We kindly inform you that, as long as the subject affiliation of our 300.000+ articles is in progress, you might get unsufficient or no results on your third level or second level search. In this case, please broaden your search criteria.
The paper presents the overview of peripheral oral forms recorded in Split and its immediate surroundings in the form of written and inscribed graffiti. In contemporary theory of literature, peripheral oral forms are described as a part of the non-fictional literature mostly defining stories from everyday life. What certainly intrigues readers and observers of these forms is their accentuated and dominant humor. Therefore, in the corpus of selected oral texts written in graffiti in the area of Split, we will present the context of the so-called everlasting Mediterranean satire. Through the graffiti, as a part of the literary structure, the poetics of short literary forms will be analyzed as the closest forms in the literary reality of previously determined (modern) proverbs and aphorisms. The aim of the paper is to present, first of all, graffiti located in Split, in the domain of peripheral oral texts, presenting their poetics which includes unusual communication, whereupon the author addresses the target recipient or the group of recipients. Particular attention will be given to a review of the specifics of graffiti in the world of peripheral oral forms in which the recipient is an active participant (Tomašić 2011), who replies to her/his own graffiti text, changing it and often erasing it, thus creating new forms and (re)shaping the recorded everyday life stories.
More...
İnsan farklı coğrafi şartlara uyum sağlayabilen bir canlıdır. Bu yüzden uygarlık tarihi dünyanın farklı coğrafyalarında şekillenmiştir. İnsanın değişik coğrafyalarda ister göçebe olsun ister yerleşik olsun bırakmış olduğu kültürel değerler görsel kalıntıların yorumlanmasıyla anlaşılmaktadır. İnsanoğlunun kendi tarihi boyunca sürekli yer değiştirerek ve gittiği bölgeye adapte olması daha sonra gittiği bölgeyi değiştirdiğini gösteren tarihte büyüklü küçüklü olaylar bulunmaktadır. Bunlar arasında genel hatlarıyla; Buzul çağı sonrası göçler, deniz kavimleri göçü, Türk boylarının göçü, kavimler göçü, Amerika ve Avustralya kıtasına yapılan göçler, 20 ve 21. yüzyıldaki siyasi göçler sayılabilir.
More...
İnsanların kavramsal ve nesnel olarak olaylara bakış açısı yetiştiği çevre ve yaşadığı ortam koşullarına göre değişkenlik göstermektedir. İnsanın kimliğini oluşturma sürecinde bu ve benzeri etkenler onun yaşamında çeşitli izler bırakmakta ve geleceğe dair bakış açısını belirmektedir. Nitekim insan, oluşturduğu bu kimliğiyle yaşamı deneyimlemeye devam etmektedir. Bu deneyimlerden biri olan göç olgusu; kişinin yaşadığı toplumu ve mekanı istekli ya da isteksiz olarak çeşitli nedenlerle terk etmesi, yeni bir mekanda ve kültürde yaşama eylemini sürdürmesidir. Göç sonucunda oluşan bireysel, sosyal, kültürel ve benzeri değişimler kişisel kimlik üzerinde anlam ve kavram açısından çeşitli etkilere sahiptir. Bu etkiler kişinin iç dünyasıyla çatışması sonucunda bireysel bir konu olarak ortaya çıkmakta ve oluşum koşullarına göre göç kavramı kişiden kişiye değişmektedir. Bu durum yaşadıkları toplumda iyi bir gözlemci olan sanatçılar için de geçerli olup, istekli veya isteksiz olarak gerçekleştirdikleri göç olgusuna dair bazı sorulara yanıt ararlar. Bu sorular; Göç olgusu ve algısı nedir, nasıl şekillenir? Bu olguda insan, kişisel veya toplumsal seçme hakkına sahip midir? Göç ve sanat ilişkisi nelerdir? gibi çoğaltılabilecek türden sorulardır. Aslında, bu soruların yanıtları ister kişisel isterse toplumsal olsun göç yaşamış her kişinin terk ettiği mekanlarda ve belleğinde canlı tutmaya çalıştığı öz geçmişinden başka bir şey değildir. Bu içselleştirilmiş özyaşam kişiden kişiye değişse de sanatçı açısından bakıldığında göç ettiği süreçte uğradığı mekanlardaki kültür ve sanatla etkileşim haline geçebilmekte ve yeni bir sanat anlayışının ortaya çıkmasına neden olabilmektedir. Yaşadığı yeri terk etmek zorunda kalan göçmenlerin ruhlarında oluşan boşluğu, çarpıcı heykellerine aktaran Fransız sanatçı Bruno Catalano’nun “Gezginler” ismini verdiği heykel serisinde meta-gerçek anlatım tarzıyla yeni bir heykel akımının başlamasını sağlaması örnek verilebilir.
