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État de l’art des livres et objets sacrés ayant appartenu à saint Anthime d’Ivir

Author(s): Policarp Chițulescu / Language(s): English Issue: 2/2018

The life and work of saint hierarch and martyr Anthim the Iberian become gradually well-known as new testimonies bring forth further pieces of information or correct some approximate or erroneous ones. There are many known aspects concerning the typographical activity of this learned metropolitan of Wallachia. Less well known are the liturgical objects he donated to various holy places or the personal belongings of the great hierarch. Some of them have been mistakenly assigned, others have been recently discovered. This study presents an inventory of the most important cult objects and books, as well as the personal belongings which may be linked to the name of the saint hierarch and martyr, while advancing also some new hypotheses. An additional merit of this study is that of bringing to light a series of Anthimian testimonies kept in forgotten museums and libraries, inaccessible to the public.

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Isiac lamps from Alexandria and other provinces: some comparisons

Author(s): Jean-Louis Podvin / Language(s): English Issue: XXVIII/2019

This research examines representations of deities on lamps that reflect Hellenistic syncretic processes that led to the refashioning of Pharaonic gods by the addition of Greek attributes. The different rendering of deities representing specifically the “Isiac cults” on Roman lamps produced in Egypt is discussed in an effort to outline the major differences between how the homeland gods were depicted as compared to deitieds privileged in other parts of the Roman Empire. The article is a synthesis of the exhaustive work of Tran tam Tinh on the lamps from Alexandria and the present author’s recent monograph on Isiac scenes on lamp discuses from outside Egypt.

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Mosaics from Jiyeh/Porphyreon in Lebanon: the universality of mosaic art in late antiquity

Author(s): Aleksandra Pawlikowska-Gwiazda / Language(s): English Issue: XXVIII/2019

In the Byzantine period mosaic floors became an essential element of interior decoration, in domestic as well as sacral spaces. Mosaic patterns spread all over the Mediterranean basin, even to the less significant settlements. Ancient Porphyreon (modern Jiyeh in Lebanon), a Levantine coastal village on the ancient Via Maris was no exception. Recent excavations by a Polish–Lebanese archaeological project confirmed the presence of mosaic floors, mainly in the Domestic Quarter. Technological analyses coupled with a study of the decoration and iconographical motifs have shed light on mosaic craftsmanship in Jiyeh. The mosaics from the Domestic Quarter in Jiyeh are discussed in comparison with well-known examples from nearby sites.

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Makuria in the middle of the 12th century

Author(s): Włodzimierz Godlewski / Language(s): English Issue: XXVIII/2019

In the middle of the 12th century, the King of Dotawo (Makuria) and Arwa, referred to as Mouse Georgios in many Old Nubian documents and in studies on the subject, was the eparch of Palaga, a province of the Kingdom of Arwa, and in all likelihood the official heir of King Paulos of Arwa. He was crowned King of Makuria (Dotawo) in 1155, following mediation by the Fatimid caliph between the two kings, Georgios V of Makuria and Paulos of Arwa. The crisis was triggered by David, a presumed member of the Arwa royal family, usurping the throne of Makuria. The paper marshals the evidence for a hypothetical reconstruction of the political situation in the region in 1155 and considers the reasons for King Mouse being called Mouse Georgios in Old Nubian documents from Qasr Ibrim.

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The ‘last’ king of Makuria (Dotawo)

Author(s): Włodzimierz Godlewski / Language(s): English Issue: XXVIII/2019

Representations of Makurian Kings and Queens (Mothers of the King), dated from the end of the 8th through the 13th centuries, have been preserved inside several churches of Makuria, but mostly inside the cathedrals of Pachoras. The representation of the king inside the monastery church NB.2.2 in Dongola is the latest one and the most fully preserved with the regalia and late dress.

