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In this paper there will be treated metal and silver artworks which are considered as noble metals and the activities held within the project of the Ethnological Museum, the purpose of which was the communication between the museum and visitors, promoting the art of the beautiful jewelery craft and the technique of filigree inside and outside Kosova. Through this work we aim, among others, to disclose and present Albanian ethno- cultural and artistic values of the museum fund. Emphasis will also be given to the filigree situation today in our country.
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Motiv Sv. Obitelji česta je ikonografska tema novovjekovnoga sakralnoga slikarstva, pa ju očekivano nalazimo u zbirkama bosanskohercegovačkih franjevačkih samostana. U prikazu Sv. Obitelji iz franjevačkog samostana u Fojnici, kopiji po Murillovom djelu iz muzeja Louvre u Parizu, autor posve slijedi predložak.
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Bronzani kotlić, koji se čuva u franjevačkom samostanu Svetog Ivana Krstitelja u naselju Kraljeva Sutjeska našli su oficiri austro-ugarske vojske u jednoj cisterni u ruševinama bosanske srednjovjekovne prijestolnice Bobovac oko 1880. godine. To znači da je i taj kotlić dio one kitnjaste pričice o otuđivanju bosanskih arheoloških artefakata u kojoj je bila glavni akter austro-ugarska soldateska. Ovdje ćemo pokušati nešto više reći o formi, dekoraciji i namjeni tog zanimljivog i vrijednog kotlića, teškog inače oko tri kilograma. Kotlić je visok 14 centimetara bez drške, a sa drškom 28 centimetara. Presjek otvora je 26 centimetara. Polukružna drška kotlića ukrašena je stiliziranim delfinima i kuglicama, koje se samo uslovno mogu nazvati kuglice. Sa vanjske strane kotlić je u cjelosti ukrašen. Od njegovog vrha do dna ukrase je moguće razdijeliti na dvanaest frizova odnosno zona. Najzanimljiviji ukrasi nalaze se na središnjoj, petoj zoni, koja je inače široka pet centimetara. Na njoj se nalaze četiri kompozicije sa velikim brojem ljudskih i životinjskih figura, a u bogatom floralnom ukrasu skrivene su groteska odnosno maskeron i polufigura. Na prilično oštećenom dnu kotlića na kojem zijeva velika pukotina, nalazi se rozeta okružena floralnim ukrasom. To bi bio sasvim kratak opis kotlića, koji inače na sebi nema nikakvog natpisa.
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Review of: Marijan Susovski "Entrance to the Space of Light Emanation"[Monograph on the painter Ljubomir Perčinlić], Skaner Studio d.o.o., Zagreb 2017. by: Anto Kajinić
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Folle qui s'ennuie (1933) by Belgian writer Robert Vivier is a novel that traces character Antonia Delfosse's daily life, from her childhood in the countryside to adulthood, as a recently married young woman withering between routine and disappointment in a “garden-city” near Brussels. A daily life that is full of colors, scents and flavors, whose unfolding structures the text, transforming it into a symphony of senses. In this article, we aim to analyze this rather scantily studied novel by focusing on its chromatic composition.
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Modern business conditions in the media market, as well as the development of professional technologies in the field of press, television and online media, are requiring a significant commitment to creative and innovative processes. The formal and content related structure of visual media, especially the press, television and online media, are experiencing dynamic changes and improvements, mainly based on innovations in the fields of computer technology, modelling of sound and images, as well as graphic design. In such circumstances, in addition to improving the form, content and expressive possibilities illustrative of some of the classic genres, such as photos, illustrations, cartoons, graphs or tables, there are new forms of illustrative character. The emergence of infographics, and development of live-diagrams and visual maps are significantly improving visual communication in the media and becoming the actual media content in print, television and online media. This paper describes and analyses the creative processes and technology components contributing to the emergence and development of new illustrative forms, as well as the needs of their use in the current media practice. We point out the potential that new illustrative genres entries have in the process of mass communication, but also in business practices and results of operations of media companies. Using some representative samples and illustrative examples of the development of the genre, we point to the deficiencies and anomalies that contemporary illustrative form can bring to journalists, editors and their audience. The starting point of this paper is the idea that the development of visual forms of communication must not make vulgar simplification of content of media messages, but the messages should be enriched. Journalism must serve the new illustrative genres in order to increase the informational value of media content, but not at the expense of the discursive form and content.
