Иконография сил небесных в раннехристианском и раннесредневековом искусстве
The article is devoted to the study of tradition of representation of angels in the Early Christian and Early Medieval Art of Byzantium and Western Europe.
The article deals with apocalyptic motifs in the ideas, attitudes and values of two outstanding Spanish Catholic philosophers - Jaime Luciano Balmes (1810-1848) and Juan Donoso Cortes (1809-1853). Standing in the 1830-1840s. to protect the Ancient regime Balmes and Donoso were in the political camp defeated in the struggle with the liberal bourgeoisie, engaged in creating a New order. As a result, today they are on the periphery of social and political thought. However, their philosophical and political diagnoses remain a part of relevance to this day. Correlating Balmes and Donoso from the views of their main opponents - the French Enlightenment of the XVIII century and the British and French positivists of the XIX century, - we will be able to put the problem of the "end of history" in the universal - the general historical - context.
The aim of this article is to provide a critical analysis of most recent trends in the study of medieval art, especially those approaches which are signaled by last influential works of Jean Wirth, Jérôme Baschet and Olivier Boulnois. I give my view points on several problems and documents of medieval art, try to demonstrate strong and feable sides of recent methodology in the field.
Cet essai réunit des réflexions sur l’interaction entre les arts, les savoirs et la politique à la cour de Frédéric II de Hohenstaufen (1220-1250). Il s’agit de thèmes déjà abordés et développés dans la thèse de doctorat soutenue par l’auteur à l’EHESS de Paris, sous la direction de Jean-Claude Schmitt. Cet ouvrage utilise des documents connus depuis longtemps par les spécialistes, mais encore entièrement inédits, comme par exemple le Liber Introductorius, une somme d'astrologie et cosmologie, œuvre de Michael Scotus (rédigée avec toute probabilité en 1230). La lecture du traité de Pierre d’Eboli sur les bains de Pozzuoli stimule des réflexions sur l'histoire de la science au XIIIe siècle et sur la tradition de l’école de médecine de Salerne, mais aussi sur les méthodologies à suivre pour une analyse des textes et des images (surtout pour les manuscrits à miniatures et pour les techniques de sculpture) dans l’Italie du Sud.
The article analyses the mosaics in the important Roman churches and studies the common meaning of their decorations.
The article deals with dynamics of eschatological expectations in mediaeval Rus’ and its impact on the development of ecclesiastical culture. The period 992-1492 can be viewed as stretching between two great millenial dates -- 6500 and 7000, the middle of the seventh millenium and the end of it. It is demonstrated that round dates like 6600 AM (1092) and 6700 AM (1192) were also perceived as special and prophetic times. They triggered much of eschatological agitation and elicited various forms of response on the part of lay and ecclesiastical elite.
On the occasion of Doha being a cultural capital of the Middle East in 2010 and Istanbul being a cultural capital of Europe, Doha Orientalist museum is holding a symbolic exhibition “A Journey into the World of the Ottomans”, accompanied by a catalogue. Major part of the illustrated exhibition artworks are to come from the Orientalist museum own collection, the Rijksmuseum, as well as other major collections. The exhibition will bring together artists from the sixteenth century onwards, including Bernardino Campi, Jacopo Ligozzi, Nicolas Rycks, Jean-Baptiste Vanmour, Jean-Étienne Liotard, Antoine Ignace Melling, Francesco Hayez, John Frederick Lewis, Walter Gould, Alberto Pasini, Germain Fabius Brest, Oskar Kokoschka, Nikolai Kalmikoff, Vanessa Hodgkinson and Bas Princen. The artworks selected are to illustrate the history of the orientalism development from the sixteenth to twenty first century, which throughout the years shaped the image of the Ottoman world in Europe, covering different genres of orientalist art. - See more at: http://www.skira.net/a-journey-into-the-world-of-the-ottomans.html?___store=en&___from_store=default#sthash.V8N9Mye4.dpuf
In the cultural sphere, the period between the October Revolution and the initiation of the first five‑year plan was marked by a series of heated public debates about the function of visual art and media in the new socialist society. Prominent theorists, including the Commissar of Enlightenment, Anatolii Lunacharskii, and writers associated with the journal Lef, such as Boris Arvatov and Sergei Tret´iakov, participated in these debates, as did modernist artists and realist painters. Photography was a central theme, and by 1925 the question of how the advances in photographic and other forms of mechanical reproduction were changing the nature of the visual had emerged as the debates’ most pressing problem. While all of the debates’ contending factions recognized the significance of photography, they also agreed that the material components of painting—particularly color and surface texture—remained essential to the development of comradely socialist relations. This article brings to light for the first time the aspects of early Soviet thought on aesthetics and communication that led to the firm establishment of painting as a visual medium essential to socialism. It demonstrates in particular that the materiality of painting and its traces were linked to the activation and transmission of the sensations of the body, which were considered necessary for the formation of socialist connections.
This collection of essays was published in a form of a catalogue for one of the propgrams screened at the Yamagata International Documentary Film Fstival in October 2019. The program entitled "The Creative Treatment of Grierson in Wartime Japan" was co-organized by the Yamagata International Documentary Film Festival and the National Film Archive of Japan and presented a broad variety of wartime Japanese documentaries as well as British and Soviet films that have influenced them. The collection of essays explores the development of wartime Japanese documentary cinema from variety of historical and theoretical perspectives.
The paper examines a rare explored phenomenon of Soviet cover design –a number of official releases produced by the only recording concern Melodija on the one hand, and so-called “tape-albums” became widespread among underground people in the late Soviet Union, on another.