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Considering art in the context of a game might clarify some troublesome questions related to so-called „contemporary“ art. By this approach, certain installations and actions acquire new interpretations. In this playful interaction between the artist and the public, meanings emerge and vanish.
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The article considers how prototype is established through a dialectical construction of artistic form. The conception of prototype is presented through a long dialectical examination of the relation between subjective sense and its material counterpart as a topos of symbolic being. The prototype is a regulative ideal pattern of maximum expression in artistic form. The image and its prototype establish each other simultaneously. In artistic experience, we encounter a phenomenon of correspondence. Losev presented a detailed structure of likeness in image, and showed how it involves the disclosure of the prototype.
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The purpose of this contribution is to show how deep and valuable is the cultural heritage of a people and how dynamic, especially in difficult times. One basic concept used is the cultural style, which differs from the individual style in art. We shall mention the philosophical contribution of a Romanian philosopher of culture, Lucian Blaga, who, under the influence of Jung’s “collective unconsciousness” wrote about the cultural heritage and how it is transmitted from generation to generation through an unconscious structure called by Lucian Blaga “the stylistic matrix”. We shall apply this philosophical theory to some artistic productions of the Romanian art of the period 1960–1980. We will also use some specific mythological and ritual meanings connected to the vegetal world, especially to wheat, flour, paste, bread.
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The advent and development of kitsch is genetically related to the specific sociocultural context of 19th-century second half, when art became an autonomous and independent reality. It can no more rely on mythology, religion, philosophy, and politics, and pretends to be only and solely a ‘pure art’. Art narrows, and in the vacuum opened, the new aesthetic phenomenon of kitsch ensconces. Kitsch has become an intrinsic, aesthetically immanent element of the system of art as a totality. An infinite internal transition between these two so cognate and so different, opposite spheres has emerged. The dialectics of these relations shows that kitsch is not only a waste of art.
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The purpose of the article is to theoretical summarize the significant influence of the Bauhaus higher school of Architecture and Design (1919–2019), the cultural symbol of Germany on the formation and development of art-project activities of the 20th – beginning of the 21st cent. The methodology consists in the interdisciplinary approach to forming the design objects, using system-structural, socio-cultural, axiological, art-historical and comparative methods. Scientific Novelty. The culture-aesthetic fundamentals of functional style in the subject-spatial and visual-informational areas are comprehensively considered: the furniture, utensils, textiles, sign forms, industrial and advertising graphics, photographics, poster, packaging, book design, web-design also. Based on the stylistic analysis of empirical materials from different countries, it is proved that the style of the Bauhaus school has artistic and functional values, and its works have received the status of world artistic heritage. Conclusions. In the conditions of contemporary stylistic chaos, the transformation of Postmodernism into Post-postmodernism and production glut, Functionalism are becoming increasingly popular in the varieties of Design and Advertising. The study made it possible to conclude that along with the postmodern and post-postmodern tendencies, the fundamental foundations and principles of Bauhaus compositional formation continue to live. At the beginning of the XXI century. in terms of style chaos, functionalism, constructivism, minimalism, sometimes combining with elements of other styles, forming modern polystyles, are quite popular in the varieties of design and advertising. Analyzing the components of the art and design culture, paying special attention to its aesthetic problems, we emphasize, firstly, Bauhaus has significantly influenced the design and advertising in the context of visual communications, and secondly, the formation of design objects is determined by the target groups based on target groups certain functions and aesthetic ideals. The processes of globalization and deglobalization have led to contradictory situations in the cultural and artistic environment, characterized not only by diffuse enrichment, eclecticism, kitsch, pseudonationalization, but also by the return to the "world of pure forms" of the Bauhaus - flatness, geometry, search of color graphs.
