2013-2014 YILI EDİRNE YENİ SARAY KAZISI İZNİK VE KÜTAHYA SERAMİKLERİ

Author(s): Hasan Uçar / Language(s): Turkish Issue: 03/2019

The content of this work consists of the ceramics of İznik and Kütahya which were found in excavation carried out in Edirne Yeni Saray in 2013-2014. This palace began to be built at the end of the first half of 15th century and thereafter it was continuously used by Ottoman sultans. The palace, which started to lose its significance in classical period from 18th century, entered into the process of demolition by means of Ottoman-Russia war. Besides the architectural features of the palace with the excavation works made in different years in Republic Period, the things used in the palace are also endeavoured to be unearthed. The ceramics of İznik and Kütahya from these materials have a crucial position alongside of imported ceramics which were used in the palace. Even though the adornment techniques are the same, these ceramics of which colours and motifs show difference have the characteristics of a document in terms of reflection of pleasure approach of a period of Ottoman. While the blue-white ceramics show the adornment approach of end of 15th century and first half of 16th century, multi-coloured ones reflect the adornment approach of Ottoman entirely in solid-coloured and multi-coloured İznik ceramics. It is possible to see single and multi-coloured dyed style of Kütahya in cups which are most notably form and a couple of part of bowl in Kütahya ceramics. While Chinese influence is observed in some of these samples that are dated as 18th century, some of them shows us the style of ceramists from Kütahya entirely. In this work, it is aimed to determine the position of ceramics of İznik and Kütahya which were found in 2013-2014 within Ottoman ceramics.

21. YÜZYILDA GİYİLEBİLİR SANATIN ÖNCÜ MODA TASARIMCILARI

Author(s): Nursen Geyik Değerli / Language(s): Turkish Issue: 51/2018

Clothing came out as a result of human being’s struggle to protect himself physically against varying conditions of nature. Wearing took shape by traditions till 16th century and affected by new fashion movements created by mid-class society dominating social events during 17th century. Brit, Charles Frederick Worth (1825-1895), was “the first fashion designer” who changed the rules of tailoring and opened his own fashion house in Paris to sell his designs during 19th century. He claims that “his hand-made belly stitch worths a valuable oil painting” and reflects his signature to his designs those express his passion and art. “Artwear” or “Wearable Art” was first pronounced in 1970’s, and then positioned in fashion and art platforms during 80s. In this article; interactions in between fashion and art, fashion designers influenced by art movements during last century and wearable art works of fashion designers of 21st century are analysed. Fashion designers of 21st century are pushing the boundaries of creativity to generate variety of wearable art designs by binding technology transformation and handcrafting. It is a strong sign and evidence that wearables may be art works and we started to see them in art galleries or exhibitions.

21st Symposium of the ICTM Study Group on Historical Sources of Traditional Music. Paríž, 9. – 13. marca 2016

Author(s): Hana Urbancová / Language(s): Slovak Issue: 2/2016

30 de ani de la destrămarea R.S.F. Iugoslavia. Despre politică, societate şi „cultură de masă” – consideraţii

Author(s): Daniel Lazăr / Language(s): Romanian Issue: 67/2021

The Yugorock of the 70s-90s was not rejected a priori by the regime, as it occurred in the other socialist countries. The Communist Party believed that it was harmless as long as the authorities monitored it closely. The outbreak of the civil war in 1991 coincided with the “cultural” debut of turbofolk in Serbia and Serbian territories throughout Yugoslavia. It was characterized as a suburban culture movement, “tasted” by uneducated supporters of Slobodan Milošević’s style and that abounds in elements of kitsch by promoting peripheral messages such as “war glamour”, “greedy is cool”, “get rich quickly”, able to fascinate a decomposing society. In the last decade of the 20th Century, the hostile historical context turned Serbia of Slobodan Milošević into the victim of a predominant cultural “narcissism”, where certainties were eliminated and where the infallibility of the new Leader tended to become immanent.

30 сезона „Сфумато”. Сборник студии

Author(s): Ina Bozhidarova / Language(s): Bulgarian Issue: 3/2020

300 DE ANI DE LA NAȘTEREA BARONULUI SAMUEL VON BRUKENTHAL (26 IULIE 1721 - 9 APRILIE 1803)

Author(s): Gudrun-Liane Ittu / Language(s): Romanian Issue: 1/2021

Three Centuries Since Baron Samuel von Brukenthal was Born (26th of July 1721 - 9th of April 1803). Baron Samuel von Brukenthal was an outstanding personality, a man of great erudition and refined taste, whose political career culminated with the dignity of Governor of Transylvania, a dignity he held between 1777 and 1787. Brukenthal was the only Transylvanian Saxon who enjoyed this great honor. Living for many years abroad, he got acquainted with Viennese cultural patterns he tried to implement in his own country. As a Transylvanian representative of the Enlightenment, Brukenthal became famous through his major creation, the first museum in the South Eastern part of Europe opened in 1790 to connoisseurs and foreign travelers and in 1817 to the large public. His fine art collection comprised about 1100 paintings belonging to the major European art schools. Besides paintings he also had a rich collection of etchings in copper, a library consisting of about 16000 volumes, rare archeological objects, as well as a numismatic collection and one of minerals. But his sphere of interest was much wider, including a large scale of sciences, the educational system, the musical life of Sibiu, the art of gardening.

