Wheel-made pottery of the Przeworsk culture in the light of digital radiography examinations. Preliminary study of vessels from the microregion to the east of the lower Raba River

Author(s): Magdalena Okońska-Bulas,Anna Mikołajska / Language(s): English Issue: 57/2022

The article presents the results obtained by examining wheel-made pottery with the use of digital radiography. As exemplified by selected fragments, the possibilities offered by this method of studying the production techniques applied in Przeworsk culture ceramics are presented. Vessel sherds from the younger and late Roman period from workshops located in the microregion east of the lower Raba River (sites in Strzelce Małe and Bessów) were analysed. Analysis of X-radiography images offers some insight into the features of the primary forming techniques used and the structure of the clay fabric.

Zapach malarstwa – zapach sztuki (sensuous theory)

Author(s): Marta Leśniakowska / Language(s): Polish Issue: 3/2022

The affective dimension of experience conceived as a factor organising the psyche is an essential current of the new humanities which accept the “sense-centric“ and multi-sensory perspective derived from French existential phenomenology and based on neuroaesthetics and osmosociology. It resolves the question concerning the manner in which assorted artistic practices are received as a direct multisensory experience upon successive stages of the origin and functioning of art – from the artist’s studio, where art is produced, to the museum/gallery, where it is presented. For the first time in Polish literature the text analyses the participation of scent in the creation and perception of painting by engaging the sensuous theory (Vivian Sobchack) devised by so-called film studies 2.0. The author cites numerous statements made by artists and recipients of art dealing with this theme as well as fragments of the belles lettres, at the same time indicating contemporary art and exposition practices based on scent as well as most recent scientific research (library of the scents of historical objects).

İMAM-I BİRGİVİ MEZARLIK ALANI

Author(s): Ayşe Çetinoğlu / Language(s): Turkish Issue: 21/2022

Although there is no definition or rule in the Islamic tradition on this matter, our cemeteries, which have been formed in various ways due to political, religious, social reasons and factors such as the technical conditions of their time periods, are considered as examples of religious structuring. In the planning of our cemeteries, different types of advancement, usage and structuring are observed, due to changes that occur in parallel with urban life. Despite the rapidly changing and positively developing branches of art and science, parallel transformation is not observed in grave structures. Since the historical artifacts that made it to the present day also describe the life styles, traditions and customs of the people of their time periods, they also show us the urban life, plans and structural usage of those time periods. Grave structures produced with traditional forms and materials in the past have now turned into products that are far from being aesthetical or durable. The cemeteries structures, which have been corrupted by the fact that today's life has moved away from aesthetics and gravitated towards semiindustrial products that can be produced cheaply and quickly, is an issue that concerns every segment of the society; however, not much work has been done on it, which can be seen as a separate indicator of how today's sensitivity on this issue has differentiated.

ვარდანისძეთა წარჩინებული გვარის უცნობი გამოსახულებები ჯუმათის მთავარანგელოზთა მონასტრის XIV საუკუნის მოხატულობაში

