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Neglinskaya, M. A. "Часовая коллекция Цяньлуна (1736–1795): первое собрание европейского искусства в Китае." Iskusstvo Evrazii [The Art of Eurasia], no. 4(19) (December 30, 2020): 168–75. http://dx.doi.org/10.46748/arteuras.2020.04.014.
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Many of European clocks in the Beijing’s Palace Museum (Gugong) were made in second half of the 18th century, by the Qing Emperor Qianlong’s governing (1736–1795), when an exotic “Chinese style” (chinoiserie) in the decorative arts was at its height. The research methodology proposed below, which combines art history and cultural analysis, allows us to see, that the Palace Collection’s mix determined evolution of the clock’s industry in China and some European lands, who took part in the international clock and watch market. In forms and decor of Chinese clocks the 18th century were reflected the change of European market. Together with western mechanical clock, being at the same time scientific device and work of decorative art, the European styles system was by ritual participation admitted in China. В статье показано, что западная часовая коллекция Цяньлуна (1736–1795), явившаяся первым в империи Цин (1644–1911) собранием произведений европейского искусства, связана с художественным рынком и феноменом шинуазри. Предложенная ниже методология, сочетающая искусствоведческий и культурологический подходы, позволяет увидеть, что состав этой коллекции повлиял на развитие производства механических часов в самом Китае и западных странах — участницах международного рынка искусств XVIII века. Собирательство механических хронометров в государстве Цин было обусловлено ритуализацией часов, устранившей проблему дуализма китайского и западного начал в цинской культуре и искусстве.
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Fekete, Albert, and Peter Gyori. "Chinese pavilions in the early landscape gardens of Europe." Landscape architecture and art 18 (October 7, 2021): 78–87. http://dx.doi.org/10.22616/j.landarchart.2021.18.08.
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The image of China perceived by the Europeans in the 17th to 18th century was based on the travelogues of the travellers and missionaries. Despite the fact that the first descriptions did not include any pictures of the world, people and landscapes described, the far exotic country with its history and tangible heritage became very popular. This article deals with Chinese pavilions (pagodas, teahouses) built in the early European landscape gardens before 1750 without any architectural plans, using only sketches based on descriptions and travelogues, since in the first half of the 18th century, no relevant technical guidance was available yet. The structures reviewed started to be used frequently in European gardens and public parks from 1750’s, having an inevitable influence on the garden pavilions built from the second half of the 18th century, and indirectly to the image and character of some influential gardens in European context. Moreover, through their craggy appearance, the Chinese pavilions – as eye catchers – played an accentuated compositional and spatial role too in the European garden history.
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VAMPELJ SUHADOLNIK, Nataša. "Ferdinand Augustin Hallerstein on Giuseppe Castiglione`s Art." Asian Studies 3, no. 2 (December 30, 2015): 33–56. http://dx.doi.org/10.4312/as.2015.3.2.33-56.
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Ferdinand Augustin Hallerstein (1703–1774) (Chinese name Liu Songling) was a Slovenian Jesuit, astronomer and mathematician who made an important contribution to the development of science and astronomy in 18th century China. He arrived in Beijing in 1739, and in 1746 was appointed to succeed Ignatius Kogler as Head of the Imperial Board of Astronomy, a position he would hold until his own death nearly 30 years later. Throughout his four decades in China, Hallerstein maintained a rich correspondence with family members, other Jesuits in Europe, and even with the Queen of Portugal, Maria Anna. He was also a corresponding member of the Royal Societies of London, Paris and St. Petersburg. His letters have only recently been collected and edited.The present paper will focus on Hallerstein’s letters and what they tell us about the life and art of the celebrated Jesuit painter, Giuseppe Castiglione (1688–766), especially during the reign of the Emperor Qianlong (1711–799). After a brief introduction on Hallerstein’s life and work, by means of comparative analyses and using an interdisciplinary approach, the paper will explore a) Hallerstein’s views on Castiglione and his art, and b) Chinese court painting and Castiglione’s position at the court. It will conclude with new evidence concerning Castiglione’s artistic achievements.
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De Winter, Wim. "European perceptions of religion and society in 18th-century China & Bengal, and their subverted gaze in local art and encounter." Religion 50, no. 2 (January 13, 2020): 278–98. http://dx.doi.org/10.1080/0048721x.2020.1713518.
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Shin, Sangchel. "The History of Art Exchanges Between China and France by Jesuit Missionaries in the 18th Century : The Intellectual Foundation of French Chinoiseries and Beavais Tapestries." Art History 32 (August 31, 2016): 263. http://dx.doi.org/10.14769/jkaahe.2016.08.32.263.
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Suraeva, Natalia G. "THE IMAGE OF CHINA IN THE CORRESPONDENCE OF CATHERINE II." Scientific and analytical journal Burganov House. The space of culture 17, no. 4 (November 10, 2021): 62–78. http://dx.doi.org/10.36340/2071-6818-2021-17-4-62-78.
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In 1762, Catherine II (1729-1796), Catherine le Grand, as Voltaire called her, an extraordinary woman who was destined to undergo many reforms and establish Russia’s place in the world, ascended to the Russian throne. Her reign coincided with the reign of Emperor Qianlong (1711-1799), one of the most enlightened monarchs in Chinese history; during his time, the empire achieved many military victories and brilliant achievements in the arts. By the time of Catherine’s accession to the throne, relations between the two countries were very strained. Meanwhile, the age of Enlightenment, the century of the ardour for the philosophy and art of China, began in Europe. On the one hand, Catherine was influenced by the ideas of the West; on the other hand, she constantly had to regulate conflicts on the Russian-Chinese border, the reason for which was most often the question of extraditing Mongols and Dzungars to the Chinese who were fleeing within Russia. The purpose of this article is to determine what image of China the Russian empress formed and how she spoke about this country in her correspondence with European correspondents since it is known that Catherine II wrote a lot. To do this, first, it is necessary to characterise the personality of the empress, to understand her interests and habits. To understand what issues she had to resolve, one also needs to know the state of Russian-Chinese relations in the second half of the 18th century. Finally, the article gives a general description of Catherine II’s correspondence with various high-ranking persons, among whom Jean d’Alembert, Diderot, Voltaire, Friedrich Melchior Grimm (Franco-German publicist, artist and literary critic), Swiss scientist and philosopher Johann Georg Ritter von Zimmermann, Madame Geoffrin and Madame Bielke can be named. The letters she received very often contained diplomatic news, dynastic problems, court gossip; her answers were, for the most part, semi-official journal notes. It is noteworthy that despite the extensive correspondence conducted by Catherine the Great, she practically did not touch upon the issues of China, except for letters to Voltaire, who, as you know, admired China and tried to learn more about it from the words of the empress.
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Arman, Dedi. "Sejarah Pulau Siantan sebagai Pusat Aktivitas Bajak Laut dan Daerah Pelarian Politik pada Abad 18 M." Local History & Heritage 2, no. 1 (April 13, 2022): 1–9. http://dx.doi.org/10.57251/lhh.v2i1.307.