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Aeschylus, Sophocles, Euripides and Menelaos Shaping the Significance of Electra Myth: A Dialogue Between Arts

Author(s): Tatiana Golban,Atanas Karaçoban / Language(s): English Issue: 18/2021

The present study focuses on the tragic heroine, Electra, who rose to prominence in the Athenian dramas of the fifth-century BC, particularly in Aeschylus’s Choephori, Sophocles’s Electra and Euripides’s Electra, but this enigmatic figure continued to stir the imagination of the artists of the subsequent generations to the extent of making its presence memorable not only in literary texts but also in visual arts and music. This paper attempts to reveal the ways in which Electra myth has delighted and inspired various artists by stressing out the peculiarities of this myth that never seems to go out of fashion. It can also be observed that Electra’s figure, even sculpted in marble severity, continues to arouse both pity and admiration in her quest and demand for justice as well as her attempts to re-establish the religious, moral and societal values.

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PRADA SS 2018 KOLEKSİYONU ÖRNEĞİNDE POP SANAT MODA İLİŞKİSİ

Author(s): Çimen BAYBURTLU,Ayşe Nuriye İŞGÖREN / Language(s): Turkish Issue: 83/2021

Pop Art, which was an integral part of the art movements in the 1960s, gained a global dimension by changing in different countries and cultures and integrated with the society as a source of inspiration for designers. Playing a decisive role as a part of life, fashion also includes the ambiance of certain times and periods. In the 1960s, there were important social changes in art, fashion, and many other fields. In these years, the innovations in the fields of appearance and consumption are quite remarkable. In transition from modernism to postmodernism, both movements defined as “Pop and Op Art” have a close connection with fashion. The aim of this study is to reveal how the relationship between art and fashion is reflected in designs by comparing the features of the designs created by the influence of art movements with the basic principles of the Pop Art movement and fashion. In the first section of the study, the introduction of Pop Art, its basic elements, chronological development and change, and important artists are explained with examples through many academic sources. In addition, main representatives of Pop Art and elements of being a source of inspiration for fashion designers and famous brands have also been emphasized in the process up to the present. In the next section of the study, the relationship of a collection prepared by the Prada brand for 2018 Spring/Summer season with Pop Art movement and the fashion world has been analysed. In the analysis, 52 looks used in presentation of the collection were examined with Fashion Design Elements Matrix, which was created with the sub-fractions of the Fashion Design Elements consisting of line, form, texture, pattern, and colour.

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BİR RİTÜEL KOSTÜM AKSESUARI OLARAK VENEDİK KARNAVAL MASKELERİ VE UYGULAMA ÇALIŞMALARI

Author(s): Çiğdem S. KOÇAK,Zeynep Hande CANPOLAT / Language(s): Turkish Issue: 84/2021

Being a part of and wishing to establish a bond with the nature, human beings try to heal their souls and find their true selves. Carnivals come across the people in this quest together with the art. In carnival entertainment, people forget about the helplessness against the death and cling to life. Masks partially or completely covering the face disguises the people and turn them into a new identity with the new portrait they bring. Masks have turned from the magic rituals of the primitive beliefs into an element of theatre by time. As a costume accessory, masks can be designed with any material. Masks differ by their functions. Integrated with their viewers and purpose, masks actually represent an aesthetic value individually. This study focuses on the mask accessories which had an effect on ignoring the social differences, socialization, purification, healing and liberalization of people with art during the Venetian carnival, which takes an important place in the history. In the research findings, sociological and aesthetic value richness depending on the character diversity of the masks is indicated. This article is based on the general scanning model as a method. In addition, 7 masks applications inspired by the Venetian carnival have been made. These application studies are aimed to be a source of inspiration for designers.

