ŹRÓDŁO PRZEKŁADU: Wartości wieczyste w sztuce islamu
BURCKHARDT, T. (1967). Perennial values in Islamic art. Studies in Comparative Religion, 1(3), © World Wisdom, Inc. (www.studiesincomparativereligion.com)
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BURCKHARDT, T. (1967). Perennial values in Islamic art. Studies in Comparative Religion, 1(3), © World Wisdom, Inc. (www.studiesincomparativereligion.com)
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The aim of the article is to examine the aesthetic perception of figurative and abstract paintings by groups of naïve and experienced viewers with or without the knowledge of the information provided in the catalogue. The experiment was based on the theoretical concept of viewing the paintings from the perspective of form, content and axiology. The results of the research suggest that naïve viewers can find the reception of the formal level of contemporary art difficult. They are also inclined to experience difficulties in the interpretation of abstract paintings. This, however, can be facilitated by providing them with the catalogue description.
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The article focuses on the music videos in the works of English precursor of heavy metal musicJohn Ozzy Osbourne. The author presented the key typologies on the examined phenomenon,and embarked on the activities of the British composer self-creation in the perspectiveof the image, mythologization activities and in the context of the creation of rock structuresof experience and feelings.
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The author of the article focuses on the description of war photography which she classifies as journal photography. She points out that the development of this type of photography was considerably influenced by social photography. She argues that the image of unnecessary human suffering shows the senselessness and injustice of war which are strongly accentuated in photographs. Such emphasis affects emotions, compels the receiver to reflection and performs a propaganda function at the same time. On selected examples, the author presents the historical, documentary and artistic value of war photographs. She devotes a separate part of the article to the description of the beginnings of the Polish journal photography.
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The article deals with the works of Marcin Maciejowski in the perspective of intermedia connections of his works with photography, film and painting. The author of the article is particularly interested in tracing the intertextual and intermedia games in the space of culture as well as their informative, cognitive and ludic functions. A separate section of the article is devoted to the description of media realism
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What is death in contemporary world? “Faked”, multiplied by movies and games, it becomes standard, it doesn’t frighten. In contemporary world the second type of death is taboo. It is pushed out of consciousness. Man striving for immortality, striving for eternal youth doesn’t want to remember it. Death was always connected to art. Artists tried to depict the deceased. The idealistic paintings of the dead or preserving their bodies in best possible condition was a gateway to the afterlife. Masks and coffin portraits were heirlooms, they replaced the body of the deceased family member. The mediaeval tombstones called transi played a different role – they depicted rotting corpse eaten by vermin. They reminded of inherent death and of death’s mundane meaning. Contemporary photographers’ work (e.g. Jeffrey Silverthorne’s or Andreas Serrano’s) appeal to these mediaval examples. They show massacred human bodies photographed in a specific, almost excluded from our consciousness setting – the morgue. One should contemplate whether the art depicts a man or a corpse identified with litter. What is the purpose of depicting dead bodies that were secretly photographed in a morgue or were prepared, immersed in formalin and exhibited at an art gallery? The fascination of body and its secrets influenced the way of showing the dead. Bodies of anonymous people seen in the photos are treated by contemporary people as waste. By the means of camera the photographed deceased are depersonalized twice. Once by the camera that is killing them, the second time by abjecting them.
