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Датски мебелен дизайн
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Датски мебелен дизайн

Author(s): Rumiana Sekulova / Language(s): Bulgarian / Issue: 4/2015

The article explains the concept for Scandinavian style in design. Shown are examples of Danish design which have become icons in the contemporary design. Renowned Danish design companies are listed. In short was traced the development of the Danish furniture design from the 20th century, with works by Kaare Clint, Arne Jacobsen, Hans Wegner, Finn Mogensen, Børge Yul, Werner Panton, Nanna Ditzel, Grete Jelk.

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Два комплекта икони от 1616 и 1685 г. за иконостаса на църквата „Св. Георги“ във Велико Търново
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Два комплекта икони от 1616 и 1685 г. за иконостаса на църквата „Св. Георги“ във Велико Търново

Author(s): Diana Kosseva / Language(s): Bulgarian / Issue: 2/2003

This is the first attempt to identify the icons which at different times made up the iconostasis of St. George Church in Veliko Turnovo. To the first iconostasis, dated about 1616 when the frescoes of the church were painted, are referred three icons of patron saints and frieze of the Apostles (Figs 1–4). About 1685, probably as the result of a reconstructon of the interior of St. George Church, was renovated the iconostasis and the icon were changed. The inscriptions and the dates indicated in two icons of patron saints originating from Veliko Turnovo have become the basis for the attribution of six icons of patron saints of this second iconostasis of the church (Figs 5–9). The udoubted identity of the style of these icons with another five festive icons which at present stand on the iconostasis of the Turnovo Church of the Assumption (Figs 10–14), offers a good possibility for the identification of a total of eleven icons that had adorned the iconostasis of St. George Church circa 1685.

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Две къщи и половина: за един етнографски филм и две експедиции в областта Долни Дебър, Албания
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Две къщи и половина: за един етнографски филм и две експедиции в областта Долни Дебър, Албания

Author(s): Veselka Toncheva / Language(s): Bulgarian / Issue: 16/2018

In 1912–1913 during the Balkan wars, after declaring of the indepen¬dence of Albania and the constitution of its new boundaries, the region of Dolni Debar was situated on the territory of Albania. The text presents the history of the population from the region according different Bul-garian sources and also the information about the realized in 2015 and 2016 two expeditions by a team of ethnologists. One of the results is an ethnographic film from the collected visual ethnographic materials. It presents the current situation in the region through the narrations of the local Christian population and through the documentation of the feast of the Transfiguration.

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Две медали, посвященные Императорскому Обществу сельского хозяйства Южной России
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Две медали, посвященные Императорскому Обществу сельского хозяйства Южной России

Author(s): Irina E. Goncharova / Language(s): Russian / Issue: 6/2009

This account gives characteristics of the oldest societies of Russia – the Royal Society of South Russia Agriculture, connected with the activities of the Bessarabian Section of the Agriculture Society.Two memorable medals from collection of the National Museum of Archaeology and History of Moldova are quite interesting as objects of art for a museum collection. They are dedicated to 25th and 50th anniversaries of the Society of South Russia Agriculture.

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Две непознати творби на Захарий Зограф
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Две непознати творби на Захарий Зограф

Author(s): Georgi Parpulov / Language(s): Bulgarian / Issue: 1/2017

Koutloumousiou 532 and 537, two Greek manuscripts copied on Mount Athos in 1851 and 1852, contain two miniatures by the Bulgarian icon painter Zakharii Khristovich Zograf (1810-1853).

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Декоративне різьблення в козацькій культурі доби Бароко

Декоративне різьблення в козацькій культурі доби Бароко

Author(s): Victoriia Mykolayivna Pishchanska / Language(s): Ukrainian / Issue: 29/2016

Artistic and stylistic features of Cossack carving as one of the most common kinds of decorative and applied arts of Ukrainian Baroque period are considered. In terms of crossing culturology and study of art revealed the figurative and symbolic nature of the compositional, ornamental and plastic features of decorative carvings of the XVII–XVIII centuries. It is proved that the stylistics of the Cossack carving formed on the basis of religious and aesthetic syncretism, under the influence of ethnic and cultural foundations of Ukrainian applied arts, all-European Baroque tendencies and spiritual culture of the Ukrainian Cossacks.