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POSTMODERN SANATTA BİR ÜRETİM BİÇİMİ OLARAK “KENDİNE MAL ETME”: YASUMASA MORİMURA ÖRNEĞİ

Author(s): Yudum Akkuş Gündüz / Language(s): Turkish Issue: 86/2021

Although "appropriation", in other words "appropriation/adaptation", is a production approach that originates the productions of modern period artists, it has been one of the artistic orientations that form the roof of the Postmodern artistic pluralist structure, which basically has an eclectic body. Artists, who adopt and defend this mode of production, have reinterpreted and circulated existing or previously produced works/images/forms, contrary to the new production approach. At the same time, these artists, who consciously use the symbolic importance of the works they appropriate, while creating the cultural framework of their own production, seek a construction of meaning based on concepts such as reference, citation, irony, parody and incongruity, as well as a structure that tries to draw attention to the richness of meaning in contemporary art. have been placed on their agenda. This concept, which has developed an attitude against the notion of "originality" of modernism, has developed new arguments on the concepts of gender and racial discrimination, social language and discourse, identity, culture and representation, especially after the 1980s, examining the social codes that took shape through certain power relations. It has been shaped even more by the production practices of the artists. In this study, the "appropriation" approach, which is the source of many productions of postmodern art, is mentioned and a quick introduction to the sanctuary of art in the name of the interpretation and analysis of this concept and bringing the "authenticity/originality" discussions in art to the agenda again; The works of Japanese artist Yasumasa Morimura, who revived the masterpieces of art history and popular culture icons in his own body, in order to find himself again in other bodies, to experience and learn, are mentioned.

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STARA VEZENA ORNAMENTIKA U SARAJEVU

Author(s): Zorka Janjić / Language(s): Croatian,Serbian Issue: 2/1966

A parlir des matériaux recueillis en 1964 pour (e Catalogue de l'Exposition des broderies de Sarajevo d’autrefois, l’auteur a essayé d’étudier Ies ornements des anciennes broderies de Sarajevo en les comparant aux formes analogues régionales et étrangères. Partant du fait que ces broderies sont caractéristiques, d’une maniéré generale, de la population musulmane et qu'elles étaient introduites dans les coutumes et dans la vie de tous les jours par l’intermédiaire des Turcs, l’auteur a etc pousse a faire des rapprochements avec les broderies orientales. Cette similitude est illustrée avant tout par des motifs communs apparaissant dans les broderies des musées de Constantinople et des musees des peuples voisins avant subi l’influence ottomane. La periode qui avait précédé la domination turque, l’héritage slave de meme que des elements plus anciens, sont très rares dans ces broderies ce quj s'explique par le caractère urbain de ces broderies ainsi eue par l'instabilité des matériaux utilises. La comparaison indirecte avec des ornements populaires apparaissant sur d'autres matériaux - bois, céramique, oeufs de Pâques - fait partiellement rentrer ces broderies dans l’unité des »motifs éternels«, adaptes bien entendu aux différents matériaux, ce qui traduisait l’infaillible conception de l’artiste primitif de la »signification philosophique des matériaux« choisis.

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SANAT VE TEKNOLOJİNİN ENTEGRASYONU: HİBRİT SANAT UYGULAMALARI

Author(s): Aziz Erkan / Language(s): Turkish Issue: 87/2021

Today, hybrid art applications attract attention as the integration of science, technology, new media and design. These art practices started with Modernism at the beginning of the 20th century, with the search for some changes in the understanding of art based on knowledge and talent, and a more determined search was started, especially since the 1960s. Artists collaborated with experts from different disciplines, and although these collaborations did not lead to a complete change in modern art, they aroused interest as hybrid applications that combine different competencies; It has been described as a necessity of modernism's search for innovation. Over time, it has been seen as interdisciplinary combinations, applications that combine experimental and research-based art, design and technology. In this study, it is aimed to clarify the definition, scope and blurriness of hybrid art by examining the application and theoretical infrastructure of today's hybrid art practices in the historical process, which combines different disciplines and stands out in unlimited processes and environments. The works, which have been put forward by the meeting of technology and art from the 1960s to the present, have been examined with examples through the theoretical framework.