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The main thesis of my article is that Roman Ingarden’s concept of metaphysical qualities can be adapted to analyze and interpret artworks that represent some tendencies in abstract painting. I start by summarizing this concept, taking into consideration the elements of its reconstructions that are present in the source literature, especially those aspects that concern art. Although Ingarden’s idea can be used with many examples, I employ it to analyze chosen artworks by the outstanding Polish abstract artists Tamara Berdowska, Władysław Podrazik, Tadeusz G. Wiktor and Jan Pamuła. I do not intend to refer to these paintings strictly in Ingarden’s terms, but I use these criteria in a way that allows me to enrich the interpretation of these artworks by showing them in a new light. By recognizing the role of contemplation of art, I try to find the genesis of the analyzed examples and reveal how metaphysical qualities manifest in them and influence the viewer. I underline aspects that are distinctive of the presented artists and are related to the exceptional ability of abstract language to correspond to Ingarden’s idea. Subsequently, when developing my point of view I maintain the relationship between aesthetic and metaphysical sense that creates a kind of interdependence. These artists intentionally go beyond purely aesthetic effects to relate to transcendence. By adapting Ingarden’s concept to some contemporary abstractions, I try to link philosophical and critical ways of approaching these artistic phenomena with special regards to their metaphysical connotations that tend to be overlooked in contemporary discourses.
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This is a report on the visual art collection WA(Y)ST(O)ED FREEDOM exhibited in the Centrala — Art Gallery and Creative Space in Birmingham, United Kingdom, 5th–25th November 2021. The authors discuss Małgorzata Drohomirecka’s series of works, Polonia 2020, which consist of collages that reinterpret national and patriotic symbolism. Polonia is a very important role model for Polish women as well as for the political devise. The authors discuss the artistic strategies involved in deconstructing the national myths and social stereotypes used by the artist. These strategies are called “the unreliable narrator”, namely the means to look at history as a repository of themes and material which is now in need of reinterpretation, sometimes ridiculing, and dismissal. The paper includes the artist’s commentary on her works.
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Review of: Paweł Gąsowski, Komiks i mit, Instytut Kultury Popularnej, Poznań 2021.
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Zofia and Władysław Jarema – the founders of the Groteska Theatre – from the beginning of their artitistic work in Krakow distanced themselves from perceiving the theatre of dolls as exclusively children-oriented. By gathering around themselves a group of distinguished artists, they consistently and reasonably built up the repertoire and Groteska stage for the adult audience. In their search, they included Konstanty Ildefons Gałczyński, Sławomir Mrożek, and Tadeusz Różewicz. This paper is an attempt at analysing and reconstructing the performance of Kartoteka (a drama by Różewicz), which was staged in Groteska Theatre (interpretation by Zofia Jarema, stage design by Kazimierz Mikulski) a few months after its Warsaw preview in the Drama Theatre. The author of the paper also discusses the type of influence which this performance and the Jaremas’ activity in general had on the contemporary theatre of dolls.
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The article presents the forms of repetition in the creation and reception of Tadeusz Kantor’s performances. Krakow cellars, Kantor’s home in Wielopole and school class in Bielkowo near Łazy in Pomerania connect here the topic of affective searching and finding sources of identity and memory. The process may refer to both the artist and the viewer, seeking in the memory, art and landscape the traces of himself, recorded in the past and projected onto the surroundings. The author’s discovery of the interiors of the cellars under the floor of the house in Wielopole, similar to the Krzysztofory cellars in Krakow where Kantor conducted the rehearsals of the famous The Dead Class, leads to the conclusion that the preexisting in Wielopole under the floor of a childhood room the space of Kantor’s play can be the source of director’s affective repetition. With the use of the repetition mechanism, numerous further artistic discoveries and meetings of the artist with the self and visions of his future performances have been made. The facilitation of this process for viewers of exhibitions and to the recipients of art, both in Bielkowo and Wielopole, seems to be the inclusion of another tool in theatrical and artistic education.
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On February 13, 2020, Dr. hab. died. Marek Karwala, professor at UP, an outstanding literary historian and art critic, our dear friend and editorial colleague. We publish the farewell speech delivered during the post-funeral ceremony by the director of the Institute of Polish Philology of the Pedagogical University of Krakow in the years 2016–2020, Dr. Hab. Ewa Mlynarczyk, prof. UP.Professor Marek Karwala; photo: Marcin Kania.