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The purpose of the article. The aim of the work is the analysis of the features of the image of the Ilinsky church. Sabbaths in the paintings of foreign and domestic artists of the XVIII - early XX centuries. Methodology. The research methodology is based on the use of art history, cultural, and biographical approaches to the analysis of the works of artists who, with their image of the Elijah Church, focused on its cultural and artistic uniqueness. Scientific Novelty. The scientific novelty consists of revealing the interpretation using the art of artistic, historical, and cultural value of the St. Elias Church as an important monument to the B. Khmelnitsky residence. Based on the consideration of works by artists A. Osipov, T. Shevchenko, K. Przhichihovsky, S. Vasilkovsky, and ethnographer de la Fliz, the architectural accuracy of the monument (the primary appearance, the absence of author’s conjectures) is found out, which is an essential factor for restoration and restoration works of art and cultural studies. Conclusions. The analysis of works of art dedicated to the Bogdanov temple in the Sabbotov shows that the engraving by A. Osipov and the watercolor by T. Shevchenko most accurately convey the original appearance of the building. Besides, they demonstrate the particular style of this architectural monument, which was formed based on rethinking the local traditions of temple construction under the influence of Western European baroque, as well as the defense needs of the time. Thus, as a monument to the hetman of Bohdan Khmelnytsky, the Church of the Elias has attracted artists and historians since the late 18th century. The tragic fate of the Ukrainian helmsman not only aroused interest in this temple but also determined the mood of transmission of this monument. Of particular interest are the works of O. Osipov and T. Shevchenko, since the accuracy of the image was the goal in both cases. I want to emphasize that due to the historical status of the Temple of Elias, not only did the magnificent engravings and watercolors appear but also began, without end, the formation of unique architectural stylistics, which was fixed in the works of painting. After all, even in the face of constant hostilities, Ukrainian hetmans XVII-XVIII centuries tried to decorate their residences with architecture worthy of a European city. This is perhaps why the wandering European artists did not leave the Church of Elijah without their attention.
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The article History of the Kežmarok Museum captures the development of this institution since the second half of the 19th century, when the first efforts to establish a museum were initiated. The museum is housed in a castle building which dates back to the year of 1463. After initial problems with finding the building to locate the museum, the castle was finally designated as its seat. The museum was officially opened on May 31, 1931. Since that time, this institution has undergone many changes in respect of its profile, the specialization and creation of a collection fund, administrative governance and staffing. The conclusion of the paper provides the summary of the museum’s current activities, cross-border cooperation, collection development as well as cultural and educational activities.
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This essay is dedicated to some methodological, terminological and geocultural problems related to the model – image interactions in Byzantine, Western and Premodern art on the Balkans, commenting some differences in Russian tradition as well. The author supports the supposition of Robin Cormack that the Orthodox icon painters before 15th century have memorized the images by constantly drawing and copying them, while the memorized models were a testimony about the process of training the visual memory. In conclusion the author states that on the Balkans religious images of known and of acquired canonical status monuments were used as models. Unlike the Russian tradition, model books in the full sense of the term did not exist, but there were preparatory sketches or collections of images that were used for ideas or sometimes for icon templates.
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The study deals with the visualization of the Old Testament episode of 2 Samuel 24 in Orthodox art in the Balkans. This is a scene that is extremely rare in the art from the Byzantine and Post-Byzantine period, appearing initially in manuscripts dating from the Middle Ages. Its depiction became more frequent in the period between 17th and the beginning of 18th c., when it was present as a plot on icons and in murals, mainly as part of the cycles of the Holy Archangels, or as part of a vita cycle of King David. Some possible factors for the actualization of this subject in art are explored. The Thesauros of Damaskinos Stouditis and its spread in the Balkans is considered as the most important among them, especially for the inclusion of the scene in the cycles of the Archangels. Probable influence of certain texts from the apocryphal literature for the appearing of this composition among the scenes of David’s vita cycle in murals is pointed out as well. In addition, some specific features of the historical conditions during the period are highlighted that shed light on the historical context of the creation of some of these images in the Balkans.
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The manuscript MS Add. 43868, an illuminated sketchbook of Post-Byzantine painting, was the object of my research during my postgraduate studies at the Courtauld Institute of Art of the University of London. The illuminated sketchbook MS Add. 43868 first became known by two publications of the British Museum in 1935 and 1936. It was first presented in 1935 by Eric G. Millar at the British Museum and from 1945 onwards it forms part of the manuscript department of its Library. It measures 19.5x14.5 cm and its cover is lined with dark brown later leather. It consists of 63 folios of white paper foliated in the top right corner of the recto pages. The manuscript contains text and drawings in black ink. The texts consist of technical instructions on rendering an icon, therapeutic recipes, religious writings and notes. Most of the drawings depict saints, scenes from their lives, Christological and Theometoric episodes, angels and decorative motifs. Hence, the drawings as well as the texts that occupy the pages of the illuminated sketchbook must have been produced after 1784 and 1785.