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The paper deals with the analysis of some details found in the painted representations of two great themes of Christian iconography, with some peculiarities in the Orthodox Church: The Annunciation and the Nativity of Christ. One of these peculiarities is the presence of a red veil in the Annunciation, which hides and unveils in the same time the significance of the representation. The prophecy of Isaiah (Is 7, 14),together with the text of Lucas the Evangelist (Lc 1, 26 - 35), are the images’ sources, which have as a central point the mystery of the Incarnation of the Son of God into the womb of a Virgin. Mary was a virgin before the descent of the Holy Spirit above her, stayed virgin during her pregnancy and after the birth of Jesus. An analogy for the red veil in the Annunciation and for the red mattress in the Nativity is to be found in the Exodus (Ex, 26, 31 -37), when Yahweh indicated to Moses the aspect of the veil separating the Saint from the Saint of Saints before the crossing of the desert of Sinai. Moses was invited to dismember the Tent for the long route to the Promise Land and to cover the Ark of the Covenant with the sacred veil (The Numbers, 4, 5). Churches and icons in the Orthodox world, and especially in Moldavia, are marked by the presence of this polysemic symbol.
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The work written by Georges Rodenbach, especially known for his novel Bruges-la-Morte, is about an existence mediated by objects to a certain extent – speaking bells, religious communities, which appear as a real core of the Catholic space, the Gothic cathedrals and the sleepy water. Colours are most of the time influenced both by the religious side and space which guides the characters’ destiny. On the other hand, the poetic collection accomplish the world perception through colours. Taking into consideration the fact that feelings, perceptions and the sensorial aspect may be identified through colours, as well as Rimbaud’s vowels, it is easily understood that one can find a chromatic correspondent for « silence », a popular word in this very context. It is grey colour, by all means (consisting of black and white) – the grey sky, the bells, the water, the buildings, also the grey soul of the entire human being. All in all, we have to underline the significance of the verb « see », a synonym for « feel ». Thus, the relation city/character refers to the author’s universe, which appears as an intermediary for both subject and object.
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The present article shows the political situation in NorthwesternCroatia in the first half of the 13th century, to be more precisely its secondquarter. That period is marked by one of the most fascinating phenomena inthe Continental Croatian culture of the Middle Ages when this part of Croatiaunderwent a true local Renaissance in political, economic and cultural spheres.That happened under the aegis of two most capable leaders, Coloman, the sonof Andrew II and brother to King Bela IV, and Bishop Stephen II of Zagreb,the former royal Chancellor of Andrew II. Although this rise was cut short bythe Tartar invasion of 1241-1242, the little traces that have survived, representa totally new quality in the Croatian medieval culture. That parts of artproduction can be seen not only as quality pieces of art, but also as adocument, hard evidence that can show the strength and the power of thepolitical and economic programs of Coloman and Stephen II.
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The article deals with the examples of a syncretism of thetraditional believes and Christianity in the Middle Ages. There is arepresentation of the bull’s head in the architectural decoration of some ofthe medieval churches (f. i. Svetitskhoveli in Mtskheta, XI c., Georgia;the Holy Cross Cathedral on the Island of Akdamar, X c., Turkey;monasteries of Geghard, XIII c. and Sanain, XII c., Armenia); it isobviously connected with an ancient cult of the bull wide-spread in theMediterranean world from the Neolithic period until modern time.
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Anupam Sud jest zaliczana do grona najwybitniejszych współczesnych artystów w Indiach. Autorka w swoim tekście przybliża postać mało znaną polskiemu czytelnikowi. Omawia główne jej dzieła – graficzne, malarskie i jedną rzeźbiarską. Snuje rozważania na temat jednego z popularnych typów przedstawień kobiecych, chętnie ukazywanego przez artystkę – kobiety, która poszukuje śakti. Ponadto porusza problem zepsucia człowieka, gardzenia drugim, a przede wszystkim wskazuje na problemy, jakie towarzyszą Induskom w patriarchalnym społeczeństwie. Autorka prezentuje najbardziej charakterystyczne cechy twórczości Anupam Sud: szczegółowe przedstawianie anatomii, mistrzowskie operowanie światłocieniem oraz dzieła-manifesty, którymi graficzka stara się zwrócić uwagę odbiorców na sytuację kobiet w Indiach.
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This article discusses the basic characteristics of various artistic practices aimed at stigmatizing nonheterosexuality that occurred in Poland after 1989 in response to a transformation of sexual norms and the rising emancipation of LGBT people. The form and content of selected practices is discussed in detail. Furthermore, the article argues that these practices can be classified as a form of so-called New National Art and signals the maladjustment of the language used by Polish art critique, which foreignizes and pathologizes this kind of art. The author also touches on the phenomenon of deliberate “not discovering” of these practices by national art institutions. Finally, he shows why the absence of artistic practices focused on exclusion and stigmatization of LGBT people seems to be beneficial for both major Polish art institutions and the “excluded” artists.