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Декоративно-живописні елементи народної картини в українських інтер‘єрах козацької доби

Декоративно-живописні елементи народної картини в українських інтер‘єрах козацької доби

Author(s): Larysa Feliksivna Eivas,Irina Mykolayivna Udris / Language(s): Ukrainian / Issue: 3/2019

The purpose of the article. The article dwells upon the problem of studying the works of the national painting of the nonreligious nature of the ХVІІ - early XIX centuries carried out by domestic experts at the time of the formation of the Ukrainian art science. The methodology of the study is to use methods of analysis, synthesis, generalization, as well as hermeneutical and comparative approaches. The study of the process of identifying national traits and evolution of the Ukrainian secular painting of the Cossack times as part of the contemporary interior is presented through the analysis and synthesis of the works of representatives of the Ukrainian art science of the late 19th and early 20th centuries. A small proportion of non-church (secular, domestic) subjects in the national painting heritage of the outlined period explain relatively insufficient attention to the study of secular theatrical painting in Ukraine at the time of the formation of domestic scientific art studies. The scientific novelty of the research is to analyze the publications of well-known researchers of the 1890s and 1910s, K. Shyrotsky, D. Scherbakivsky, F. Ernst. The scientific views and evaluative characteristics concerning the most popular subjects of the secular painting of the period have been revealed, in particular, concerning the folk painting "Cossack Mamai"; the role of painting as a component of the Cossack dwellings arrangements is traced. Conclusions. The approval of national ideas in the Baroque era art - the hallmark of spiritual and cultural activities - is interpreted as a vivid manifestation of national self-affirmation of Ukrainians in the writings of various scholars. The materials under study provide feeling the general atmosphere of interest into the problem of national style by representatives of the young science of the art of those times and understand the nature of their further research vector.

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Декоративно-ужиткове мистецтво півдня України кінця ХІХ – початку ХХ ст.

Author(s): Nataliya Sopilʹnyak / Language(s): Ukrainian / Issue: 2/2008

In the article cited the data of characteristic of arts and crafts of Ukrainian south from 19 till 20 century, showed historiography, system and source of discovering of Ukrainian south art, showed the influence of traditional features on the modern tendencies of arts developing.

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Делатност дебарских и самоковских зографа у Босни и Херцеговини, Црној Гори и Северној Србији у XIX веку
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Делатност дебарских и самоковских зографа у Босни и Херцеговини, Црној Гори и Северној Србији у XIX веку

Author(s): Nenad Makuljević / Language(s): Serbian / Issue: 4/2015

Works by icon-painters of the Art Schools of Debar and Samokov are found in the nineteenth-century Bosnia and Herzegovina, Sandžak, Montenegro and the emerging Kingdom of Serbia. This fact stemmed from the Ottoman imperial context, in which the painters worked as well as from geographical reasons allowing for their movement and translation of icons. A specific cultural model of the Orthodox Christians developed within the Ottoman Empire uninfluenced by ethnic or national borders, but conforming to the millet system of the Ottoman Empire. The Orthodox Christians from across the Balkans and the empire shared the same views of their religious and cultural life, rendered in similar solutions to all aspects of the visual culture and to the design and decoration of the Orthodox churches. That allowed for icon-painters and builders to move across the entire Ottoman Balkan territory, which is evidenced by such examples as the iconostasis by the Ginovski brothers in Novi Pazar, the​ icon of St Stephen by Petar Debranec from the village of Tresonče and the iconostasis painted by the Dičić brothers in Štitkovo. Icon-painters from Debar and Samokov worked in the nineteenth-century Principality/Kingdom of Serbia. Despite the changes in the top clergy’s idea of church art, icon painters worked in frontier areas such as Negotinska Krajina. Some of them such as Teofan Isailović Bužarovski and Zachary Dimitrov settled in Serbia.

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Детските рисунки като документ на епохата

Детските рисунки като документ на епохата

Author(s): Mariana Garmidolova / Language(s): Bulgarian / Issue: 1/2019

The children’s art occupies an important place in the cultural space. Each child’s drawing reflects the culture of an epoch and therefore it can be investigated as a special document. Historical events, rituals, traditions, habits, clothing – everything is demonstrated in the children’s artwork. The children’s art language has specific features. It is generalized, spontaneous, expressive and schematic. All these characteristics give us reason to talk about children’s visual meta-language. In order to interpret children’s drawings correctly, we must know the principles of the meta-language. Each child’s drawing is a source of information about the tangible and spiritual culture of an epoch. Very often the children’s drawings possess some of the qualities of the works of art, created by mature artists. However, children’s art has its own principles, specific qualities and methods of creativity and therefore it is given a sovereign place in the world of fine arts.

