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Художник Федор Каурцев: долгое возвращение в Палех

Author(s): Dmitry Igorevich Polyvyannyy / Language(s): Russian Issue: 1/2022

Based on few published, mostly archive and newly discovered sources, the article reveals basic biographic facts concerning Fyodor A. Kautsev (1896—1963) — one of the leading persons of the second generation Palekh artists of the Soviet time — in socio-cultural context. Transformations of his social and creative identity are traced from his schooling in N. M. Sofonov’s icon-painting workshop to the beginning of his work in Palekh Artel of ancient painting in the end of the 20-ies-beginning of the 30- ies. The artist belonged to Palekh art dynasty known from the beginning of the XIX c., in 1916—1921 went through the fronts of the first world and civil wars in Russia returning to art work only in 1928. His creative identity, saved despite years being far from art, helped him in the beginning of the 1930-ies to occupy leading position among the second generation of the Artel’s masters and to get included into its art search, trying lacquer miniature, painting on china and book illustration. Scenes of traditional and new village life, illustrations of classic Russian literature of the XIX c., images of cattle and wild animals, ornamental compositions became leading themes of his paintings. Keeping in mind common features of his biography with other Palekh icon painters who survived severe sociopolitical and economic changes in Russia, the author concerns, that further research of his creative work can help to more fully represent the role of folk art intelligentsia in keeping continuity of cultural traditions and shaping of Palekh art as the emblematic phenomenon of the new Soviet culture.

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Brașovul și cartea veche între 1805 și 1827

Author(s): Marcela Ciortea / Language(s): Romanian Issue: 1/2022

This paper presents the volume “Graphic Art of Old Romanian Books Printed in Brașov” (1805-1827) written by Anca Elisabeta Tatay and Cornel Tatai-Baltă and published in excellent graphic conditions at the Mega Publishing House in Cluj-Napoca, in 2020. First, we talk about the theoretical excursion in the first part, then about the album with fine reproductions of title sheets, vignettes, seals, engravings, in the second part.

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Pottery from Tomb MMA 28 at Deir el-Bahari: preliminary remarks

Author(s): Ania Weźranowska,Anna Wodzińska / Language(s): English Issue: XXX/2021

The clearance of Tomb MMA 28 at Deir el-Bahari yielded mixed pottery material dating from the Middle Kingdom to modern times. The article presents, in chronological order, some of the most characteristic vessels representing each phase (with the exception of the late Roman period, which is to be studied separately). Among them are Middle Kingdom pointed bottles and Marl C jars, New Kingdom double and triple bottles, kernoi, beer jars and blue-painted pottery, as well as Ptolemaic painted pottery.

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Lintel decoration types from the Temple of Hatshepsut at Deir el-Bahari and their meaning

Author(s): Adrianna Madej / Language(s): English Issue: XXX/2021

Examination of the set of preserved gate lintels from the Temple of Hatshepsut in Deir el-Bahari has revealed two models of the iconographic decoration: one that emphasizes pictorial content in the form of scenes of a cultic or symbolic nature, with inscriptions playing merely a complementary role, and the other based on the textual message alone. The use of a given model of lintel decoration appears to be a measure either of the function of the room or, more broadly, of the space, accessed through the gate, or of the context of the wall decoration around the entrance.

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Secondary epigraphy in the North Asasif tombs: The “restoration label” of Paser in Khety’s tomb TT 311, year 17 of Ramesses II

Author(s): Chloé Ragazzoli / Language(s): English Issue: XXX/2021

Recent work by the Polish mission in Asasif brought to light 11 fragments of an inscription in the name of the vizier Paser, coming from the chapel, the cult space of Khety’s tomb (TT 311). The fragments, along with two found earlier and exhibited in the Metropolitan Museum in New York, form an almost complete inscription, which sheds light on Paser’s self-fashioning as a scholar and a kind of Khaemwaset of the South. This hieroglyphic graffito can be considered as a restoration label in the name of Paser on a monument of an illustrious predecessor. By raising himself to the level of his eminent ancestors whose monuments marked the sacred landscape of his time, Paser demonstrated his scholarship and social pre-eminence.

