Journal articles on the topic 'Art Europe History 18th century'
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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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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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Luengo, Pedro. "Yuánmíng Yuán en el siglo XVIII: Arte entre la diplomacia y la filosofía; entre Europa y Pekín." Araucaria, no. 35 (2015): 193–216. http://dx.doi.org/10.12795/araucaria.2016.i35.10.
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Malik, Jamal. "Muslim Culture and Reform in 18th Century South Asia." Journal of the Royal Asiatic Society of Great Britain & Ireland 13, no. 2 (July 2003): 227–43. http://dx.doi.org/10.1017/s1356186303003080.
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AbstractUsually the European perception of South Asia and, related to it, academic research into this region, is informed by specific, powerful images and metaphors that establish a dichotomisation of the world. The reasons for this development cannot be analysed in detail here. Suffice it to say, however, that this organisation and designation of the world has deep roots. Until the Reformation, Europe was basically perceived only in terms of geographical boundaries. But the dichotomy between “Europe” and “Asia” acquired a new dimension in the seventeenth and eighteenth centuries, when, in the wake of a change of paradigm into modernity, European self-consciousness gradually developed into a sense of European intellectual superiority. Just as a new form of collective identity had developed within the boundaries of Europe, based on the idea of “nation” in the late eighteenth century, and just as the members of the early nation-states forcibly dissociated themselves by definition from members of other societies in order to be able to establish their own identity, now, with the same intention, though on a different level, Europeans dissociated themselves from “Asia”, the “Orient” and “Islam”. The political recollection of important master narratives kept the mythical fictions in mind and imbued the nation-building process with enormous real power. This development towards a modern European identity was based, as can be deduced from many travellers' testimonies, on the history of reception, reciprocal perceptions, and the development of enemy images. In this process, the Orient and the Orientals were also used by Europeans as a didactic background for the critique of their own (European) urban societies. The literary technique of contextual alienation and distancing, such as can be found in Montesquieu's “Persian Letters”, was born in this period. These and following processes of projection were connected among others things with the fact that Europeans, as colonial masters, advanced to confront the world outside Europe. There they were faced with attitudes and norms that forced them to question their own perceptions. In doing so, they also tended to accept some of these strange and different ideas, and, thus, exposed themselves to cultural hybridisation which could then only be overcome by the reconstructing of their own culture as something “pure”, in contrast to the “degenerate” culture of the colonialised. In this way, collective antagonisms developed. Even the Oriental crusades that had been critically evaluated by European academicians, were now for the first time perceived in terms of cultural clash. Analogously, Europe and Asia were constructed in the eighteenth century and very predominantly in the nineteenth century in terms of arenas of power politics. For instance, it was during this time that the eastern borders of Europe were conceptualised, with the Balkans and Transoxania being considered as buffers or gaps between the two.
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Bigliardi, Victoria. "The Reincarnation of the Aura." International Journal of Semiotics and Visual Rhetoric 1, no. 1 (January 2017): 72–80. http://dx.doi.org/10.4018/ijsvr.2017010108.
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In 1935, Walter Benjamin introduced the aura as the abstract conceptualization of uniqueness, authenticity, and singularity that encompasses an original art object. With the advent of technological reproducibility, Benjamin posits that the aura of an object deteriorates when the original is reproduced through the manufacture of copies. Employing this concept of the aura, I outline the proliferation of plaster casts of sculptures in 18th- and 19th-century Europe, placing contextual emphasis on the cultural and prestige value of originals and copies. Theories of authenticity in both art history and material culture are used to examine the nature of the aura and to consider how the aura transforms when an original object is lost from the material record. Through an object biography of a 15th-century sculpture by Francesco Laurana, I propose that the aura does not disappear upon the loss of the original, but is reincarnated in the authentic reproduction.
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Tokarska-Bakir, Joanna. "WHY IS THE HOLY IMAGE "TRUE"? THE ONTOLOGICAL CONCEPT OF TRUTH AS A PRINCIPLE OF SELF-AUTHENTICATION OF FOLK DEVOTIONAL EFFIGIES IN THE 18TH AND 19TH CENTURY." Numen 49, no. 3 (2002): 255–81. http://dx.doi.org/10.1163/156852702320263936.
