Baltic Journal of Art History最新文献

{"title":"Mehhanistlikust ja mentalistlikust andekusest","authors":"Amar Annus","doi":"10.12697/BJAH.2016.11.08","DOIUrl":"https://doi.org/10.12697/BJAH.2016.11.08","url":null,"abstract":"Recent advances in cognitive neurosciences compellingly suggest that the human brain does not have a single cognitive system, but two parallel cognitive systems. These two systems normally blend more or less perfectly in the human mind. Only the failure of one reveals the existence of the other in a way that would otherwise be difficult to discern. This research has established that “human beings have evolved two parallel ways of thinking. One, which you might call people-thinking , mentalistic cognition – or more simply mentalism – is wholly concerned with understanding human beings, their minds, motives, and emotions; the other, which by contrast you could call t hings-thinking or mechanistic cognition , is concerned with understanding and interacting with the physical, non-human universe of inert objects“. In other words, the social brain works entirely differently from mechanistic thinking, using altogether different neural pathways. The current view in the cognitive sciences supports the dual process theory that distinguishes between analytical and intuitive styles of information processing. These two styles – analytical and intuitive – broadly correspond to mechanistic and mentalistic cognition modes. Analytical processing involves abstract, rule-based, logical and deliberate thought, whereas the intuitive style is implicit and contextualized, taking advantage of associations.These two styles can be viewed as the polar ends of a single continuum, best understood as processing modes which individuals move in and out of in a continuous manner, depending on the situational dynamics.However, these two cognitive styles can become the preferences for cognition and learning if one prevails over the other. The general discussions on higher cognitive processes usually do not cite evidence from the studies of clinical population groups. In my view, such discussions are necessary. In a clinical condition, the cognitive preference inevitably becomes a bias, even a strong bias for thinking and behaviour. The clinical conditions have genetic and epigenetic causes, even if these are only partly known. According to the Extreme Male Brai n theory explaining autism, the continuum of cognitive capabilities extends between the natural faculties of empathizing and systemizing in the human brain.In neuroscience studies, the term anti-correlated networks of the brain has been coined to describe the phenomenon of alternating activation, in which mechanical tasks were able to deactivate the regions associated with social reasoning, and social tasks deactivated the regions associated with mechanical reasoning.The first mode of thinking is mechanistic and operates in a more bottom-up manner, being highly sensitive to the type of stimulus. However, the mentalizing system is more top-down, and is influenced by the cognitive context and much less by the surface characteristics of stimuli. The Imprinted Brain Theory describes the diametrical model of the social brain con","PeriodicalId":52089,"journal":{"name":"Baltic Journal of Art History","volume":"11 1","pages":"145-152"},"PeriodicalIF":0.1,"publicationDate":"2016-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.12697/BJAH.2016.11.08","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66669357","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}

{"title":"Miks kõneleb Laokoon kirjasõnas ja ei kõnele marmoris","authors":"Juhan Maiste","doi":"10.12697/BJAH.2016.11.02","DOIUrl":"https://doi.org/10.12697/BJAH.2016.11.02","url":null,"abstract":"In this article, the author focuses on the work called Laocoon , which was one of the most popular subjects for 18th century art writers. The first description of the work was provided by Pliny the Elder who, in the 36th volume of his Naturalis historia , calls it the best work of the art in the world – be it painting or sculpture. Pliny identifies three artists from Rhodes – Hagesandros, Polydoros and Athenedorus – as the authors of the Laocoon Group . After the sculpture was found in the vicinity of the Basilica of Santa Maria Maggiore, the Laocoon has repeatedly aroused the interest of art historians. Johann Joachim Winckelmann raised the sculptural group into focus during the Age of Enlightenment. And his positions, and sometimes opposition to them, form the basis of Gotthold Ephraim Lessing’s, Johann Gottfried Herder’s and Johann Wolfgang Goethe’s writings on the Laocoon . I am sure that their thoughts deserve also attention today, when we speak about the fundamental change in philosophy, philology, and partially also in art history. In seeking an answer to Lessing’s question, “Why does Laocoon not cry in marble but in poetry?” Can art speak? And if it can, how? The first stage of the article