3D Scanning of Porto Alegre Museum Artifacts: The Crockery of the Rocco Bakery

Author(s): Andresa Richetti,Fabio Pinto da Silva,Liane Roldo, / Language(s): English Issue: 3/2022

Antiques usually require careful handling, so these objects cannot be made available to the general public and are handled only by restoration specialists. This article focuses on the preservation of antiquities in terms of cultural heritage and the availability of these objects for access by visitors, it describes and evaluates the development of a method to support the digitisation of objects considered solids of revolution. The artifacts were provided by the Museu Joaquim José Felizardo in the city of Porto Alegre, Brazil, and were used to set the table in the former Confeitaria Rocco (bakery). The 3D process consisted of the following steps: laser scanning, data processing of the coordinates obtained from the surface of the object into point clouds, creation of the virtual model, creation of a physical model using additive manufacturing, and evaluation of the physical model in comparison with the original artifact. The obtained results show that highly accurate models can be created using the proposed method. Therefore, virtual data can be obtained for the conservation, restoration and creation of replicas for studies and accessibility.

3-тя Залізна стрілецька дивізія армії УНР у 1921 р.: просвітня та культурно-мистецька складова таборового повсякдення вояцтва

Author(s): Igor Volodymyrovych Sribnyak,Gennadij Mykhaylovych Nadtoka / Language(s): Ukrainian Issue: 3/2018

The purpose of the article is determined by the necessity to analyze educational, cultural and art constituent of the everyday life of the representatives of The 3rd Iron Rifle Division of UNR Army in 1921. The methodology is based on the appliance of problematic, chronological, systematically historical, comparatively retrospective and analytical methods of the implementation of the scientific research. The scientific novelty aims to research complex content of educational, cultural and artistic activity of 3rd division soldiers in Kalisz camp. The authors of the article came to the conclusion that all theatrical and concert amateur events were national in accordance with the content and atmosphere which led to the spiritual consolidation of division soldiers in difficult interned terms.

45 de ani de la constituirea „sistemului românesc pentru conservare şi restaurare a patrimoniului cultural” - un scurt istoric

Author(s): Dan Octavian Paul,Luminița Paul / Language(s): Romanian Issue: 10/2021

This paper presents a history of The Romanian System for Conservation and Restoration of Cultural Heritage, in its 45 years of operation. The data are presented in two periods, 1975-1990 and from 1990 to the present. The system has organizational-functional elements and its own education and professional accreditation within the Ministry of Culture.

45th Medieval and Renaissance Music Conference, medzinárodná muzikologická konferencia, Praha, 4. – 8. júla 2017

Author(s): Eva Veselovská / Language(s): Slovak Issue: 2/2017

60 anni di ICE-Agenzia in Polonia. 60 lat ICE – Agencji Promocji i Internacjonalizacji Przedsiębiorstw Włoskich w Polsce

Author(s): Antonino Mafodda / Language(s): Polish,Italian Publication Year: 0

Bilingual volume published in cooperation with the Embassy of Italy in Poland and with the Italian Institute of Culture to celebrate the centenary of the Italian-Polish diplomatic relations (1919–2019).Texts by the renowned Italian and Polish authors (translated from Italian to Polish or vice versa) are divided into two parts: “Diplomacy, economy, history” and “Art, film, literature, theatre”. Such division allows to follow the Polish-Italian bonds in different fields, from translation and performance of the Italian tragedies on the Polish stages, to cooperation with the FIAT company. There is also reflection on the Polish-Italian relations in the difficult interwar period and during the Second World War. In this context one text has exceptional significance - that of Vincenzo Mario Palmieri, Italian anatomic pathologist and a member of the international commission that examined the Katyń massacre in 1943.The volume not only for the Italophiles but also for all those interested in the history of the 20th century and in the issues of the international relations.