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AbstractThe present article examines the twofold material provided by analyses of the borderline between the ethnology of religion and the history of folk art. It refers first of all to the etiological legends of holy images venerated in Central and Eastern Europe in the post-tridentine period, and secondly to folk holy images, in particular woodcut prints, self-declared as "true images," which were widespread until the last century, and richly represented in Polish folk piety.
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Elezovic, D. M. "The role of Dmitry Kantemir’s writings for the Western educational historiography (a case study of the manuscript “The History of Turkey” of the 18th century)." Rusin, no. 63 (2021): 34–42. http://dx.doi.org/10.17223/18572685/63/3.
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The article uses a case study of the manuscript The History of Turkey written by an anonymous author in French in the 18th century and kept in the Bern City Library archives, to discuss West European writers’ evaluation of Dmitry Kantemir’s works. Dmitry Kantemir was not only a prominent political leader and diplomat, but also one of the most educated people in Eastern Europe of his time. When living in Constantinople, he attended a theological school, then studied history, philosophy, literature, art, theology, and ancient languages (he knew eight languages). Highly regarded in Russia, his writings attracted attention in the West and were used as sources by European historians. As an outstanding scientist and diplomat in Eastern Europe, Dmitry Kantemir earned the recognition of his Western European contemporaries as well as historians of later periods, who highly appreciated his works. This article analyses one historical plot, which has not been in the focus of scholarly studies so far: Kantemir’s History of the Growth and Decay of the Ottoman Empire is mentioned as one of the main sources in the manuscript The History of Turkey and repeatedly quoted there.
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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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Svyrydenko, N. "Music in museum (second half of 20th century, Ukraine)." Musical art in the educological discourse, no. 3 (2018): 61–65. http://dx.doi.org/10.28925/2518-766x.2018.3.6165.
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Due to the process of early music revival, started in the USSR from the 60s of the 20th century, there are searches of the appropriate premises, in which early music could be perceived naturally, where one can feel a single style in combination of rooms, music, instrumentation and performance style that would increase the perception of each of the components of the creative process. Such most suitable premises are found out to be the halls of museums — former mansions, or palaces, which serve as museums in our time. The practice of conducting concerts in museums was introduced in Western Europe in the first half of the 20th century as a part of the overall process of early music revival and became an example for other countries including Ukraine.The Museum of Ukrainian Fine Arts was one of the first museums where concerts of early music were held in 1988. The concert programs featured the music of prominent Ukrainian composers of the 16th–18th centuries. Since 1989, the «Concerts in Museum» began to be held at the Museum of Russian Art, where one could hear music from the 18th to the beginning of the 19th century from «The Music Collection of the Razumovsky Family». Since 2003, the door has opened for concerts at the National Museum of History of Ukraine, where, in addition to chamber music, the visitors watched the whole performance — the chamber opera by D. Bortniansky «Sokil». The performance of this opera was also held at other museums of Ukrainian cities, as well as in Poland.Ancient instruments in some museums, that have lost its sound and artistic qualities, attracted attention of the musical experts. In association with scholars and the administration of museums, restoration work was carried out and brought back the old tools to life, which made it possible to hear the true «voice of the past «. This happened from the pianoforte at the Museum of Ukrainian History, the Lesia Ukrainka Museum in the village Kolodyazhny of Kovelsky District in Volyn and the Memorial Museum of Maxim Rylsky in Kyiv. Nowadays many museums in Ukraine have become centres of culture, both visual and musical. Due to this process, contemporaries’ views about the past art have expanded, the recordings of ancient music phonograms initiated film-making.
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Borovkova, Natalia V. "Lapidary Art of the Altai and the Urals of the Late 18th — 19th Centuries: The Russian Cultural Phenomenon and European Influence." Izvestia of the Ural federal university. Series 2. Humanities and Arts 23, no. 3 (2021): 291–303. http://dx.doi.org/10.15826/izv2.2021.23.3.060.