explores the contradictory nature of word and picture, in which regard both Lessing and Herder preferred the former. The second question that arises in the article is: What are the framework and boundaries of art writing as a method of art history for ascertaining and describing the internal nature of a work of art? And further, do words enable one to arrive at the deeper layers of a work and the reason for the act of creation? And if so, to what extent? The third and most important issue examined in the article is the two possible approaches to a work of art, and visual images more generally – the analytical and phenomenological. By relying on history, and the broadly accepted methods of the narrative, sociological, biographical, and other sciences contingent on it, the epistemological nature of art has remained outside the conceivable limits of scientific language. And as such, it has reduced the possibility of understanding pictures and finding them a place in today’s scale of assessments; of speaking not only about the external and measurable parameters, but also about works of art as unique phenomena, in which an invisible and metaphysical content exists in addition to that which is inherent to the visible and the describable. Just as much as our rudiments of rationality and logical analysis help us to understand works of art, their impact relies on a subjective readiness to receive artistic experiences, which according to Goethe, transform the Laocoon into something affectively animated in the torchlight. Art is usually revealed by in-depth sources via the contemplative reflection that follows sensory experiences. Since Longinus’s time, this has been described as sublimity, and it garnered supporters in the form of the Neo-Platonic authors of the ","PeriodicalId":52089,"journal":{"name":"Baltic Journal of Art History","volume":"11 1","pages":"9-36"},"PeriodicalIF":0.1,"publicationDate":"2016-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66669220","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}

{"title":"Kaks geeniust. Lomazzost Diderot'ni","authors":"Holger Rajavee","doi":"10.12697/BJAH.2016.11.04","DOIUrl":"https://doi.org/10.12697/BJAH.2016.11.04","url":null,"abstract":"The goal of the article is to examine the theoretical and aesthetical views related to art and concerning painters, mainly in the French tradition, from the early 17th to the mid-18th century, starting with works by Gian Paolo Lomazzo and ending with the viewpoints of Denis Diderot. Using different examples from the texts of the key authors of their day, the article’s aim is to show how, starting in the early 17th century, the type of painter who can be described as a “learned genius” starts to develop; and from the beginning of the next, 18th century, this type gradually starts to transform into the subject that can be called a “mad genius” with all the main features of a modern artist. With the introduction of the neo-Platonic Mannerist doctrine of Lomazzo and Federico Zuccari the “learned genius” is now in its embryonic stage of development, differing greatly from the Renaissance painters of an earlier era. The “painter-mystic” is a self-centred person, whose “inner eye” is directly connected through contemplation with the Divine. In the middle of the 17th century, Charles Alphonse du Fresnoy, and especially Giovanni Pietro Bellori, by synthesizing Platonic and Aristotelian ideas, introduce us to the painter who possesses genius. He is freed from Mannerist mysticism and his main goal is to improve the imperfect Nature created by God through mind and reason. And to produce the perfect version of it in art – la belle nature – to achieve the result the artist has constantly developed himself – to learn and observe. The neo-classicist doctrine gradually burdens the genius with certain strict rules to follow; a process that is referred to here as “taming the genius”. So by the end of the 17th century, it is possible to talk about the “learned (but tamed) genius” – a noble, well-taught, reasonable and aesthetically high-minded artist. At the beginning of 18th century changes start occurring in the theoretical art paradigm, starting with Jean-Baptiste Du Bos and his Reflexions critiques sur la poesie et sur la peinture , written in 1719. This marks a new beginning in the development of the painter-genius figure and undoubtedly has significant influence on the writings that will follow on same subject. Du Bos starts to depart from the “reason-centred” painter, emphasizing the moment of sensory perception as the main criteria in the art of painting. There are two main differences from earlier times. Firstly, the author is now talking about a person who already is genius rather than possessing genius, as was the understanding earlier. Secondly, the person is already born a genius, which means that this quality is no longer taught. There aren’t any strict rules to harass the individual inventiveness and creativity of the artist. In the middle of 18th century many theoreticians, such as Jean le Rond d’Alembert, Etienne de Condillac, Voltaire etc, emphasized such important and very individualistic qualities of the painter as inventiveness, imagination, ori","PeriodicalId":52089,"journal":{"name":"Baltic Journal of Art History","volume":"9 1","pages":"67-88"},"PeriodicalIF":0.1,"publicationDate":"2016-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.12697/BJAH.2016.11.04","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66669117","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}