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TRABZON/ARAKLI’DA GEÇ DÖNEM OSMANLI CAMİİ MİHRAPLARINDA TİPOLOJİ VE BEZEME

Author(s): Raziye Çiğdem Önal / Language(s): Turkish Issue: 13/2021

Trabzon, which is open to both land and sea transportation and trade due to being one of the Silk Road's ancient stops and having ports, is one of the cities that has retained its significance throughout history. The town of Araklı dating back to the history of the historical city and being 33 kilometers from the city center is significant because it has a harbor and the city's highways opening to the east since ancient times. With the conquest of the Ottoman Empire in 1461, the district, which had retained its significance since the Roman period, took on Islamic identity, and its population mobility and architectural structures changed its identity in this direction. Although they are few in number, monuments of late Ottoman art can be found in Araklı. The present article focuses on the four mihrabs that reflect those traces and are located in Central Küçük (Hacı Hasan) Mosque (1859-60), Konakönü Quarter Mosque (1884), Central Grand Mosque (1907-08) and Kalecik Quarter Mosque (1910). It was aimed that the findings of the present study, in which the mihrabs are explained in chronological-catalog order and the text is accompanied by drawings and photographs, would contribute to the current literature. While the examined mihrabs share some typological similarities, they differ in terms of the return of Western styles and the decoration program incorporating local elements unique to the Eastern Black Sea Region in a mixed order. These mihrabs, which have reached the present day and inspired intellectual readings about the provincial practices of late Ottoman art, are among the rare works that have taken their place in Turkish cultural memory as precious works of art shaped on the basis of material and spiritual necessity.

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Yoktan Bir Şey Yapmak: Noah Purifoy’un Junk Dada Sergisi ve Buluntu Nesne

Author(s): Aşkın Ercan / Language(s): Turkish Issue: 64/2021

Mechanization and technological developments, which gained momentum with the industrial revolution, have led to an increase in consumption at the same rate and the transformation of social and cultural dynamics. With the effect of this transformation, the artists reflected the impact of the culture industry, bourgeois life, and popular culture on social life materially and conceptually. The avant-garde art movements of the 20th century and the neo-avantgarde movements that followed have heralded innovation with a radical break from tradition in art and aimed to eliminate the art/life duality. Thus, the transformation of the art object and what the object means with this transformation have been discussed by the artists. Artist Noah Purifoy, who questions modernism and works critically on the new social order, has brought together everyday materials with the idea of "Making Something Out of Nothing" and his sensitivity to the tradition of making avant-garde art. Junk Dada exhibition is a retrospective of the artist's works produced with found objects for many years. The artist has developed a unique style and technique with found objects. This research focuses on the work of Noah Purifoy, who was influenced by political and cultural developments and transformed the object into an art form. During the research process, a literature review was done, and domestic and foreign printed sources were used.

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Ambalaj Tasarımında Minimalizm

Author(s): Merve Ersan / Language(s): Turkish Issue: 64/2021

Minimalism developed in the late 1950s as a reaction to the decorative art of abstract expressionism. Advocates of this movement in art and design emphasized purity, clarity and simplicity. Minimalism first showed its influence in the field of graphic design during the international typographic style era that emerged in Switzerland. In minimalist graphic design, sans serif typefaces, limited use of colors, dense negative areas and geometric shapes stand out. Minimalist designers aim to create objective and non-interpretive designs by eliminating all aspects of illusion and visual illusion and discarding the details that are not required to be used in the design. In this study, the use of the minimalist approach in packaging design was examined. In the field of packaging design, minimalism creates a contrasting approach with the dynamic visual language that consists of bright packaging materials, saturated colors, various fonts and three-dimensional typography that try to attract the attention of the consumer. In contrast to this traditional trend that is dominant today, minimalism strikes a balance between environmental considerations and the aesthetics of simplicity. In the examples examined in the research, it is seen that, minimalist packaging design products tries to create a sense of functionality, quality and in the consumer, as well as referring to ecology and sustainability issues.

