Art History and Criticism最新文献_第2页

Portrait of the People of Silla According to the Persian Texts 根据波斯文献记载的新罗人的肖像

Art History and Criticism Pub Date : 2022-11-08 DOI: 10.2478/mik-2022-0009

D. Akbarzadeh

{"title":"Portrait of the People of Silla According to the Persian Texts","authors":"D. Akbarzadeh","doi":"10.2478/mik-2022-0009","DOIUrl":"https://doi.org/10.2478/mik-2022-0009","url":null,"abstract":"Summary Persian and Arabo-Persian texts frequently referred to Silla as a highlighted toponym. Obviously, descriptions used for Silla in Persian texts cannot be comparable with other toponyms. Ajayeb-al-Makhlughat is the name of a manuscript which deals with marvellous lands, islands, seas, animals, birds, people or customs etc. in Persian literature. Qazvini’s versions have no designs/paintings on toponyms. Haji Mohammad Nasir Khansari published the lithographical version of the manuscript in Tehran in 1283 Hegira (1904 AD) for the first time. His copyist and graphic designer was Abas-Ali Tafreshi. He, in the lithographical version, described the lands and islands of South and Southeast Asia (India to Silla) along with paintings. Most of the people of those islands appeared naked, were uncivilized and had a strange lifestyle. As an exceptional case, Silla is described very positively, civilized, attractive and charming. This paper focuses on the significant difference between Silla and the others, based on the paintings. Nevertheless, this painting is very different from the unpublished painting from Kush-nama, the most important book on Iran’s connection with Silla. The first painting of the people of Silla dates back to a unique manuscript of this book copied by Muhammad ibn Saeed ibn Abdullah. Herat School of Art, by extending towards Shiraz School, has formed the structure of this unique painting from the eighth century AH. However, the painting of the Kush-nama version is not very far from the time of writing of the original text; but the book Ajayeb-al-Makhlughat (AJ) is dedicated to 865 AH and the painting to 1904 AD. At this time, Western art (Europe) had a great impact on Iran.","PeriodicalId":36225,"journal":{"name":"Art History and Criticism","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-11-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80062404","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Art Studies in the Context of Power Relations in Lithuania, 1940–1953: The Case of the Activities and Closure of Kaunas Applied and Decorative Art Institute 立陶宛权力关系背景下的艺术研究，1940-1953:考纳斯应用与装饰艺术学院的活动与关闭

Art History and Criticism Pub Date : 2021-11-15 DOI: 10.2478/mik-2021-0007

R. Žūkienė

{"title":"Art Studies in the Context of Power Relations in Lithuania, 1940–1953: The Case of the Activities and Closure of Kaunas Applied and Decorative Art Institute","authors":"R. Žūkienė","doi":"10.2478/mik-2021-0007","DOIUrl":"https://doi.org/10.2478/mik-2021-0007","url":null,"abstract":"Summary The main purpose of this report is to discuss the influence of political power on art studies in Lithuania and the creative work of artists from 1940 to 1953. It will be based on the destruction of the Kaunas Institute of Applied and Decorative Arts, which is little known to art historians. After the Second World War, this institute actually followed the traditions of Kaunas Art School (1922–1940): that was the reason for its closure in 1951. The closure was officially called the reorganisation and continuation of art studies in Vilnius. The post-war ideological content and power of the government acted in the study process. However, in essence, educators were guided by their modernist attitudes and did not accept Soviet directives. The report will try to show how political power has corrected art studies and changed the work of mature artists. This article raises a question about the cost of adaptation and resistance in life and creation. The idea is that the destruction of an art institution is possible, but it is impossible to completely destroy the art school tradition. These and other similar issues will be addressed in the article, based on archival documents and examples of works by several different generations of artists – Vytautas Kairiūkštis (1891–1961), Liudas Truikys (1904–1987), Zenonas Varnauskas (1923–2010).","PeriodicalId":36225,"journal":{"name":"Art History and Criticism","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-11-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79652701","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Art, Aura, and Admiration in the Age of Digital Reproduction 数字复制时代的艺术、光环与崇拜

Art History and Criticism Pub Date : 2021-11-15 DOI: 10.2478/mik-2021-0001

Patricia A. Emison

引用次数: 2

In Search of Missing Collection: The Case of Artist Albert Rappaport 寻找遗失的藏品:艺术家阿尔伯特·拉帕波特的案例

Art History and Criticism Pub Date : 2021-11-15 DOI: 10.2478/mik-2021-0003

Vilma Gradinskaite

引用次数: 4

Reflections of Theatrical Activities in Lithuanian Local Periodical Press Under German Occupation 1941–1944 1941-1944年德国占领时期立陶宛地方期刊出版社戏剧活动的思考

Art History and Criticism Pub Date : 2021-11-15 DOI: 10.2478/mik-2021-0006

Ina Pukelytė

引用次数: 0

Uniate Sacral Architecture in the Grand Duchy of Lithuania: A Synthesis of Confessional Architecture 立陶宛大公国的统一宗教建筑:忏悔建筑的综合