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What an artist saw: Tracing a local iconographic tradition for the Temple of Hatshepsut at Deir el-Bahari

Author(s): Anastasiia Stupko-Lubczyńska / Language(s): English Issue: XXX/2021

An unusual iconographic motif—a fringed piece of linen—depicted in the Chapel of Hatshepsut, part of the queen's temple at Deir el-Bahari, is examined in this paper as an illustration of the interest, well attested in Hatshepsut's reign, in past artistic models/sources. The Chapel of Hatshepsut was intended for the mortuary cult of the female pharaoh, while the motif under discussion appears to have been inspired by decoration earlier by 500 years, found inside a burial chamber cut into the rock cliff of North Asasif, which is a natural continuation of the Deir el-Bahari amphitheater. The tomb (TT 311) belonged to Khety, a courtier of the Eleventh-Dynasty pharaoh Mentuhotep II Nebhepetra. Assuming the validity of this iconographic link, the question arises concerning the accessibility of decorated burial chambers from the Eleventh Dynasty in this area and their possible role as “pattern books” in the design of the early Eighteenth Dynasty private and royal mortuary monuments. In addition, the paper addresses the issue of the Chapel of Hatshepsut serving as a monumental “pattern book” for the Late Period Theban tombs.

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Dongola 2018, winter season: epigraphic note

Author(s): Adam Łajtar,Vincent van Gerven Oei / Language(s): English Issue: XXX/2021

Abstract: The paper gives a brief account of the epigraphic work carried out in Dongola in the 2018 winter season. It included studying wall inscriptions and ostraca from the monastery on Kom H and Church B.V on the citadel, unearthed during both the previous and the present seasons.

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Problems and solutions in dating Nabataean pottery of the post-annexation period

Author(s): Tali Erickson-Gini / Language(s): English Issue: XXX/2021

In the desert regions of the Southern Levant, the dating of Nabataean sherds and vessels is a critical factor in determining the dates of archaeological strata, architecture, and even entire sites. In recent years, archaeologists working at Petra and related sites have tended to date most Nabataean sherds and vessels to the 1st century CE based on the proposed typo-chronology of the Swiss–Liechtenstein excavations at ez-Zantur in Petra, published by Stephan G. Schmid (2000). Accepted typo-chronologies must withstand scrutiny and can override imposed historical frameworks. However, an uncritical reliance on the ez-Zantur chronology has created an artificial gap in the material record of Petra and other Nabataean sites in the post-annexation period, that is to say, the 2nd and 3rd century CE. This paper provides a critique of the Nabataean fine-ware typo-chronology from ez-Zantur, based on finds from other excavations and sites, and proposes a revised chronology in which the production of Nabataean pottery, including painted and unpainted fine wares, unguentaria and lamps, continues unabated throughout the Middle Roman period until sometime in the first half of the 3rd century CE. The revised typo-chronology evinces a robust period of Nabataean culture at Petra and other related sites under Roman rule, like that found in other cities of the Roman East.

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The House of Aion in Nea Paphos: seat of an artistic synodos?

Author(s): Elżbieta Jastrzębowska / Language(s): English Issue: XXX/2021

The article presents some archaeological observations based on recent publications and the author’s survey in situ of the so-called “House of Aion” at Nea Paphos in Cyprus. The archaeological context (coins and pottery) dates the last phase of this building to the 320s, its partial destruction to the earthquake of 332/342, and its final annihilation by another quake to 365. The much-discussed mosaic with mythological decoration in the triclinium and the newly analyzed wall paintings in one of the rooms (No. 7), preserving the figures of Apollo and three of the Muses, are typical decorative elements of late antique Roman elite houses. And yet, the layout of the building, the triclinium located at the entrance to the house, and the presence of two rooms with a wooden floor, laid over an earlier water cistern converted into a cellar, possibly a treasury, suggest that the function of the complex was not residential at all. Indeed, the close proximity of the “Villa of Theseus”, which was rebuilt in the same period and converted into the praetorium of the governor of the island in the first half of the 4th century, suggests that the so-called “House of Aion” could have been the seat of a Roman association, probably a synodos of Dionysiac artists (ex-technitai) who presented themselves in the theater of Paphos. Therefore, it would be better to call this building the Synodeion of late Roman Cyprus.