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Görsel Sanatlar Eğitiminde Görsel Kültürün Önemi Üzerine Bir Değerlendirme

Author(s): Tuğba Güngör / Language(s): Turkish Issue: 61/2021

The dynamics of life styles changing with an unprecedented momentum in the current Visual Culture Age; It affects many fields such as communication, aesthetics, visual arts, art history, art education. Visual culture in lifestyles that develop as a result of a process in which the individual is consciously or unconsciously involved; It represents an interdisciplinary field and refers to the connection of culture with visual elements. Having an aesthetic experience in the dynamics of life styles produced in today's world, developing a solution-oriented identity with a visionary perspective, presents a model of a qualified individual as a part of visual culture. Through visual arts education, which will provide a rationalist response to the requirements of the current era, activities that will increase the individual's life experiences and provide optimum benefit can be organized. Education has a great role in the integration of the individual into society and adaptation to life, and in this case, prioritizing a visual culture-based approach in art education gains value.

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1990 Sonrası Türkiye ile Azerbaycan Arasındaki Sosyo Kültürel İlişkiler

Author(s): Leyla Önen / Language(s): Turkish Issue: 61/2021

Azerbaijan, which gained its independence after 1990, competed with each other for the exploitation of natural gas and oil and many projects were signed.Turkey has been involved in this project as a strategic partner. In this sense, the two countries have common history and values that Azerbaijan-Turkey political, economic, socio-cultural relations began to develop rapidly. In this study between Azerbaijan and Turkey in economic, political, cultural and artistic relations were examined. In the study, it is aimed to deal with the economic, political, social and cultural developments between the years 1990-2020. During the Soviet Union period from 1970 to 1990, a brief discussion of political, cultural and artistic data was given and the economic, political, cultural and artistic knowledge that developed after Azerbaijan gained its independence after 1990 was examined. In the research, political, historical, economic and cultural events were researched and the findings were analyzed. In the study the development of relations between Azerbaijan and Turkey were evaluated. In the study between Azerbaijan and Turkey in line with the development of cultural relations basic economic and political factors are examined. In the research between Azerbaijan and Turkey in economic, political and diplomatic relations have been placed under the same title. in the other part of the study established between Turkey and Azerbaijan socio-cultural, artistic relationships are the subject of research. At the same time, by referring to the agreements signed after the independence, the relations between the two countries with the effect of economic, political, cultural and social developments on the new level were discussed and inferences were made in this direction.

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Cтановлення та розвиток Українського гобелену в дизайні середовища

Author(s): Anastasiіa Vitalievna Varyvonchyk / Language(s): Ukrainian Issue: 4/2021

The purpose of the article is to highlight the provisions and track the historical evolution of a special Ukrainian art craft, known as the art of tapestry in environmental design. The research methods are based on art history analysis, the principles of historicism, scientific consistency, and objectivity in the study of Ukrainian tapestry. Scientific novelty. The historical origins of tapestry art are revealed, the issue of introducing innovative techniques for making tapestry is raised, which influenced the modern design of the environment of the XXI century. Based on the results of the study, we can conclude that the art of tapestry follows the traditions of folk carpet weaving. In modern conditions, the tapestry is able to actively fill the ethnocultural environment, in rare cases, it is a monumental decorative art. From aristocratic and elite art, it becomes more democratic, decorating the interiors of the premises of the XXI century.

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Інтерпретація коду Данте в мистецтві

Author(s): Olena Stalyevna Afonina / Language(s): Ukrainian Issue: 4/2021

The purpose of the article is to study the interpretational possibilities of Dante's code in artistic samples of various types of art. Methodology. Methods of observation, modeling, comparison, analysis, and synthesis were used in the methodology of the work. The scientific novelty of the work lies in the fact that the analysis of interpretations of Dante's code on the example of fine art, computer games, cartoons, musical arrangement in a ballet performance is carried out. Conclusions. Dante's code is a kind of cultural code that contains common information. The observation method was applied to fix the perception of works of art in order to study Dante's code. Modeling and comparison methods allowed us to determine the features of Dante's code in different genres and types of art. In the history of the visual arts, Dante's code is interpreted both in the works of artists and becomes a creative process with a generalized content of D. Alighieri's works, but with the exact use of the code name (S. Dali). Comparing the use of Dante's code in computer games, cartoons, we state that in the visual arts and modern video series, Dante's code is reproduced in accordance with the content of D. Alighieri's works. In the history of music, in the musical design of a ballet performance, Dante's code is reproduced in a generalized form, where the reference to the name and title of D. Alighieri's works dominates. In the libretto of the Kyiv ballet of the same name, Dante's code is embodied in two appeals: to a love story and fragmentarily and generally to the work "The Divine Comedy". The musical series of the ballet "Dante" is not directly related to Dante's code, but there are attempts by the authors to find allusions, reminiscences in the music of composers (A. Dvořák, R. Wagner, Ezio Bosso).