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This paper discusses the history of Siantan Island (Anambas) in the South China Sea as a center of pirate activity (lanun and political escape areas in the 18th century. The writing uses historical historical research methods and uses library research to extract sources. From the research, it is known that a number of nobles from the Sultanate Siak, the Sultanate of Palembang and the Bugis nobility from Luwu moved to Siantan after losing the power struggle in their native area. In Siantan, the nobles gathered strength by relying on the Orang Laut. The existence of the Orang Laut became the main force to become pirates (lanun), rulers of the sea and carry out piracy in the south China sean and The South China Sea and other areas. The act of piracy ois not only political purposes, but also for economic reasons to seek wealth. Marriage ties are a powerful tool in strengthening relations between the immigrant aristocrats and the Siantan people. The nobles in Siantan then returned to their kingdom and successfully seize power. Raja Alam became the Sultan of Siak, the Five Opu Bugis brothers ruled in the Kingdoms of Johor, Riau and Lingga. Meanwhile, Prince Jayawikrama succeeded in seizing the throne of the Sultan of Palembang with the title Sultan Mahmud Badaruddin I.
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Bhattarai, Gaurav. "Rediscovering the Contemporary Relevance of National Security Strategies in Divya Upadesh: A History-Policy Relationship." Unity Journal 3, no. 01 (March 6, 2022): 165–82. http://dx.doi.org/10.3126/unityj.v3i01.43323.
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Rediscovering the past to build a secure future is better realized by understanding the role of history in policy making. Today, while Nepal’s national security policies remain silent about the geopolitical threats, it is timely to rediscover the guidelines on national security strategies introduced in Divya Upadesh, a Divine Counsel of the Great King Prithivi Narayan Shah. Currently, Nepal inability in escaping the geostrategic challenge of accommodating the interest of major powers is explicitly visible in the fiasco created by the Nepali political parties in the context of Nepal’s uncertainty over US-sponsored MCC project, which is today perceived in Nepal as hostile to China-led BRI. Historically, Nepal has successfully balanced its two Gulliverian neighbors. But, today, Nepal is not in a position to evade the repercussions triggered by Sino-Indian rivalry at the regional front and Sino-US strategic competition at the global level. On the backdrop of their conflicting interest—strategic, security, economic—Kathmandu faces the geostrategic challenges of accommodating the interest of major powers. Although Nepal’s integrated foreign policy of 2020 mentions of the changed geopolitical context, pragmatic policy recommendations, as indicated by foreign policy behavior, are missing. Constitutional guidelines on Nepal’s foreign policy and national security alone are not sufficient. Thus, drawing lessons from history could be of help to formulate the national security strategies in order to better cope with the external threats. The rationale behind considering Divya Upadesh is to make Nepali policy makers realize that the national security strategies and policies that Nepal adopted in a usual/normal context won’t be able to fulfill the requirements of the uncertain strategic milieu against the backdrop of a ‘new Cold War’ brewing between the United States and China. In the late 18th century when P.N Shah was introducing a comprehensive national security policy for the first time, the external environment wasn’t much favorable. After his death, however, instead of paying heed to his guidelines, expansionism ended up to territorial loss, adventurism led to Himalayan wars, appeasement led to increasing British influence in Nepal. After 1950, guidelines in Divya Upadesh have been more confined to history books and classrooms lectures. While Nepal lionizes its act of balancing India and China though the policy of non-alignment and equidistance, foreign and security policy makers never paid attention to reinvent the lesson for the same. Thus, this qualitative study recuperates the relevance of effective balancing as advocated by PN Shah in addressing the challenges surfaced while accommodating the interests of major powers. Most of the available literature on Divya Upadesh are either translated English versions, or limited to the analysis of the unification process. The relevance of an intersection of foreign policy and national security in Divya Upadesh is not unveiled by any of the available literature. Apprehending the same research gap, this study explores the contemporary significance of Divya Upadesh while devising the national security policies and strategies. Firstly, the contemporary challenges to Nepal’s national security prompted by Kathmandu’s struggle in accommodation of the interest of major powers is discussed; secondly, the policy of ‘balancing’ counseled by Prithivi Narayan Shah is emphasized as an apt and relevant in dealing with the contemporary challenges emanating from the neighborhood and beyond. Thirdly, “meticulous diplomacy,” is highlighted to offer economic shape to the act of balancing. Finally, it has been realized how studying history means studying causes, and as such, turning the pages of Divya Upadesh, policy makers discover the causes of Nepal’s failure in accommodating the interest of major powers.
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Lee, Byung-Ho. "Ethnic Distinctions, Legal Connotations: Chinese Patterns of Boundary Making and Crossing." SAGE Open 11, no. 3 (July 2021): 215824402110439. http://dx.doi.org/10.1177/21582440211043930.
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This study analyzes, from a comparative and historical perspective, the clash between state statutory law and native customary law and the consequential effects of that rivalry on ethno-legal categories. It adopts a long-term perspective on Chinese society, with a particular focus on its history over the last three centuries. Although the imperial Chinese state had a centralized legal code, many non-Han subjects followed different legal standards and systems. Such conditions became the basis of legal pluralism and the structural constraint for full-fledged legal uniformity. It is argued that state-imposed ethnic categories in China have been institutionalized to determine those who should be protected, or even privileged, by their own native law. This is especially true during the alien dynasties of conquest, which purposely emphasized the principle of personal law to preserve legal prerogatives of ruling ethnicity. Similarly, indigenes on the frontier carried a variety of legal exemptions on grounds of the principle of territorial law. Such conditions could leave room for individual agency and provide incentives for both acculturated Han settlers and sinicized indigenes to claim native status. Several examples, including an 18th-century homicide case in China’s southwestern frontier, substantiate how individuals manipulated their ethnicity for their self-advantage and how these behaviors complicated the personality and territoriality principles of imperial law. In this sense, ethnic law served as an institutionalized distillation of ethnic group boundaries, which were realigned by shifts in self-identity. The legacy of China’s imperial practices of particularistic jural relations continues today.
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Batmaev, Maksim M. "Из истории внешнеполитических отношений Калмыцкого ханства. Лоузанг-Шоно." Монголоведение (Монгол судлал) 14, no. 2 (August 10, 2022): 264–80. http://dx.doi.org/10.22162/2500-1523-2022-2-264-280.
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Introduction. The article examines a significant early-to-mid 18th-century episode of Kalmyk-Chinese and Kalmyk-Dzungar relations to have been controlled by the Russian Government. This very period was witnessing deepest processes across Central Asia that would subsequently result in dramatic ethnic and political transformations in the region. Goals. The work aims at revealing plans and intentions of the involved governments and groups, outlining the actual sequence of events under the observed conditions, showing efforts of certain individuals had been initially determined by their personal wishes that made them seek for opportunities to orchestrate the events towards their own benefits. However, the latter had to finally accept the real state of affairs as they were. Results. So, the Kalmyk rulers were involved in China-Dzungar relations, both the sides having been eager to take advantage of Kalmyk military power. But it became evident that external policies of the Kalmyk Khanate were largely dependent on Russia’s foreign affairs strategy which implied no interest in the participation of Kalmyks in Chinese-Dzungar struggle. This resulted in that Kalmyks never joined the confrontation between the Qing Empire and Dzungar Khanate to have ended up with a defeat and collapse of the latter.
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Burganova, Maria A. "LETTER FROM THE EDITOR." Scientific and analytical journal Burganov House. The space of culture 18, no. 1 (March 10, 2022): 6–9. http://dx.doi.org/10.36340/2071-6818-2022-18-1-6-9.
