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Архитектура жилых дворцовых сооружений Верхней столицы чжурчжэньского государства Восточное Ся

Author(s): Nadezda G. Artemieva / Language(s): Russian Publication Year: 0

The archeological excavations of the walled towns dated back to the period of the Jurchens’ State — the Eastern Xia (1215—1233) — have been conducted on the territory of Primorye for about fifty years. Archeologists have already found more than five hundreds of different types of buildings, including living units, household buildings, administrative and palatial constructions. The Jurchen people used three architectural technologies: column-frame technique, pillar-supported system and a column method. The construction technology helps to determine type and functions of the building. Column-supported buildings with tiled roof were classified as palaces. Some of the palatial residential premises that were excavated on the territory of the Upper Capital City of the Eastern Xia State (Krasny Yar fort) were constructed with use of column and pillars — this type of architectural technology was previously unknown for the researchers. Although the Jurchen architecture was developing within the mainstream Far Eastern architectural tradition, it had their own specific architectural style within the framework of that tradition.

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Культовая архитектура золотоордынского Крыма: версия Э. Д. Зиливинской

Author(s): Vladimir P. Kirilko / Language(s): Russian Publication Year: 0

In her monograph Golden Horde Architecture. Part I. Cult Architecture (Kazan: Otechestvo, 2014), E. D. Zilivinskaya focuses on the Crimean sites. Along with a presentation of buildings from the main regions of Jochi’s Ulus, there searcher also communicates some separate data about mosques, minarets, madrasah, mausoleums and Christian churches on the peninsula, which are often obsolete, distorted or unreliable. The Crimean content of the monograph is based on some scarce sources, while numerous relevant archival materials and publications seem to be unknown to the author. Frequent mistakes in comments to illustrations and an attempt to offer for scientific discussion some blueprints with false graphic information about plans and orientation of the buildings should be treated as some serious shortcomings of this work. In spite of the obvious relevance of this research, an overview of the cult architecture of the Golden Horde Crimea, which is offered in this monograph, should be examined rather critically and requires a review of almost all published data.

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Immured Vessels in the Church of Panagia Eleousa, Kitharida, Crete

Author(s): Anastasia G. Yangaki / Language(s): English Publication Year: 0

The paper focuses on the detailed presentation of the numerous vessels which are immured in the main wall of the narthex of the church of Panagia Eleousa. The church is located to the north of the village of Kitharida, southwest of Herakleion (Crete). Given their number, their state of preservation, the various categories of pottery to which they belong which were imported from regions of the western and eastern Mediterranean, the particular interest in their disposition and possible hidden symbolic meanings behind their decoration, the vessels constitute one of the most representative groups of bacini immured in Cretan churches. This is corroborated by comparison with the immured vessels from other sites in the Herakleion prefecture and based on the data collected by the research programme focused on bacini in Greece implemented by the National Hellenic Research Foundation in collaboration with the local Ephorates of Antiquities from other Cretan churches.Their detailed study contributes to the history of the church and to the presentation of the types of pottery that were in circulation on the island in the 15th c. AD. Some of these bacini were produced in Byzantine workshops, while most belong to glazed categories imported from the Iberian and Italian peninsulas or the Near East. Special reference is made to their seemingly careful disposition, which would have required specific planning. This observation, combined with the particular decoration on some vessels, which seems to incorporate symbolic meanings, leads to suggestions as to the possible donor who played the leading role in this decoration.

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Kachlové série

Author(s): Not Specified Author / Language(s): English,Czech Publication Year: 0

Analyses were conducted with five groups of stove tiles connected by various attributes, which are known from many locations in the Czech lands of the second half of the 15th century, from the neighbouring Austria or Poland, as well as from the nearby Hungary.

