Leni Riefenstahl v službi Tretjem rajhu

Author(s): Nataša Hönig / Language(s): Slovenian Issue: 2/2016

Leni Reiefenstahl, Hitler’s personal film director, produced four documentary propaganda films following Hitler’s instructions for the needs of the Nazi Party. The article presents the theoretical framework that serves as the basis for the practical part, i.e. the analysis of these films. The discussion covers the period from 1933 to 1938, when Reiefenstahl did her work for the Nazi regime. The then Reich Minister of Propaganda Joseph Goebbels used her films very effectively as part of his propaganda strategy. The Triumph of the Will made the greatest impact in terms of propaganda, ideology and politics, whereas the ideology of the Aryan race was most strongly supported in Olympia. The film is defined as a historical source and presented is its historic value.

Recenzia: Bubekovci z Plešivca – úspechy a pády jedného rodu v politike a umení

Author(s): Ján Jakubej / Language(s): Slovak Issue: 2/2018

The review of: Tihányiová, Monika. Bubekovci z Plešivca – úspechy a pády jedného rodu v politike a umení. Rožňava: Georgius Bubek, o. z., 2017, 151 s.

Recenzija: Moč vesti. Josipina Turnograjska, prva slovenska pesnica, pisateljica in skladateljica

Author(s): Sabina Žnidaršić Žagar / Language(s): Slovenian Issue: 2/2011

The review of: Mira Delavec, Moč vesti. Josipina Turnograjska, prva slovenska pesnica, pisateljica in skladateljica. Založba Primus, Brežice, Ljubljana, 2009, 389 str., ilustr.

Partizanski fotograf in organizator partizanske fotoreporterske službe Franjo Veselko (1905-1977)

Author(s): Dejan Vončina / Language(s): Slovenian Issue: 3/2010

From 1943 until the end of World War II, Franjo Veselko (1905-1977), professor of history and geography, was a partisan photographer and organiser of the Photojournalist Service. Since April 1944 until May 1945 he managed the photography section of the Propaganda Commission within the Presidency of the Slovenian National Liberation Council and taught at the partisan gymnasium (secondary school) in Črnomelj. In this period he made around 2000 diverse photographs, transcending thè mere documentary level, which places Franjo Veselko at thè very peak of partisan photography. With his theoretical knowledge in the field of propaganda photography, Veselko wrote several guidelines about what the partisan photojournalists should focus on and how to take photographs in the field. Veselko belongs among the key Personalities in the field of organising the partisan Photojournalist Service.

Džez v Sloveniji kot subkultura

Author(s): Marta Rendla / Language(s): Slovenian Issue: 1/2008

The author focuses on the development of jazz in Slovenia. She presents it ever since its beginnings between the World Wars, when the musicians have not even played real jazz yet despite the name, through the period after World War II, when jazz as a new musical direction in the true meaning of the word started out relatively early in our territory with the establishment of the Plesni orkester Radia Ljubljana (Radio Ljubljana Dance Orchestra), developed in accordance with the Western (American) example and transcended the field of an alternative subculture, becoming an established artistic form in the 1960s, and then returned to the world of popular music with the establishment of the "Young Jazz Scene" by the younger generation of musicians, especially the group "Quatebriga" from Ljubljana as a representative of the most original contemporary improvised music lineups of the 1980s.

Italijansko diplomatsko poročilo o slovenskem filmu “Na svoji zemlji”

Author(s): Nevenka Troha / Language(s): Slovenian Issue: 2/2007

Zgodovinsko-diplomatski arhiv Zunanjega minisrrstva ltalijanske republike v fondu Politicne zadeve 1946-1950, Jugoslavija, skatla 62, hrani zanimivo oceno prvega slovenskega celovecernega igranega filma Na svoji zemlji, Člani Predstavnistva ltalije v Beogradu (ltalijanska republika in Federativna ljudska republika Jugosiavija sra diplomatske stike na ravni veleposlanisrev vzpostavili sele ... ) so si ga ogledali v beograjskih kinematografih, kjer so ga pričeli predvajati marea 1949. [...]