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Dear readers, We are pleased to present to you Issue 1. 2022, of the scientific and analytical journal Burganov House. The Space of Culture. Upon the recommendation of the Expert Council of the Higher Attestation Commission, the journal is included in the List of Leading Peer-reviewed Scientific Journals and Publications in which the main scientific results of theses for the academic degrees of doctor and candidate of science must be published. The journal publishes scientific articles by leading specialists in various humanitarian fields, doctoral students, and graduate students. Research areas concern topical problems in multiple areas of culture, art, philology, and linguistics. This versatility of the review reveals the main specificity of the journal, which represents the current state of the cultural space. The issue opens with the article "Al Noor Island - a Place Where Art and Culture Meet Nature" by J. Smolenkova. It is devoted to modern architecture and touches upon the philosophy of architecture ecology as a new concept of contemporary construction. On the example of a unique project implemented on the island of Al Noor in the UAE, the author considers examples of pavilions and sculptural installations, united by the theme of new aesthetics and humanistic mutual influence of nature and architecture as new realities of modern society. In her article "Glasstress: a Transparent Border Between Mimicry and Mimesis", M. Burganova analyses the modern artistic process that began in the middle of the 20th century as part of the craft + art concept using the example of "Glasstress. Window to the Future” exhibition, held in the State Hermitage Museum in St. Petersburg. The Stalinist Empire style, a unique phenomenon in the architecture of the Soviet period, is analysed by V. Slepukhin in the article "Soviet Architecture of the 1930-1950s". The author determines its place among such architectural styles and trends as Art Nouveau, Rationalism and Constructivism and gives a detailed description. In the article “Palladian Architecture of Denmark in the 17th-18th Centuries”, O. Tsvetkova considers the evolution of architecture in Denmark in the 17th-18th centuries, explores the influence of French classicism and Dutch Palladianism on national manifestations of style. On the example of specific buildings, the chronology of the classical architectural tradition development is traced. The creative continuity of architectural dynasties is studied in the context of the pan-European architectural trends of the time; the history of the Danish architecture development is traced. I. Pavlova continues the theme of dialogues in art in the article “The Role of the ‘English’ Theme in One of the Episodes of L. Tolstoy’s Novel, Anna Karenina". The author expresses the opinion that the development of the "English" theme in the episodes of the races and preparations for them serves to dispell false values, the ephemeral virtues of Tolstoy's contemporary society, pride and arrogance. The author believes that the main role of the "English" theme lies in the development and implementation of the moralistic setting of the novel, the expansion of the content space of the work and depiction of the dramatic image of the era. In the article "V. Borovikovsky’s Sketch ‘God the Father Contemplating Dead Christ’ As a Synthesis of Western European and Orthodox Traditions”, V. Makhonina considers iconographic interpretations of the plot and conducts a stylistic analysis of the work. The article "The Concept - Text - Interpretation Triad in Piano Music of the Second Half of the 20th - 21st Centuries" by O. Krasnogorova is devoted to the problems of the performing arts of modern times in the context of the general system of humanitarian thinking. The concept of interpretation from the standpoint of conceptual metaphors and research in the field of musical semiology are considered by the author. In the article, the broad interpretation of a musical text goes beyond the actual musical text into the area of ??signs, metaphors and metonyms. In the article "Instrumental Performance on Wind and Percussion Instruments in the Context of Traditional Rituals Accompanying Work in China", Huang Shuai analyses traditional Chinese wind and percussion instruments; he considers such issues as instrumental combinations and musicians. The author applies the historical research method, source study and musicological analysis of audio and video materials. The publication is addressed to professionals specialising in the theory and practice of the fine arts and philology and all those interested in the arts and culture.
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Martinón-Torres, Marcos, David Knight, Sacha Tomic, Jeffrey Allan Johnson, William H. Brock, Néstor Herran, Marina Maestrutti, and Hjalmar Fors. "Laboratories of Art. Alchemy and Art Technology from Antiquity to the 18th Century." Ambix 62, no. 4 (October 2, 2015): 386–96. http://dx.doi.org/10.1080/00026980.2015.1129853.
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Kunts, Evgeny. "“Republic of literature” on the banks of the Neva: from the history of public self-awareness of the Russian nobility in the last third of the 18th century (according to the letters of M.N. Muravyov to his father and sister, 1777—1778)." OOO "Zhurnal "Voprosy Istorii" 2022, no. 3-1 (March 1, 2022): 51–58. http://dx.doi.org/10.31166/voprosyistorii202203statyi05.
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In the second half of the 18th century, Russian nobles showed attention to the problems of personality, morality, human dignity, culture, art, science. In the article, based on the correspondence of M.N. Muravyov with his relatives, the features of the system of interpersonal communications in the capital’s literary environment of the second half of the 70s of the 18th century are considered. It is concluded that the literary community served as an important channel for the dissemination of the ideas of the Enlightenment.
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Almelek İşman, Sibel. "Portrait historié: Ladies as goddesses in the 18th century European art." Journal of Human Sciences 14, no. 1 (February 15, 2017): 396. http://dx.doi.org/10.14687/jhs.v14i1.4198.
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Portrait historié is a term that describes portrayals of known individuals in different roles such as characters taken from the bible, mythology or literature. These portraits were especially widespread in the 18th century French and English art. In the hierarchy of genres established by the Academy, history painting was at the top and portraiture came next. Artists aspired to elevate the importance of portraits by combining it with history. This article will focus on goddesses selected by history portrait artists. Ladies of the nobility and female members of the royal families have been depicted as goddesses in many paintings. French artists Nicolas de Largillière, Jean Marc Nattier and Louise Élisabeth Vigée Le Brun; English artists George Romney and Sir Joshua Reynolds can be counted among the artists working in this genre. Mythological figures such as Diana, Minerva, Venus, Hebe, Iris, Ariadne, Circe, Medea, Cassandra, Muses, Graces, Nymphs and Bacchantes inspired the artists and their sitters. Ladies were picturised with the attributes of these divine beings.
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Liščák, Vladimír. "Franciscan Missions to China and the Czech Crown Lands (from the 16th Century to the 18th Century)." Archiv orientální 82, no. 3 (December 13, 2014): 515–38. http://dx.doi.org/10.47979/aror.j.82.3.515-538.
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The article examines the Franciscan missions in China in modern times, with a specific focus on the members of the Bohemian Franciscan Province. The 16th and 17th centuries were periods of significant success for Roman Catholic missions, including the Franciscans. These two centuries differ from the preceding period, as evidenced in the radical changes that took place in relation to the organization of missions and their relationship with their European bases. The world was divided into areas under the Portuguese padroado and areas under the Spanish patronato. The system was later completed by the establishment of the Sacra Congregatio de Propaganda Fide, under the auspices of the Roman Curia. The beginning of the Catholic missions to China dates to the second half of the 16th century, but the real flowering of the missions began with the participation of the new missionaries coming to China after the 1680s. The Chinese Rites controversy in the 17th and 18th centuries was one of the factors which led to the prohibition of Christianity and the expulsion of Catholic missionaries from China. Nevertheless, some missionaries were illegally active in China from 1724 onwards. Among the Franciscan missionaries to China there were four friars from the Czech Crown lands, who were working in China during the time of the illegal missions. They were among the most important representatives of the Franciscan missions in China, along with their Italian confreres.
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Spalva, Rita. "Ballet Art Reforms During the Enlightenment." SOCIETY, INTEGRATION, EDUCATION. Proceedings of the International Scientific Conference 2 (May 17, 2015): 436. http://dx.doi.org/10.17770/sie2015vol2.427.