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Klanění mudrců

Author(s): Markéta Tymonová,Martin Hložek,Irena Loskotová / Language(s): English,Czech Publication Year: 0

The feast that celebrates the revelation of God (Epiphany), as the Gospel of Matthew (Mt 2.1–12) says, commemorates three Wise Men (also referred to as Magi or Kings) from the East who came to worship the newborn King of the Judeans. This motif mostly occurs on medieval relief stove tiles in the form of a compositionally unified picture, comprising Virgin Mary with Baby Jesus and three figures of Kings bringing gifts in various containers. The scene is usually framed by a simple post-built building reminding of the Bethlehem Stable and by the inevitable star that guided the Three Kings arriving either afoot, or exceptionally riding on animals’ backs. Distinguished from this concept is a series of tile reliefs, whose figures, placed mostly on a two-cusped segmental arch of a tracery, became independent and were depicted on their own separate stove tiles of rectangular format (in more detail Loskotová 2011, 14–20, 35–37, 108–112, 150–156, 246–248). The owner or builder of the given stove thus got more space to combine individual figures, especially due to additional figures who enriched the series. In the basic series, which is defined by a bordure in the form of crossed bars anchored at the foot of the above-mentioned arch, we so far completely or partially identified fourteen reliefs. In some locations, these reliefs are still supplemented by another figures that imitate the style and composition of the original collection.

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Turnaj

Author(s): Martin Hložek,Irena Loskotová / Language(s): English,Czech Publication Year: 0

The tournament series comprises only four motifs, but it is easy to distinguish from the numerous relief depictions with similar content. Similarly as it was with the Adoration of the Magi series, the figures are not crowded together in the area of a single frontal heating panel, but appear individually on separate stove tiles. Apart from the overall visual design, these tiles are interlinked by the element of an ogee arch at the foot of the relief. The arch is topped by a transversal fess, on which individual figures are placed (Jordánková–Loskotová–Merta 2004, 582–583, 588–589; Jordánková–Loskotová 2007, 334–339, 352–355; 2007a; Loskotová 2011, 69–74). Inclined armorial shields are visible in pendentives on both sides of the arch. The main figures – two knights in full plate armour – are depicted just before the moment of their collision, with lance heads touching the opponent’s shield. The heraldic symbols (saltire raguly in escutcheon and a panache of peacock feathers with a fish in crest) enable to identify the knight riding to the left with Hynek Bítovský of Lichtenburk (Fig. 1; Stehlíková 1999, 227) – the leader of Moravian Catholic opposition against George of Poděbrady. The coat of arms on the other side of the relief and the armorial bearings on the shield on horse’s forehead belong to the Lords of Šternberk (eight-pointed star). The opponent can be identified on the basis of the figure preserved in the shield and crest as a member of the royal family of the Lords of Kunštát (Fig. 2). The coat of arms below the fess on the opposite side of this relief is unfortunately not preserved among the recorded finds. Behind this knight, there is a jester riding a hinny, donkey or mule.

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Rytířská kamna

Author(s): Markéta Tymonová,Martin Hložek,Irena Loskotová / Language(s): English,Czech Publication Year: 0

The name “knight’s stove” was introduced into professional literature by the Hungarian researcher I. Holl. He used the term to designate a set of stove tiles from archaeological excavations in the area of the royal palace in Budapest. Following the relief decoration and technological design, these tiles belonged to one and the same type of a heating device. The chosen name was inspired by the figure of a cantering knight in the middle of relief decoration in one of the tile groups. Holl dated the origins of this stove on the basis of a detailed analysis of heraldic elements in the whole collection to a short interval between 1454 and 1456, i.e. to the period of reign of Ladislaus the Posthumous. He first defined twelve types in the find collection (Holl 1958, 291–294). The subsequent processing of finds then identified another types (13–23) and variants of the original group (Holl 1971, 199–200). The finds treated in this chapter also are classified on the basis of Holl’s typology.