Образ воина в искусстве населения Казахстана сакского времени

Author(s): Gulnara S. Jumabekova,Galiya A. Bazarbayeva / Language(s): Russian Issue: 3/2019

The Image of Warrior in the Art of Kazakhstan Population of the Saka Time

О композиционных структурах и иконографических схемах греко-скифского искусства (на примере изделий из кургана Солоха)

Author(s): Lyubov N. Ermolenko / Language(s): Russian Issue: 3/2019

The article analyzes battle images on the jewellery from the Solokha barrow: a comb, a gorytos overlay and a vessel with scenes of heroic hunting of Scythian warriors. The author discusses these metalwork artifacts considered to be objects of the Graeko-Scythian art in terms of their dual cultural attribution. The artistic features of the objects in question characterized in the paper include the arrangement of composition through numerical patterns, “duplication” of scenes where people act with those involving animals, and the use of iconographic patterns of the Greek art (military posture of “lunge”, etc.) to create the images of fighting Scythian characters. The compositional and iconographic analogies for the analyzed images in Greek vase painting are given, mainly based on the subjects of the Trojan epic, amazonomachy, and centauromachy. An attempt is made to identify compositional elements and artistic motives that correspond to the artistic perception and world view of the Scythian owners of precious objects from Solokha. The author assumes that clear structure and rhythm of the composition, the use of anthropomorphic-zoomorphic “doublets” and other features could meet the artistic demand of the Scythians.

Военная тематика пекторали из Толстой Могилы

Author(s): Leonid I. Babenko / Language(s): Russian Issue: 3/2019

From the first sight, among the images and plots of the Pectoral from Tolstaya Mogila, the military topics is secondary. However, upon a closer view, more deep association of pectoral and different sides of military domain reveals. Gorytus in the upper frieze central scene are the thinnest volume prototype model. The Gorytus semantics is determined by their peculiarity of position and the decoration of plots with scenes of fight of a serpentine personage with a cat predator. A shirt of mutton fur, which is interpreted by many as a khvarenah symbol, could also have a utilitarian function as a coat of mail with a military belt attached to it. As for social attribution of the central scene characters, the dominant opinion is that they belong to the military class — either like kings or like archers. The pectoral composition in a whole can be associated with the military domain; as it narrates about destiny of its owner, his passing through the military initiations for obtaining higher status. At the bottom of the pectoral conception there could be a transformation of associations chain of the images (shield of Achilles — shield-pelta — breastplate), which are also directly connected to the military domain. The idea of hinge mounting is most likely adopted from the construction of the helmets. The connection with the military culture is also reflected by the burial complex composition. All of this allows stating the deep association of the pectoral with the military culture domain and allows considering its function as an attribute of military initiation and of a high status.

Further Remarks on Transfiguration in Shivta

Author(s): Emma Maayan Fanar / Language(s): English,Bulgarian Issue: 1/2018

The present paper explores the remnants of the Transfiguration scene, the wall painting in the South Church at Shivta, a Byzantine settlement in the Negev Desert which ceased to exist sometime in the eighth or ninth century. The study reveals long-forgotten early Byzantine iconography, which survived in the remote provincial desert settlement but testifies to strong ties with post-iconoclastic iconography of the scene.

Leafing through Manuscripts Backwards: Doodles, Marginal Drawings, and the Organic Life of Otrantine Libraries

Author(s): Barbara Crostini / Language(s): English,Bulgarian Issue: 1/2018

Looking at the marginal drawings in some manuscripts from the region of Otranto, in Southern Italy, this paper presents their choice of subjects, both animal and human, and tells the story of their interconnectedness. Echoes between similar designs strengthen the hypothesis that these manuscripts belonged to or gravitated around the theological school at Aradeo, whether their contents were sacred or classical texts. These drawings reveal the pious inclinations of these medieval readers, together with their skills at sketching both portraits and fantastic beasts.