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Детските рисунки като феномен на художествената култура

Детските рисунки като феномен на художествената култура

Author(s): Mariana Garmidolova / Language(s): Bulgarian / Issue: 2/2016

Children’s drawings are regarded as phenomenon of human culture and reflect the individuality of artist. The study and analysis of children’s drawings should be related to the age, lifestyle, aesthetic preferences of the author and so on.

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Деякі питання методики викладання живопису

Author(s): Ivan Pylypenko / Language(s): Ukrainian / Issue: 1/2011

In the article presents some questions of teaching methods of academic painting in the system training of professional artists. On the basis of personal creative and teaching experience formulated some generalizations about the teaching discipline.

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Джерелознавчий аспект дослідження естетики українського іконопису XV–XVI століть

Author(s): Oleksiy Matycin / Language(s): Ukrainian / Issue: 27/2011

The article examines the problems of research of Ukrainian icon painting XV – XVI centuries. Еxamines the body of literature that is relevant to the study of theology-aesthetic foundations of Ukrainian iconography XV – XVI centuries.

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Джоан Миро и Каталония

Author(s): Anastasia Andreevna Gnezdilova / Language(s): Russian / Issue: 25/2016

Joan Miro is a widely known artist of XX century, who worked in painting, sculpture, and graphics. One of the key subject in his creative work appears to be an interconnection of a man and the Universe, an open dialogue of a human being and the Cosmos, as well as an urge of a contemporary man, who lost his link with nature and the world, and therefore misses a harmony and happiness, which he could achieve only by turning back to his original state of a unity with the Universe. Joan Miro’s profound attachment to his native land – Catalonia, may be considered as his main mindset’s base. The artistic heritage of Catalonia definitely became an infinite inspirational source of all his creative work. Artist’s fervent attachment to the native land was also reflected in Miro’s active participation in the cultural movement of “Nousentism”, which had a national renaissance as its main goal.

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Джурджулештская находка в зеркале ювелирной моды Х-XI вв.
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Джурджулештская находка в зеркале ювелирной моды Х-XI вв.

Author(s): Oleg Leviţki,Vasile Haheu,Svetlana S. Ryabtseva / Language(s): Russian / Issue: 5/2000

The article is dedicated to a child’s burial found in 1997 during excavations on Giurgiulesti grave ground. The grave contained a bright and unusual for Moldova set of grave goods. The authors collected a vast number of analogues for the most significant find in this complex – globular embossed buttons decorated with granules. All analogues of the find from Giurgiulesti come from horde of silver decorations of the middle X-XI centuries, placed along a large arc embracing basins of Vistula, Danube, Dniester and Dnieper. The article makes a reconstruction of a silver jewellery head dress of the middle X – early XI cc., which was worn together with a dress decorated with silver buttons decorated with granules. This dress could consist of: «Wolyn’ ear rings»; necklaces made of silver beads decorated with granules, semi-globular and crescent-shaped pendants; wire bracelets with disjoint or knit ends; rings with semi-globular shield. Such vast geography of spread of these complexes with similar goods provides evidence of a common fashion existing in the middle X - early XI cc. for ceremonial jewellery dress, spread among the elite over a vast territory from Poland to Dnieper. Spread of these types of decorations is due to both migration of western Slavs to the east and movement of silver along the network of roads connecting basins of Dnieper, Dniester, Western Boug, Danube and Vistula. Decorations of this style on territory of the Eastern Europe seemed to be made by masters of Wolyn’-Kiev and Dniester workshop centres, while prototypes of decorations used in the dress of middle X – early XI cc. mainly come from Western Slavic antiquities of Danube lands of IX c.