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Provinilý lev

Author(s): Zofia Jagosz-Zarzycka,Martin Hložek,Irena Loskotová / Language(s): English,Czech Publication Year: 0

The graphic design of the relief springs from an older tradition of Gothic ornaments in the form of a rosette, which is enclosed by a bordure from raguly sticks entwined with a leaved twig (Fig. 1). This motif is mainly known from the production of the royal workshop in Buda in the 2nd half of the 15th century (e. g. Holl 1971, 179, 199). Later conception replaced the raguly bordure on the sides and in the upper part by a meander (zigzag), which is interrupted by heads (putti?) in the upper corners and by small rosettes in the lower corners. Above the bottom edge of the relief, there is an inscription “scham dich” (shame on you) in Gothic minuscule, rhythmised by another rosettes. The inscription is undoubtedly related to the central figure of a hunched lion surrounded by a vegetal pattern from leaves and brier flowers that are separated from the meander by a right-angled rope (Fig. 2).

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Kachlové série – závěr

Author(s): Markéta Tymonová,Martin Hložek,Irena Loskotová / Language(s): English,Czech Publication Year: 0

Ceramic finds were analysed depending on the availability of individual methods and possibility of destructive sampling. Analyses were made with selected representatives of stove tile series and groups, which are frequently found on various sites in our territory during the 15th century and whose occurrence is not limited only to the Czech lands. Series are characterised as assemblages of finds with clearly definable common features, i.e. collections of thematically related stove tile motifs set into a unified architectonic frame (Adoration of the Magi, tournament) and stove tiles, whose belonging to one and the same type of heating device is determined by a characteristic application of elements of Gothic architecture in connection with heraldic and artistic components of their decoration (knight’s stove). Group encompasses stove tiles with hunting and courtly motifs with similar visual design, which is supplemented by a secondary connecting element in the form of a vegetal ornament. However, this ornament does not represent an integral part of relief decoration and its form and application are variable. A separate group is represented by a motif, which is found on various sites in the same relief design and proportions (guilty lion), but the find contexts do not indicate its possible connection to other reliefs in the body of a stove.

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Palác Granovských v Ungeltu a jeho propojení s pražským dvorským okruhem

Author(s): Lenka Babická / Language(s): Czech Publication Year: 0

Palác Granovských nechal vystavět Jakub ml. Granovský z Granova po roce 1558, a to na starších základech zástavby kupeckého dvora, který získal do dědičného držení. V literatuře bývá palác shodně označován za významnou realizaci a mezník ve vývoji pražské renesanční architektury – tomu však neodpovídá prostor, který je stavbě věnován. Dosavadní bádání se zaměřovalo především na severní dvorní křídlo paláce, jehož arkády a chiaroscurové malby se staly podnětem k propojení stavby s dvorským okruhem. Toto propojení bylo zdůvodněno přízní, kterou choval císař Ferdinand I. k rodu Granovských z Granova. Otázkou postavení stavebníka Jakuba ml. Granovského a jeho kontaktů s dvorským prostředím v době výstavby paláce se však nikdo podrobněji nezabýval a proto bude jedním z hlavních témat tohoto příspěvku.

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Amor Vincit: Příspěvek k ikonografické koncepci maleb Fabiána Václava Harovníka

Author(s): Vendula Prostředníková / Language(s): Czech Publication Year: 0

Domácí tradice nástěnného malířství se v Čechách plně rozvinula až v 18. století s osobností Václava Vavřince Reinera, avšak již ve druhé polovině 17. století se v dějinách českého výtvarného umění setkáváme s osobností malíře Fabiána Václava Harovníka, který se takřka jako jediný domácí umělec své doby specializoval na techniku nástěnné malby. Jeho dílo sice kvalitativně zaostávalo za soudobou evropskou produkcí, ale přesto jej výzdobou svých sídel pověřovali zástupci z řad vysoké aristokracie doby pobělohorské. F. V. Harovník působil od roku 1650 v pražském staroměstském cechu. Jeho dílo lze zhruba vymezit roky 1650−1682, nejexponovanějším obdobím malířovy tvorby se stala zejména šedesátá léta 17. století. Do roku 1654 dokončil spolu s G. Vanettim náchodskou zakázku pro Ottavia Piccolomini a v následujícím desetiletí pracoval na dvou významných pražských objednávkách pro Lobkovice.