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FILE DIN CARTEA SCORŢENILOR ‒ II ‒ (1900-1950)

Author(s): Ecaterina I. Măgirescu,Cedric N. Măgirescu / Language(s): Romanian Issue: XXIV/1993

La deuxième partie des Pages de Livre de Scortzeni est l'histoire du village de l'arondissement de Bacău Roumanie dans la première moitié du XX-ème siècle.

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Fr Pavel Florensky’s Concept of a ‘Living Museum’ in the Context of Atheist Criticism

Author(s): Alexander Kopirovsky / Language(s): English Issue: 3/2021

In this article, to discover what ‘Soviet spirituality’ is, the author analyses the collision between two visions for the form and content of a working art-historical museum, created after the October Revolution of 1917 at one of Russia’s best-known monasteries – the Holy Trinity-St. Sergius Lavra. One of the visions belonged to the well-known natural scientist and theologian, who from 1911 was also a priest – Fr Pavel Florensky. In his vision, Florensky tried to develop ideas related to a new sensibility and comprehension of works of church art. In the period of his creativity immediately prior to this, in his book The Pillar and Ground of the Truth (1914), Florensky had been able to show that ancient icons were not primitive art, and that they needed to be interpreted primarily as a complex, metaphysical phenomenon. In later articles (1918–1929), written in the period before his arrest and subsequent execution by firing squad in 1937, he developed an integral concept for a ‘living museum’. Through such a museum church architecture, frescoes, iconography, applied church art (useful objects), music, etc., all exist together in an environment, which is completely natural to them and in connection with the liturgical life of the church / service to God. For Florensky, the brightest example of such a ‘living museum’ was the Holy Trinity-St. Sergius Lavra, a monastery complex in greater Moscow (15th–19th centuries) with a rich history, which had preserved artistic treasures of international significance. The reception of Florensky’s concept with regard to the activity of museums alone, would be outside the integral, and in many ways utopian, context of Florensky’s thought, which is directed at global change in culture and at the “destruction of the watershed of world spirituality” (Sergei Khoruzhy), i.e. toward the completion of a synthesis between the culture of antiquity and Christian culture. Therefore, the embodiment of Florensky’s idea only in the context of a museum would only be just another form of ‘Soviet spirituality’, albeit not as radical as earlier expressions thereof.

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Understanding technological innovations through experiment: Construction and testing of Chalcolithic pottery kilns

Author(s): Felix-Adrian Tencariu,Radu Brunchi,Stanislav Țerna,Ana Drob,Maria-Cristina Ciobanu,Andreea Vornicu-Țerna,Casandra Brașoveanu,Denisa Adumitroaiei / Language(s): English Issue: 2/2021

Besides its contribution to understanding the formation process of large settlements and complex social organization in the late period of Cucuteni-Trypillia, the site of Stolniceni (Republic of Moldova) provided new data on the construction and spatial distribution within the site of pottery kilns. The extensive magnetic surveys revealed a large settlement, with more than 350 burnt dwellings, hundreds of pits, ditches, paths, and 19 kilns. Of the latter, four were excavated during the 2016-2018 campaigns. Three kilns were more or less similar in terms of sizes and construction, belonging to the “simple”, dual chambered, up draught type. The best-preserved of them already served as model for a published experiment conducted in 2017 near the Stolniceni archaeological base. The fourth provided several surprising building features, like six additional holes arranged around the fire channels and communicating with them, and two small clay arches above the channels’ ends. A plausible hypothesis of the researchers is that these elements were meant to improve the draught, by increasing and uniformizing the circulation of hot air throughout the upper chamber. Thus, in order to test how this technological innovation acts on the firing efficiency, we conducted a new experiment (August-September 2020, Băiceni-Romania). The firing process and temperatures reached in this type of kiln proved the concern of prehistoric potters for continuous improvement of their craft, raising questions about the emergence and socio-economic implications of such innovations.

