order to highlight the peculiarities of the monumental paintings of the Goryan Rotunda. An important element of the research was observation and description, which made it possible to investigate and outline the evolution of the development of the traditions of monumental painting in the context of the general artistic trends of the 13th and 14th centuries. The novelty of the research lies in the systematisation and generalisation of research on the monumental painting of the Goryan Rotunda, which belongs to the outstanding monuments of the XIII-XIV centuries. Conclusions. Amazing frescoes even today impress visitors with the high skill of execution and at the same time the simplicity and vitality of the characters. The harmonious colour of wall paintings, graceful plots and elegant silhouettes of images are filled with deep spirituality and evoke a pleasant feeling of beauty. Today, scientists are of the opinion that the frescoes in Goryany, those on the surface, represent the era of the early Renaissance and were made in the 14th century by the unsurpassed Italian masters of the Giotto school, but they were then applied on top of images painted here much earlier. The main plots are "Annunciation", "Flight into Egypt", "Passion", "Gifts of the Magi", "Christmas", / "Resurrection". It is likely that the new frescoes were commissioned by the family of the Italian Counts of Drugeti, who have been the owners of our lands since 1318 and ruled here hereditary for 360 years. The researchers recognised the technology of their execution – this is a complex technique that is no longer used today: a wet, "fresh" surface absorbed a 10-centimeter layer of paint during painting. Scenes from the New Testament are depicted on the walls of the temple, which run in two lanes, without destroying the impression of the integrity of the interior

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FAR – CLOSE. BRECHT – STANISLAVSKI

Author(s): Dan Mihalcea / Language(s): Romanian Issue: 38/2024

The distancing that Brecht promotes is related to the fact that the actor must not convince the viewer that the character is on the stage and it must not appear that the actor has studied the character, but that on the stage everything would happen for the first time and only then. In Stanislavski's opinion, there is no art without the involvement of experience and emotion, and craft begins when creative experience has spoken. The artistic process in which the inner content is not found is only a stage convention that deforms the human nature of the artist, concludes Stanislavski.

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Samuel Pellionis als Dialektdichter

Author(s): Tajana Hevesi Vašinová / Language(s): German Issue: 1/2024

The aim of this paper is to explore the extent to which the work of the German dialect poet Samuel Pellionis (1870–1953) from the language enclave region Spiš (Ger. Zips) in Eastern Slovakia fits into or corrects the traditional view of dialect literature. In the first half of the 20th century, German dialect literature was dominated by an effort to depict the ideal rural homeland. However, it was mainly written by academically educated poets who often lived in cities. Samuel Pellionis was a shoemaker without a higher academic education who did not adhere to the standards of traditional dialect literature. Instead of only using the dialect to depict a stereotypical rural environment (parallelism), Pellionis wrote about topics such as the two world wars, politics, or a desire to flee his homeland, which is a deviation from the norm. The article furthermore questions the criteria that poets and literary scholars of the past used to determine whether someone could be considered a poet (instead of being regarded just as an uneducated “rhymer”).

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Edukacja plastyczna kobiet od starożytności po epokę nowożytną na przykładzie wybranych artystek. Pomiędzy sukcesem a dyskryminacją

Author(s): Justyna Sprutta / Language(s): Polish Issue: 25/2024

This article attempts to look at the lives of selected girls and women studyingpainting from antiquity to the modern epoch. Often discriminated against and fightingagainst stereotypes, they succeeded as artists. In this article I present the possibilities ofthese girls and women, the scale of their successes, but also the obstacles, usually origi-nating in the mentality of the time, which prevented them the studying at a “higher level”.The article is only a “sketch” of the problem and constitutes an introduction to the re-search on the question presented in the title. The article does not exhaust the theme andmay encourage further reflection on the art education of women artists not only in themodern era.

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Пресъздаване на събития от българската история с цел – политическа пропаганда, при скулптурите от камък в мемориален комплекс – „Трите поколения”

Author(s): Sarkis Nersesyan / Language(s): Bulgarian Issue: 11/2023

The purpose of this paper is to present the political propaganda in the sculptural reliefs in the "Three Generations" memorial complex, created in the 1970s. The analysis found that the monumental stone relief was charged with a complex set of tasks, influenced by the political features of the era. The April plenum of the Bulgarian Communist Party from 1956 imposed specific political requirements for the further development of creative activity. A system of work rules is imposed in the execution of public sculptural works. This was a justified historical reason and a suitable political situation, for the confirmation of the established canon, in the performance of monumental orders. A specific emblematic object such as the "Three Generations" monument illustrates the SPRING SCIENTIFIC READINGS 365 20 nature of the mechanical mixing of revolutionary clashes of different ideas.