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<p><strong>T<em>he article focuses on</em></strong><em> identifying the essence of the 18th century ballet reform within the context of contemporary ballet art. <strong>The chosen topic </strong>is explored through the monographs of Sergey Hudekov and Vera Krasovska, works of Jury Sloņimsky, Richard Kraus, Sarah Chapman Hilsendager, Brenda Dixon, B. and other dance researchers. In Latvia this topic has been addressed by R. Spalva in the monograph Classical Dance and Ballet in European Culture. <strong>The aim of the article </strong>is to analyse preconditions of 18th century ballet reforms, as well as to recognise the essence of reforms and their impact upon further development of ballet art. <strong>Research subject </strong>- ballet reforms of the Enlightenment era and contribution of Jean-Georges Noverre to their realisation. <strong>Research methods </strong>- scientific literature analysis, dance theory and history research. </em></p>
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Khromov, Oleg. "TWO PRINTS BY LEONTY BUNIN IN THE 18TH CENTURY SERBIAN GRAPHIC." Scientific and analytical journal Burganov House. The space of culture 16, no. 2 (June 10, 2020): 100–113. http://dx.doi.org/10.36340/2071-6818-2020-16-2-100-113.
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The article is devoted to two engravings depicting Jesus Christ and the Mother of God in lush ornamental cartouches. They are well known to Serbian art critics and are published in the catalogs of Serbian metal engravings of the 18th century. Copper engraved boards of these engravings, which Serbian researchers attribute to the end of the 18th or the beginning of the 19th century, are preserved in the Krka Monastery. Prints from them of the 18th-19th centuries are unknown in Serbian collections. In Serbia, the first prints from these boards were made in the 20th century. However, prints from these engravings were well known in Russia in the 17th-18th centuries. They were primarily used as illustrations in Russian manuscript books. The engravings were made by a Russian master at the end of the 17th century. According to the features of engraving, manner, and stylistics, they can be attributed to Moscow engraver Leonty Bunin. In Russian manuscripts, they were usually used as illustrations in the book The Passion of Christ along with the 14-sheet series The Passion of Christ by Leonty Bunin. Cases of using them as independent illustrations are known. In the 1730s, these engravings disappeared from the illustrations in The Passion of Christ series in Russian manuscript books. Their later prints are unknown in Russia. The history of their appearance in Serbia, in the Krka Monastery, remains unknown. Perhaps they appeared there as gifts from Russia which the monastery regularly received. In the 18th century, Serbian religious art experienced a powerful influence from Dutch graphics. As iconographic sources, Serbian masters used Flemish and Dutch engravings of the 16th and 17th centuries. They were the same ones that were used by Russian masters of the 17th century, especially of the second half of the century, as iconographic examples. The identity of the artistic processes that took place in the art of Serbia in the 18th century and Russia of the 17th century turned out to be so close that Serbian art historians regarded the Russian prints of the 17th century by Leonty Bunin as Serbian works of an unknown engraver of the late 17th - early 19th centuries. The biography of Leonty Bunin is considered in detail in the article, some facts of his life are presented for the first time.
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Karyakina, Tatyana Dmitrievna. "The Allegorical and Symbolic Meaning in West European Porcelain Craft of the 18th Century." Исторический журнал: научные исследования, no. 2 (February 2020): 30–37. http://dx.doi.org/10.7256/2454-0609.2020.2.32607.
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The article takes a look at the works of various porcelain manufactories: Italian Docchia, German Meissen and Nymphenburg, Viennese and French Sèvres. These works are subject to allegorical interpretation and symbolic meaning. This content feature is one of the characteristic features of Baroque and Rococo art. The author pays particular attention to the identification of allegorical attributes and specific elements of form and decor that carry symbolic meaning. Porcelain artifacts, the authors of which are prominent European masters (Soldani, Kändler, Eberlein, Bustelli, Niedermeier and Fournier), are examined in detail. These kinds of decorative and applied arts reflected the unique worldview of a person living in the 18th century - the period of Enlightenment. The following methods of art history laid the foundation for this study: the formal-stylistic and iconological analyses of porcelain artifacts, which enabled the author to identify the semantic content of examined images. The scientific novelty of this article lies in the fact that for the first time in Russian art studies, a comprehensive study of the works of 18th-century porcelain crafts from different countries was carried out in order to identify their symbolic meanings. A detailed study of these works gives the author reason to conclude that bestowing artifacts with symbolic content is characteristic of Baroque and Rococo art, and that these works reflected one of the features of the figurative art system of the 18th century.
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Guilmartin, J. F., and Carel de Beer. "The Art of Gunfounding: The Casting of Bronze Cannon in the Late 18th Century." Technology and Culture 34, no. 3 (July 1993): 693. http://dx.doi.org/10.2307/3106730.
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Alyabieva, Valentina. "From the History of Combinatorial Analysis: From Idea to Research Schools." Вестник Пермского университета. Математика. Механика. Информатика, no. 2(57) (2022): 14–25. http://dx.doi.org/10.17072/1993-0550-2022-2-14-25.
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The article explores the development of combinatorial analysis from the idea to scientific schools. Combinatorial research was stimulated by G.W. Leibniz's ideas about combinatorial art and special geometric analysis – Analysis Situs in the 17th century. Various combinatorial problems were solved by L. Euler in the XVIII century. The first scientific school of combinatorial analysis arose by K.F. Hindenburg in the second half of the 18th century in Germany. Combinatorial-geometric configurations were studied in the 19th century. A. Cayley and J. Sylvester coined the term tactics for a special branch of mathematics, of wich order is proper sphere. The modern combinatorial schools are Gonin's school in Perm and the combinatorial Rybnikov's school in Moscow.
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Шишкова, Е. Г., К. Ф. Самосюк, А. О. Дивлеткильдеева, О. Л. Смоляницкая, С. В. Хаврин, К. С. Чугунова, И. А. Григорьева, and Я. Р. Уразаева. "Restoration of 18th century Chinese album." Iskusstvo Evrazii [The Art of Eurasia], no. 4(23) (December 29, 2021): 254–69. http://dx.doi.org/10.46748/arteuras.2021.04.020.
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Цель данного исследования — познакомить специалистов, занимающихся изучением и реставрацией произведений китайской живописи, с опытом, полученным в Государственном Эрмитаже. В процессе изучения текстов «Альбома рисунков. Путешествие императора Цяньлуна на юг Китая» хранителем К.Ф. Самосюк была установлена дата его создания — 1751–1758 годы. Альбом с китайской живописью был исследован всесторонне: проведены физико-химические и биологические исследования, которые позволили определить методику его реставрации. В России мало информации о реставрации альбомов такого рода. Исследование и реставрация китайской живописи осложняется хрупкостью материалов — бумаги и шелка, а также утонченностью техники живописи, поэтому были выбраны неразрушающие методы исследования без взятия проб. Рассматривались также этические проблемы. Были применены физический, химический и биологический анализы для определения подходящего метода реставрации. Биологические исследования подтвердили необходимость замены старых, обветшавших страниц альбома новыми. Для реставрации и сохранения альбома были использованы традиционные китайские методы реставрации и собственный опыт. Об исследовании и реставрации китайской живописи и каллиграфии, помещенных в альбомы, не так много информации. Наряду с другими источниками впервые в отечественной практике было использовано «Иллюстрированное руководство по монтированию китайской каллиграфии и живописи» Янь Гуйжуна, 2013. В статье также рассматривается проблема адаптации альбомов с живописью и каллиграфией к новым требованиям хранения и экспонирования графики. Изменение исторической формы монтирования листов с изображениями было вызвано сильным разрушением конструкции альбома. Новая форма хранения позволила выставлять альбом отдельными листами на различных тематических выставках с возможностью их ротации на экспозиции. В данной статье показан логический ход выбора методики реставрации, основанный на результатах исследований памятника и сочетании традиционных и современных методов реставрации. The aim of the article is to share our experience of restoring the Album of Drawings. The Emperor Qian Long’s Tour of Inspection to Southern China. Curator K.F. Samosyuk has dated the album to 1751–1758. There is little information in Russia on restoring albums of this kind. Restoration of painting on paper and silk is complicated by the fragility of the support material and painting technique; we therefore chose non – destructive research methods without taking samples. Ethical problems were also considered. For the first time we used physical, chemical and biological analysis to determine the appropriate restoration method. Biological research led us to replace old, faded album pages with new ones. We then used traditional Chinese restoration methods and our own experience to restore and preserve the album. Along with other sources, for the first time in Russia, Yan Guirong’s Illustrated Instructions for the Mounting of Chinese Calligraphy and Painting, 2013 was used. The key factor, though, was the experience we gained during research secondments at Shanghai Museum. We also examine the problem of adapting painting and calligraphy albums to new requirements for the preservation and exhibiting of graphic art. Historically, album pages with illustrations were mounted in pairs and glued together. Because of the album’s severe state of deterioration we decided to mount the pages on separate sheets. This new form of preservation has enabled separate pages from the album to be shown at differently – themed exhibitions and for rotation to take place. The article shows the logical process involved in choice of restoration method based on our research findings and a combination of traditional and modern restoration methods. Chinese painting, calligraphy, album, Chinese paper, Chinese silk, conservation, restoration, physical and chemical research, biological research, exhibiting, oriental painting, State Hermitage Museum
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Andrews, Julia F. "Women Artists in Twentieth-Century China." positions: asia critique 28, no. 1 (February 1, 2020): 19–64. http://dx.doi.org/10.1215/10679847-7913041.