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De Van Eyck à Vermeer : à la recherche d'une symbolique de l'espace

Author(s): Cristina Poede / Language(s): French Publication Year: 0

From the fervent universe of “The Mystic Lamb” to the tranquility of bourgeois interiors hiding secrets, Dutch painting evokes an ever more symbolic space marked by thresholds, doors and stairs, cautious or exuberant windows, interior courtyards conducive to melancholy and meditation. French writers have often revealed their attraction for Flemish and Dutch masters: Théophile Gautier (“A Tour in Belgium and Holland”), Gérard de Nerval (“Lorely. Souvenirs d'Allemagne”), Baudelaire (“Les Phares”), Marcel Proust (“The Prisoner”), Paul Valéry (“The Return from Holland”), Marguerite Yourcenar (“L’oeuvre au noir”) comment on the works of these painters, with whom they experienced subtle aesthetic affinities. The paper is an attempt to achieve a diachronic division of two centuries in order to observe certain modifications concerning the representation of space in Flemish and Dutch painting, modifications which took place from the late Middle Ages to the Golden Age, including the Renaissance.

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Türk Müziğine Maruz Kalmak ya da Kalmamak, Bütün Mes’ele Bu...

Author(s): Lale Akay / Language(s): Turkish Publication Year: 0

This article on “to be exposed or not to be exposed to Turkish experiences”; Starting from the 1970s with a little more precision until today, the properties of Turkish Music, where people listen to it, in what environments, by which instruments, and what quality of music listening to the ears of our people are exposed to have been examined. During these periods, the importance of mass media such as radio and television was emphasized. Starting from the beginning of the period when radio and television were single-channel, it was explained how our Turkish Music came to the present day, with the multi-channel mass media following each other, how to run the competition. It was stated that the first Turkish Music Conservatory, which was established in Istanbul in 1975, is important for living under the roof of the state, that our music is one of the most valuable elements of our cultural values, and that we have a very valuable treasure such as classical Turkish Music and Turkish Folk Music. In the conclusion part, we tried to explain our thoughts and recommendations such as what kind of way should be followed in order to spread and keep our national music protections alive, what kind of music policy should be followed, which institutions should cooperate in these needs.

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Türkiye Cumhuriyeti’nde Çağdaş Seramik Sanatının Gelişim Süreci

Author(s): Selda Alp,Aysel Kürtoğlu / Language(s): Turkish Publication Year: 0

Ceramics, which has taken place in human life in Anatolia since the Neolithic period, has reached the present day by taking shape and developing according to the lifestyle of the societies it belongs to. Ceramic, which takes place in human life as functional architectural elements and auxiliary materials, has become a material that draws attention by painting and sculpture artists in the middle of the 20th century and is used to embody emotions and thoughts, by getting rid of functionality. The modernization process of ceramics, which developed with this European-centered innovation in the use of ceramics, was also reflected in Turkey, and ceramic production, which has a deep-rooted history in Anatolia, took on a new face. In the 1950s, ceramic works began to be produced by contemporary Turkish ceramic artists, which developed in parallel with Europe, completely moved away from the functional aspect, and completely embodied forms of artistic expressions. The adventure of contemporary Turkish ceramics continues today, thanks to ceramic artists, who show creativity and productivity in the country and around the world.

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Türk Halk Giyim Kuşamında Kullanılan Suzeni Tekniği ile İşlenmiş Uçkur Örnekleri

Author(s): Şerife Doğan / Language(s): Turkish Publication Year: 0

İnsanların örtünme hissinin insan üzerinde büyük etkisi olmuştur. Hem insanların estetik değerlere olan bakış açısını değiştirmiş hem de süsleme kültürünü ortaya çıkarmıştır. Asıl maksadı bedeni muhafaza etmek olan giyim, toplumun kültürel değerlerini, sosyo-ekonomik yapısını, yaşadığı coğrafyayı, kullanılan malzemeleri, iklimi, inançları vb. yansıtır. Zamanla faktörlere göre şekillenmiş ve biçim, malzeme, kullanım ve süsleme özellikleri bakımından çeşitlenmiştir

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Beyond the Penthesilea Painter: Status of Issues at Limits of the Attribution