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Историческо развитие на стенописите

Author(s): Natalija Radeska / Language(s): Bulgarian Issue: 11/2023

Murals are the art of wall painting which we can understand as mutual communication, communication with space and conveying messages to society. This study explores the beginnings of the mural, the different types of murals, and the value and significance of the mural in the development of this art form. The mural dates back to the time of the Paleolithic as a representative art, which continues to develop in Egypt, Rome, India, it is representative of the classical period in Europe, when it becomes typical for cathedrals, mosques, until the modern era when it is popularized in the urban space and becomes part of public famous buildings in many cities around the world. In that context, the hypothesis is developed that the understanding and recognition of the mural images of the past is of great importance and are an example and inspiration for the local arts to develop their idea and to perfect and develop the mural. From here, the mural grows into a different concept for creating a new visual image with a high aesthetic value.

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Umjetničko djelo budućnosti [1849.]

Author(s): Richard Wagner / Language(s): Croatian Issue: 29/2024

Kako se čovjek odnosi spram prirode, tako se umjetnost odnosi spram čovjeka. Kad se priroda razvila u sposobnost koja je u sebe uključivala uvjete za ljudsko postojanje, nastao je sasvim sam od sebe i čovjek: čim je ljudski život iz sebe proizveo uvjete za nastanak umjetničkoga djela, ono također samo od sebe stupa u život. Priroda proizvodi i oblikuje bez namjere i nehotice prema potrebi, dakle, iz nužnosti: ista nužnost proizvodna je i oblikovna snaga ljudskoga života, samo ono što je bez namjere i nehotično proizlazi iz istinske potrebe, samo u potrebi nalazi se temelj života.

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Nova glazba, zastarjela glazba, stil i misao

Author(s): Arnold Schonberg / Language(s): Croatian Issue: 29/2024

Posljednja tri od ovih četiriju pojmova obilno su korištena tijekom posljednjih dvadeset i pet godina, dok četvrti pojam, misao, nije izazvao toliku pozornost. Nažalost, metode u nastavi glazbe, umjesto da učenike temeljito upoznaju sa samom glazbom, pružaju konglomerat manje ili više istinitih povijesnih činjenica, zaslađenih velikim brojem manje ili više netočnih anegdota o skladatelju, njegovim izvođačima, njegovoj publici i njegovim kritičarima, plus jaka doza popularizirane estetike. Tako sam jedanput u ispitnom radu jedne studentice druge studijske godine, koja je studirala samo malo učenja o harmoniji i mnogo »razumijevanja glazbe« (kao predmet), ali zasigurno nije čula mnogo zvučne glazbe, da je »Schum annova interpretacija mutna i nejasna«. Ta mudrost doslovce je potjecala iz udžbenika koji se koristio u tom razredu. Neki stručnjaci za instrumentaciju možda bi se složili s tim i bez argumenta proklinjanja Schumanna kao instrumentatora.

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Mahler danas

Author(s): Theodor W. Adorno / Language(s): Croatian Issue: 29/2024

Trenutna svijest na Mahlera gleda nekako iskosa. Ako je njegova simfonika prije dvadeset godina još slovila kao kolosalna slika jedne glazbe budućnosti koju oko građanskoga pojedinca nije bilo u stanju obuhvatiti; kao smionost jednog posebno naprednog programatičara čije se htijenje i izvedba prema uobičajenoj frazi ne poklapaju - danas ćemo se hitro protisnuti kraj Mahlerova djela i ustvrditi da smo ga odavna ostavili iza sebe, dok zapravo samo žurimo da ga ne promotrim o odveć precizno. Onaj kojem smo se rugali kao korisniku autom obilskih truba i sirena kao nekom duhovito-drskom dadaistu danas najstarijim konzervatorijima više nije dovoljno činjeničan i svaki se bolji glazbeno-teorijski seminar osjeća modernijim od njega time što navodi njegove pojmove o igri kretanja i glazbi tijeka, o pretklasičnoj i o novoklasičnoj polifoniji. Nijednu romantiku, pa ni Pfitznerovu, nije se tako okretno prevladalo kao onu Mahlerovu, za koju nije utvrđeno čak ni je li uopće romantična.