More...
İnsanlık tarihine baktığımızda savaşlar, doğal afetler, salgın hastalıklar, göç vb. birçok olaylar insanların hayatlarını derinden etkilemiştir ve etkilemeye de devam etmektedir. Bu olgulardan biri olan göç, insanlık tarihi kadar eskidir. İlk insanlar hayatlarını sürdürebilmek için yer değiştirmek zorunda kalmışlardır. Daha sonraları göçün değişik örnekleri yaşanmaya başlandı. Bunlar; insanların yaşadıkları yerlerden zorla koparılıp köle olarak uzak kıtalara çalıştırılmak üzere götürülmesi, uzak kıtaların sunduğu zenginlikler, savaşlar veya başka bir yerde yaşama isteği gibi sıralanabilir (Erkiner, 2016: 155). Özellikle 21. yüzyılda göç olgusunun arttığı görülmektedir. Göç kavramı, Türk Dil Kurumu Türkçe Sözlüğü’nde; “ekonomik, toplumsal, siyasi sebeplerle bireylerin veya toplulukların bir ülkeden başka bir ülkeye, bir yerleşim yerinden başka bir yerleşim yerine gitme işi, taşınma (TDK, Güncel Türkçe Sözlük) olarak tanımlanmıştır. Göç, coğrafi olarak bir mekân değiştirme nüfus hareketi olarak görülse de nedenleri ve sonuçları bakımından, bireylerin ve toplumların yaşamında Sosyo-kültürel, politik, ekonomik gibi geniş etkiler yaratan bir olgudur (Seyitvan,2017; Aktaş,2016; Akkaya, 1979).
More...
The article discusses the specificity and history of the Lodz Ballet Festival. LBF is the oldest international dance art festival established in Poland; the first biennial took place in 1968 at the Lodz Grand Theater. The festival quickly became the largest and most prestigious ballet event in Poland and one of the best events devoted to the art of dance in Europe. The article presents and analyzes the artistic program of ŁSB, which allowed the Łódź/Polish audience to have direct contact with the most outstanding dancers, dance groups and choreographers from around the world, and thus became a unique forum for confrontation and a school of what is most valuable today: in ballet, in contemporary dance theater and in the art of expression through movement.
More...
In the article Nowa Perspektywa, the author describes the unique nature of one of the Łódź festivals – Retroperspektywy, organized by the Chorea Theater Association from Łódź. The text discusses the international editions of the festival, from its first edition in 2010, to the creation of a new national initiative called “Perspektywy.” In addition to analyzing the programs and ideas that guided the organization of each edition of the festival, the text also includes interviews with the organizers of the event, from the volunteer to the festival director. Thanks to such a broad study of the subject, both from the organizational and purely artistic side, it is easier to imagine the atmosphere of the festival, where the guest often becomes not only the recipient but also a co-creator of the entire event.
More...
Author took up the issue of the action Dotknij Teatru, which has been taking place in Łódź since 2010. In her article, she meticulously traced the history of the festival, using the archives and interviewing the main DT coordinator – Anna Ciszowska. Katarzyna Mańko confronts the original assumptions of the festival with its effects so far. He boldly asks questions about the condition of the campaign, its future, the way it is organized, as well as the target audience. It cites the most interesting events, often using personal experiences as a participant, observer, and also an active artist taking part in the events signed by Dotknij Teatru.
More...