{"title":"Meremotiiv üleva pildikeeles: paari näitega eesti luulest","authors":"Janika Päll","doi":"10.12697/BJAH.2016.11.03","DOIUrl":"https://doi.org/10.12697/BJAH.2016.11.03","url":null,"abstract":"The article begins by explaining the background of sea motifs, which can be understood as sublime in the classical theory of arts, beginning with Pseudo-Longinus and continuing with Boileau and Burke, and the re-visitation of Aristotelian theory by the latter. This part of the article focuses on the observations of grandeur, dramatic change and danger in nature, which were defined as sublime in antiquity (based on examples from Homer and Genesis in Longinus or the Gigantomachy motifs in ancient art), as well as on the role of emotion ( pathos ) in the Sublime. The Renaissance and Early Modern Sublime reveal the continuation of these trends in Burke’s theories and the landscape descriptions of Radcliffe in the Mysteries of Udolpho . In the latter, we also see a quotation from Beattie’s Minstrel , whose motif of a sea-wrecked mariner represents the same type of sublime as Wordsworth’s Peele Castle (which, in its turn, was inspired by a painting by Sir George Beaumont). This sublimity is felt by human beings before mortal danger and nature’s untamed and excessive forces. In German poetry and art such sublimity can be seen in the works of Holderlin or Caspar David Friedrich. However, 16th and 17th century poetry and painting rarely focused on such sublimity and preferred the more classical harmonia discors , in which ruins or the sea were just a slight accent underlining general harmony. The article continues, focusing on the sea motifs in Estonian art and poetry. In Estonian art (initially created by Baltic Germans), the reflections of the magnificent Sublime in the paintings by August Matthias Hagen can be seen as the influence of Caspar David. In poetry, we see sublime grandeur in the ode called Singer by the first Estonian poet, Kristjan Jaak Peterson, who compared the might of the words of future Estonian poets to stormy torrents during a thunderstorm, in contrast to the Estonian poetry of his day, which he compared to a quiet stream under the moonlight. The grandeur, might and yearning for sublimity is reflected in the prose poem Sea (1905) by Friedebert Tuglas, who belonged to the Young Estonia movement. This movement was more interested in modernity and city life than in romantically dangerous or idyllic landscapes. However, the main trends of Estonian poetry seem to dwell on idyllic landscapes and quietly sparkling seas, as for example, in a poem by Villem Ridala or sea landscape by Konrad Magi. We also see this type of sublimity at the end of the 20th and beginning of the 21st centuries in the soundscapes of the sea by Ester Magi or paintings by Aili Vint. After World War II, the influence of the romantic ode genre and sublime can be seen in a translation of Byron’s Stanzas for Music (1815) by Minni Nurme (1950). In Byron’s gentle, sweet and serene picture of a lulled and charmed ocean, the underlying dimension of the divine, and the grandeur and power of the music is not expressed explicitly. Nurme tries to bring the translation into accor","PeriodicalId":52089,"journal":{"name":"Baltic Journal of Art History","volume":"11 1","pages":"37-65"},"PeriodicalIF":0.1,"publicationDate":"2016-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66669280","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}

{"title":"Endel Kõksi abstraktsetest maalidest","authors":"R. Mark","doi":"10.12697/BJAH.2016.11.07","DOIUrl":"https://doi.org/10.12697/BJAH.2016.11.07","url":null,"abstract":"The artist Endel Koks (1912–1983) is a member of the same generation of Estonian art classics as Elmar Kits and Lepo Mikko. After Kits’s and Koks’s debut at the exhibition of the Administration of the Cultural Endowment’s Fine Art Foundation (KKSKV) in Tallinn in 1939, the three of them started to be spoken about as the promising Tartu trio. In 1944, Endel Koks ended up in Germany as a wounded soldier, while Kits and Mikko remained in Estonia. The Koks’s works that have surreptitiously arrived in his homeland are incidental and small in number. Thus, without any proof, an image developed or was developed of him in Soviet-era art history as a mediocre painter and especially as a weak abstractionist, which is somewhat prevalent even