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Art therapy with children from socially disadvantaged backgrounds

Author(s): Katarína Kurčíková / Language(s): English Issue: 4/2017

Some of the main aims when working with Roma children are the development of their personality, socialization into society and, at the same time, the developmentof creative thinking and activity. For these key objectives, our society mainly uses education. Nevertheless, the above mentioned processes are not without problems. One of the most serious and widely discussed problems associated with Roma ethnicity is the fact that the Roma population is lagging behind. In Slovakia, the Roma people are most affected by social exclusion. Roma children are classified as socially disadvantaged children. The aim of this paper is to point out the possibilities of art therapy when working with children from a socially disadvantaged background. At the same time, we will talk about the basis of art therapy with the Roma ethnicity and clarify the importance of doing art therapy with children from socially disadvantaged backgrounds.

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Monaster Świętej Trójcy w Markowie pod Witebskiem

Author(s): Marta Boberska,Wojciech Boberski / Language(s): Polish Issue: 4/2021

A monograph study on the Orthodox Monastery of the Holy Trinity at Markowo near Witebsk (Vitebsk) is presented. It shows the Monastery's history as seen against religious conflicts between the followers of the Orthodox and Uniate Churches in the 17th cand 18th centuries, the conflicts particularly vivid in Witebsk where the memory of the assassination of Archbishop Jozafat Kuncewicz (1623) made the restitution of the Orthodox Church a sensitive issue. The Ogiñski family were the founders and benefactors of the Markowo Monastery in the 17th century. In harmony with the Eastern monastic tradition, the complex of buildings grouped around a courtyard created an almost self-sufficient separate town. It was composed of the following: two Orthodox churches: the wooden one of the Holy Trinity (after 1685-1690), richly furnished, and the brick one of the Intercession of the Theotokos (1754-1755), together with monastery buildings. Additionally, two wooden Orthodox churches belonged to the Monastery: the cemetery one of St Nicholas and of St Praxedes (both ca 1730).

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Czternastowieczny fresk z motywem Matki Bożej współdźwigającej krzyż w architektonicznej przestrzeni dwunawowej fary w Bolkowie

Author(s): Aleksander Jankowski / Language(s): Polish Issue: 3/2021

The Gothic murals and medieval architectural details recently discovered in St Hedwig's Church in Bolków have shed new light on the early history of the church's architecture. They proved the church was transformated in the 3th quarter of the 14th century into a two-aisle hall, and not as it was supposed into a three-aisle layoud. Among remains of Gothic murals dating to three or four historical phases, survived the representation of the Our Lady Jointly Carrying the Cross with Jesus. This is the oldest in Polish pictoral interpretation of the compassio Mariae idea. The painting dating from ca 1360, displays clear iconographic affiliation with the scene On the Way to Golgotha of the Passion cycle from ca 1350 in St Leonard's Chapel in Landschlacht (Altnau) on Lake Constance.

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HISTORIA POWROTU OŁTARZA MARIACKIEGO

Author(s): Ewa Rzeczkowska / Language(s): Polish Issue: 1/2021

Review of: Ewa Rzeczkowska - Agata Wolska, Zagrabiony, odzyskany. Historia powrotu ołtarza Wita Stwosza do Krakowa, Wydawnictwo Literackie, Kraków 2019, ss. 403.

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Zespół obrazów w dawnym dominikańskim sanktuarium św. Zofii w Zofiborze

Author(s): Irena Rolska / Language(s): Polish Issue: 57/2021

In 1710 Jan Domaszewski, in his village Domaszewice, founded a wooden church. In the years 1721–1722, Franciszek and Zofia Nowosielski erected and endowed a wooden monastery for the Dominicans. Since then, the part of the village belonging to the Dominicans, has been called Zofibór. Even if the friars are no longer present in that property, one can find their remembrance in the Baroque images of St. Dominik and Vincent Ferrer, the painting of the Virgin Mary in the type of Eleusa made by Stanisław Szczerbic (1628) and a the painting of the patron saint of the sanctuary St. Sophia.