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This article is a reflection on two intersecting themes, the rise of women as artists and as female subjects for art, in the context of the evolving status of women in twentieth-century China. Set in the context of the nascent modern education for women and the emergence of feminism, the two phenomena, like the art world itself, are primarily urban. After surveying the accelerating progress made between 1910 and 1940, it interrogates, in light of contemporary art world patterns and current definitions of feminism, the slowing and even regression in recognition of women as artists in subsequent years.
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Patroeva, Natal'ia V., and Aleksandr A. Lebedev. "Book review: Feofan Prokopovich. Ten books on rhetorical art / translated by G. A. Stratanovsky; text preparation by S. I. Nikolaev; text eds by E. V. Markasova, S. I. Nikolaev; comments by E. V. Markasova; scientific editorial translation by E. V. Vvedenskaya. Moscow, St. Petersburg, Alliance-Archeo Publ., 2020. 288 p." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 63 (2022): 348–53. http://dx.doi.org/10.37816/2073-9567-2022-63-348-353.
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The monograph is a commented translation of the most important monument of Russian aesthetic thought of the first quarter of the 18th century — “Rhetoric” by Feofan Prokopovich. The translation was made by the classical philologist G. A. Stratanovsky (1901–1986) in the mid-1960s. The introduction of a previously unknown Russian translation of a rhetorical treatise into the scientific circulation will give a new impetus to the study of Russian literature of the 18th century, and will also make it possible to enrich the ideas of philologists about the study of Russian rhetoric in the Soviet period. The publication is addressed to philologists and historians of all specializations, teachers of the Russian language and literature, specialists in the history of rhetoric, the history of linguistic doctrines, the history of literary ties in the 18th century.
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Abdullina, Darina A. "The “Allegorical Ornateness” in Children’s Portraits of the 18th Century." Observatory of Culture 17, no. 6 (February 10, 2021): 616–25. http://dx.doi.org/10.25281/2072-3156-2020-17-6-616-625.
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The article considers the emergence and development features of the symbolic and emblematic system of children’s portraits in the 18th century. Children’s portraits, as well as the history of childhood in general, attract more and more attention of Russian and Western researchers; the largest museums of the country and the world devote their exhibition projects to this subject. This paper shows, for the first time, how symbols have been “reinterpreted” in accordance with the changes in the attitude of Russian society to the nature of childhood and in the artistic environment at that time, the “formulas” of its presentation in art. The article considers in detail the specifics of using a number of attributes by Russian artists in the context of children’s portrait images: books, floral symbols, animals and birds, toys and other items. As examples, there are considered the works of “capital” and “provincial” artists of the 18th century: I.Ya. Vishnyakov, F.S. Rokotov, D.G. Levitsky, V.L. Borovikovsky, as well as a number of authors whose names remain unknown. Special attention is paid to the issue of borrowing symbols, signs and metaphors from Western European art, their adaptation and transformation in Russian painting, taking into account national ideas about children and their subject environment. The article concludes that the children’s portrait symbolic sphere went through a difficult path during the 18th century, from a tool for personifying the male or female adulthood of a young model to creating the image of a child as a romantic symbol of the world of childhood, an elusive ideal.
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Lanszki-Széles, Gabriella. "Egyházi öltözékek, miseruhák Gölle és Kisgyalán községekben a 18–21. században." Kaposvári Rippl-Rónai Múzeum Közleményei, no. 7 (2020): 305–20. http://dx.doi.org/10.26080/krrmkozl.2020.7.305.
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The paper was written about the church attires of the two villages of Outer-Somogy County from the 18th to the 21st century, taking into account ecclesiastical art and lo-cal history aspects. During the Counter-Reformation period, Baroque art was destined to conquer believers in the Catholic religion. A good example of this is the more than 250-year-old mass chasuble, which is a latent applied art value in Gölle. This chasuble bears several common similarities with the mass dresses from Maria Theresa ‘s embroidery workshop: it is very richly embroidered with scotch, its pattern and color are also similar. During the 19th-20th centuries not only aris-tocratic women but also peasant women embroidered mass chasubles. In these villages one can find mass chasubles with Matyo, Kalocsa and Buzsák patterns. In the case of Kis-gyalán village, we could also form a picture of the time and way of making the chasubles. The changes in the motif on the mass dresses can be well traced in the photos, from the 18th to the 21st century.
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Tudor, Brînduşa. "The Piano, A Perfect Musical Instrument – Beginnings and Evolution (18th – 19th Centuries)." Review of Artistic Education 17, no. 1 (March 1, 2019): 100–105. http://dx.doi.org/10.2478/rae-2019-0010.
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Abstract The 18th century and the beginning of the 19th century mark the emergence, development and affirmation of the piano as a complex instrument that shall take, in turns, the role of soloist instrument, claiming and being able to reach the sound variety of the orchestra, that of partner in chamber music assemblies or that of orchestra member. The emergence, improvement and qualitative performance acquisition adventure of the piano represents a fascinating history about human creativity and ingenuity serving art, beauty, sound expressivity refinement and improvement.
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Joo, Hyun-ho. "The Translingual Practice of Meishu in Early Twentieth-Century China." Archiv orientální 85, no. 1 (May 18, 2017): 119–34. http://dx.doi.org/10.47979/aror.j.85.1.119-134.
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This paper begins by examining the discourse on the term and concept of meishu that emerged in early twentieth-century China and was centered on how to construct meishu as a form of cultural establishment and a discipline distinct from other art genres. It then considers the social and cultural contexts behind the evolution of the meaning of meishu, focusing on Chinese artists’ and art critics’ complicated attitudes toward both Chinese artistic tradition and the influence of Western art, as reflected in their varied views on literati painting and its xieyi tradition. This paper demonstrates that the Chinese art world’s process of redefining meishu as fine arts was a clear indicator of the artistic endeavor to rediscover the roles of painting in Chinese society. Meanwhile, the paper also pays renewed attention to literati painting and its xieyi tradition by rethinking the relationship between the long-standing literati painting tradition and the increasing Western artistic trends in China. The Chinese art world of the early twentieth-century constantly attempted to encompass both Chinese and Western painting traditions, and relentlessly tried to merge the strengths of the Chinese tradition with Western influences in order to pave the way for a new Chinese painting tradition.