Art History and Criticism Pub Date : 2021-11-15 DOI: 10.2478/mik-2021-0004

Žygimantas Buržinskas

{"title":"Uniate Sacral Architecture in the Grand Duchy of Lithuania: A Synthesis of Confessional Architecture","authors":"Žygimantas Buržinskas","doi":"10.2478/mik-2021-0004","DOIUrl":"https://doi.org/10.2478/mik-2021-0004","url":null,"abstract":"Summary The architectural legacy of the Unitarians in the former Grand Duchy of Lithuania has received little attention from researchers to this day. This article presents an architectural synthesis of the Uniate and Order of Basilians that reflected the old succession of Orthodox architectural heritage, but at the same time was increasingly influenced by the architectural traditions formed in Catholic churches. This article presents the tendencies of the development of Uniate architecture, paying attention to the brick and wooden sacral buildings belonging to the Uniate and Order of Basilians in the territory of the Grand Duchy of Lithuania. The early Uniate sacral examples reflected the still striking features of the synthesis, which were particularly marked in the formation of the Greek cross plan and apses in the different axes of the building. All this marked the architectural influences of Ukraine, Moldova and other areas of Central and South-Eastern Europe, which were also clearly visible in Orthodox architecture. Wooden Uniate architecture, as in the case of masonry buildings, had distinctly inherited features of Orthodox architecture, and in the late period, as early as the 18th century, there was a tendency to adopt the principles of Catholic church architecture, which resulted in complete convergence of most Uniate buildings with examples of Catholic church buildings. Vilnius Baroque School, formed in the late Baroque era, formed general tendencies in the construction of Uniate and Catholic sacral buildings, among which the clearer divisions of the larger structural and artistic principles are no longer noticeable in the second half of 18th century. The article also presents the image of baroque St. Nicholas Church, the only Uniate parish church in Vilnius city, which was lost after the reconstruction in the second half of the 19th century.","PeriodicalId":36225,"journal":{"name":"Art History and Criticism","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-11-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81177597","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Architectural Criticism in Lithuanian Interwar Press: Preconditions of the Phenomenon 立陶宛两次世界大战之间的建筑批评:这种现象的先决条件

Art History and Criticism Pub Date : 2021-11-15 DOI: 10.2478/mik-2021-0005

Vaidas Petrulis

引用次数: 0

Arctic Drama to Sámi Theatre – Cultural Clashes Towards Decolonisation: In Shared Dialogic Spaces 北极戏剧到Sámi戏剧-走向非殖民化的文化冲突:在共享的对话空间

Art History and Criticism Pub Date : 2021-11-15 DOI: 10.2478/mik-2021-0008

K. Arntzen

{"title":"Arctic Drama to Sámi Theatre – Cultural Clashes Towards Decolonisation: In Shared Dialogic Spaces","authors":"K. Arntzen","doi":"10.2478/mik-2021-0008","DOIUrl":"https://doi.org/10.2478/mik-2021-0008","url":null,"abstract":"Summary This article deals with the concept of Arctic Drama, which is about how there is a relationship between drama and cultural clashes in the perspective of shared cultures in the northern Scandinavian area, which is defined as arctic in the geographical sense. In this vast area the Sámi people historically and to the present day have been living from reindeer herding in a nomadic lifestyle, giving them a close relationship to nature. Norwegians and Swedes colonised this area historically, especially the coast for fishing.There have been strong cultural clashes since the Viking ages, but colonisation mainly started later by introducing Christianity by force in the 16th century. Since the Romantic age, these ethno-cultural clashes have been reflected in drama and theatre, and some plays by Henrik Ibsen and Knut Hamsun echo these tensions. An independent theatre of the Sámi people as well as of other indigenous people in Greenland and Canada, like the Inuits, would also develop some theatrical strategies based in a dramaturgy that could be described as a “spiral dramaturgy”. Cultural independence has contributed to a decolonisation process, contributing to even out the cultural clashes in theatre and drama, which could be defined as postcolonial towards decolonisation. This article focuses on the area of arctic Scandinavia.","PeriodicalId":36225,"journal":{"name":"Art History and Criticism","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-11-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81034403","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Gatherings of Jewish Artists in Interwar Lithuania 两次世界大战期间立陶宛犹太艺术家的聚会

Art History and Criticism Pub Date : 2021-11-15 DOI: 10.2478/mik-2021-0002

Evelina Bukauskaitė

引用次数: 0

Performance Art Using Biometric Data 使用生物识别数据的行为艺术

Art History and Criticism Pub Date : 2021-11-15 DOI: 10.2478/mik-2021-0009

Marija Griniuk

{"title":"Performance Art Using Biometric Data","authors":"Marija Griniuk","doi":"10.2478/mik-2021-0009","DOIUrl":"https://doi.org/10.2478/mik-2021-0009","url":null,"abstract":"Summary This research analyzes performance art that uses biometric data, based on two concept perspectives – inhuman interconnections and transcorporeality – applied to examples of European performance art from Lithuania, Finland, Poland, and Denmark. The term performance art theoretically refers to all art that involves the human body, human biometric data, inhuman interconnections, transcorporeality, and liminal space. This study examines the differences between wide-scope interactive art and design and performance art involving biometric data created through the application of recent developments in consumer technology for live events. This research examined three case projects through the method of autoethnography. The data presented in the article was either collected during the author’s performance art events or at performances the author was attending as a visitor. The cases are analyzed by means of qualitative data analysis, utilizing terms representing human biometric data and interactivity adopted from research within the fields of interactive art and interactive design. The study examines the combination of biometric data and art to explain the phenomenon of humans meeting technology, revealed through data collected from a body and transmitted to an audience during a performance art event. The conclusion revisits the key terms – performance art, biometric data, inhuman interconnections and transcorporeality – as applied to artistic practices, where performance art and biometric data meet.","PeriodicalId":36225,"journal":{"name":"Art History and Criticism","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-11-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81943718","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1