90 години Старозагорска опера и 70 години от одържавяването й

Author(s): Emiliya Zhunich / Language(s): Bulgarian Issue: 2/2016

90 years ago a group of enthusiasts form an opera ensemble, as it occurs in many other localities. And if after one or two titles everything finishes mainly because of lack of funding, exactly in that consists the heroism of citizens of Stara Zagora: the only amateur ensemble which exists 21 years long, and after that it is nationalized in 1946. The nationalization is a kind of recognition but this leads to shocks. In 1967 lays the beginnings of the annually organized Festival of the Opera and Ballet Arts – a mirror of the achievements in the area of music and performing arts. Because of a conflagration end of 1991 the ensemble left homeless. In 2015 the State Operа Stara Zagora celebrates its 90th anniversary, and on the 1st of April 2016 it is 70 years since its nationalization.

A 18. dinasztia idején épült thébai vályogtégla szentély rekonstrukciós kísérletei

Author(s): Zoltán Imre Fábián / Language(s): Hungarian Issue: 4/2012

A small mortuary chapel built of mud bricks was exposed in 2008 by the Hungarian Archaeological Mission in Thebes, on the south slope of the el-Khokha hillock. Paintings in a rather good state of preservation as well as several further fragments came to light during the excavation. They represent some characteristic thematic groups typical of 18th Dynasty rock cut mortuary monuments. Especially two groups offer a good chance for the reconstruction and the examination of basic principles of the decoration program, namely, a series of offering bearers and the scenes of beer brewers. On the basis of the reconstruction of painted elements, further conclusions can also be drawn regarding the architectural features of the chapel.

A barokktól a neobarokkig. A marosvásárhelyi Rózsák tere 52. szám alatti ház történetéből

Author(s): János Orbán / Language(s): Hungarian Issue: XIV/2019

Our study presents the history of a house from the middle of the eighteenth century until the end of the Austro-Hungarian period, located under no. 52 in the Trandafirilor Square (Rózsák tere). Today’s Revivalism style building was formed through the unification of two old land plots in 1897. On the northern plot, which today is a closed down alley and once stood in the vicinity of the Kisköz, around 1770 Imre Teleki, royal side judge, had built a two-storey building. In the first half of the nineteenth century this passed on to the wife of Baron József Bánffy, and later entered into the possession of apothecary István Kováts. Around the middle of the century it was already owned by the Armenian merchant Antal Gáspár, who in the 1870s had bought the neighboring house as well. The latter, in the last decades of the eighteenth century, belonged to lawyer Zsigmond Jánó and his wife Zsuzsanna Bodó. It seems that they were the ones, who in 1979 had built a house that survived until the end of the nineteenth century. Later, on both land plots merchant Gyula Gáspár, a well-known public figure and an enthusiastic patron of industrial development, also owner of the bathhouse in Corund (Korond), had developed the building which can be seen today in 1897. The small Jánó house was demolished and the house of Teleki was incorporated into a new, representative building, which on the ground floor gave place to shops and the upstairs contained the living quarters of the family. The building was expanded towards the back yard with additional premises. The proportions of the new building fit well into the line of Baroque and Historicism style two-storey houses that stood on the square. The constructed façade did not follow the authorization plan in its entirety. Nevertheless, it can still be considered one of the important local monuments of Baroque Revivalism, especially through its sophisticated façade sculpture (which could have been the work of the young Károly Székely, who had finished the local industrial vocational school at this time and later became a renowned sculptor). The master builder was Mihály Szarvadi, who in 1896 worked in many places in the town: he built for merchant Géza Petrás and doctor Elek Hints as well as for the writer István Petelei. The Baroque Revival architecture flourished in Târgu Mureş starting from the middle of the 1890s. Its main features are represented by a dynamic mass formation and rich stucco decoration of the façade, which were frequently inspired by the Austrian Baroque world. In the period of the analyzed architecture the following houses were built in this style: in 1896 the Makariás house, in 1897 the houses of brewery owner Albert Bürger, banker Hugó B. Tauszik, doctor Kálmán Marosi, and master builder Pál Soós, and in 1899 the magnificent two-storey tenement house of Béla Bányai on the main square. This style influenced the architecture of the town even in the first decades of the twentieth century.