The change and increasing diversity in communication tools with globalization have ensured the universal presentation of visual elements shaped by local cultural patterns. Today, design products have turned into a strategic tool for many countries in order to reach higher competitive power. As the visual design industry contributes as an important visual communication and marketing tool for different industries within and outside the creative sector, its role in ensuring sustainability becomes even more important. Graphic design is much more effective, direct, and fast than other means of information in order to develop environmental awareness and motivate desired behaviors. The biomimetic graphic is a design process and style that has been spread and passed along throughout today’s culture and society via various channels and networks of communication. In today's world, where globalization and associated social and environmental problems are increasing, design education plays an important role in the development of sustainable design products. In design education, the students should be taught the concepts of ecological material selection, environmentally friendly energy use, recycling, reconsideration, and reuse. In this study, the role of biomimicry in visual design education will be examined with sample applications. In addition to new skills and knowledge in design education, sustainability will emerge as an important feature sought in designers soon.
More...
Research into modern sculpture made in Legnica’s art circles has been considerably intensified. A lot of new findings have emerged with regard to Renaissance and Mannerist sculpture. Researchers have also focused on early Baroque sculptures from Legnica. That is why the fact that the oeuvre of this milieu of around 1650 has barely been explored is all the more evident. Nevertheless, despite the tragic consequences of the Thirty Years’ War (1618–1648), interesting works were still produced at the time in Legnica and, especially, its environs. Sculptures produced in Legnica around 1650 were influenced by the oeuvre of sculptors active in the area in the first quarter of the 17th century. They influenced, for example the sculptor known as the Master of the Epitaph of Caspar von Stosch in Czernina. For example, after 1643 he made the epitaph of Michael Eichorn, which as late as in 1893 was still to be found in the Church of SS . Peter and Paul. Archive documents give us the names of artists active in Legnica around the mid–17th century, whom we have not managed to link to known works, artists like Johannis Knaute. The sculptor came from Freiberg and worked in Legnica from around 1615 until 1644. At the same time, there are works whose attribution is impossible. They include the monumental tombstone of the Sighofer family in one of the chapels of the Legnica cathedral. The tombstone was made between 1651 and 1655, most likely having been funded by Eva née Schweinichen, second wife of Johann Sighofer, imperial oficer and counsellor to the Duke of Legnica. We know of no other works by Legnica sculptors from that period, in which the form would be so unequivocally monumentalised. However, there are analogies for the way a majority of other elements were made in earlier sculptures from Legnica. Another characteristic of artists active in Legnica around 1650 is their reliance on tried and tested forms despite evident stylistic changes already happening at the time. The sculptor who undoubtedly replicated set patterns was Abraham Lewe working in the area until 7 November 1663. The mid-1670s was a time of important transformations happening in the wake of the sudden death of Duke George William in 1675. The remains of the last Piast duke were placed in the Piast Mausoleum in Legnica, built in 1677–1679. Its carved decorations were entrusted to the Viennese sculptor Matthias Rauchmiller, a renowned Baroque artist.
More...
The wooden epitaph of the Mayor of Brzeg Martin Schmidt (1583–1668) was initially, i.e. in 1668, placed above the so-called parish priest stalls on the wall of the southern nave of the Church of St. Nicholas in Brzeg, to the left of the entrance to the vestry, next to another monumental epitaph of the family of deacon Daniel Kartscher (d. 1685). During a fire in February 1945 it probably burned down together with the rest of the furnishings. Fortunately, a very good quality photograph has survived, enabling us to analyse the work. The epitaph commemorated one of the most distinguished mayors in the history of Brzeg, a man who remained in his office for 45 years. It had a three-part architectural structure, which drew on the traditional form of late Renaissance epitaphs of burghers. The central part was an oval plaque with a Latin inscription referring to the deceased and his wife Barbara Runtzkin. It was flanked by two Corinthian columns, next to which there stood personifications of the cardinal virtues of Justice and Prudence. The epitaph was crowned with a broken volute cornice. In its centre, there was a low relief coat of arms of the Schmidt family and above it on a base – a tondo with a bust of the deceased painted on metal. The lower part of the work was a suspended cartouche in the form of a frame formed by an auricular ornament complemented by bunches of flowers and fruit, flanked by two atlas putti. It was filled with an emblematic picture painted on wood and stressing the need to remain vigilant in life to ensure constant Divine protection. The author of such a programme was probably Martin Schmidt himself. He was a well-educated man and a friend of many professors from the Brzeg Gymnasium Illustrae. Being on good terms with people at the court of George III of Legnica and Brzeg, he was probably in touch with the artists working there – the author of the portrait as well as the marine representation in the cartouche was Ezechiel Paritius (1622–1688), from 1662 a court painter to Dukes of Legnica and Brzeg. It is more difficult to identify the author of the early Baroque carved framing of the epitaph. However, if the founder used the services an eminent local artist associated with the court of the Legnica–Brzeg Piast dukes in the making of the painted part of the epitaph, he must have done the same when commissioning its carved decorations. The only artist who could make carved decorations of the epitaph of Martin Schmidt in Brzeg at the time was the Bohemian-born sculptor Lucas Müller (ca 1620–1689). As the co-author of the sarcophagus of Duke George III he must have been regarded as worthy of making an epitaph for Schmidt together with the court painter Paritius. This may have been the work that earned him the rights of the city of Brzeg he was granted in the same year in which Mayor Schmidt died.