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Дигимодернизъм и нови сценични хибриди
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Дигимодернизъм и нови сценични хибриди

Author(s): Joanna Spassova-Dikova / Language(s): Bulgarian / Issue: 2/2015

This paper is part of an extensive study of the dynamics in performing arts in an era of an explosive development of breakthrough technologies. Thе article deals with key terms such as ‘posthumanism’ (Steve Nichols, 1988; Donna Haraway, 1991; Robert Pepperell, 1995; Katherine Hayles, 1991; Manuel de Landa, 2003, etc.) in the sense of existing in a state beyond being human; ‘transhumanism’ (biotechnological development of human beings); ‘digimodernism’ (Alan Kirby, 2009); ‘cyborgism’ (David Krep, 2007); ‘hybridisation’ (Edward W. Said, 1978, Homi K. Bhabha, 1994, Philipp Stockhammer, 2012), etc. The critical discourses upon these newly coined terms are not homogenous, but are often, in fact, a series of contradictory ideas. Usually, issues of ethics and morality, language and communication between different types of social systems are also under consideration as well as of the intellectual efforts for interdisciplinarity. Some of the best examples are also considered towards creating new stage hybrids by using new technologies in Bulgaria and abroad.

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ДИЗАЙН XVIII ЛІТНІХ ОЛІМПІЙСЬКИХ ІГОР У ТОКІО ЯК ФЕНОМЕН ІНТЕРНАЦІОНАЛЬНОЇ ВІЗУАЛЬНОЇ МОВИ

ДИЗАЙН XVIII ЛІТНІХ ОЛІМПІЙСЬКИХ ІГОР У ТОКІО ЯК ФЕНОМЕН ІНТЕРНАЦІОНАЛЬНОЇ ВІЗУАЛЬНОЇ МОВИ

Author(s): Daria Shumarova / Language(s): Ukrainian / Issue: 4/2015

In 1964 Tokyo hosted the eighteenth Olympic Games. The 1964 Tokyo Olympic Games were a major design project directed by Japan’s top designers. The topicality of the research is determined by the fact that most of graphic design historians consider 1964 Tokyo Olympic Games as the event that presaged Japan s postwar modernization process. And this process resulted in a breakthrough in the history of graphic design. Terms such as "visual design" and "visual communications" appeared. The 1964 Summer Games was the first use of a comprehensive identity program, setting a standard for all subsequent games. Masaru Katzumie (art director) and Yusaku Kamekura (graphic designer) were the creative visionaries and team leaders behind this remarkable project. The focus of their research efforts was on an internationally standardized sign-age system based on their concern with the social significance of graphic design. Katsumi Masaru was seriously concerned about the creation of a universal visual communications system. So he identified that simple pictographs were the most efficient method of communicating to an international audience. Using a square field with a grid, the team created an extensive range of geometrically stylized pictograms. This comprehensive identity program, which included twenty multisport symbols and thirty-nine general information pictograms emphasized the athletes’ physical movements and were designed for immediate identification by a multilingual audience. This pictogram system served as a standard that influenced Lance Wyman for the 1968 Mexico City Olympics, Otl Aicher for the 1972 Munich Olympics, and Min Wang and his team for the 2008 Beijing Olympics and has become a guide for universal public visual design systems and worldwide events. Graphic design for the Tokyo 1964 Summer Olympic Games successfully combines national content, historical aspect and modernist methods. Kamekura s official poster design is a bold symmetrical vertical composition that consisted of the five Olympic rings in their original colors, the phrase "Tokyo 1964" in gold sans-serif typography, and most notably a large circle in red. Kamekura designed the emblem in consultation with typographer Hara Hiromu. The emblem had numerous applications, from the first poster to the diplomas, tickets, and medals of the Games. For some, this was the icon of, literally, the sun; for others this was a direct reference to Japan s flag, the hi-no-maru. Visual image of the Olympic games in Tokyo is considered as a way of country’s self-identification in the world and as a step towards national and cultural conscious formation in postwar Japan. The Olympics symbolize the ideal of people of all nations seeking, through sports, peaceful co-existence and respect for each other’s differences. At the same time, however, the Olympics is an event that for a time intensifies nationalism. As a result of professional teamwork and total design method the visual language of the Tokyo Olympic games depicts connections between Japanese tradition and modernity, nationalism and internationalism, past and future of the country.The visual language utilized by Tokyo 1964 Games adhered to the approach of modernism. It also encoded the visual composition of crest design, established in medieval Japan. In encoding their tradition in not directly decipherable means, postwar Japanese designers found an important resource for distinguishing their identity in the international arena, and for establishing their continuity with the past. In the years following the Olympics, their designs were recognized as instigators of an international design scene.The image of Yusaku Kamekura’s Tokyo Olympic Games Poster is widely recognized and is part of the national "memory". The vitality seen in the runners about to bolt represents the appearance of a Japan that would soon show itself as major economic power. This is the atmosphere of the times that surrounded the design work done for the 1964 Tokyo Olympic games and handed down to us. The Olympic games, with their origins in ancient Greece, are more than an international sports competition. For the 1964 Tokyo Olympics, Japan’s hope and expectation was to be part of the international community, to transcend cultural barriers and to be considered as a nation among developed nations, with modern Western values based on an idealized notion of the order of ancient Greece. Looking at the injection Japanese traditional culture into the design work for the Tokyo Olympics, it is clear that while designs were based on modern Western sources, the designers were also seeking an expression of the particular character of Japanese culture. From the time of Meiji period Japonisme, Japan had continually tried to present itself in the international community, in international world’s fairs and expositions, by consciously responding to Western understandings and expectations of Japaneseness. However, the use of the "hi-no-maru" in the design work of the Olympics shows that the designers were rather, in representing Japaneseness, strongly conscious of how the Japanese look at themselves. The design work of the 1964 Tokyo Olympic games reflects the trends of these times when Japan, positioned in the Western camp in the East-West confrontation of the Cold War, and rejecting nationalism in favor of economic growth, would look to traditional culture as a basis for a sense of commonality among the Japanese people. Analyzing the design work for the Tokyo Olympics as an expression of "Japaneseness" it is understood that the 1964 Tokyo Olympic games served to reintegrate a national consciousness among the Japanese people, to restore continuity with the past and reawaken pride in Japanese culture.