Author(s): Nino Chikhladze / Language(s): Georgian Issue: 1/2023

The present paper discusses the issues of establishing the Vardanisdze family, a powerful feudal family of medieval Georgia, in Guria and therefore obtaining the status of Gurieli in the light of the portraits identified in the wall paintings of the Jumati Monastery. Representatives of this strong feudal family were Eristavs (princes) of the Svaneti principality from the 10th-11th centuries to the beginning of the 14th century. According to Vakhushti Batonishvili’s information the Vardanisdze family was deprived of the Svaneti principality and Guria was given to rule in 1361, However, historians have a well-founded opinion regarding the transfer of the date to the first half of the 14th century. Based on the artistic style analysis, the Jumati Archangels Monastery wall painting in Guria reveals the artistic peculiarities of the same period. In this mural decoration the memorial portrait of the proud ancestor of Vardanisdze family Vardanisdze Vardan “Didi” (the Great) was identified during the expedition of the University of Georgia Tamaz Beradze Institute of Georgian Studies in 2022.In the first half of the 14th century, the initiator of the depiction of the ancestor’s portrait obviously was, Eristavi (prince) of Guria from the Vardanisdze family, who would probably be depicted on the north wall of the church near the sanctuary. Unfortunately, the wall decoration was destroyed by the church’s later wall painting and architectural remodeling. However, in the western part of the northern wall, on the layer of painting of the first half of the 14th century, the image of a strange couple of a monk and a nun has been preserved. The Composition, in which the couple is blessed by the Savior, represents the privilege of the first persons of the royal family or local rulers. Therefore, according to the fragment of the woman’s inscription, the monk, and the nun, who are former spouses, may have been Gurielis (rulers of Guria principality), and the initiator of their depiction together would probably be their own son. The son, who commissioned Jumati wall painting is probably Beshken Gurieli. He and his son, Mikeli is mentioned in the later inscription of the11th century famous St. George icon of Jumati. Father,who is depicted as a monk, may be Eristavt Eristavi of Svaneti, Msakhurtukhutsesi Suimon Gurieli, whose portrait was involved in the 14th century mural painting of Zarzma Church. Most likely, he must be the first Vardanisdze, who received status of Gurieli after the loss of the Svaneti principality. This should have happened be- tween the end of the 13th century and the beginning of the 14th century.In 2016, in the Erketi Monastery of Archangels, located in Guria, 12th-13th century fragmentary inscription of an old chancel-barrier slab was found. In it, the name of Eristavt Eristavi of Svaneti Mikeli was read, who is probably the donor of the monastery and therefore the governor of Guria. Thus, it is conceivable that Mikeli should be the secular name of above mentioned Eristavt Eristavi of Svaneti, Msakhurtukhutsesi Suimon Gurieli. This opinion is indirectly supported by the fact that his possible grandson was also named Mikeli. Thus, it turns out that the first Gurielis of the Vardanisdze family who moved from Svaneti to Guria at the end of 13th century and the first half of the 14th century can be named in the following order: Mikel formerly Suimoni, Beshkeni, Mikeli.

TÜRK KÜLTÜRÜNDE AĞAÇ VE FATİH ALBÜMÜNDEKİ KÂĞIT OYMA AĞAÇLAR

Author(s): Burcu Eryilmaz / Language(s): Turkish Issue: 42/2023

Culture is the whole of material and spiritual values created by societies. It has taken shape according to variables such as climate, geography, social environment, belief structure and formed traditional cultural values specifictonations. Symbols found in cultural products in a wide geography extending from Central Asiato Anatolia have affected the cultural interaction between societies and the dynamics in the process of social existence such as religion and customs. The products of spiritual culture kneaded in culture are in the domain of the world of symbols. The tree is also an important symbol for the Turks. The symbolism of plants and trees in Central Asian Turks begins with the first creation myths. Thus, beech, pine, cedar, apple, juniperetc. İn Central Asian Turkish Mythology andbeliefs. Trees were generally regarded as sacred, and a cult of trees developed, even extending to the descent of man from trees. It is possible to see various tree motifs in all areas within the traditional Turkish decorative arts, which constitute an important part of our culture. The art of “Katı”, one of our traditional book arts, which is about to disappear today, shows us the importance of the tree cult in the 15th century with the Fatih album. In this album, superior Works were revealed with a fine workmanship and detailed application in line with the tree cult. By examining the carved wooden works in this album, it is aimed to reveal the importance of Turkish paper carving art, the effect of the tree cult on culture and its reflection on art.