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The beginnings of the research of Jewish art in Serbia are inextricably linked with the name Ženi Lebl. She researched the history of Jewish people in the former Yugoslavia, particularly in Serbia and Former Yugoslav Republic of Macedonia. As a result of years of research in archives and libraries the following monographs dedicated to Jewish people in Serbia were created: To„the final solution” Jewish people in Belgrade 1521-1942, To „the final solution” Jewish people in Serbia and Jewish people in Pirot. The first part of the two-volume work To “the final solution”, is dedicated to the Jewish people in Belgrade. In this monograph Ž. Lebl covered the period from 1521 to 1942, thus giving one of the most complete overview of the history of Jewish people in Belgrade, from their immigration to their suffering in the Holocaust. In addition to the historical context that is unavoidable in the research of Jewish visual culture in Serbia, she covered other contexts, such as religious, cultural, political and funeral, and which are very important for the study of Jewish art in a view of visual culture. The second part of the two-volume work To“the final solution” is dedicated to the Jewish people in Serbia, where Serbia after the Balkan wars is covered. This book along with the previous one of the Jewish people in Belgrade represents an entire unit, and all the major cities in Serbia where the Jewish community lived are covered in it. Finally, Pirot, like Belgrade, was the subject of the specific research which Ženi Lebl covered in the monograph dedicated to Jewish people in Pirot. Based on the published archival materials and visual material on Jewish mahala, synagogue, mikvah and a cemetery, valuable data for the research of Jewish art in Pirot are provided. Considering the monographs that were created as a result of many years of research in archives and libraries, we can conclude that they represent one of the most complete edition of the history and fate of the Jewish people, based on the contemporary methodological research, that are based on a multidisciplinary method and contribute to studies of visual culture. Although Ženi Lebl primarily covered the history of Jewish people in these monographs, she also covered other phenomena and contexts, such as religious, cultural and funeral, which are very important for the study and understanding of Jewish art in Serbia in a view of visual culture.
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For some time, researchers have recognized monuments not only as embellishments of the public space, but also as a means of underlining the related political and cultural connotations. Monuments are social symbols, their symbolic dimension closely related to social memories and identity policies. This article provides an analysis of the Skopje 2014 project, which involves the construction of more than 30 monuments and facilities in Skopje, and has fuelled extensive debate on the current and future influence of this project on society and cultural life.
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The purpose of this article is to discuss how graffiti has evolved from its primitive, prehistoric forms into an art form that evokes upheaval and yet expresses opinions that are insufficiently addressed by those in power and society in general. The subjects of this analysis will be different case studies from Latin America, United States, Singapore, South Africa and Serbia as examples of global problems and trends. Case studies and examples of prehistoric times will also serve as sources that will aid in identifying how graffiti has developed into a multinational form of communication. This analysis deals with graffiti as an expression of political and social discontent, as a form of general rebellion and vandalism as well as the paradoxical appreciation that is promoted by the Graffiti Hurts Organization. This specific form of expressive art connects the ‘underdogs’ of society to mainstream society through a constant battle to be heard, seen and to raise awareness of dissatisfaction. Those who instigate vandalism and reaction from the public through executing this form of art also instigate a constant battle of erasure of symbols, colourful signs and creative drawings thus proving society’s neglect.
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All’inizio dell’articolo l’autore ricorda l’insegnamento della Chiesa sull’arte sacra ed il ruolo dell’iconografia nell’insegnamento delle verità della fede nella missione salvifica di Cristo. L’argomento viene sviluppato sullo sfondo dei dati biografici di S. Teresa di Gesù, maestra di vita spirituale, riformatrice dell’Ordine Carmelitano e Dottore della Chiesa. L’autore caratterizza e presenta argomenti scelti dell’iconografia agiografica, ispirati all’autobiografia della Santa ed alle de- scrizioni delle grazie straordinarie. Presenta, dettagliatamente, sei immagini del XVII e XVIII secolo, delle collezioni dell’Archivio della Provincia di Cracovia del- l’Ordine dei Carmelitani Scalzi ed il loro programma ideologico. Alla fine aggiunge la litografia della grafica del XIX secolo, che presenta i ritratti più importanti di S. Teresa, i monasteri carmelitani fondati dalla Santa ed una mappa dei suoi viaggi durante le fondazioni.
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