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Дизайн за всички или персонализиран дизайн – предизвикателства при проектирането на достъпна градска среда
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Дизайн за всички или персонализиран дизайн – предизвикателства при проектирането на достъпна градска среда

Author(s): Silvia Sulkova / Language(s): Bulgarian / Issue: 9/2014

Urban environment is complex and multifunctional as are people and activities it serves to. Unlike manufacturing or housing environment, urban environment is used by all regardless of their sex, age, ethnic or social status, behavioural specificity, capabilities or limitations. Diversity provides a good scope of work though facing a serious challenge to designers to combine the unique with the unified, consumer’s individuality with social necessity. The idea of an ‘universal solution’ has been gaining popularity for two decades now, i.e. if a product suits for someone with dexterity or mental impairments, then it is suits for those without disabilities. At the same time a number of same-function products are offered on the market, the personalisation or orientation towards a certain consumer group of which makes them more preferable as they would bear a message of the identity of their owners. The balance between these two trends shapes the unique appearance of social space.

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Дизайн мисленето като стратегически подход за иновации
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Дизайн мисленето като стратегически подход за иновации

Author(s): Alexander Pozharliev / Language(s): Bulgarian / Publication Year: 0

The report examines design thinking as an ever increasing approach in addressing one of the main strategic questions that stand before every organization - how to build an internal capacity for innovation. It maps out the development of design thinking as an innovative human-centered approach which ever increasingly is used outside of the frame of the designer industry with the aim of innovation and transformation in all the spheres of business, as well as in the nonprofit fields. Presented are its main characteristics, oriented towards the systematic solving of complex problems in a dynamic and complex environment. Under discussion is the topical, in recent times, perception of design thinking not only as a methodology but also as a new way of thinking and attitude about strategic issues regarding how to do business. The development of its strategic role is mapped out as an innovative and transformative approach.

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Дизайн на вестника

Дизайн на вестника

Традиционни, хибридни и онлайн емисии на пресата

Author(s): Vesselina Valkanova / Language(s): Bulgarian / Publication Year: 2008

The paper "Design of the newspaper" presents the significant structural changes in the field of print press. The emphasis is on the specifics of newspaper products, typological and design lines of development, visual presentation, construction strategies, efficiency and reception of the three modern forms of the newspaper - the traditional printed product, e-paper and online emissions - essential for the communication behavior of the oldest media and the prospects for its development.

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