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Portnova, Irina V. "Russian Animalism in Relation to Other Genres of Fine Art in the History of Russian Culture of the 18th—19th Centuries." Observatory of Culture 17, no. 6 (February 10, 2021): 606–15. http://dx.doi.org/10.25281/2072-3156-2020-17-6-606-615.
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The article deals with the historical-cultural topic of relations of the Russian animalism with other genres of fine art of the 18th and 19th centuries. When the features of animalistic art were identified as a peculiar and characteristic phenomenon open to interaction, animalism became an original page of Russian culture. The author refers to this topic in connection with the small number of complex studies in the field of animalism. The purpose of the article is to consider the specific features of animalism, as a characteristic original phenomenon of Russian artistic culture, in the context of the existing genre system of the two designated periods. The relevance of the article lies in the fact that the issues of interaction and integration are very significant in historical and modern artistic practice. The demonstration of such “communications” on the example of Russian animalistic painting, graphics, and sculpture further enriches and diversifies the sphere of Russian art, giving it the character of integrity and national color.The article presents a review of Russian and foreign literature on this topic, indicates that animalism entered the system of genres of Russian art of the 18th—19th centuries as a special “genus” of it, showing an independent status. For two centuries, artists set their task to create an animal’s image in the sphere of the natural reality they observed. The nature they perceived and the animals in it were reflected in different genres of fine art. In the 18th century, when the Academy of Arts and related classes were organized in Russia, animals and birds began to be depicted in historical, battle, landscape paintings, and still lifes. Wild and domestic animals appeared in paintings by foreign and Russian masters. In the 19th century, the horse became one of the most preferred characters in portraiture and sculpture (along with the historical and landscape genre). The author concludes that the historical realities of that time highlighted that image and determined the formation of a separate “hippic genre”.
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Murray, Dian. "The Practice of Homosexuality among the Pirates of Late 18th and Early 19th Century China." International Journal of Maritime History 4, no. 1 (June 1992): 121–30. http://dx.doi.org/10.1177/084387149200400108.
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Croizier, Ralph. "Art and Society in Modern China—A Review Article." Journal of Asian Studies 49, no. 3 (August 1990): 587–602. http://dx.doi.org/10.1017/s0021911800051494.
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Until recently, modern Chinese art attracted little scholarly attention, either in China or in the West. Western art historians might occasionally glance at the more traditional kinds of painting in the twentieth century, but their serious publications were on the great periods of Chinese art, Ming or before. The contemporary China-watchers—social scientists and modern period historians—trained their gaze on the harder stuff of politics and economics, ideology and organization. In the United States and the West in general, art seemed to slip through the crack between ACLS- and SSRC-funded research projects. In China, anything on the twentieth century, even art, was too sensitive politically for safe handling. The result was that throughout the Maoist years modern Chinese art could occasionally pique the interest of collectors or dealers outside China or draw carefully calculated praise from critics and publicists within, but it was not a promising area for critical scholarship. Michael Sullivan's pioneering survey, Chinese Art in the Twentieth Century, London and Berkeley, 1959—strong on developments in the later Guomindang period when he was in China, but understandably rather out of touch with the main currents in the People's Republic—remained for almost thirty years the sole monument in a neglected field.
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Gorbunova, Anastasiya A., and Rimma A. Timofeeva. "COSTUMED IMAGES À LA TURQUE IN RUSSIAN PAINTING OF THE 18TH CENTURY." RSUH/RGGU Bulletin. Series Philosophy. Social Studies. Art Studies 1, no. 1 (2022): 116–42. http://dx.doi.org/10.28995/2073-6401-2022-1-116-142.
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The article considers a number of picturesque costumed images à la turque, which means in the oriental taste, created in Russia in the 18th century. The studied works are divided into the costumed and typical images of the inhabitants of the Muslim world and a costumed portrait à la turque. It is believed that the means of creating an “oriental” image in those works was a costumizing – dressing a model in an exotic outfit perceived as a national costume of the peoples from the Muslim Orient. The work studies the history of creating costumed images à la turque in Russian art of the 18th century. It also deals with the composition and specificity of exotic costumes, the artistic-stylistic and genre features of the works under study and, when possible, identifies their pictorial sources.
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Mashkhura Adilzhanovna Darmonova. "Khorezm school of calligraphy and its representatives." International Journal on Integrated Education 3, no. 9 (December 3, 2020): 272–77. http://dx.doi.org/10.31149/ijie.v3i9.928.
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The formation of the Khorezm school of calligraphy has a long history, and in the 16th century, schools of calligraphy and writing were formed in the palace libraries of the rulers. Since the beginning of the 18th century, the art of calligraphy has developed as an independent school. The article describes the school of calligraphy that developed in Khorezm at the beginning of the 19th-20th centuries, as well as the life and spiritual heritage of its representatives.
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Lah, Nataša. "How Style Became Famous and Irrelevant at the Same Time." Ars & Humanitas 9, no. 2 (December 4, 2015): 215–30. http://dx.doi.org/10.4312/ars.9.2.215-230.
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The article is concerned with the theoretical issue of the status of style in visual arts, aiming to demonstrate that – within art history – stylistics acquired its disciplinary autonomy in the late 18th century when, J. J. Winckelmann was the first to detach stylistics from rhetoric, thus expanding the field of stylistic competence to the history of art. It was also the time when, under the influence of early Romanticism, the entirely opposite tendencies originated, those of the emphasized individuation of art. Therefore, parallel to the birth of theoretical notion of “the styles of the eras”, romanticists not only paved the way for Modernism, but also thwarted the application of a newly risen stylistic methodology concerned with the cultural codification of style. The disagreement between the “classicists”, and “romanticists”, eventually culminated in the schism of the Paris Salon and the emergence of a wide range of new trends, heterogeneous conceptions and avant-garde movement, all in a very short space of time. The concept of “the style of epoch” has been staggered by the challenges of the 20th century. The function of culture within the stylistic characteristics of the 19th century art production was appropriated by artists, whose artwork acquired total objectual autonomy. The cultural and stylistic codification of of historical periods conceived in the 18th century could no longer be applied to the heterogeneous art produced during the Modernist era. By affirming the obviousness of the visual, Modernism eluded all the semantic, functional, utilitarian, narrative and symbolic burdens of earlier periods. This article endeavours to show how, subsequent to the epoch of Modernism, style can be discussed exclusively at a level of the apparent expressed features of an artwork. Codification which follows the principle of temporal “anchoring” in the cultural context of the Modernits era of Modernism remains both risky and ineffective stylistic strategy.
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Lah, Nataša. "How Style Became Famous and Irrelevant at the Same Time." Ars & Humanitas 9, no. 2 (December 4, 2015): 215–30. http://dx.doi.org/10.4312/ah.9.2.215-230.