More...
Georg Zeller is an artist known to scholars studying early modern sculpture in Silesia, but information about him does not go beyond the early period in his work. What can help to fill the existing gaps and introduce some order into the current information chaos are records from the Wrocław birth, marriage and death registers. Among the names of the sculptor given in the literature – Georg, Franz, Joseph – only the first one is correct. Zeller was born in 1638 in the Bavarian city of Ansbach. He settled in Wrocław shortly after finishing his professional education, around 1662, and initially worked for the Norbertine Monastery. As a consequence of this collaboration, he belonged to the Parish of St. Vincent. There, in 1667, he married Dorotha Knockner and baptised his sons: Sixtus (1668) and Johann Caspar (1670). Around mid-1673 he moved to the neighbouring Parish of St. Matthias, run by the Knights of the Cross with the Red Star, and settled near the auxiliary Church of St. Agnes. The year 1673 was marked by the baptism of his daughter Anna Rosina, who in 1701 married the sculptor Johann Frörix, and 1707 – by the death of Dorotha. In 1709 the widower married Maria Scholtze from Kąty Wrocławskie. Two years later the couple had a son, Franz Anton. The old artist died in 1716. Both monasteries, together with the Jesuits and the Poor Clares, made up the biggest Catholic enclave in predominantly Lutheran Wrocław. Around 1700 similar enclaves functioned in the southern (Parishes of St. Dorotha and Corpus Christi), eastern (Dominican Monastery) and south-western part of the city (Reformanti Franciscan Monastery). These locations were attractive to artists because of the ongoing Baroquisation and construction of churches, as is evidenced by the presence of numerous sculptors making up the core of Wrocław’s artistic milieu of Catholic denomination. Throughout his life in Wrocław Zeller may have functioned as a non-guild artisan, taking advantage of a monastery artist’s immunity. He often collaborated with numerous artists employed by the monks: carpenters, painters and sculptors, working on both monastic commissions and those outside monastic patronage, which he took on increasingly as time went by. He was one of those artists who carefully watched their competitors, modifying the formal language of his works. Combining his own, traditional education with solutions he observed in the work of younger artists, he adopted forms characteristic of mature Baroque art, as a result of which he was able to stay on the market for as long as five decades.
More...
The altar of St. Mary Magdalene was funded by the Głogów canon Gottfried Jakob Urban Schönborn around 1697, as is suggested by the text of an ecclesiastical visitation document. It was located in the Collegiate Chapel of St. Mary Magdalene until 1945, when it was destroyed during the war. Its surviving elements were placed in the church after the war, encouraging attempts to reconstruct the work, using its existing remains. The altar was made of grey Silesian marble from Przeworno and white marble, probably from Supíkovice. Below the altar stone was a socle with an oval cartouche, flanked by two pedestals on which stood statues of James the Elder and St. Urban the pope. Between them a rectangular framework with a semicircular ending held a low relief depicting penitent Mary Magdalene kneeling at the entrance to a grotto, holding a cross in her right hand and leaning her left hand on a skull. The composition was framed by volutes with protruding acanthus leaves on which sat putto figures holding the founder’s coat of arms; above there was a sculpture representing St. Godfrey of Cappenberg. A cartouche placed before the altar stone held an inscription commemorating the founder. The iconography of the reredos highlighted the idea of conversion and penitence, as is evidenced by the representation of Mary Magdalene, who placed all her hopes for absolution of her sins in the cross. What was also important was her special role of intercession expressed in the cartouche. The form of the altar is without architectural elements, which in the late 17th and early 18th century was rare in Silesia. The Głogów reredos can be compared only to the 1694 altar of the Holy Family in the Chapel of St. Ivo and Holy Family in the Church of Our Lady on the Sand Island in Wrocław. The author of the Głogów piece is not known – he may have been a member of the workshop or collaborator of another sculptor who came, hypothetically, from the Southern Netherlands, and made the pulpit in the Collegiate Church according to models characteristic of Flanders.