BATILILARIN YAZDIĞI SEYAHATNAMELERDEKİ GRAVÜRLERE YANSIYAN ŞEKLİYLE ANADOLU GELENEKSEL MİMARİSİ

Author(s): İbrahim Çoban,Nurcan Sert / Language(s): Turkish Issue: 52/2018

In the period beginning from century 15 to century 19, Anatolia Traditional Architectural examples as images included in travel books occurred as a result of travels to Eastern and Ottoman lands, written by tradesmen, ambassadors, artists like Charles Pertusier, Joseph Pitman De Tournefort, Antonie Ignace Melling, M. François Preault, Charles Texier, Thomas Allom, William Henry Bartlett and travelers like Corneille Bruyn, Guillaume Joseph Grelot, Cornelius Loos, Jean Baptiste Hilair in engraving method in this study had been examined. Building materials, Architectural works and building features occurred under various geographic conditions of various regions of Anatolia have been selected as subject of the research as an original language in the plastic frame of painting art. The oldest image samples of Anatolian Traditional Architecture are seen at engraving of travel books belong to centuries XV – XIX according to data occurred as result of literature scanning and qualitative research method. It is thought that this study is important regarding to setting forth the aspects of today artists who are trying to create an original language in Modern Turkish Painting about Anatolian Traditional Architecture and using of possibilities presented by this architecture. At the same time, it is thought that commenting of the artists referring to their composition and fiction while getting benefit from Anatolian Traditional Architecture and getting together such date will provide contribution to determine position of architectural tradition in modern art.

SİDE MÜZESİNDE BULUNAN ANTİK DÖNEME AİT TAŞ ESERLERİN KORUMA ONARIM ÇALIŞMALARININ İNCELENMESİ

Author(s): Ömer Tayfur Öztürk,Ahmet Türe / Language(s): Turkish Issue: 49/2018

In this study, the maintenance and renovation processes made until 2004 for the artifacts which are found in the Side ancient city, Antalya in 1960, mainly the marble pieces from the Roman period, and now in the collections of the Side Museum were examined. Then, the visual analyses of the current situations of 79 artifacts which were repaired by the German sculptor Dietmar Friese in the restoration studio located in the Side Museum based on an agreement with the museum were made. Later chapter, information regarding the Side Museum, where the artifacts are restored and located, and the ancient city of Side, where the artifacts were discovered, was given. Finally, the intervention works made for the museum artifacts by Dietmar Friese between 2004 and 2006 were examined. The post-intervention condition of the artifacts was examined, their virtual analysis was made.

ERKEN HRİSTİYANLIK DÖNEMİ’NE AİT BİR LAHİT

Author(s): Esra Keskin / Language(s): Turkish Issue: 2/2018

In the 4th century, after Christianity was regarded as an official religion in the Roman Empire, it began to influence art in a form of its own symbolic expression. At the beginning of the Early Christian Era, the first art examples of this period, which have just begun to be shaped and whose rules have not yet become clear, have not yet broken their past. For this reason, it is seen that the items of paganism and Christianity are used together in the artwork. The repertoire of motifs used in the ornaments of this period is the same, but the composition is different by the influence of regional and periodical enjoyment. The style of the work varies depending on the workshop. In this article, a sarcophagus at the Amasya Museum belonging to the Early Christian Period was examined in terms of its artistic and stylistic characteristics and its place in the history of art was revealed under the light of existing data.

THREE EARLY NEOLITHIC STONE VESSELS FROM THE MARDIN MUSEUM

Author(s): Melahat DAĞLI,Can Yümni GÜNDEM / Language(s): English Issue: 3/2018

Three Neolithic stone vessels from the Mardin Museum in southeast Turkey are presented in this study. Unfortunately, there is no information about the find location and context, but comparanda indicates that the vessels may have been found in graves located in the region of Diyarbakır, Batman/Siirt, and Mardin. The stone vessels are decorated with incised geometric and figurative motifs. Comparison of the museum vessels with excavated material from Körtik Tepe, Hallan Çemi, and Hasankeyf Höyük indicate that the vessels should be dated to the Pre-pottery Neolithic period.