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The article is concerned with the theoretical issue of the status of style in visual arts, aiming to demonstrate that – within art history – stylistics acquired its disciplinary autonomy in the late 18th century when, J. J. Winckelmann was the first to detach stylistics from rhetoric, thus expanding the field of stylistic competence to the history of art. It was also the time when, under the influence of early Romanticism, the entirely opposite tendencies originated, those of the emphasized individuation of art. Therefore, parallel to the birth of theoretical notion of “the styles of the eras”, romanticists not only paved the way for Modernism, but also thwarted the application of a newly risen stylistic methodology concerned with the cultural codification of style. The disagreement between the “classicists”, and “romanticists”, eventually culminated in the schism of the Paris Salon and the emergence of a wide range of new trends, heterogeneous conceptions and avant-garde movement, all in a very short space of time. The concept of “the style of epoch” has been staggered by the challenges of the 20th century. The function of culture within the stylistic characteristics of the 19th century art production was appropriated by artists, whose artwork acquired total objectual autonomy. The cultural and stylistic codification of of historical periods conceived in the 18th century could no longer be applied to the heterogeneous art produced during the Modernist era. By affirming the obviousness of the visual, Modernism eluded all the semantic, functional, utilitarian, narrative and symbolic burdens of earlier periods. This article endeavours to show how, subsequent to the epoch of Modernism, style can be discussed exclusively at a level of the apparent expressed features of an artwork. Codification which follows the principle of temporal “anchoring” in the cultural context of the Modernits era of Modernism remains both risky and ineffective stylistic strategy.
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최형섭. "Old Beijing's Landscapes as the Space of History and Culture-Art in the 17-18th Century." CHINESE LITERATURE 91, no. ll (May 2017): 83–111. http://dx.doi.org/10.21192/scll.91..201705.005.
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Saenkova, Elena. "A Newfound Icon “Sophia the Wisdom of God with Miracle-Working Icons of the Mother of God” of the Late 17th — Early 18th Century: Aspects of the Iconographic Programme." ISTORIYA 12, no. 5 (103) (2021): 0. http://dx.doi.org/10.18254/s207987840015810-0.
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The article discusses the unique theological programme of an icon painted in the town of Vologda at the turn of the 17th to the 18th century. The icon combines the image of Sophia the Wisdom of God with the miraculous icons of the Mother of God: “The Lamenting Virgin”, “Our Lady of Georgia”, “The Virgin Eleousa” and “Our Lady of the Kievan Caves”. The image of Sophia the Wisdom of God has a number of significant differences from the classical iconography that became widespread in the Russian art of the 16th and 17th centuries: there is no image of Jesus Christ and the figure of the fiery-faced angel is inscribed as “IC XC”. The study of this icon provides new information for the interpretation of the theme of Sophia the Wisdom of God in Russian culture of the 17th — 18th century.
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Karev, Andrey A. "On the National Identity of the 18th-Century Russian Art in the First Half of the 20th Century Publications." Actual Problems of Theory and History of Art 11 (2021): 700–709. http://dx.doi.org/10.18688/aa2111-07-56.
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Luhovska, Anna. "Ontological Foundations of Conceptualization of Art Institutions." Artistic Culture. Topical Issues, no. 17(1) (June 8, 2021): 171–76. http://dx.doi.org/10.31500/1992-5514.17(1).2021.235252.
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The article describes the stages of formation and the main reasons for the transformation of the current art institutional system. Its characteristics, conventional to Europe at the end of the 18th century, became common to most countries by the second half of the 19th century. Globalization processes that accompany the entire history of the previous century are the key factor of the rapid changes in society, including the art sphere. The role of global economic changes with the orientation on the society of consumption, on the growing importance of art market, commercialization of culture in general, emergence of new technologies and changes in attitudes to contemporary art in all its manifestations were observed. The reasons for shifting the emphasis and rethinking the role of artist, curator and spectator in the modern mode of existence of art institutions were analyzed. The conditions for updating existing and new forms of art representation, as well as expanding the concept of an artwork and the difference in understanding its value in historical and commercial terms that do not always coincide, were described.
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Marković, Nikola. "Language innovations of contemporary architecture: From kineticism to kinetic archisculpture." SAJ - Serbian Architectural Journal 8, no. 2 (2016): 217–38. http://dx.doi.org/10.5937/saj1602217m.
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This text provides a brief essay on the development and emergence of kinetic archisculpture with reference to the history of artistic practice and kinetic development through art and architecture over a period of 18th century to date. Special emphasis is given to the consideration of kinetic incidence of archisculpture objects as more and more present phenomenon of innovative language of contemporary architecture from the end of last and the beginning of this century. It also points to the long historical path of the earliest experiences of movement in art to the modern study of the kinetics value which increasingly manifests now certain interactive archisculpture of modern kinetic architectural structure.
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Barinov, Yu, and O. Sokolskaya. "An analysis of the Chinese techniques and methods in the objects of landscape heritage in the city of Saratov, Russia." MATEC Web of Conferences 212 (2018): 04018. http://dx.doi.org/10.1051/matecconf/201821204018.
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In many regions of Russian Federatio, the objects of landscape heritage are in poor condition. They were created between the second half of the 18th century and the beginning of the 20th century. It was the period when landscape park constructions became widespread in Europe and Russia after establishing active trade and industry relations with East Asian countries, such as China. The research includes analysis of Chinese techniques and methods, which emerged in Russian objects of landscaping art, particularly in estate gardens and parks of the Volga region. The main criteria and flora used in “green” architecture in the territories of the landscape heritage objects of Saratov Volga region are discovered. The assessment of the range of greenery introduced from China and of the elements of the park architecture is given.
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Chernyaeva, Irina V., and Lidiya V. Balakhnina. "On the issue of pricing works of art in the process of historical development of artistic practices." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 59 (2021): 321–29. http://dx.doi.org/10.37816/2073-9567-2021-59-321-329.
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In modern art practice, the issue of formation of symbolic and economic value of works of art remains acute and relevant. In the history of art art historians, curators, and art critics used to determine symbolic value. The issue of formation of economic value of works of art is still debatable. The task of the study is to identify features of the pricing of works of art inherent in individual periods of the development of artistic practices in a historical context. The authors address the issue retrospectively, considering the relationships between art and market, originated in the 18th century in Holland. The paper conducts a detailed analyze of the epistolary heritage of P. M. Tretiakov, concluding that in the 19th century it was the professional environment that acted as a regulator of the pricing of works of art. Economic conditions of the 20th century in the domestic art put to the forefront state insurance or state order, therefore the volume of payment of works depended on regalia and social status of an artist. The situation of the beginning of the 21st century brought not only new forms and mechanisms to the art market as Internet trading, corporate collecting, art banking, but also new problems that influenced the pricing process.
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Ette, Ottmar. "Magic Screens. Biombos, Namban Art, the Art of Globalization and Education between China, Japan, India, Spanish America and Europe in the 17th and 18th Centuries." European Review 24, no. 2 (April 18, 2016): 285–96. http://dx.doi.org/10.1017/s1062798715000630.
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Garcilaso de la Vega el Inca, for several centuries doubtlessly the most discussed and most eminent writer of Andean America in the 16th and 17th centuries, throughout his life set the utmost value on the fact that he descended matrilineally from Atahualpa Yupanqui and from the last Inca emperor, Huayna Cápac. Thus, both in his person and in his creative work he combined different cultural worlds in a polylogical way.1 Two painters boasted that very same Inca descent – they were the last two great masters of the Cuzco school of painting, which over several generations of artists had been an institution of excellent renown and prestige, and whose economic downfall and artistic marginalization was vividly described by the French traveller Paul Mancoy in 1837.2 While, during the 18th century, Cuzco school paintings were still much cherished and sought after, by the beginning of the following century the elite of Lima regarded them as behind the times and provincial, committed to an ‘indigenous’ painting style. The artists from up-country – such was the reproach – could not keep up with the modern forms of seeing and creating, as exemplified by European paragons. Yet, just how ‘provincial’, truly, was this art?
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Zubkov, Nikolai N. "The Style of the 18th Century German Poetry Book." Observatory of Culture 18, no. 6 (December 21, 2021): 638–47. http://dx.doi.org/10.25281/2072-3156-2021-18-6-638-647.