More...
The pulpit from the Collegiate Church of the Virgin Mary was funded in 1697, where it was to be found until 1945, when it was seriously damaged during the war. Its surviving elements are on display today in the Collegiate Church and the local museum. The pulpit has not been studied extensively despite its high artistic value – the first man to note its visual qualities was an anonymous author of a visitation document drawn up between 1706 and 1711. The pulpit was made of white marble from Supíkovice and grey marble from Przeworno as well as white painted wood. Grey marble was used to make structural elements and some decorations. Its ideological concept can be found in an inscription placed on the backrest and quoting Christ’s words addressed to St. Peter (Matthew 16:18): “You are Peter (Rock) and on this rock I will build my Church.” The words became the theological and legal basis of the primacy of St. Peter and his papal successors in the universal Church. This was splendidly expressed by the sculptor of the Głogów pulpit, showing Peter as a high priest wearing an ancient-style garments – a tunic and a loose toga. The front of the pulpit featured an expressive carved scene of the Conversion of St. Paul. It conforms to the iconographic tradition, well-established since the Middle Ages and based on an account of the event to be found in the Acts of the Apostles (Acts 9:3-6). Over the lintel with the date of the foundation, there was placed a double cartouche with the coats of arms of the founders of the pulpit. An oval relief with the Annunciation scene was a reference to the Marian dedication of the Collegiate Church in Głogów. The adjacent medallion is filled with the coat of arms of a cleric from the Silesian family of von Lohr, who may have contributed to the foundation of the pulpit. The whole was crowned with a carved wooden group representing Christ surrounded by radiant glory and angels. The Głogów pulpit is the second known Catholic pulpit in Silesia with a figural support. Despite some references to the Silesian tradition, in its artistic and formal origins it is primarily Netherlandish, more specifically Flemish. What is typical of Netherlandising art is the very material – dark marble in the structural parts and contrasting white marble in the figural decorations. Like in their Netherlandish counterparts, the Głogów artists used local stone deposits. Such double colouring of marble is very characteristic of stone sculptures of the Baroque era in Belgium and Holland, where its tradition goes back to Gothic art. Thus the work may have been created by a Flemish artist or a sculptor well familiar with Flemish models – at the current state of research his name is still unknown, as is that of the main founder of the pulpit.
More...
Among the examples of baroquisation of church interiors in Silesia carried out or at least begun in the second half of the 17th century two stand out: the Cistercian Church in Lubiąż and the Jesuit Church in Świdnica. What they have in common is not just substantial scale, high artistic quality and use of numerous solutions previously unknown in Silesia, but, above all, French inspirations, which were rare in Habsburg lands in the 17th century and which reached Silesia via different routes. The furnishings of the Lubiąż church, preserved on site until the Second World War, was made in several stages, from the end of the tenure of Abbot Arnold Freiberger (1636–1672), through, largely, the tenure of Abbot Johannes Reich (1672–1691) and his successors in the 1690s and at the beginning of the following century. Initially, the main artist in charge of the project was Matthäus Knote, followed by Matthias Steinl – a designer and head of the workshop that produced most of the furnishings. Despite many novel solutions making the Lubiąż furnishings original and in some elements even “avant-garde” in stylistic terms, the very concept of baroquisation of the Lubiąż church is, as a whole, traditional. Although the furnishings do make up a regular, symmetrical composition, each of these “pieces of furniture” is an autonomous unit. By comparison, the other baroquisation, in the Jesuit Church, appears unique. It was carried out according to a design by the order’s sculptor Johann Riedel, who reached France during his study travel and learned many solutions used in that country. He came up with a concept according to which uniform furnishings for a vast majority of the interior were made in the 1690s and the first two decades of the following century. Unlike those of Lubiąż, the Świdnica furnishings draw on groundbreaking French solutions, which Riedel got to know in person, of the so-called décor extensif – with the main altar being linked to side altars by means of panelling, making up an extensive structure encompassing and organising the interior and giving it a Baroque character. This novel solution in Central Europe remained the only one of its kind in Silesia and was not imitated.