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Transmedia portaling: imaginarul mitologic al trecerii dintre lumi, în noile media

Author(s): Dan Popa / Language(s): Romanian Issue: 46/2021

In this paper we aim to examine some aspects of the relationships between mythical symbols and images of the trangression of frontiers between this world and other world, on one hand, and its reminiscences in pop culture (movies, video games, advertising), on another hand.

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Beyond Outrage: Approaching Arts Controversy in Postcommunist Poland

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Beyond Outrage: Approaching Arts Controversy in Postcommunist Poland

Author(s): Anita Pluwak / Language(s): English Issue: 03/2021

In recent decades, public disagreements over artistic expression have emerged as a key feature of contemporary democratic culture. This has also been the case in the formerly communist countries of East and Central Europe such as Poland where persistent arts controversy has become a central component of the postcommunist era. This article explores the characteristics of postcommunist Poland’s arts conflicts, how they relate to other models of contemporary arts controversy, and what might be deemed their specific “postcommunist” qualities. It also looks into the evolution of how arts controversy has been understood and interpreted in Poland after 1989—from the 1990s’ scandalous outrage with mostly visual arts, through the decisive cultural and political turning points of the following decade, up to the debates of recent years about controversial theatre productions like Golgota Picnic (2014), the public sphere and the outcomes of postcommunist transformation.

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Societatea rusă „surprinsă” de Gogol și transpusă pe pânză de Fedotov

Author(s): Mihaela Moraru / Language(s): Romanian Issue: 3/2014

As remarkable representatives of Russian culture, both Gogol and Fedotov explore the uncommon aspects of reality only to reveal their symbolic valences in an unconcealed manner. The common feature in their works is their view on surrounding world and their vast thematic spectrum, that encompasses multiple elements, such as nature, time, history, various lines of thought etc. All these components are analysed starting from the impact that they have upon human beings, since the two great artists unmask not only the overwhelming routine, but also the depressing atmosphere of individual misery, in a horizon deprived of any coordinates. Their creation, although vested with specific aesthetic resources, brings about a dismal perspective on human life: the ideal becomes a mere illusion and society – “a trap for human beings”.

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FRANZ XAVIER WAGENSCHÖN PICTOR VIENENSIS, AUSTRIAE DISCIPULIS, P. P. RUBENIUS

Author(s): Mihaela Vlăsceanu / Language(s): Romanian Issue: 31/2021

The study analises from a comparative perspective the creation of one of the leading representatives of Baroque painting of central – Europe, a Viennese Academy descendant Franz Xaver Wagenschön, in whose creation analogies of Peter Paul Rubens, Michelangelo Merisi da Carravagio, Michelangelo Unterberger, Franz Anton Maulbertsch and Paul Troger can be identified. Pictor Vienensis, Austriae Discipulis, P.P. Rubenius is the identity consecrated by the painter himself when signing his works. This identity is investigated through a series of votive altar paintings commisioned by the Catholic mendicant orders (mostly by the Franciscans) for the churches they erected in urban and rural centres of eighteenth century Banat. As one may observe from the interpretation, Rubens had the greatest influence on Wagenschön, from style to manner and media used, to iconography of apotropaic saints depicted with Baroque scenery and neoclassical vocabulary. This mixture of influences can be attributed to the situation found in the Banat province after the middle of the 1700s, when echoes of the Enlightnement movement penetrated all fields and became a true state policy and when Wagenschön’s creation reached its climax. He decorated altars for the Jesuit church of St. George in Timișoara (St. Ignatius of Loyolla and Alois), votive painting of the main altar of Theresiopol Roman-Catholic church (Vinga, Arad county), main altar votive painting of the Oravița (Caraș county) and side altar painting of the Franciscan monastery of Maria Radna in Lipova. Compositional and chromatic influences, full assimilation of the baroque naturalism from his masters are to be found throughout his entire carieer, in a period when the Catholic church regaines its prestige and becomes the most important recipient of religious works of art.