today. I would dispute this based on the conclusions that I reached when helping to organise the exhibition of exile Estonian art between 2008 and 201142 and Endel Koks’s solo exhibition between 2011 and 201343; conclusions that I have supplemented with the opinions expressed by exile Estonian art historians and artists. In 1951 Koks moved to Sweden. Paul Reets has highlighted the years between 1952 and 1956, and assumed that these were difficult years due to the contradictions he faced. According to Reets, one obstacle was influence of the Pallas on Koks’s painting style, which was conservative and adhered to the trends of Late Cubism. According to both Eevi End and Paul Reets, Koks painted his first abstract painting in 1956 Rahutus (Restlessness) according to the former and Konflikt (Conflict) according to the latter). A black-and-white photo exists of Restlessness , which is slightly reminiscent of Pollock, and this is not the same work that P. Reets refers to. They both note that this was a convincing and mature abstraction not a searching for form, and as Reets states, Koks had severed himself from the Pallas. The abstract paintings created between 1956 and 1960 – Kompositsioon (Composition) (1958), Roomus silmapilk (Joyful Moment) (1959) and others – are constructed on the impact of a joyfully colourful palette and lines, and demonstrate a kinship with the abstract works of Vassili Kandinsky. There is also a similarity to Arshile Gorky, whose works he may have seen at the exhibition of modern American art in Stockholm in 1953. Koks’s transition into a pure form of abstraction occurred in 1963. Reets has characterised this as a “the most wondrous year that one can expect to see in an artist’s life. Not an unexpected year, but one that was unexpectedly and extremely rich when it came to his works.” The artist started to create series of works, of which the best known is undoubtedly Elektroonika (Electronics) , which was comprised of 36 sheets. According to Koks, he developed the need and idea to create the series while listening to experimental music, watching experimental films and thinking about nuclear physics. Created with a glass printing technique, or vitreography, each work is unique due to the post-printing","PeriodicalId":52089,"journal":{"name":"Baltic Journal of Art History","volume":"11 1","pages":"125-144"},"PeriodicalIF":0.1,"publicationDate":"2016-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.12697/BJAH.2016.11.07","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66669305","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}

{"title":"Michel Foucault' filosoofiline nägemine kujutava kunsti näite põhjal","authors":"Mirjam Lepikult","doi":"10.12697/BJAH.2016.11.05","DOIUrl":"https://doi.org/10.12697/BJAH.2016.11.05","url":null,"abstract":"In examining Michel Foucault’s philosophical vision I have used Gilles Deleuze’s definition: “A seer is someone who sees something not seen.” Being situated on the border between the discursive and the non-discursive, images offer an opportunity to get out of the discursivity; this rupture enables one to see and say something new. The images carry in themselves “an uncertainty essential for creativity”. This property relates images to Foucault’s philosophical vision, aimed at destroying the evidence characteristic of a historical formation in the sphere of what is seen and what is said. In addition, one can notice three different directions in Foucault’s understanding of art, which correspond to different periods in his thinking. In his first work Folie et deraison. Histoire de la folie a l’âge classique (1961) there is a vertical view. Influenced by Martin Heidegger’s ontological conception of art, Foucalt sees images as “growing out of the Earth”, as a specific truth which he valued highly during this period.” Archeologie du savoir (1969) reveals a different vision of art. In this work, Foucault stressed that, at least in one of its dimensions, art is a discursive practice “at the most superficial (discursive) level”. In this “superficial” phase, his account of art may be compared to George Dickie’s institutional theory of art. I call the gaze moving along the surface the horizontal . However, as early as the 1970s, Foucault’s understanding of art becomes spherical : art lacks an ontological dimension; instead, images emerge in a historical fabric, within a network of power, as a result of complex interaction between various forces. Foucault participates in this “fight” mainly at the discursive level, but he does not suffocate images with text; instead, he revitalizes them, making them visible again in a novel way. Eventually the question arises whether the direction of the view has an effect on the interpretation of art. Firstly, there is the problem of value. In a broader wider perspective, the vertical is inherently tied to this. It touches on hierarchy, on looking up from below and the awe this invokes. A connotation