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Krucyfiks Cristo vivo w kościele pw. św. Michała Archanioła w Urazie. Wirtuozerskie przedstawienie Chrystusa Ukrzyżowanego Lwowskiej Szkoły Rzeźbiarskiej Doby Rokoka

Author(s): Maria Feliks / Language(s): Polish Issue: 58/2021

This paper deals with the question of the “Cristo vivo” crucifix type, a relatively rarely realized motif of the Crucified Christ with his head raised upwards, on the example of a sculpture from the church of Assumption of the Blessed Virgin Mary in Navaria, currently located in St. Michael’s the Archangel church in Uraz near Brzeg Dolny. This crucifix, together with a part of the furnishings of the Navarian temple, was transported in 1945 by the Polish people leaving the Eastern Borderlands to Lower Silesia. The aim of the article is to outline the possible sources of inspiration for this performance, as well as its influence on the faithful as an element of the Baroque theatrum sacrum.

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WYBRANE ASPEKTY MINIMALISTYCZNYCH REARANŻACJI WNĘTRZ KOŚCIELNYCH PO ROKU 2000

Author(s): Anna Wiśnicka / Language(s): Polish Issue: 116/2021

This text explores the subject of minimalist renovations in the sacred interiors of the Roman Catholic Church, based on a selection of representative examples, geographically and culturally diversified. Starting from the assumptions of the Second Vatican Council and the artistic and socio-cultural changes that could be observed as early as the 19th century, the article analyses the factors that led to an extreme formal reduction in church decoration. Apart from the obvious issue of interior architecture, a reflection is undertaken on the way in which art, which is both a cult and an aesthetic element, is displayed. Legal factors, liturgical and psychological aspects are also taken into account. To analyse the problem, realisations and projects from the circle of European architecture have been used.

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KULTIVIRANJE ESTETSKOG I KULTURNOG SENZIBILITETA UČENIKA VIŠIH RAZREDA OSNOVNE I SREDNJE ŠKOLE

Author(s): Nela Hasanbegović / Language(s): Bosnian Issue: 2/2018

Visual culture and fine arts have an integral and comprehensive role in different aspects of life, as well as in shaping the identity of every human being. As a specifically human spiritual and material activity, visual/fine arts are constituted in a complex communication process, establishing links between individual and social cognitions. All of these facts are presumed for the quality integration of future generations into the social and cultural currents of time and space in which they live. By adopting a visual language and meta-language, students would acquire the competence to comprehend a complex visual environment, contexts and concepts of artworks, and artistic strategies. Moreover, they would be qualified for the critical judgment and valorization of artworks. A student’s communication with an original artwork, or with a quality reproduction of it results in the cultivation of his/her aesthetic sensibility, which is also a precondition for his/her active participation in shaping a new visual reality. Some postmodern and contemporary artworks require direct communication and interaction, and can only be perceived as such in their natural environment (museums, galleries, or public spaces). These characteristics of visual/fine arts requires the redefining of teaching strategy and the teaching process in the classroom, with the main goals to enable students’ abilities for personal perception of artworks and their full experience of and reflection on them. After an analyis of the relevant sources, it can be concluded that in the teaching process of the subject of visual culture and arts, the Visual Thinking Strategy (VTS), which is necessary for achieving a high quality and level in the teaching process, is rarely used, while such courses in our educational system are mostly conducted in classrooms with the help of reproductions, neglecting the benefits of using a VTS approach in such alternative spaces as museums and galleries.