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The study of Russian stone-cutting art remains an important and urgent task of contemporary Russian art history. It is necessary to take a fresh look at this direction of Russian decorative art and find out whether Russian stone-cutting art is an internal phenomenon, or it is based on European borrowing. This article refers to works of stone-cutting enterprises of the Urals and the Altai, i. e. Yekaterinburg and Loktevsk Manufactories, which worked exclusively at the order of the Cabinet. In the late eighteenth century, there was a system for ordering stone products in Russia. To do this, they formed sets of “samples” of natural ornamental stone from Russian deposits and compiled albums of product projects. When sending an order to the factory, they attached a sketch and indicated the number of the stone which the product was to be made of. A complex analysis of Russian stone-cutting art testifies to the fact that it followed European fashion, traditions, and technology. European specialists were invited to Russia in order to organise stone-cutting production. Also, travellers brought elegant artworks made of decorative stone by European masters. By the late eighteenth century, stone-cutting production had come a much longer way in Western Europe than in Russia. The production of works of art made of stone was carried out in Italy, France, England, Sweden, and other European countries. Russian commissioners wanted to obtain similar items, and the masters imitated and reproduced European originals. When comparing designs of decorative vases, one can see an undoubted influence of European analogues. However, if there is an obvious similarity to their decorative design, Russian masters are characterised by the ability to reveal the unique aesthetic properties of the material. At the first stage, the influence of European masters was not to be argued, but later on, Russian stone-cutting art began to acquire its own unique features, although it developed along the lines of the dominating pan-European stylistic trends.
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Kunešová, Jana. "Podmalby na skle ze sbírek Oddělení starších českých dějin Národního muzea. Příspěvky k tvorbě Gerharda Janssena, Daniela Preisslera, Vincenze Jankeho a jejich současníků. K fenoménu a uplatnění techniky verre églomisé. I. část." Časopis Národního muzea. Řada historická 190, no. 1-2 (2022): 59–92. http://dx.doi.org/10.37520/cnm.2021.003.
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Reverse paintings on glass from the collections of the Department of Older Czech History of the National Museum. Articles regarding the works of Gerhard Janssen, Daniel Preissler, Vincenz Janke and their contemporaries. In regard to the phenomenon and application of the verre églomisé technique, part I. This two-part paper presents a diverse collection of approximately 120 reverse paintings on glass produced in the Czech lands and Central Europe, from the beginning of the 18th century to the second half of the 19th century. The first part is devoted to their topics from the aspect of religion, allegory, landscape and genre and also discusses their iconography, authorship, templates, techniques (particularly verre églomisé) and provenience in the context of Czech and foreign collections. The most valuable of these items include newly identified Baroque works by Gerhard Janssen, the allegorical cycle by Daniel Preissler and works by the Augsburg School. The 19th century is dominated by the workshop of Vincenz Janke producing works falling between art and craftwork, and specific regional works, which are also represented by folk paintings. The second (prepared) part of the thesis will be separately devoted to portrait reverse paintings on glass.
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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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Protsiv, L. Y. "Music education in Ukraine: meetings in history." Musical art in the educological discourse, no. 2 (2017): 73–77. http://dx.doi.org/10.28925/2518-766x.20172.717.
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The article describes main features of human civilization as metahistory, substantiates a view on the history of music pedagogy in Ukraine as metahistory, the contents of which is constant values, spiritual constants of the humanity, and also synchronous section of history, including such things as coincidence, similarity of certain “spiritual epochs”, meetings in history. An example of such “synchronous” dramaturgy in the history of the Ukrainian music education is seen in M. Dyletskyi’s creative activity and pedagogical legacy. In musical thinking this personality was ahead of representatives of Western European polyphonic school, and came very close to the theory of temperatio, so well presented in Bach’s art. Supporting Kyiv concept of education at Slavonic, Latin and Greek schools, which involved a combination of eastern and western elements of education, national and European cultural and educational traditions, M. Dyletskyi formulated the aesthetic principles of choral art, revealed progressive pedagogical ideas. Age of Baroque and Enlightenment was the epoch of Great Travelers and symbolic meetings. In search of truth and artistic ideal philosophers, artists, musicians traveled in Europe. Various meetings took place — real and unreal, sometimes at an interval of a century, but they determined “symbolic insight into the future”. An important meeting took place at the end of the 18th century in Vienna. The Ukrainians met a famous countryman, composer D. Bortnyanskyi. Since then, composer’s music became a model of his proficiency, the embodiment of the Ukrainians’ spiritual outlook. He was called “the Ukrainian Mozart”, “Our Palestrina”, and he became a kind of a “bridge” between the European polyphonists and “classicists”, and also composers–romanticists, who also were influenced by his works. Age of Baroque and classicism, “Golden Age” in the Ukrainian music culture has acquired the status of “epic time” aimed at eternity, when a relatively short period of time defined the future way for historical development. The presence of such parallels and “meetings in history”, actualizing the past at the request of the future, defines metahistorical nature of history of music education in Ukraine.