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Argumenti koji slijede nalaze se unutar većeg projekta pod naslovom »Kritika algoritamske racionalnosti«. Taj projekt, koji se namjerno oslanja na Immanuela Kanta, pokušaj je da se nadiđe tehnološka, društvena ili kulturološka kritika digitalnih racionalnosti koje se obično nalaze u društvenim, medijskim i teorijama kulture i kritički se osvrne na valjanost algoritamskih pristupa. Istražuje ograničenja izvedbe i djelokruga algoritamskih shema i stoga je utemeljena na kritici matematičkoga zaključivanja.
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Pretpostavimo da ste dizajner, arhitekt, fotograf, video stvaratelj, glazbenik, pisac, umjetnik ili profesionalac ili student u bilo kojem drugom kreativnom području. Ili ste možda digitalni kreator koji stvara sadržaj u više medija. Možda se pitate kako će AI utjecati na vaše profesionalno područje općenito te na vaš rad i karijeru. Ova knjiga nema za cilj predvidjeti budućnost niti vam reći što će se točno dogoditi. Umjesto toga, želimo vam ponuditi skup intelektualnih alata koji će vam pomoći da se bolje snađete u promjenama koje bi mogle nastati. Ovi alati dolaze iz nekoliko različitih područja: estetike, filozofije umjetnosti i psihologije umjetnosti (Emanuele), te teorije medija, studija digitalne kulture i znanosti o podacima (Lev). Koliko znamo, naša je knjiga prva koja objedinjuje sve te različite perspektive u razmišljanju o kreativnoj umjetnoj inteligenciji. Rad na knjizi započeli smo u ljeto 2019., razmjenjujući brojne poruke, međusobno komentirajući ideje i dijeleći nacrte odjeljaka. Konačna knjiga je rezultat ovog procesa. Iako je svako poglavlje napisao jedan autor, ono odražava rasprave koje smo vodili tijekom 27 mjeseci.
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While buildings are relatively static parts of cities over time, green landscapes are much more dynamic components, whose durability over time is conditioned by a tedious and constant maintenance work. From this point of view, the development of these spaces is a permanent engagement between the forces of nature and man’s desire to control them through domestication: design, planning and care. Whether in parks, urban or private gardens, green spaces have always been “light” settlements built with ephemeral planted elements. Therefore, the persistence of planned green spaces is limited in time by plants` life cycle. This includes an annual transition of gardens through all life’s five natural seasons: germination and development (spring), flowering (summer), roadside emergence (early autumn), fall (late autumn) and hibernation (winter). The paper attempts to approach the concept of ephemeral in architecture by bringing into discussion the Perennial Movement in garden design. It proposes the use of block grouping types and matrices made up of different plant species mixtures, whose compositions are individualized by texture and structure. The results of this cultural movement’s research and practical experiments are gardens that persist in their planned state for many years after planting, with minimal maintenance. As an example, the paper will comment on the gardens designed by the Dutch horticulturist and landscape gardener Piet Oudolf.While buildings are relatively static parts of cities over time, green landscapes are much more dynamic components, whose durability over time is conditioned by a tedious and constant maintenance work. From this point of view, the development of these spaces is a permanent engagement between the forces of nature and man’s desire to control them through domestication: design, planning and care. Whether in parks, urban or private gardens, green spaces have always been “light” settlements built with ephemeral planted elements. Therefore, the persistence of planned green spaces is limited in time by plants` life cycle. This includes an annual transition of gardens through all life’s five natural seasons: germination and development (spring), flowering (summer), roadside emergence (early autumn), fall (late autumn) and hibernation (winter). The paper attempts to approach the concept of ephemeral in architecture by bringing into discussion the Perennial Movement in garden design. It proposes the use of block grouping types and matrices made up of different plant species mixtures, whose compositions are individualized by texture and structure. The results of this cultural movement’s research and practical experiments are gardens that persist in their planned state for many years after planting, with minimal maintenance. As an example, the paper will comment on the gardens designed by the Dutch horticulturist and landscape gardener Piet Oudolf.