is assigned to divine structures and the symbolic significance of such things. Growing from the artist’s hand via forces unknown, self-made artworks thus evoke a different kind of reverence than those produced merely on a flat surface. Foucault’s earlier works in his vertical period reference visual art notably more than his later works. Pictures made in the vertical seem to offer him more inspiration. It is only during this period that pictures speak to him, later it would be reversed – he would speak of the image. Admittedly he never finished his horizontal interpretation, producing only a barebones sketch. Such an approach does not demand viewing or listening to the art itself, but rather offers a possible way to hold a discussion on it. Maybe Foucault just did not have the time to write on the horizontal or maybe it simply ","PeriodicalId":52089,"journal":{"name":"Baltic Journal of Art History","volume":"11 1","pages":"89-108"},"PeriodicalIF":0.1,"publicationDate":"2016-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66669175","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}

{"title":"Kunst uusaja täideviimise ajastul","authors":"Ülo Matjus","doi":"10.12697/BJAH.2016.11.06","DOIUrl":"https://doi.org/10.12697/BJAH.2016.11.06","url":null,"abstract":"The author based his article on a fragment from a manuscript by Martin Heidegger Mindfullness ( Besinnung , 1938/1939), to which he assigned the title – Die Kunst im Zeitalter der Vollendung der Neuzeit . The work was not published until 1997, but, in summary, it can project us forward from the origins of a work of art to reflection on the art of our era and that which surrounds it. We should emphasise and remember the fact that both Mindfullness ( Besinnung , 1938/1939) as well as the C ontributions to Philosophy (From Enowning) ; ( Beitrage zur Philosophie (Vom Ereignis) , 1936) that preceded it were not intended for immediate publication after they were written in Nazi Germany and remained manuscripts for 50 years, until M. Heidegger’s 100th anniversary in 1989. In the title, all the words, in both English and German, are familiar, but when considered together, questions start to arise. The author explains the meaning of the following German words: die Neuzeit [modernity], das Zeitalter [epoch] and die Vollendung [completion]. The initial sentence of the fragment that provides an introduction as well as summary is: “During this era, art will complete its hitherto metaphysical nature.” If, according to the thinker, metaphysics is all actual Occidental history, then the history of art, as part of this history, is metaphysical, i.e. art has a metaphysical nature, which it will be completed during the completion era of modern times. First off, metaphysics means t h e  f o r g o t t e nn e s s  o f  b e i ng , because instead of being itself, hereinafter inquiry is made of the “logical” existing being as well as being as such ; since forgottenness of being is itself forgotten. The forgottenness also fades. This means that philosophy becomes metaphysical and slowly but surely assumes power, so that today metaphysics is considered to be one of the synonyms of philosophy . Secondly, post-Aristotelian metaphysical thinking is characterised by the development of its spirituality, which later labels being-historical thinking as h u m a n i sm , i.e. as humankind assuming the position of subiectum in its relationship with the “world”. Martin Heidegger even considers it possible to speak about the “rule of the modern metaphysics of subjectivity” ( die Herrschaft der neuzeitlichen Metaphysik der Subjektivitat ). However, in this sense metaphysics by nature characterises everything that has been created in Europe, including art. Martin Heidegger says that art will realise its current metaphysical being in this era. Surprisingly this is characterised by three moments: (1) art works disappear, but (2) art does not disappear, and instead (3) becomes something else. In this case, Heidegger is speaking of the German-language Machenschaft , or machination in English. Art becomes one of the ways – along with others – of realising Machenschaft or machination; and upon the reconstruction of what exists, a means of making that which has been established, i.e. achieved","PeriodicalId":52089,"journal":{"name":"Baltic Journal of Art History","volume":"11 1","pages":"109-124"},"PeriodicalIF":0.1,"publicationDate":"2016-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66669256","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}