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Arabas, Iwona, Larysa Bondar, and Lidia Czechowicz. "Nie tylko kurs historii naturalnej. Księżnej Anny Jabłonowskiej zbiór „wszystkich przedmiotów dociekań rozumu człowieka”." Kwartalnik Historii Nauki i Techniki, no. 1 (2021): 137–60. http://dx.doi.org/10.4467/0023589xkhnt.21.005.13389.
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Not Only a Natural History Course. Duchess Anna Jabłonowska’s “Collection of All Objects of Human Reason Inquiries” One of the richest natural history collections in Europe at the end of the 18th century was the Cabinet of Natural History of Duchess Anna Jabłonowska née Sapieha (1728–1800) in Siemiatycze. In 1802, the collection was purchased by Tsar Alexander I and handed over to the University in Moscow (where it burned down in 1812). It was only possible to recreate the richness of the collection and the way it was taken over after the sales documents had been found in 2008 in the Archive of the Russian Academy of Sciences in St. Petersburg. However, some documents were illegible, and it was only in 2020 that the entire documentation was read. It revealed a completely different image of the collection than expected, as in one part the collection refers to cabinets of curiosities. The article is the first publication in Polish on Anna Jabłonowska’s “art cabinet”, with translations of the lists of exhibits by Count Stanisław Sołtyk (from French) and by V.M. Severgin and A.F. Sevastyanov (from Russian).
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Buržinskas, Žygimantas. "Uniate Sacral Architecture in the Grand Duchy of Lithuania: A Synthesis of Confessional Architecture." Art History & Criticism 17, no. 1 (November 15, 2021): 43–58. http://dx.doi.org/10.2478/mik-2021-0004.
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Summary The architectural legacy of the Unitarians in the former Grand Duchy of Lithuania has received little attention from researchers to this day. This article presents an architectural synthesis of the Uniate and Order of Basilians that reflected the old succession of Orthodox architectural heritage, but at the same time was increasingly influenced by the architectural traditions formed in Catholic churches. This article presents the tendencies of the development of Uniate architecture, paying attention to the brick and wooden sacral buildings belonging to the Uniate and Order of Basilians in the territory of the Grand Duchy of Lithuania. The early Uniate sacral examples reflected the still striking features of the synthesis, which were particularly marked in the formation of the Greek cross plan and apses in the different axes of the building. All this marked the architectural influences of Ukraine, Moldova and other areas of Central and South-Eastern Europe, which were also clearly visible in Orthodox architecture. Wooden Uniate architecture, as in the case of masonry buildings, had distinctly inherited features of Orthodox architecture, and in the late period, as early as the 18th century, there was a tendency to adopt the principles of Catholic church architecture, which resulted in complete convergence of most Uniate buildings with examples of Catholic church buildings. Vilnius Baroque School, formed in the late Baroque era, formed general tendencies in the construction of Uniate and Catholic sacral buildings, among which the clearer divisions of the larger structural and artistic principles are no longer noticeable in the second half of 18th century. The article also presents the image of baroque St. Nicholas Church, the only Uniate parish church in Vilnius city, which was lost after the reconstruction in the second half of the 19th century.
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Guze, Justyna. "CATALOGUES OF ENGRAVINGS – ITALIAN ONES FROM THE NATIONAL MUSEUM IN WROCŁAW AND FRENCH ONES FROM THE NATIONAL MUSEUM IN SZCZECIN." Muzealnictwo 59 (June 26, 2018): 93–97. http://dx.doi.org/10.5604/01.3001.0012.1437.