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DIDAKTIČKI KONCEPTI ZA POTICANJE KRITIČKOG MIŠLJENJA U NASTAVI LIKOVNE UMJETNOSTI

Author(s): Lana Skender / Language(s): Croatian Issue: 2/2018

The various transformation of postmodern education era has led to the change in learning and teaching concept. It is directed to the development of meta competencies, and emphasized the critical thinking as the main skill. The most influential pedagogy in educational sciences was a critical one which approaches to a student as an active recipient who is responsible for his knowledge. And the very discipline of the art history has been by experienced epistemological changes to the critical art history, turning to the recipient and the transfer of the various aspects of visual culture meaning, not only the artworks. Contemporary artists use modern methods that actively involve cognitive observer’s cognition, so usual way of looking at art, from the aspect of form, are not sufficient for understanding the artworks as a social construct any more. A pupil, using critical instruments, at the same time should be capable to judge the world picture mass production, recognizing the role of art in contemporary life. Critical thinking involves higher-level operations of thinking and as well as the development of cognitive skills, but first of all, it develops attitude argumentation approach and problems consideration from multiple point of view. The didactic concept of critical thinking development in teaching of Visual Art are considered in this paper. Free opinion expression requires the stimulation of the classroom environment, as well as the freedom in choice of artwork examples. The critical reflection has to be stimulated by problem approach, which includes artwork from the distant past to the contemporary examples. Problems should be considered in different context, historical and formal one is just some of the possibility. The inclusion of popular culture content is also necessary as the integral part of students’ lives.

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METODIČNOST KROZ LIKOVNU EDUKACIJU DJECE I MLADIH U OKRILJU LIKOVNE NADARENOSTI – TALENTIRANOSTI

Author(s): Irfan Handukić / Language(s): Bosnian Issue: 1/2016

Priređivači Kantove Antropologije, iznoseći pojedine stavove, odredili su odnos genija i talenta. Integralni smisao ovoga pojma ističe da „lijep duh stvara samo zahtjeve geniju, gdje je učeniku potrebno ono prirodno, učitelju talenat, a geniju pronalazak, genije je originalnost, osobnost koja daje prauzore talenta“ (Petrović, 1989). Učiteljev talenat, njegovim sličnim idejama poticani su učenici samo onda ako su obdareni sličnim proporcijama duševnih snaga. Nastojeći da istaknemo viši smisao uloge talenta genijalnosti za sljedeće generacije, odgojem đaka i mladih na tom putu, bitno je zamijetiti bliskost na relaciji s talentom. Naime, i Kant u svim spisima prepoznaje ono esencijalno vrijedno, što bi bilo za dobre, darovite đake – a to je nasljeđivanje samo osnovnog smisla, a ne ropsko imitiranje. "Talenat je nalik strelcu koji pogađa cilj koji drugi ne mogu doseći; genij, pak, nalikuje onome koji pogađa cilj koji drugi uopće ne mogu vidjeti" (Petrović, 1989). Kada je riječ o sadržajima i oblicima likovnog stvaralaštva u nastavi, ovdje se svakako mora egzemplarno govoriti o istraživačkim zadacima, vremenskoj dimenziji kreativnosti, prostorno tehničkoj, mijenjanju nastavne forme u funkciji stvaralaštva, teoriji recepcije u funkciji stvaralaštva, pedagoškom programiranju kreativnosti, kreativnosti u individualnoj nastavi i oblicima rada, vrednovanju procesa i efekata kreativnog rada instrumentima i tehnikama vrednovanja (Stevanović, 1986). Određujući specifičnost likovnog-stvaralačkog izražavanja djece i mladih, možemo odgovorno konstatovati da se ono zapravo ogleda prvenstveno u činjenici da je individua (učenik) pretežno okrenuta procesu, a manje produktu svoje stvaralačke aktivnosti, da je priroda efektnosti rada kod dječijeg crteža, slike, grafike umjetnička: i umjetnika nosi osjećaj procesualnosti, a ne težnja za konačnim razrješenjima, što je zapravo osjećanjima ispunjeno znanje i znanjem ispunjen ojećaj. Priroda likovne nadarenosti koja proizvodi i izražava karakterističnu likovnu produkciju, preko koje pojedinac – učenik – istovremeno iskazuje komponente integrisane kao sposobnost, motivacija i kreativnost, ujedno su faktori koji pojačavaju, kvalitativno, likovnu–stvaralačku–kreativnu sposobnost talenta.