Diyanet İşleri Başkanlığı Merkez Kütüphanesi’nde Kayıtlı Üç Memlük Mushafının Kitap Sanatları Açısından İncelenmesi

Author(s): Abdurrahim Ayğan / Language(s): Turkish Issue: 1/2023

The 13th century is the period in which a significant change was observed in the writing and design of the mushaf in Islamic geography. The cultural destruction caused by the Mongol invasion and the crusades, the changing maps and the cultural policies of the Mamluks and Ilkhanids after the invasion constitute the historical background of this change. The Mamluks, who emerged as a military power and resisted the Mongol and crusader armies in the 13th century, had a prominent position in the art of the Middle Ages with the cultural policies they followed. For the Mamluk sultans, the design of a mushaf should have been as valuable as the design of a place of worship, so many artful Qur'ans prepared during this period have survived. In this study, three mushafs preserved in the Central Library of the Presidency of Religious Affairs and dated to the Mamluk period in catalog information were examined in terms of book arts. The first of these, the Mushaf numbered DIB 6342, has reached the present day in full. Although there is no colophon expression, from the foundation records on the entrance pages of the work, it is thought that the work entered Rumelia by the Ottomans in the 16th century and then was brought to Anatolia. Another complete manuscript is a Juz of the Holy Quran registered with the number DIB 749. The binding of this manuscript, which contains the 18th juz of the Qur'an, is original. The last manuscript examined is registered with the number DIB 6565. There are missing pages of this mushaf, which has a colophon expression, and it has survived to the present day in scattered form. These three copies, which we have examined, were written in the type of muhaqqak-rayhani, in accordance with a tradition institutionalized by Yâkût al-Musta'simi and her followers. In addition, it has been determined that the multi-armed star forms, which are frequently preferred in book decoration in Egypt, Syria and Anatolia, have been used in the two illuminated manuscripts since the middle of the 13th century. The variety of colors used in the zahriye and serlevha pages of the DİB 6342 and DİB 749 works, and the large plant-shaped designs accompanying the geometric forms evoke the new consept of ornamentation, which is thought to be one of the pioneers of the master artist İbrahim el-Âmidî, who worked for the Mamluk palace after the second half of the 14th century.

The Pyramidal and Polygonal Constructive Modelling Method in the System of Professional Art Education

Author(s): Kostyantyn Parkhomenko / Language(s): English Issue: 1/2023

This article considers academic drawing a fundamental discipline that forms the professional qualities of future artists. It reveals and determines the value of a new, modernized method of pyramidal and polygonal constructive modelling, and it proves its significance for increasing the development of constructive-spatial thinking among students. The paper also shows the necessity of studying academic drawing and describes the positive aspects of the method in question. It considers academic drawing a process of cognition and determination of regularities in the surrounding reality. In addition, it analyzes the relationship between academic drawing and plastic anatomy, and determines the global nature of the need for knowledge of plastic anatomy. Furthermore, the text emphasizes the significance of the method as one of the most important ones in the process of professional art education, capable of developing constructive-spatial thinking. It analyzes the scientific developments and teachings of artist teachers and art historians who dealt with the problems of drawing and, in particular, the problems of developing a constructive understanding and of introducing this thinking into the professional art education process. What is more, the paper reveals the essence of the point, line, and subsequently faces as expressive means and techniques that affect the overall design. It proves that the comparison of reference points with geometric shapes helps clarify proportions and convey space. The effectiveness of a method that allows you to consciously and structurally create a form, revealing its capabilities and ‘vital’ truth, is proved. Finally, the article outlines the effective ability of the pyramidal and polygonal constructive modelling method to reveal the character and internal plasticity of the human figure. A conclusion is drawn about the importance of this method in the learning process.

МИСТЕЦЬКА ОСВІТА В УМОВАХ ГЛОБАЛІЗАЦІЇ ТА КУЛЬТУРНИХ ТРАНСФОРМАЦІЙ СУЧАСНОСТІ

Author(s): Zhanna Zakharivna Denysіyuk / Language(s): Ukrainian Issue: 1/2023

The purpose of the article is to consider the challenges and opportunities facing art education in the context of globalisation and cultural transformations of modern times. The research methodology is based on the application of an analytical, synthetic, and cultural method, which allow a comprehensive consideration of the given problem and formulating well-founded conclusions. The scientific novelty consists in the systematisation and generalisation of the main trends and problems of the development of art education, mediated by the processes of globalisation and cultural transformations of our time. Conclusions. Based on the study of trends in the development of art education in the conditions of globalisation, their compliance with the requirements of the modern information space, the prospects for the development of art education are outlined, which consist in the deepening of interdisciplinary connections, innovation, creativity, the practical application of information technologies, which allow combining theoretical (scientific) and creative components in the learning process. The article argues that art education must be adapted to the challenges of globalisation and cultural transformations in order to meet the demands of the modern world.