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The recent study of the twenty-four working drawings and sketches (anthivola) of the Makris-Margaritis Collection proved particularly fruitful to explore the relationships and interactions between local ecclesiastical art workshops active during the 19th century in the southern Balkans. The comparative study of these working drawings on the one hand confirmed their origin from the Marinas family workshop from the village of Chioniades in Epirus and on the other hand highlighted that this archive also includes drawings of other contemporary renowned ateliers of the southern Balkans. However, most drawings are associated with Athonite artistic workshops, whose production reached wider area of the southern Balkans.
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A unique Vita icon of the Theotokos Dexiokratousa (1806) in Chrysopege monastery, Crete, is signed by Athonite painter Nikephoros from Karpenisi (+1816). The main subject, a reproduction of “St Luke’s icon” of the Mega Spelaion monastery, is surrounded by eleven scenes illustrating its legend. The composition is based on two late-18th – early 19th century engravings. The donor, hieromonk Kallinikos Megaspelaiotes, might have ordered it for one of the two metochia of the Peloponnesian monastery in Constantinople. He can be identified with the homonymous author of the Little Vespers, added to the office for the patron saints of Mega Spelaion (Athens, 1840).
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This contribution explores paper icon templates from the collection of the Museum of the Russian icon in Moscow. The selected examples are associated with the Moscow icon-painting circles of the 19th century and linked to people who professed the so-called Old Belief. All pieces were traced from 17th century icons produced in the Tsar’s workshops, in particular, from the artworks commonly related with the icon-painters working on the commission of the Stroganov family.
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In the narthex of the church of St. Nicholas of the Seslavtsi Monastery (1616), in the zenith of the vault, there is a composition consisted of several fields with full length figures whose center along the east-west axis is occupied by the depictions of the Virgin Mary, St John the Baptist and Prophet Elias. The main semantic emphasis in the vault program is placed upon them: the images of the Virgin Mary (without the infant Jesus) and St John can be deciphered as the closest witnesses of the Incarnated God the Word and advocates for the salvation of the mankind while the presence of the Prophet Elias is more uncommon. His image in that prominent place can be interpreted in relation to St John the Baptist, taking into consideration that the two have been defined as precursors of the Messiah as early as in the Holy Scripture. For instance, in his interpretation of the Gospel according to Matthew St John Chrysostom speaks of Elias as precursor of the coming Last Judgment and of John as precursor of the First Advent that had already happened. In this sense the parallel between the two has also been pointed out in the hymnographic works dedicated to them. The juxtaposition of the two on yet another level is well developed in the theological thought as well: they are commensurable in terms of spiritual perfection and ascetic lifestyle and therefore were promoted to models of an anchoret exploit.
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The letter of the Holy Father John Paul II written in Rome in 1987, in the tenth year of His pontificate, on December 4th, on the day of memorial of Saint John Damascene, the doctor of the Church, on the Twelfth Centenary of finishing the controversy over the icon, is of great importance for the Pope’s program of ecumenism. The Holy Father indicated various directions of the dialogue, however, the one of the utmost importance concerned the agreement with the Orthodox Church, which was confirmed in the letters and in His other documents quoted in this paper. The image used to be essential for religious practice, for illustrating the word of prayer and of the song, in order to preserve the tradition of the Church. The strict prohibition introduced by the iconoclasm depreciated not only the artistic tradition of paintings but also the basic dogmas of Christ’s Incarnation and the one which introduced Virgin Mary as the Theotokos (the God-bearer). The ban constituted a threat not only for the icons but also for the Christian faith. In His Letter, the Pope underlined the important role of the Second Council of Nicaea which reintroduced icons and maintained and deepened the meaning of the cult in the faith of believers. Furthermore, the Holy Father indicated the connection with the Second Vatican Council in understanding the function and form of images in contemporary Church. Contemporary trends are overwhelmed by the impotence of the spiritual expression of sacral art, which is a great concern for the Pope. The Letter is, therefore, a dramatic warning of the threats for religious art in contemporary time, expressed by the Holy Father with these words: ‘The rediscovery of the Christian icon will also help in raising the awareness of the urgency of reacting against the depersonalizing and at times degrading effects of the many images that condition our lives in advertisements and the media.’ (DS, 11).