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Gravuri de Ioanichie Bakov din cartea românească veche (1678-1705)

Author(s): Anca Elisabeta Tatay,Cornel Tatai-Baltă / Language(s): Romanian Issue: 14-15/2016

Ioanichie Bakov who signed and dated woodcuts in books printed at Bucharest, Buzău, Snagov and Râmnic occupied a major position among the wood engravers who worked on the Romanian territory between the years 1508-1830. Though numerous Romanian researchers of the 20th and 21st centuries mentioned Bakov’s name, his works have not been investigated enough. He seems to be originated from Ukraine but Nestor Vornicescu claims that he is from Bacău and he learnt the art of engraving from Ukrainian master craftsmen. This study is meant to demonstrate that the engraver was frequently inspired by illustrations which had appeared in Kiev and Lviv. His woodcuts of high quality as regards drawing, themes and the skill of engraving on wood constituted models for many engravers who carried on their activity in different Romanian centers. Bakov’s woodcuts can also be found in writings printed in Tbilisi, the capital of Georgia.

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URBAN GAMES IN PANDEMIC TIMES

Author(s): Teodora Ungureanu,Maria Mandea / Language(s): English Issue: 01/2021

The Covid 19 pandemic crisis has restarted the debate on how we can use the urban space as citizens in a safe and caring way. This research presents our explorations in human-scale board-games developed during the second part of 2020. Not only we had to rethink the rules of the games to cope with the current pandemic situation and create a safe environment for the players, but also the concepts played in the games started to have a deeper understanding of processes that create or are created by the urban environment. The two games are `Far to Close` developed within Life Long Burning 2020, at WASP Working Art Space and Production Bucharest, and `The System in the Room` created during Simultan Festival 15, Timișoara. The first game explores urban situations and how the players deal and react to some trivial city-happenings. To win the game, they have to use the physical distancing rules to `move` in the board-game city and tell the story of their trip. The second game centers more on dialogue than on winning. This time the players move in a board-game that represents the system behind housing developments. They have to explain the concepts presented in this system and create together a narrative on how housing developments should work. While, at first glance, the games can appear different in concept, the hypothesis behind them was the same: how can we use games as a tool of understanding the relationship between the citizens and the urban environment. This paper will present our observations derived from playing and observing the two games.

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Stebuklų sociologija: šventi atvaizdai

Author(s): Darius Liutikas / Language(s): Lithuanian Issue: 1/2022

The article analyses the social expressions of miraculous images. The focus is on the social interactions and functional interfaces of these images. The article also discusses the sociological concept of miracles, the tradition of crowning images, and the importance of religious souvenirs with copies of images. The author uses narratives and examples related to miraculous images in Lithuania. Miraculous and holy images are an important part of the social life of believers. In this article, images are analysed as social actors. They help to create miracles, as well as various social connections and networks. They define daily and festive times and encourage commercial activities that ensure the spread of their power and influence. Their celebrations of honour and exaltation (for example, coronation rites) become important social events, and their stories (biographies) become a field of research for historians and art critics. The person interacts with the social construct of the image, the representation they have created. Such a relationship with a miraculous image can last temporarily or permanently and manifests itself in reciprocal exchanges (requests, promises, and votive offerings versus miracles and graces). Religious souvenirs and devotionalias become spiritual and social mediators between the believer and the image, between the believer and the community. Socially empowered miraculous images manifest themselves in national culture and take root in the collective memory. The maintained connections between the image and the believers inevitably create various rituals and devotional practices, which the Catholic Church also seeks to control. Along with the narratives being created and disseminated, devotional practices help to empower the image. The abundance of narratives increases the popularity of the image until it is finally officially recognised as miraculous and usually crowned by the Catholic Church. While, on the one hand, such recognition also implies increased official control, on the other hand, the image consolidates its power and becomes part of a communal (regional or national) identity. The Catholic Church also appreciates the geographical space of the miraculous image: the churches become basilicas, as if increasing the significance of the place. The world of miracles is multi-layered and open to various interpretations. Theologians, psychologists, anthropologists, or philosophers have different ideas and theories on how to explain the phenomenon of miracles. Most importantly, despite scientific advances and technological development, the miracles continue to exist in modern society. For the believer, they are signs of God that affect their lives, and for the unbeliever, the phenomena of miracles are explained by various theories. In any case, miracles are a social fact that gives rise to social phenomena, which require further and deeper research.