A bolgár ajkú magyarok legnagyobb temploma

A vingai római katolikus templom építészeti tervpályázata

Author(s): Nóra Németh,Katalin Marótzy / Language(s): Hungarian Issue: X-XI/2016

After the Austro-Hungarian Compromise the state establishment worked as a stable system until World War I. The immovable scheme of the Austro-Hungarian dual monarchy state-system and the economic prosperity induced building operations. The society became more and more civilian thus the architectural competitions, as a phenomena of the free-market economy, spread widely. This process was favoured by the Association of Hungarian Engineers and Architects. Among the architectural competitions the ecclesiastical ones frame a different group. In these cases, the constitutor is not a faceless state organization or a capitalist company but a community who considered its church as an expression of their identity. The city of Vinga which is located near to Arad advertised a competition for designing a new catholic church in 1886. Vinga was founded at the middle of the 18th century when Bulgarian refugees won the right to settle down in the uninhabited territories of Temes County. They preserved their Bulgarian identity thus they regarded themselves as a part of the Hungarian nation, too. Their biggest town Vinga was built with wide roads according to a planned urban structure and they raised a neoclassical Roman Catholic church. The economic prosperity and the growth of the population induced the need for a bigger and representative church at the end of the 19th century and they decided to organize an architectural competition to find the most magnificent plan. In the same time, they were quite tight-fisted, thus this two aspects resulted a knotty situation. The process of the design competition and its criticism was not only published in the local newspaper: the bilingual Vingánska Nárudna Nuvála / Vingai Néplap, but also in the most prominent Hungarian architectural journal: Építési Ipar. As it was ordered the plans were designed in Gothic style. In the Hungarian historicism the neo-Gothic influence came from Viena. The architects, as Imre Steindl, who studied from Friedrich von Schmidt brought this trend to Hungary, and later as teachers propagated this to their students. The Vinga Church Building Comitee found Ottó Szehlo’s – a Steindl-follower’s – neo-Gothic proposal the best but they wanted to reduce the costs. After some complication the construction plans were made by Eduard Reiter, an architect from Timișoara (Temesvár). Examining the original drawings we can follow the alterations, how the concept and the details changed. From the elegant competition design Reiter made a cheaper and a bit provincial church and in some forms it is possible to find his own taste. The Roman Catholic church in Vinga became a huge three-bayed building with a low-keyed crossnave, the white walls and rib vaults are emphasized with a decorative, ornamental painting. The furniture and the altars were made in the same style, giving us a magnificent general impression. The façade with two high towers determines the view of the city up to this day.

A bone disc with an inscription from Marina el-Alamein (Egypt)

Author(s): Grażyna Bąkowska-Czerner / Language(s): English Issue: 24/2020

A bone disc with an inscription has been found at the archaeological site of the Greco-Roman period at Marina el-Alameinin Egypt. It has a hole drilled in the center and a name IOULIOS (Ιούλιος) written in Greek letters on one side. One may wonder about the diskfunction. Names appear on theatre tickets and on game counters, but they also usually bear a number or an image, e.g. a figure or a building. In the town, which has been subject of a recent research, a large number of diverse types of game pieces were discovered; glass pawns and bone counters predominate among them, however, they differ from the discussed disc: they are smooth or decorated with cut concentric circles. The number and variety of pawns indicates diverse types and a big popularity of games among the inhabitants of Marina. The described disc may have been a strategic board game counter.

A budai műhely titkai

Author(s): Enikő Békés / Language(s): Hungarian Issue: 1-2/2021

Zsupán Edina (szerk.): „Az ország díszére” A Corvina könyvtár budai műhelye Kiállítási katalógus, Országos Széchényi Könyvtár, Budapest 2020. 488 oldal, 14 000 Ft

A Case of Self-Expression in Various Arts: Poet, Pianist-Composer and Music Critic Hans Schmidt (1854–1923)

Author(s): Baiba Jaunslaviete / Language(s): English Issue: 1/2022

Music criticism has always been a money earner for representatives of various creative professions – writers, composers and performers. An interesting research perspective is the interplay between these different fields in their work: does it reflect any parallels between the aspects of their creative personalities? From this viewpoint, the paper analyses the case of a long-term music reviewer Hans Schmidt who has documented the concert life in Riga, and at the same time, has gained appreciation as a poet, composer and performer – primarily, in the Baltic German cultural space.

A cinóber piros lángja (az ikonfestőktől az ikonszakértőkig)

Author(s): Draginja Ramadanski / Language(s): Hungarian Issue: 2/2019

George RUZSA: Icon Researchers and Icon Research in the Soviet Union in the First Half of the 20th Century. Sziklatemplom Pálos Fogadóközpont, Budapest, 2018

A Contemporary Approach of Las Meninas

Author(s): Irina-Andreea Stoleriu / Language(s): English Issue: 1/2020

The present study is meant to underline the importance of a famous work from the baroque period, Las Meninas, made by the painter Diego de Silva y Velásquez who has become a source of inspiration for future generations of artists. Numerous modern and contemporary artists have integrally or partially ”paraphrased” Velásquez’s composition by intercepting the portrait of revolutionary group for the time when it was created, extremely innovative regarding its compositional qualities and its hidden meanings which underlined the role and status of the artist in the context of a conservative society. Thus, the painting becomes the living proof of the way in which the artist manages to overcome the limitations of the social status of ordinary human beings, by portraying himself as a close friend of the royal family and by opening, through this type of representation, an important chapter in the history of portraiture.