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Ideja apsolutne glazbe

Author(s): Carl Dahlhaus / Language(s): Croatian Issue: 29/2024

Glazbena estetika nije popularna. Među glazbenicima izložena je sumnjičenju da je apstraktno naklapanje koje ne doseže do glazbene stvarnosti, među glazbenom publikom zamjera joj se da je filozofska refleksija koju bi trebalo prepustiti upućenima umjesto da se vlastiti razum muči suvišnim poteškoćama. Ali koliko god nepovjerljiva razdražljivost naočigled mnogih naklapanja koja sebe nazivaju glazbenom estetikom bila razumljiva, toliko je pogrešna i predodžba da su glazbeno-estetički problem i nastanjeni negdje u maglovitim daljinama onkraj glazbene svakodnevice. Naprotiv, oni su, trezveno gledano, itekako konkretni i neposredno prisutni.

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Od Prometejeve baklje do Noine arke i dalje - Povijesno-epohalni kraj arhitekture i mogućnost novoga početka

Author(s): Žarko Paić / Language(s): Croatian Issue: 1-2/2024

Mišljenje i građenje su međusobno povezani idejom stvaranja. Ono »novo« ne objelodanjuje se u svijetu bez ideje »novoga«. Taj kontingentni trenutak nastanka dovodi u sklop tvar, energiju i informaciju. Misliti kao stvarati znači nadilaziti granice zbilje koju naše slikovno-govorno umijeće oponaša (mimesis) svagda tako da ne zapada u stanje puke nalikovine slike na već opstojeći svijet tvorevina. Grci su pojmom arhitekture uokvirili sav materijalno-duhovni svijet ljudske mjere jer ono začetno/prvotno jest arché, a to označava vrijeme nastajanja »novoga« koje usudno određuje sve što će poslije doći. Arché predstavlja uvjet mogućnosti oblikotvorne sudbine bitka bića i istodobno odlučuje o svekolikome povijesnome razvitku ideje »novoga«. Filozofijski kazano, prvi uzrok ili načelo stvaranja u sebi pohranjuje i posljednju svrhu (telos i eschaton). Ovaj dualni način mišljenja u drevnih Grka preuzet će i židovsko-kršćanska eshatologija pojmovljem geneze (postanka) i apokalipse (posljednjeg kraja, nestanka i razotkrivenosti novoga početka). Razlika je u tome što je u Grka tragični usud čovjeka ujedno i njegova izabrana sloboda koja se ne može svesti na bitak, biće ili pojam temelja, dok židovsko-kršćansko shvaćanje povijesti pretpostavlja ireverzibilnost i linearnost kretanja. Zato su filozofija i arhitektura od iskona do kraja povijesti izričito grčko poslanstvo idejnoga stvaranja svijeta izvan redukcije na Božje djelo u smislu razumijevanja svijeta kao tvorbe imitatio Dei.

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Hudební oddíly československých legionářů v Rusku 1914–1920

Author(s): Tomáš Drábek / Language(s): Czech Issue: 2/2024

The paper discusses the regimental music bands of the Czechoslovak Legion in Russia. It focuses mainly on their tasks, functions and importance. Attention is also paid to the fact that the legionary bands combined elements of Russian and Austro-Hungarian military music. The text addresses the question of which cultural influence ultimately prevailed.

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Protests pret aizmiršanu

Author(s): Katrīna Vastlāve / Language(s): Latvian Issue: 28/2024

Review of: Maigās svārstības Sastādītāja Sandra Krastiņa Tekstu autori: Elita Ansone, Rasa Jansone, Sniedze Kāle, Sandra Krastiņa, Una Meistere, Jānis Mitrēvics, Stella Pelše, Inese Riņķe, Laima Slava, Inga Šteimane, Kārlis Vērpe Rīga: Neputns, 2023. 560 lpp., il. ISBN 9789934601767 The book review examines the collection of articles "Maigās svārstības" [Gentle fluctuations] (Riga: Neputns, 2023) dealing with a significant artists' group in the 1980s whose work culminated in the open studio-action in 1990 to diverge into different creative paths in the following decades.

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Latvijas Mākslas akadēmijas Mākslas vēstures institūts. Latvijas Mākslas akadēmijas Mākslas zinātnes nodaļa un doktorantūra

Author(s): Kristiāna Ābele / Language(s): Latvian Issue: 28/2024

The chronicle lists most important achievements at the Art Academy of Latvia Institute of Art History from July 2023 to September 2024, including publications, conferences and scientific projects, Also listed are BA papers, MA papers and a PhD work defended during this period at the Art Academy of Latvia.

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