ДЕКОДУВАННЯ БІБЛІЙНОЇ РИТУАЛІКИ В КУЛЬТУРНИХ АКЦІЯХ

Author(s): Galina Viktorivna Volkova / Language(s): Ukrainian Issue: 1/2023

The purpose of the work is to indicate the compensatory content in Vasilkov's concept (according to A. Kanarskyi) of ritualbiblical traces in literary works and examples of fine art, based on a cultural approach to recognition. Research methodology is based on such methods as culturological interdisciplinary, analytical, comporative, historical and descriptive, art criticism and style, hermeneutic based on the aesthetics of Kanarskyi's compensatory. Scientific novelty of the research. For the first time in Ukraine, the positions of decoding biblical rituals in artistic actions were formulated on the basis of the philosophical concept of Kanarskyi’s recognition. Display in the concept of Durkheim, Vasilkov and Kanarsky in the art criticism dimension of the works of Shevchenko, Gogol and Storozhenko is also original. Conclusions. Approaches to the method of recognising biblical and ritual traces in the works of Shevchenko, Gogol and Storozhenko are outlined in the context of the ritual of sacrifice and hagiographic measurements of the presentation of the main character’s characteristics. Recognition of the compensatory action of transformationdematerialisation in Storozhenko's painting «Premonition of Golgotha» takes place through the use of the watercolor technique in oil painting. The ritual root in artistic acts is recognised, which makes it possible to realise the significance of the cultural influence of art without the participation of a special aesthetic and artistic principle of capturing the significance of creative products. As an action, biblical rituals nourish plot conflicts, which are considered as the actions of characters in literary works and fine arts. As an idea, biblical rituals fertilise the structure of the image, plastic-textured embodiment and compositional standards. As a symbol of sublime life activity, biblical rituals inspire the dramaturgy of comparisons, in contrast to the life-like "development" of the theatre. As a component of being, biblical ritual forms the basis of works of art and leads to the recognition of a ritual genesis in them, "fertilising" them with the content and density of the ideological and figurative expression.

УКРАЇНСЬКИЙ НОНКОНФОРМІЗМ 70–80-Х РОКІВ ХХ СТ. В ПРОСТОРІ ЄВРОПЕЙСЬКОЇ ХУДОЖНЬОЇ ТРАДИЦІЇ

Author(s): Iryna Soliarska-Komarchuk / Language(s): Ukrainian Issue: 1/2023

The purpose of the article is through clarification of the «nonconformism» concept, to prove the appropriateness of using the term «trans-avant-garde» when describing the stylistics of the works of Ukrainian artists of the 1970s and 1980s, for whom the «canons» of socialist realism were foreign and unacceptable. Research methods are based on the fundamental principles of art analysis with the involvement of interdisciplinary connections (psychology, cultural studies, and philosophy). The method of epistemological analysis is used in the process of clarifying the concepts of a number of art historical concepts. System-analytical and comparative-historical methods are used to identify the Ukrainian artistic tradition as a special phenomenon of the European context. The scientific novelty of the study consists in clarifying the definition of the «nonconformism» concept, in substantiating it as a cultural and social phenomenon, and in proving the legality of using the term «transavant-garde» in relation to the stylistic definition of the works of Ukrainian nonconformist artists of the 1970s and 1980s. Conclusions. Having analysed the phenomenon of «nonconformism», having revealed its significance as a cultural and social movement of those who disagreed with the totalitarian system of Soviet society, the feasibility of using the concept of «trans-avant-garde» in relation to the works of Ukrainian artists of the 1970s and 1980s was established in connection with the fact that, like their Western European colleagues, they continued to develop in their work the significant achievements of domestic avant-garde artists of the first third of the 20th century.