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За живописта и нейното „потъване“ в абстракцията

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За живописта и нейното „потъване“ в абстракцията

Author(s): Ivan Stefanov / Language(s): Bulgarian Issue: 3/2022

Hegel, in his Aesthetics, Volume 2, in the section on painting as a romantic art, repeatedly returns to the same idea: painting must choose and present as its subject only what can be realized through its external specific subject appearance. Painting should represent people, houses, faces, trees, bushes, rivers and lakes, etc. In this way, according to Hegel, painting can escape from sinking into abstraction, to which it is constantly driven by the growing autonomy and independence of the color principle in the construction of the overall pictorial image. But historically this has proved impossible. With the advent of modernism in the mid-19th century, painting was deprived of its external support (mythology, religion, history) and must develop as a completely autonomous and independent artistic field that can and has to rely solely on itself. This autonomy finds its ultimate expression in the emergence and development of the absolutely pointless abstract picture. It is also the concrete aesthetic response to the enormous external pressure of photography and cinema as new technical media and arts. From mimesis art, painting is radically transformed into expressive and completely pointless art. This radical transformation, its causes, nature and consequences are the subject of analysis in the proposed article. The final conclusion is that abstract art is closely related to painting theory and practice, its specific end and at the same time a new beginning.

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Stećci – între profan și filozofic

Author(s): Iulia Staicu‐Rusneac / Language(s): Romanian Issue: 1/2014

The intention of this article was to present an unique cultural phenomenon of the western and central Balkan Peninsula during the late Middle Ages, more precisely between the 11th and 16th centuries. Although the mysterious tombstones, the so‐called ”stecci”, have been capturing the attention of scholars for the past 150 years, many questions still arise also due to the fact, that the enigma of their existence has been exploited in order to justify historical rights or even territorial claims. Leaving behind the contemporary perspective of analyzing the heritage and without trying to find a legitimate "heir" among one of the modern nations , this study represents an attempt to present a general framework, the main characteristics and an inventory of the most common motifs that appear on these mysterious tombstones. The only conclusions, which can be assumed beyond doubt, are few ‐ we can only claim with certainty that the stecci belong to a wealthy class, who could afford them. It is very unlikely, that any particular ethnic or religious group was of any substantial significance in its make‐up. It is far more likely, that it was a heterogeneous group of successive generations of Slavs and Vlachs, who were catholic, orthodox or bogumils alike. Another undoubted feature of this phenomenon, is the intrinsic artistic value of the tombstones, which has been a source of inspiration in literature, painting and music.

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Western influence in the creation of sculpture education and monuments

Author(s): Sezer Cihaner Keser,Hanife Neris Yuksel / Language(s): English Issue: 5/2022

Abstract Many powers use art as a mean to transform social and political culture. The aim of this study is to examine approach and relationship between the ideological and social conditions of arts, culture and education policy with regard the power in the example of Sculpture Art Education in a eurasia state. This research has been done in accordance with document analysis, which is one of the qualitative research methods. In this direction, the document analysis covers the years 1923-1956. In the study, art education policies were set out based on the political and cultural influences of the period. In addition, the spread of revolution was examined from the point of how the art of sculpture come true and its interaction with western. The relationship between sculpture education and applied sculptures has been handled with the defined ideological dynamics.

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Mitologemul apei în opera pictorului rus I.K. Aivazovski

Author(s): Delia Doina Mihalache / Language(s): Romanian Issue: 4/2013

Water, one of the four fundamental elements, is characterized by the capacity of changing its state: it can transform from liquid to gaseous or even solid (as ice). This extraordinary metamorphic capacity has inspired many artists, from poets to painters, to evoke, to describe, to recreate it under its various forms. One of those artists is the painter Ivan Aivazovski, which has dedicated its career as a painter to portraying water in all its splendour, both calm and angry in its symbolic personification. This paper’s aim is to present some of the most important valences of water in mythology and semiology, and try to uncover the mystical aspects of Aivazovski’s obsession with water, by analysing some of the painter’s most important pieces.

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