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Жанрово-тематична класифікація відеоблогінга: науковий підхід

Author(s): Iryna Anatoliyina Gavran,Olga Mykolayivna Grabarchuk,Kostyantyn Vladimirovich Grubich / Language(s): Ukrainian Issue: 3/2021

The purpose of the article is to clarify the genre-thematic classification of video blogging and the specific features of its affiliation with stylistic characteristics through the lens of a scientific approach. At present, there is no official classification of video blogging, but there are some types that help partially group all the variety of content into a single system. Methodology. The following methods were used during the study: scientific, content analysis, descriptive, statistical, comparative. The scientific novelty is to investigate video blogging as a subject of scientific analysis and study the genres of individual video platforms and online communities in terms of risks and opportunities. Conclusions. Video blogging is a relatively new concept that embodies an activity that is described by a communication function and a hybrid genre that has emerged as a result of technological progress. This phenomenon combines several genres, including the genres of comments and posts, and accompanies communicative situations on the Internet. The genre of this phenomenon is explained by its mobile features, because new modern videos are created every day, and they are difficult to refer to a specific topic because they are constantly mixed and modified with each other. The author's attitude towards his or her audience depends on aspects of individuality and aspects of personality. Today, a considerable number of successful video blogs are products of mass Internet consumption, devoid of monotonous content, which factor in the interests of the audience and help the film as efficiently as possible due to additional effects and editing.

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Монументальний живопис великої Печерської церкви кінця ХIХ століття як інтерпретація його давньоруського образу

Author(s): Maryna Afanasiyivna Bardik / Language(s): Ukrainian Issue: 3/2021

The purpose of the article is to discover the mural paintings of the Great Pechersk Church as the version of theology and academic sacred mural painting of the late 19th century. The research methodology is based on complex using historical and cultural analysis, art study analysis, and biographical method. Scientific novelty. It is determined that the process of creating the Old Russian image in the Great Pechersk Church (the Dormition Cathedral) began in 1880. The photo of the drawing of the ancient part of the Church made by the order of A. Prakhov in 1893, has been introduced into scientific circulation. The author studied the painting decoration as a synthesis of the academic theological thought and academic sacred mural painting, discovered its implementation in choosing topics, plots, and placement of compositions. The author gave a characteristic of the source corps on the paintings from the collection of the National Preserve "Kyiv-Pechersk Lavra". The author researched the transformation of painting preliminary design and Byzantine Canon of the 11–12th centuries on behalf of the Holy Mother of God theme and observed the connection of the composition "Ascension of Panagia" on the tradition of monastic life in the Kyiv-Pechersk Lavra. The topical and plotlines have been improved namely Christianize Old Russian is determined by one more leading topic. Conclusions. The process of creating a new mural painting in the Great Pechersk Church began still yet 1880. The detection of the ancient part of the Church contributed to the change in its painting decoration. This change was the result of the academic theological program implemented by means of academic sacred mural painting. The tradition of previous painting decoration preserved in the preliminary design end reflected one of the traditions of monastic life in the KyivPechersk Lavra. The witness in Pechersk Paterikon of the compositions in the Great Church has been implemented in mural paintings. However, the academic theological opinion of the late 19th century was subordinated to the canon of 11–12th centuries not complete. The theme of the introduction of Christianity was presented in mural painting as one of the leading topics.

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