ОБРАЗ ОРФЕЯ В МИСТЕЦТВІ ЯК МОДЕЛЬ, ЩО ПОРОДЖУЄ ДІЙСНІСТЬ

Author(s): Valentyn Shtyrbul / Language(s): Ukrainian Issue: 1/2023

The purpose of the study is to analyse the modern embodiment of the eternal image of Orpheus created on the basis of an artistic revaluation of an ancient myth, which over a significant period of its existence has changed its role from the model of archaic society to inclusion in the great cultural context of the art of today. The methodological base of the study consists of a number of methods. Analytical method is used to penetrate the essence of the Orpheus as an artist, which allows us to learn about the motives of his actions. The comparative method is applied to compare and contrast the primary mythological image with its transformed variants. The use of the historical method is necessary in order to trace the development of the eternal image in art in different historical periods. The study of such a well-known image is impossible without the use of a descriptive method since its origins are in mythological sources. The scientific novelty of the study is to consider the eternal image of Orpheus, which exists in art as a generating model of reality. The proof of this thesis is based on the analysis of the examples of modern revaluated embodiment of the mythological plot by giving it the meaning that is relevant to the present socio-cultural meaning. Demonstration of such plot and motive transformations not only eliminates the distance between history and modernity, but also gives rise to a “new” myth that plays the role of a model of new reality. Conclusions. Some well-known plots, being repeatedly told and retold, inevitably undergo changes, significantly moving away from their primary source. The story of Orpheus, reflected in the works of art of different genres, functions as a kind of evolutionary power within the constantly expanding culture. An ancient legend of the Thracian Singer is a constant motif of new creations that not only contradict the cultural and historical development of humankind, but also contribute to it protecting the artistic heritage of the past from cultural oblivion by creating a transformed model of image that is actively involved in the creation of new reality.

ინსბრუკის ლანგარი, როგორც შუა საუკუნეების ქართული კულტურის ენციკლოპედია

Author(s): Beka Chichinadze / Language(s): Georgian Issue: 1/2021

In Innsbruck, Austria, is preserved a unique Medieval art artefact, an enamel-decorated plate. Its height - five Centimeters, Diameter - twenty-five Centimeters. Dark Red, Yellow, Green, Blue, Turquoise, Black and White Colors are used in his images. In the middle of the plate, a circle depicts a famous story, The Rise of Alexander the Great - the young man holds crossed sticks in his hands, surrounded by two birds. Around the circle containing image of Alexander, there are six other circles below the plate and six on the lower side and images of Peacocks, lions, as well as a wide variety of compositions: Snakes with Eagle claws, Winged Horses, Wrestlers, Dancers and Acrobats, Flute players, Birds and Trees of life. Inscription shows, that this plate received as a gift one of the Artuqid rulers - Amir Daud (1114-1142), the owner of Hisn Kaifa. According to some researchers, this product belongs to the Georgian school of enamel. Many images of plate are repeated on various monuments of Georgian art of this era. We have shown several cases, when various stories and plant motifs reflected on the plate, are repeated in the Georgian ecclesiastical art. In the Middle Ages, enamel products had a very high price, which is why this product was considered a suitable royal gift in Georgia. Georgian chronicles pay great attention to the royal gift and attach special importance to the ability to choose a worthy gift among the qualities necessary for the king. The Innsbruck plate also belongs to this tradition, as a magnificent monument of Medieval art, where many images from this era can be found, which, unlike ecclesiastical art, are not limited.