{"title":"Myth. Genius. Art: The Autumn School of Department of Art History of the University of Tartu","authors":"Holger Rajavee","doi":"10.12697/BJAH.2015.10.08","DOIUrl":"https://doi.org/10.12697/BJAH.2015.10.08","url":null,"abstract":"The Autumn School organised by the Department of Art History of the University of Tartu called “Myth. Genius. Art” was held on October 15th and 16th of this year. And as has been the tradition, the fourth Autumn School was conducted in cooperation with the University of Tartu Art Museum. In some respects, this time the event consciously continued the provocative approach of last year’s Autumn School (the title in 2014 was “Art and Beauty”) – with the goal of “revitalizing” concepts and phenomena that have been relegated to the background in art theory during recent decades. Based on the presentations that were heard during the two days, one can say that the choice of topics within the framework of the designated title ended up covering an extremely wide spectrum, which was the other goal of the Autumn School, i.e. to broaden the circle of topics to include as many facets as possible by including presentations by specialists from different fields. Philosopher and man of letters Ulo Matjus, who is the Professor of Estonian Philosophy at the University of Tartu, started the first day off with his presentation, “Art in the Era of Realizing Modern History”. Well-known for having “Estonianized” the works of Martin Heidegger, Matjus dealt with the change in the meaning of art in the present day through the author. Based on Heidegger’s statement that art is a machin-","PeriodicalId":52089,"journal":{"name":"Baltic Journal of Art History","volume":"44 1","pages":"167-170"},"PeriodicalIF":0.1,"publicationDate":"2015-12-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66668259","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}

{"title":"Die St. Katharinen-Kapelle in Fellin (Viljandi)","authors":"Kaur Alttoa","doi":"10.12697/BJAH.2015.10.06","DOIUrl":"https://doi.org/10.12697/BJAH.2015.10.06","url":null,"abstract":"Viljandi ‘s St. Catherine’s Chapel During the Middle Ages, St. Catherine’s Chapel in Viljandi (Fellin) was located outside the town walls, and it was demolished in 1558, upon the out­break of the Livonian War. In 1908, archaeological excavations were conducted in the vicinity of the former chapel under the direction of Karl Lowis of Menar. An octagonal limestone capital (now located in the Viljandi Museum) was found in the course of the excavations. Its facets are decorated with slightly raised fantastical animals and plant motifs. The capitals in the Great Guild Hall (currently the Estonian History Museum) in Tallinn that date from 1410 are very similar to the Viljandi capital. Apparently, they are the work of the same master. Therefore, we can date the Viljandi capital to the early 15th century. However, other sculptural medieval elements, which are not related to St. Catherine’s Chapel, have also been found in its vicinity. Apparently, they have end­ed up there with the waste from subsequent centuries. So, we cannot say with certainty whether the capital with the relief decorations is from St. Catherine’s Chapel. A large number of brick rib stones have also been found in the vicin­ity of the chapel. A similar form was in wide use in Livonia (Southern Estonia and also Riga) throughout the 15th century. Apparently, Viljandi’s St. Catherine’s Chapel was also built at that time. With the research that has been conducted to date, it is not possible to be sure about the dat­ing of the chapel.","PeriodicalId":52089,"journal":{"name":"Baltic Journal of Art History","volume":"10 1","pages":"131-146"},"PeriodicalIF":0.1,"publicationDate":"2015-12-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66668328","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}

{"title":"An Antiquarian Gift – a Collection of Perm Animal-Style Plaquettes in Estonian History Museum","authors":"T. Jonuks, R. Saage","doi":"10.12697/BJAH.2015.10.07","DOIUrl":"https://doi.org/10.12697/BJAH.2015.10.07","url":null,"abstract":"in 1873, a short notice appeared in the Revalsche Zeitung (no. 256, 02.11.1873), in which the Provincial museum, currently the estonian History museum, introduced the new museum exhibits that had arrived in its collection. Among other new objects in the collection of antiquities was a collection of finds, which were supposedly excavated from the central course of the Pechora river, and had been brought to estonia by Paul von Krusenstern, gifted to Karl ernst von Baer and thereafter donated to the Provincial museum. the collection (Am 196) includes iron and lithic points as well as human and animal-shaped plaquettes. this collection, which is rare and foreign for estonia, has received little attention, and during the past 150 years, only a few objects have been mentioned within the framework of some broader analyses.1 However, the collection as a whole has never been introduced. By 1873 Paul von Krusenstern had visited the Pechora river several times. A thorough descriptive book on the first expedition was pub-","PeriodicalId":52089,"journal":{"name":"Baltic Journal of Art History","volume":"10 1","pages":"147-165"},"PeriodicalIF":0.1,"publicationDate":"2015-12-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66668424","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}