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Despite their continuous oscillation between artistic processes and testbeds for urban or even social regeneration, temporary urban interventions are nowadays perceived as a distinct practice in the field of architecture and urbanism. But while a growing body of research continues to advocate for the manifold benefits of recognizing urban interventions as a tool for urban development, there is not enough emphasis put on understanding the fundamental role of local specificities in reaching their desired success. This article is divided in two parts, starting with defining the theoretical frame for a rather ambiguous area of research, a compulsory step in creating a common ground for the latter case study analysis. It proposes a delineation between urban interventions and artistic practices by the extent of answering three main challenges: (1) the integration in the social context, (2) the ability of the built form to serve the main aim, and (3) the steps made towards a long-term effect. The analysis of each case study from Timișoara, Romania, shows how the conceptual, physical, and organizational qualities of urban interventions added to the social, cultural, and administrative particularities of the local context influence their success in temporarily activating urban spaces and laying the foundation for sustainable revitalizations.
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One of the essential elements of Orthodox sacred architecture is elements of the temple's equipment. Some, related to interior design, are utilitarian, while others have a sacral feature, constitutingobjects of worship. Icons play a significant role in the equipment of Orthodox churches. Their location inthe church is associated with elaborate schemes and rules. Those in the iconostasis separate the nave fromthe presbyterium. Each of them, depicting biblical scenes or figures of God and saints, has its specific place.There also are icons in the central nave, on frescoes, and on polychromes. This article focuses on showingicons outside the iconostasis. They designate new places of worship in the central nave of the Orthodoxchurches. These are locally revered icons associated with a specific temple or town. Among them, the mostcommon are images of the Virgin Mary. On the example of the extensive parish network of the PolishAutocephalous Orthodox Church in Bialystok in Podlaskie Voivodeship, the author attempts to show thediversity of iconographic images as well as will try to find elements connecting various types of icons ofthe Virgin Mary present in Orthodox churches in Bialystok. The author decided to concentrate on thoseiconographic representations that apart from architectural and artistic value carry a sacral charge, i.g.subjects of a unique cult in local communities.The aim of this article is to present the icons of the Mother of God from Orthodox churches in Bialystok which are locally venerated and to try to systematize the elements of this cult manifested in services, individual worship and inspirations and references.
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Wojciech Koronkiewicz's book "With the Mother of God on a bike. Journey to miraculousimages, orthodox icons and holy springs of Podlasie” is discussed in the context of the philosophy ofdialogue inscribed in the message of the work. The author's meetings with the Other are presented takinginto account the multiculturalism of Podlasie, the history of this region, the interpenetration of Orthodoxyand Catholicism. The journey presented in the title is interpreted in the spirit of Gabriel Marcel's philosophyand his homo viator.
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The most frequent representations of the victory achieved against the dragon as the personification of Satan, sinful lusts, temptations, or heresy in Christian art of the Latin world, shows the defeat of this creature (or its substitute) by means of a cross, sword or spear, however while rarely by means of by the gesture of calcatio, that is by tram- pling. In Catholic tradition Mother of God, Archangel Michael and Saint Margaret trample the dragon, and its substitute. This article only sketches the problem because its subject is very broad, but despite this modesty, it brings the truth about the victory possible only thanks to the power of God.
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Among the graphic motifs used to decorate initials on medieval documents of Wrocław bishops, several dominant tendencies can be distinguished, such as decorations with animal motifs – fish, floral motifs – oak and grapevines, as well as in the form of geometric patterns. A relatively common practice was to combine geometric elements with plant or animal, which resulted in the creation of specific ornamental hybrids. Moreo- ver, the initials were decorated by filling the initial with the ink, which the entire document was written, increasing the initial with respect to the entire text, and drawing only the out- line of the letter with the probable intention of filling it in later. The analyzed documents were also familiar with leaving empty spaces in places where initials should appear.
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