Unde(r)construction. Деконструкция на „аудиовизуалното“ и разрастване на „виртуалното“

Author(s): Bogdan Ghiu / Language(s): Bulgarian Issue: 1/2002

Опит за историзиране на огледалния образ

Author(s): Vladimir Andreev Trendafilov / Language(s): Bulgarian Issue: 1/2002

Antypolityczne strategie instytucji sztuki. 0 książce Octaviana Esanu The Postsocialist Contemporary. The Institutionalization of Artistic Practice in Eastern Europe after 1989

Author(s): Karolina Łabowicz-Dymanus / Language(s): Polish Issue: 34/2022

Review of: Octaviana Esanu "The Postsocialist Contemporary. The Institutionalization of Artistic Practice in Eastern Europe after 1989", (Manchester University Press, Manchester 2021).

MOŻLIWOŚCI INTERPRETACYJNE KATEGORII WSTRĘTU NA PRZYKŁADZIE POPKULTUROWEJ FIGURY ZOMBIE. PERSPEKTYWA EDUKACJI ESTETYCZNEJ

Author(s): Alicja Lisiecka / Language(s): Polish Issue: 64/2022

The article is devoted to the analysis of the interpretive potential of disgust, examining the pop culture zombie figure. The analyses are conducted from the perspective of aesthetic education. The author focuses on such aspects of the zombie figure as: epidemic, impurity, concept of the Other, abjection, the body, and corporeality. The literature used in the analyses comes from various disciplines: psychology, philosophy, aesthetics, pedagogy, etc.

Krzysztof Jakubiak, Monika Nawrot-Borowska, Dziecko i dzieciństwo na ziemiach polskich w źródłach narracyjnych i ikonograficznych z drugiej połowy XIX i początku XX wieku

Author(s): Katarzyna Kabacińska-Łuczak / Language(s): Polish Issue: 64/2022

Review of: Krzysztof Jakubiak, Monika Nawrot-Borowska, Dziecko i dzieciństwo na ziemiach polskich w źródłach narracyjnych i ikonograficznych z drugiej połowy XIX i początku XX wieku, Wydawnictwo Adam Marszałek, Toruń 2021, ss. 521.

Dorota Żołądź-Strzelczyk, Alicja Sztylko, Polskie lalki celuloidowe

Author(s): Katarzyna Kabacińska-Łuczak / Language(s): Polish Issue: 65/2022

Review of: Dorota Żołądź-Strzelczyk, Alicja Sztylko, Polskie lalki celuloidowe, Wydawnictwo Chronicon, Wrocław 2022, ss. 274.

REFERENCES OF THE ROMANIAN DOCUMENTARY FILM

Author(s): Raluca Iulia Bancos / Language(s): Romanian Issue: 31/2022

In the present paper, we aimed to carry out a theoretical study about points of references of the Romanian documentary film in time. We consider this study will be useful to specialized literature, as it helps to better understand eastern documentary film and its specifics and also to documentary producers. In time, Romanian documentary film was used as a scientific tool, informative media product, artistic product or as an ideological instrument. This variety gave documentary filmmakers the opportunity to improve their cinematic style, until nowadays, when we can mention the first Oscar nominations for a Romanian documentary film. When we talk about European cinema, we talk about many ideological influences, but somehow, the Romanian documentary managed to draw its unique path and represent in its images values and facts in our society.

JEŚĆ CZY NIE JEŚĆ? PYTANIE NASZYCH CZASÓW

Author(s): Dorota Chabrajska / Language(s): Polish Issue: 1/2022

“To be or not to be – that is the question,” said Hamlet, summing up in his famous monologue the great questions that in the history of mankind have justified the existence of philosophy: those about being and non-being, about cognition and the accompanying reflection and the norm of morality determining the rules of decent conduct. Hamlet's dilemmas turn out to be so universal that they constantly return in various ways in the texts of culture, both in literature or film as well as in the history of ideas, taking the form of both direct and highly indirect references. However, the thought arises that Hamlet's monologue and the famous question would not be possible if it were not for philosophical questions as such, which people - consciously or unconsciously - have been asking since the beginning of time, and which in Western culture were for the first time unequivocally formulated in philosophy. and Greek. The Greeks asked primarily about the principle of reality, about the cause of being as such, about why there is something rather than nothing, and they tried to develop a system explaining the structure of reality, as well as to define the good and the meaning of morally good action.