Author(s): Pedro Luís M. Sanches / Language(s): English Publication Year: 0

An attribution is, first and foremost, an interpretative category. With the anonymous pottery painter identificated as the 𝑃𝑒𝑛𝑡ℎ𝑒𝑠𝑖𝑙𝑒𝑎 𝑃𝑎𝑖𝑛𝑡𝑒𝑟 would not be different, but this “creative personality” was implicated in unexpected workshop practices, stylistic transitional peculiarities and crossover involving parietal painting. Throughout the second half of the last century, the Penthesilea workshop generated less and less interest among the specialists in the field of Greek vase painting. The dominant interpretation that the “ethical” aspect of it’s contemporarie parietal paintings could be seen in the Penthesilea Painter’s works has given way to doubts and academic disinterest. This paper compiles main understandings on the subject.

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Българското изобразително изкуство през XIX век: скок от средновековна образност до европейска визуална култура

Author(s): Nana Melkonyants / Language(s): Bulgarian Publication Year: 0

The study "Bulgarian Fine Art in the 19th Century: the Leap from Medieval Imagery to European Visual Culture" provides a comparative analysis of the development of Bulgarian painting in relation to European art. The study is carried out through a juxtaposition and visual comparison of the characteristics and visual qualities of certain works taken for analysis. The methods of painting, the construction of the composition, and the borrowed techniques taken by the Bulgarian masters from the artists in Europe are compared. One of the most complex and remarkable periods in Bulgarian history is brought into focus as how the artists managed after a long stagnation to catch up with already developed European standards in art. In an effort to overcome cultural backwardness - a new generation of artists made a great and important leap in the development of Bulgarian fine art. A parallel is drawn between Europe, which has had time to quietly shape its art, and Bulgaria, which after a long slumber is decisively uplifting and transforming its cultural heritage. On the basis of this analysis, we get a visual example of borrowed practices and the development of Bulgarian painting. We trace how it progressed along with socio-cultural changes.

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Dvorske dame izvan bečkoga dvora: kako su kreirale društveno-političko ozračje ugarsko-hrvatskoga ranonovovjekovnog prostora?

Author(s): Ivana Jukić / Language(s): Croatian Publication Year: 0

Socio-political everyday life of the Habsburg Monarchy was heavily shaped by the activities and life styles of the elites, their mutual relations and connections. It was not before the last two decades that the historiography has paid some attention to the “personal” in the aﬀair of ruling as well as to the role of the ladies-in-waiting, very often owners of the wealthy estates, whose role has manifested as very important. Oﬀcourse, the area of the Kingdom of Hungary-Croatia was not an exception. Nevertheless, these ladies are still rather unknown in Croatian historiography. Hence, the main goal of this paper is to point out the inﬂuence of the two of those ladies-in-waiting who were also the owners of the very wealthy estates in the Kingdom of Hungary-Croatia: Countess Batthyány and Countess Althann. Both were married to the much inﬂuential magnates, but also close friends and partners of the two of the most powerful men of the Habsburg Monarchy in the ﬁrst half of the 18th century - the emperor and the king Charles VI of Habsburg and Eugen of Savoy. In the paper the author asks if these relations could positively reﬂect on socio-political relations within the Kingdom of Hungary-Croatia, or to the interests of the individual members of the Hungarian or Croatian estates’ corporations. To answer to these questions the author did her research not only based on the preserved written historical materials or secondary literature, but the author also analyses the allegorical fresco on the ceilings in one room of the Čakovec castle. This fresco was made in the 1720s on the initiative of Countess Althann, the owner of the castle. This fresco itself as well as the circumstances of its fabrications depicts the historical evidence of the importance of the associations of the political magnates in the creations of the political intrigues of the Habsburg Monarchy of that period.