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ДВЕ НЕПОЗНАТИ ЖИВОПИСНИ ПРОИЗВЕДЕНИЯ НА РАННИЯ НЕНКО БАЛКАНСКИ, ЧАСТ ОТ КОЛЕКЦИЯ „СТОЯН СОТИРОВ“ В БЛАГОЕВГРАД

Author(s): Ilia Borisov / Language(s): Bulgarian Issue: 19/2021

The text deals with two original works by Nenko Balkanski, which are owned by the Regional History Museum – Blagoevgrad. The author’s attention is also focused on the conservation of the paintings.

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ОБРАЗИТЕ НА САКРАЛНОТО И РОДНОТО В ТВОРЧЕСТВОТО НА НАУМ ХАДЖИМЛАДЕНОВ

Author(s): Daniela Petrova / Language(s): Bulgarian Issue: 20/2021

In terms of style aspect, the Bulgarian fine arts from the first two decades of the twentieth century have an extremely diverse character. The different styles and movements appearing on the Bulgarian art scene of- 502 ten put the authors wandering between the motives of the Sacred and the Native. The work of the artist Naum Hadzhimladenov was formed in this ambience. Born in Samokov in 1894 and graduated from the State Academy of Art in 1921 in the class of Prof. Ivan (Jan) Mrkvichka, the young artist became interested in the fashionable at the time styles of representing the motives of the Sacred and the Native, and the connections between them. Even in his early works he was engaged with the questions of good and evil, the answers to which he found in the images of Jesus and Judas. He created many drawings and paintings on biblical themes and with religious motifs from the spiritual life of the Bulgarians – memorial services, prayers, and liturgies. Apart from the sacral-native motives, the search for the Native in the artist’s work develops in two other directions. On the one hand, there are the few works from his student years in which his passions for symbolism and attempts to delve into mythological and fairy-tale plots (“Samodiva”, “Folk Song”, “Shepherd and Samodivi (fairies from the Bulgarian folklore)” are clearly visible. On the other hand are his paintings, representing the life of the Samokov people (“The old Fountain”, “Market in Samokov”, “Wedding”). By the end of the 1940s, the drama in his religious paintings would be replaced, with a new look of irony at the characters. In the 50’s and 60’s among its plots will appear cafes, nativity scenes, circus performances. The search for the Native will never interested him again, and the Sacred will become comic. At the age of 91, Naum Hadzhimladenov passed away, leaving behind a huge work and a rich array of archival materials. Still poorly researched and unknown to the general public, Hadzhimladenov has found his own place in the history of Bulgarian art.

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Ikone bokokotorskih majstora u Bosni i Hercegovini