AKMONIA YÜZEY ARAŞTIRMALARINDA ELE GEÇEN TERRA SİGİLLATALAR VE GEÇ ROMA KIRMIZI ASTARLI SERAMİKLERİ

Author(s): Münteha DİNÇ,Emre TAŞTEMUR / Language(s): Turkish Issue: 3/2018

The ancient city of Akmonia is located in a high hilly area in the village of Ahat in the Banaz District of Uşak Province. Located in the center of Phrygia, the city dominates the plain of the large fertile Doiantos Pedion (Banaz Plain), which is irrigated by Kuruçay, one of the branches of Sindros. Acmonia is located in a central position from Sadeis to the east and from the south to the north. This position has led to the direction of trade on the Aegean coast and the Central Western Anatolia and as we have understood from the inscriptions, it has become a rich and prosperous city in this context.

За системата на Станиславски и нейното профанизиране

Author(s): Eva Volitzer / Language(s): Bulgarian Issue: 5/2016

Kulturni molk

Author(s): Aleš Gabrič / Language(s): Slovenian Issue: 2/1989

The author discusses problems of creative effort in arts and science within the occupied Slovene territory in the period 1941-1945. At the same time, he also analyzes the significance of cultural silence as commanded by the Liberation Front, and tries to find out to what extent Slovene artists followed the call. After the end of World War II, the new authorities squared the accounts with those who did not follow, and attempted to destroy the results of their work. The author approaches the events from two points of view; in the occupied territory, the foreign authorities encouraged creative efforts, while artists, active within the Liberation Front, opposed such efforts and criticized their colleagues who were willing to collaborate with either the occupying forces or local quislings in the cultural sphere.

AZERBAYCAN MİLLÎ TARİH MÜZESİ’NDE EL DOKUMA BİR ŞAL ÖRNEĞİ

Author(s): Ahmet Aytaç,Sevgi Yüksel Uzunöz,Esra KARACA / Language(s): Turkish Issue: 26/2019

The traces of the Turkish culture having extended from the Middle Asia to the alkans within centuries are also seen in ethnographic products. Hand-weavings are the best examples of this. These traces can be seen in the similarity of the textile products of Azerbaijan and Turkey, two states descending from the Oghuz tribe. The mansion belonging to the deceased Hadji Zeynelabidin in Baku, the capital of Azerbaijan, has been used as a National History Museum since 1920. A fabric included in the inventory of the museum and having a rich archeological and ethnographic material belonging to the geography was found during a field survey made in the museum on the 13th April, 2017 and examined via the approval of the museum administration. In the article, both the piece of twill-braided shawl fabric in the sizes of 36,5x41,5 cm, one of the hand-woven woolen shawls produced in the early 18th and the 19th century, included in the Azerbaijan National History Museum, its characteristics and the analyses made and the similar example included in the Vedat Nedim Tor Museum will be mentioned.

Upadki sztuki dwudziestego wieku a metafizyka. O wybranych teoriach filozoficznych i działaniach artystycznych potencjalnie z nimi związanych

Author(s): Rafał Solewski / Language(s): Polish Issue: 4/2018

The article presents metaphorically understood falls of the twentieth-century art described in such terms as the ‘speechless image,’ the ‘absorption of the ugly,’ the ‘abandonment of art,’ the ‘end of art,’ the ‘lost image,’ the ‘lost experience.’ Philosophical views of Hans-Georg Gadamer, Theodor W. Adorno, Arthur C. Danto, Jacques Ranciere, and Wolfgang Welsh have been juxtaposed with interpretations of works of such artists as Mark Rothko, Marcel Duchamp, Artur Zmijewski, Andy Warhol, Robert Rauschenberg, and Janusz Orbitowski. The analyses reveal a longing for metaphysics accompanying the described ‘falls’ of art. The theories advanced in relation to such ‘falls’ show the qualities inherent in the art in question, e.g., silence and moderation, the ‘lust of existence,’ paradox, poetry and its beauty, words which interpret art, the sublimity of infinity. In conclusion, the author points to the impossibility of avoiding metaphysics in art.