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Kulturni život u Visokom u Osmanskom periodu: obrazovanje i pisana riječ: književnost, umjetnost, znanost

Author(s): Adnan Kadrić / Language(s): Bosnian Publication Year: 0

Opća osobitost kulturnog života ranog novog vijeka u Bosni, sa manjim izuzecima, jeste tendencija premještanja društvenog života i javnih događanja iz utvrda povrh grada u predgrađa i doline gdje nastaju nova naselja. Brojne utvrde u novovjekovnoj Bosni gube strateški značaj, te najčešće postaju mjestom stacioniranja određene vojne jedinice a ne središtem društvenog života lokalnog ili pokrajinskog plemstva. Štaviše, s dolaskom Osmanlija uz staro nastaje i novo plemstvo. Budući da je u srednjem vijeku na prostoru Vrhbosne bilo tek nekoliko manjih naselja i da je značajan dio društvenih aktivnosti bio raspoređen na porodice i njihova imanja, uključujući i život u tvrđavama, Visoko je predstavljalo važan regionalni centar ponajprije zbog svog povoljnog geografskog položaja u dolini rijeke Bosne i zbog blizine okolnih rudnika. Kao što je poznato, u Visoki su povremeno dolazili bosanski vladari, u njemu je boravio veliki knez bosanski, te nevelika posada i manji broj zanatlija, što potvrđuje značaj Visokog u srednjem vijeku kao jednog od središta javnog života i brojnih kulturnih zbivanja u gornjem toku rijeke Bosne. Mnoštvo spomenika pismenosti koji se odnose na prostor Visokog i okoline iz navedenog, predosmanskog perioda potvrđuju navedenu činjenicu.1 Svakako je vrlo realna pretpostavka da je prostor Visokog u srednjem vijeku bio mjesto gdje su se prepisivale i čitale knjige koje su u to vrijeme kružile unutar južnoslavenske interliterarne zajednice, a koje su imale posebnu bosansku redakciju i osobeno pismo, bosančicu. I u osmanskom periodu zapaža se razvitak pismenosti u samom Visokom, ali i u brojnim mjestima, selima izvan Visokog, kao što su Mile, Milodraž i sl. Pretpostavke o snažno razvijenoj Crkvi bosanskoj u okolini Visokog nisu bez utemeljenja u historiografiji. U početnom periodu dolaska Osmanlija na prostor Visokog još uvijek su se vodili sporovi između različitih nemuslimanskih grupacija stanovništva, među kojima je, pretpostavlja se, administrativno bila najsnažnija organizacija Crkve bosanske, unatoč neslaganjima sa posljednjim kraljem Tomaševićem koji se pri kraju vrlo kratke vladavine više utvrđivao u Jajcu, ponajviše zbog ugarskih saveznika i logistike za ratovanje sa sjevera, a sve manje u Bobovcu, iako je Bobovac i dalje bio središte prilično uzdrmanog kraljevstva.

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Bošnjačka nošnja u Visokom u posljednjem stoljeću Osmanske uprave

Author(s): Svetlana Bajić / Language(s): Bosnian Publication Year: 0

Tradicijska nošnja bošnjačkog stanovništva u Visokom nije bila predmet posebnih etnoloških istraživanja. Poznati su samo fragmentarni podaci koje su početkom 20. stoljeća zabilježili Frano Murgić1 i Milenko S. Filipović i koji se odnose na šire područje. U nedostatku pisanih saopštenja koja bi pružila detaljan uvid u razvoj gradske bošnjačke nošnje u Visokom, okosnicu našeg istraživanja za ovaj prilog čine materijalni izvori: muzejske kolekcije sa sačuvanim odjevnim predmetima iz zbirki gradskih nošnji u Zavičajnom muzeju u Visokom i Zemaljskom muzeju BiH u Sarajevu. Predmeti potječu iz sredine 19. stoljeća. Dva kompleta nošnji iz Visokog (ženski i muški) nabavljeni su putem otkupa za zbirke Odjeljenja za etnologiju Zemaljskog muzeja BiH i pripadali su srednjem staležu, dok su pojedinačni dijelovi nošnje, korišteni za ovaj prilog, pripadali višem društvenom staležu. Prilog se bazira i na rezultatima terenskog rada u Visokom prilikom prikupljanja građe za izložbu “Tkanje i vez u Visokom”.

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