More...
The most important deposits of hard metamorphic rock from Upper Proterozoic (1 billion–635 million years ago) – whiteish and greyish veined marble with various degrees of graphite (less often biotite) – can be found in Lower Silesia near Konradów Wielki (Gross Kuntzendorf) and Supíkovice (Saubsdorf) in the Jesenik District as well as Przeworno (Prieborn) near Strzelin. From the early 13th century these villages belonged to the Bishops of Wrocław’s Duchy of Grodków and Nysa. The marble began to be quarried and used for artistic purposes as early as the turn of the 14th century, but the height of its popularity came only in the second half of the 16th, 17th and 18th centuries, when it became, alongside the local varieties of sandstone, the basic material used in sculpture and stonework in Nysa and from the last quarter of the 17th century – in Wrocław and, more broadly, Lower Silesia. After 1700 it was also exported to the neighbouring Polish-Lithuanian Commonwealth, e.g. its central province of Wielkopolska with the city of Poznań, and the Upper Silesia-Małopolska borderland with Jasna Góra near Częstochowa. Around 600 woks made of the marble in question have survived to this day. The whiteish-grey combination of marble, strikingly similar to the tandem of such rocks from Carrara (varieties of marmo bianco di Carrara and Bardiglio in figural, ornamental and architectural elements respectively) used in Tuscany, and in the Spanish Netherlands and Holland (Noir Belge and Noir de Dinant limestone with Carrara marble, alabaster or Cretaceous limestone from Avesnes-le-Sec according to an identical pattern) became a characteristic of the oeuvres of the most important masters of mature and late Silesian Baroque and Rococo styles: Sulpicius Gode, Johann Adam Karinger, Johann Albrecht Siegwitz and Franz Joseph Mangoldt. Direct models to be followed were provided in Wrocław by imported decorations of the cathedral Chapel of St. Elisabeth and the Electoral Chapel, in which the main material for figural sculptures was marble from Carrara (Domenico Guidi and Ercole Ferrata, from 1700) and Laas / Lasa in Tirol (Ferdinand Maximilian Brokoff, 1721–1722). In the most prestigious figural works the medium grained rock from Kondradów and Supíkovice was replaced with Thuringian alabaster or stucco, or even white painted limewood, which made it possible to achieve more intricate effects in sculptures. This unique regional material tradition continued beyond 1800.
More...
The text constitutes an analysis of the work of two socially-engaged artists: Banksy and Jan Klata, who use the motif of an amusement park in their works. Banksy uses it in a literal – though subversive – way in his project Dismaland, which presents a mocking reversal of Disneyland. Klata, on the other hand, in his performances that often function as a commentary on the reality that surrounds us, uses a set of formal “attractions” reminiscent of those found at an amusement park, which put the viewer (like Eisenstein’s montage of attractions) in a state of perceptual dissonance. The author argues that the space created by engaged art, which utilizes the concept of the amusement park, allows for a true rebellion against the established order. Real amusement parks, on the other hand, create only an illusion of the possibility to break from the existing social norms.
More...
The article analyzes how the meaning and composition of visual language elements, the establishing a system of relationships between them, combined with the experiences, ingenuity and personality of the artist it creates communicative representations loaded with strong aesthetic and emotional meanings. The artist, depending on his own style and his expressive intention, chooses during the creation process his type and number of technical variations in order to be able to render aesthetic, significant and intelligible emotions. The visual communication is achieved through the elements of visual language, with the plurality of combination and interpretation possibilities, so that by using metaphors and symbols, and inventive ways of conveying the message, through the particularity of compositional solutions and techniques the artwork comes to light. We will exemplify this analysis through artistic representations which highlights the creativity of artists by expressing a system of interconnection between the visual language elements.
More...