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The article considers a question mainly unexplored — the history of German book art of the 18th century. There are outlined the main trends in the evolution of German books and highlighted their stylistic varieties. The “archaic” style, inherited from the 17th century, has its characteristic disharmony, rough types, and eclectic ornamenting. It remains relevant until the 1770s. From the 1730s, a style called here the “Leipzig classic” strives to overcome the limitations of the archaic. Its development is related to the partnership of the poet J.C. Gottsched and the publisher B.K. Breitkopf, and to the short period in German literature when classical standards prevailed. Probably, the Leipzig publishers’ practice directly affected the Russian book style of the third quarter of 18th century. In the 1750s, the literary program of the writer J.J. Bodmer and the circle of Zurich writers, opponents of J.C. Gottsched, fused with the publishing program associated with an attempt of some fundamental reforms. Bodmer himself, and later the poet Salomon Gessner, were co-owners of the largest Zurich publishing company. Through that, the original “Zurich” style appeared, heralding the future book “empire” style. Its most characteristic features are the Roman-faced type instead of the Gothic type and the lack of ornamentation. The end of the century typography is marked by some further evolution of the “Leipzig classic” style, the Gothic type standardization, and later the Roman-faced type standardization as well (“Walbaum” type). Consequently, German books of the 18th century represent a complex and uneven evolution, with huge regional differences and directly or indirectly related to the development of national literature, which is a phenomenon that cannot be observed in other European countries.
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Guoyi, Qin. "COLLECTING CHINA ART OBJECTS IN ENGLAND IN THE 19TH CENTURY." Articult, no. 3 (2022): 18–24. http://dx.doi.org/10.28995/2227-6165-2022-3-18-24.
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In the article, in the form of a brief overview, the Chinese influence on European art, in particular on English art, in the 19th century is described. The history of the emergence of Chinese art in Britain is summarized, the main stages of collecting and their prominent representatives are described. The article describes such areas of art as porcelain, engravings, painting, architecture, shows a description of their influence on European art, gives the reasons for the appearance of Chinese art in Europe. This article corrects the current picture of the development of collecting, based mainly on English-language material. The relevance of the study lies in the fact that the relationship of the studied cultures, the influence of Chinese culture on English is considered in the prism of social and political factors. The novelty of this study lies in the fact that the influence of Chinese art on the art of Europe depended on their position in the respective hierarchies: the higher the status of art in China, the less influence it had in Europe; and the higher the status of art in Europe, the less susceptible it was to Chinese influence.
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Cleary, Richard. "Romancing the Tome; Or an Academician's Pursuit of a Popular Audience in 18th-Century France." Journal of the Society of Architectural Historians 48, no. 2 (June 1, 1989): 139–49. http://dx.doi.org/10.2307/990352.
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The Parisian building industry prospered throughout most of the 18th century serving a wide range of clients. At one end of the scale were the members of the nobility and amateurs of architecture who approached the design of a building with a well-trained eye and an ability to speak of the principles governing good taste. The majority of clients, however, had little if any knowledge of or interest in art theory and relied on instinct, fashion, and the advice of experts. Concern for the effect an untutored public could have on the future of French architecture led Jacques-François Blondel, the foremost architectural educator of the 18th century, to develop specialized approaches for reaching potential clients. These included courses for nonprofessionals at his Ecole des Arts and a novel, L'Homme du monde éclairé par les arts (1774), written in collaboration with Jean-François Bastide, a man of letters who was the author of another work of fiction featuring architecture, "La Petite Maison" (1758).
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Kraner, Kaja. "Contemporary art from the perspective of post-contemporaneity." Maska 35, no. 200 (June 1, 2020): 34–45. http://dx.doi.org/10.1386/maska_00007_1.
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Drawing from a selection of texts close to the conceptualization of post-contemporaneity and, to some extent, post-contemporary art, the article highlights certain characteristics of contemporary art, particularly as expressed through criticism. Contemporary art analyses from the perspective of conceptualizations of post-contemporaneity are supplemented with an attempt to contextualise the similar process of formation of the idea of contemporary art that takes place through criticism of the pre-established conception of art, especially modernism. A parallel reading of the formation of the idea of contemporary art and something that could be understood as a process of formation of post-contemporary art is further supplemented with texts from the history of ideas related to art from the formative context of the modern conception of art, i.e. from the late 18th century onwards.
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Goodman, John, Andrew McClellan, and Christian Michel. "Inventing the Louvre: Art, Politics, and the Origins of the Modern Museum in 18th-Century Paris." Art Bulletin 77, no. 2 (June 1995): 329. http://dx.doi.org/10.2307/3046106.
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Schmale, Wolfgang. "Critical Note: Representations of the continents by means of allegorical figures in the early modern period. (Bodies and Maps: Early Modern Personifications of the Continents, edited by Maryanne Cline Horowitz and Louise Arizzoli, Brill, Leiden 2020)." Diciottesimo Secolo 7 (November 18, 2022): 147–52. http://dx.doi.org/10.36253/ds-13179.
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In the early modern period, the representation of the continents by means of allegorical figures enjoyed great popularity. The book Bodies and Maps: Early Modern Personifications of the Continents, edited by Maryanne Cline Horowitz and Louise Arizzoli, is very stimulating, richly documented and fundamental with regard to the detailed source-critical examination of concrete individual visualisations of the continents. The focus of the book rather lies with the 16th century, while part 5 focuses on the 18th century. In the 18th century, continent allegories entered into the public sphere and reached broader strata in the society. In this century, Eurocentrism progressed considerably, but did not invent it. The volume’s co-authors pose the question of Eurocentrism as well as that of racism with regard to the late Middle Ages and the 16th century. Because of their widespread use, continent allegories can be counted among the most important primary sources from which we can draw conclusions about how extra-European cultures could be represented, interpreted and viewed from a European perspective. They represent much more than just an art-historical source, they are, especially when one thinks of their accessibility in public spaces for everyone, actually a historical source of the first rank, behind which not least travelogues and theoretical concepts such as the history of civilisation as a universal history compete with the Christian history of salvation in the Bible.
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Green, Alison. "‘A Supreme Fiction’: Michael Fried and Art Criticism." Journal of Visual Culture 16, no. 1 (April 2017): 89–102. http://dx.doi.org/10.1177/1470412917700931.
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One of the striking aspects of the trenchant legacy of Michael Fried’s ‘Art and Objecthood’ is its status as a piece of art criticism. Widely perceived as difficult and personal, philosophical and explicatory, doxa or sermon, the essay stands out. To explore its singularity, this article compares Fried’s conception of the period criticism of 18th-century French painting in his book Absorption and Theatricality: Painting and Beholder in the Age of Diderot (1980) and the method of criticism enacted in ‘Art and Objecthood’ (1967) which he saw as connected. The author pursues this and other crossings between Fried’s art historical writings and art criticism, tracking it to an extended endnote in Fried’s Menzel’s Realism: Art and Embodiment in Nineteenth-Century Berlin (2002). ‘Art and Objecthood’ is a key essay in this story aimed at Fried’s thinking about criticism, its history, theory and practice. Doing this matters because it puts the critic in a particular relation to art and to Fried’s idea of an ‘ontologically prior relationship between painting and the beholder’.
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Ma, Debin. "Growth, institutions and knowledge: a review and reflection on the historiography of 18th-20th century China." Australian Economic History Review 44, no. 3 (November 2004): 259–77. http://dx.doi.org/10.1111/j.1467-8446.2004.00121.x.
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