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Review: Jacek Małczyński, Krajobrazy Zagłady: Perspektywa historii środowiskowej [Landscapes of the Holocaust: The Perspective of Environmental History], Wydawnictwo Instytutu Badań Literackich PAN, Warsaw 2018. In her review Tomczok highlights the innovative nature of Jacek Małczyński’s monograph, the implementation of environmental concepts and theories from cultural studies in the Polish context, and especially the material that he presents to portray the Holocaust from different perspectives. One key strength of his book is the refreshing take on the remains of extermination camps and works of art that refer to them, especially art that has an ecological dimension. Małczyński also reflects on the meaning of disanthropisation (dehumanising) the history of the Holocaust and the consequences that result from it. The book allows us to sense that the author does not only write but he conducts interviews, goes on walks, takes photographs, analyses works of art, runs an archive, and thus – working on a variety of material, he uses methods from different academic disciplines. Still, the symbolical dimension of genocide and ecocide that emerges from his project does not forcibly impose ideological conclusions. It remains an invitation to engage in a participative project that is assumed to be work in progress.
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Polish laws prohibiting the promotion of communism (Dz. U. Journal of Laws 2016 no. 744, as well as 2017 nos 1389 and 2495) reawakened controversies on Red Army monuments and memorials on Polish territory and their belonging to the nation’s cultural heritage. To explore this troublesome heritage Cembrzyńska uses the Red Army’s military cemeteries as an example. She examines their role in communist propaganda and outlines the post-1989 debates concerning memorial sites dedicated to Soviet soldiers. She concludes by exploring Wojciech Wilczyk’s photographs of Red Army cemeteries in his series “Architektura symetryczna” [Symmetrical Architecture], focusing on architectural and sculptural elements that articulate an intention of ideological persuasion.
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The paper draws attention to some scenes of sea journeys, symbolic or actual, found on various kinds of Roman funerary monuments from the territory of Bulgaria. Herе will be discussed some images of members of the marine thiasos, considered companions in journeys over water. Analysis focuses on the funerary monuments from Odessos, Philippopolis, Novae and Nicopolis ad Istrum featuring the above mentioned depictions. The overview concludes with a monument from Odessos, referring to an actual sea voyage.
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In order to meet the expectations of wealthy visitors, who did not only anticipate effective treatment, but also rich cultural and social attractions, spa owners and administrators had to provide different entertainment and fun. With this purpose in mind they would hold shows of theatre companies, concerts, balls, soirees, lectures, etc. Therefore the spa houses raised in resorts featured ball rooms, reading rooms, restaurants, cafes, gaming rooms. Also theatres were built, and stages for music shows were mounted in parks. The paper is dedicated to these very buildings that came from several selected spas considered to be Polish and raised in the territory of the Polish-Lithuanian Commonwealth. On the one hand they are the oldest spa resorts (from the first half of the 19th century), the largest and operating until this very day: Busko, Ciechocinek, Druskienniki (Druskininkai, t. Lithuania), Iwonicz, Krynica, Solec, Szczawnica, and Truskawiec (Truskavets, t. Ukraine), as well as newer ones on the other (from the second half of the 19th century), but well known and still operating today: Zakopane and Połąga (Palanga, t. Lithuania). The paper is focused on wooden structures, since it was them that until the early 20th century determined the architectural landscape of Polish spas. With the majority having been destroyed, they are known only from iconographic materials and descriptions.
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Research into the reception of Albrecht Dürer's art is one more means of investigating the phenomenon of the artist who already in his lifetime enjoyed extraordinary reputation. Importantly, the analysis of the artistic reflections of his works occasionally uncovers new aspects of the very works. Such are the conclusions that can be reached when the echoes of the 16th century engraving by Albrecht Dürer showing St George (B. 53) are investigated. Identifying the sign placed on the Saint's standard as the emblem of the Chivalric Order of the Knights of St George, Campbell Dodgson revealed the peculiar historical and political context of the print. In the light of this observation, the discussed work did not prove to be an ahistorical presentation of the legendary vanquisher of the dragon, but a reference to the contemporary dimension of the cult of the patron of Christian knighthood. The historic importance of St George as the patron of crusaders and defenders of the faith caused that in the 15th century it was to him that in view of the intensifying conflict with the Ottoman Empire appeals were made. That is exactly what Emperor Frederick III Habsburg did when establishing in 1467 the Order of the Knights of St George. Furthermore, St George became a special patron for his son Maximilian I who made the figure of St George an important instrument of his political and artistic propaganda...
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