Author(s): Ljilјana Stošić / Language(s): Bosnian Issue: 20/2021

The icons by masters of the Bay of Cattaro (Kotor) painting school held in Sarajevo (National Gallery of Bosnia and Herzegovina - 7 items, Old Orthodox Church - 7), the church of Saint Nicholas in Foča (4), and the church of the Assumption of the Holy Virgin in the village of Luće (3) near Tjentište, as well as in the treasures of the Gračanica of Herzegovina (3) and Dobrun (2) monasteries, were formerly part of iconostasis, church furnishing, or items of private piety made by six of the twelve icon painters from the Bay of Cattaro: Maksim Tujković, Dimitrije Daskal, Rafailo Dimitrijević, Petar, Vasilije and Ivo Rafailović. This set of art objects includes icons, woodcuts, an antimins, a liturgical fan, and a triptych. This is a corpus of artworks created between the last decade of the 17th century and the 1850s. More detailed knowledge about these items will contribute to a better understanding of the different phases in the development of the Bay of Cattaro icon painting school. Along with the more famous icons from Serbia, Croatia and North Macedonia, the icons from Bosnia and Herzegovina painted by Maksim Tujković and the members of the Dimitrijević-Rafailović family of painters are a missing link to the scattered and insufficiently studied icons in galleries, museums, monasteries, and church treasures in Montenegro in situ. A part of the icons held in Bosnia and Herzegovina have so far been interpreted as a distinct set of work by one of the painters from the Bay of Cattaro, unrelated to the chronological and stylistic sequence to which they actually belong. Although these works have not been paid due attention, nor have they been published or exhibited, due to which they may be incorrectly attributed or dated, they are rare and unique items in the largest regional collection of icons in the Balkans and the true masterpieces of 18th-century icon painting.

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Lutkarske inscenacije bajki Karela Čapeka na južnoslavenskim scenama

Author(s): Hasan Zahirović / Language(s): Bosnian Issue: 3-4/2021

Prve adaptacije i „uvezene“ češke dramatizacije proznih djela Karela Čapeka (1890–1938) na jugoslovenskim teatarskim scenama su se pojavile tek početkom osamdesetih godina prošlog stoljeća. Razlozi ranijeg nepojavljivanja su mnogobrojni, ali ih očigledno ne možemo tražiti u prevodilačkim manjcima jer postoji nekoliko kvalitetnih izdanja Čapekovih bajki i pripovjedaka; premda je ime slavnog češkog autora bilo poznato među pozorišnim radnicima i čitateljima, njegove svjetski poznate drame nisu doživjele skoro nijedno jugoslovensko izdanje (osim drame Slučaj Makropulos) u arhivima većina tekstova nije sačuvana (izuzetak je par rukopisa u arhivu u Nišu, po jedan rukopis HAZU u Zagrebu i SLOGI u Ljubljani) i zato je Čapek slovio za skoro isključivo dječjeg autora, posebno kad su inscenacije u pitanju.

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Парадоксите на творческата иновация

Author(s): Valentin Angelov / Language(s): Bulgarian Issue: 2/2022

Novelty (innovation) has an important role in the modern art; the value of a work of art is most often measured by it. This article explores the negative innovations, some of which have even a scandalous effect. From Dadaism onward the topic of negative innovations is of theoretical interest. This raises the question of negative values in the modern art, especially in Avant-garde art.

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The Traditional Wooden Gates of Maramures (Romania) As a Part of the Place Legitimization Processes

Author(s): Marin Ilies,Gabriela Ilies / Language(s): English Issue: 1/2021

Maramures is renowned for its vernacular architecture, with over one thousand wooden gates of different ages, old traditional gates and newer ones. They are important not only from an anthropological perspective, but within a larger heritage consumption process, in cultural tourism and political discourse. Therefore, the paper examines the relationship between the wooden gates and the land, revealing new ways of place legitimization and community resilience through ethnographic insights. Consequently, the study focuses on several main categories: the visual elements, metaphors, patterns and themes linked to identity place-branding processes, and heritage tourism. Initially placed at the limit of properties, the gate has played the function of architectural structure and of social status symbol. The new gates are erected in a separate paradigm, and two main functions derive from their position as private art in the public space—the frame and the portal, both static and dynamic roles of the same wooden structure, mediating between the artist, the patrons, the work of art, and the art consumers.

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Feodosia Rotaru, Meşteşuguri tradiţionale din judeţul Bacău. Portrete de meşteri

Author(s): Iulian Bucur / Language(s): Romanian Issue: XLIII/2014

Review of: Feodosia Rotaru, Meşteşuguri tradiţionale din judeţul Bacău. Portrete de meşteri, Editura Ateneul Scriitorilor, Bacău, 2013, 240 p., ISBN 978-606-8380-42-1

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