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At the turn of 2017 and 2018, with the date 2017 printed in the colophon, two catalogues of engravings’ collections were published: old Italian prints from the collection of the National Museum in Wrocław, and French prints from the National Museum in Szczecin. The collection of Wrocław contains groups of artworks by the best Italian engravers from the Renaissance to the 18th century, and a small representation of the 19th century. An introduction to the catalogue gives the history, the scope and the contents of the collection as well as the brief history of the engraving art on the Apennine Peninsula. The catalogue itself is glossed, giving references to the latest research, preceded by biographical notes of encyclopaedic character. This well illustrated and thoroughly edited catalogue, organised in a user-friendly alphabetical order, is a compendium useful not only for art historians. The catalogue published by the National Museum in Szczecin has the same title as the exhibition of French engravings from its collection. It is a combination of both the exhibition and the collection catalogue. Hence its specific layout corresponding rather with the narration of an exhibition than a catalogue’s criteria. Both the encyclopaedic profiles of artists and the following glosses are accompanied by selected bibliography; its full version together with extensive academic references can be found at the end of the volume. The collection of over 600 prints has been divided not in alphabetical or chronological order but in accordance with an academic hierarchy of subjects. Engravings for art reproduction purposes prevail in Szczecin collection although original works of famous artists are also included. The publication of both catalogues allows us to learn more about the engravings in Polish public collections, i.e. the ones of national museum in Szczecin and Wrocław. It also gives the history of Polish collections after 1945, affected by the previous losses of the World War II. Undoubtedly, the sign of the times and the presence of Poland in the united Europe is the publication of the Italian engravings’ collection from Wrocław, which was kept before in the Academy of Arts in Berlin. Great care has been taken to prepare both catalogues in terms of their typography, although the illustrations in the French engravings’ catalogue would be of more benefit if were somewhat larger.
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Тетяна Младенова. "ORIENT В. А. МОЦАРТА: ВІД АЛЮЗІЇ ДО ЕТИКО- ЕСТЕТИЧНОЇ СТИЛЬОВОЇ МОДЕЛІ." World Science 2, no. 4(56) (April 30, 2020): 14–20. http://dx.doi.org/10.31435/rsglobal_ws/30042020/7028.
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Throughout the history of music, the dialogue of cultures in the West- East discourse has produced various Orientalism models. Introducing a fashion for oriental decorations in Europe, using new instruments, borrowing modes of musical expression, as well as alluding to signs and symbols of oriental religions and philosophies gave rise to reshaping European musical aesthetics as early as the 18th century. At that time, Wolfgang Amadeus Mozart and his work were undoubtedly pivotal for the art. One can retrospectively observe that Turkish Janissary musical traditions significantly freshened and enriched the composer's instrumental thinking. This can be seen most in the orchestration of Mozart's oriental operas – namely, his singspiels Zaide and The Abduction from the Seraglio. Being a synthetic genre by its nature, opera is primarily related to literary activity; therefore, its oriental colour and imagery need to be immersed in the philosophical world of oriental narratives and storylines that were very popular in baroque and classicism art. Moreover, on the example of The Magic Flute, Mozart's last opera, we can observe how the semiosis of Sufi texts explicitly present in this singspiel libretto gives the work new – Romantic – features. These new characteristics are not limited to the surface aesthetic level of decorations. As an opera reformer, Mozart reshapes the aesthetics of musical language, concurrently refining the ethical component of the genre. Thus, when analysing some instrumental, especially opera pieces by Mozart – namely, Zaide, The Abduction from the Seraglio and The Magic Flute singspiels, one can affirm that the synergy between all orientalism features in the composer’s works and established traditions of the European musical art resulted in the Viennese master creating a new ethical and aesthetic style model, which became seminal for the upcoming epochs.
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Islam, Sk Zohirul. "The Pair Lion Motif in Shiva Temple of Medieval Bengal: Its Source and Evaluation." American International Journal of Social Science Research 3, no. 1 (September 1, 2018): 1–12. http://dx.doi.org/10.46281/aijssr.v3i1.138.
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Lions, particularly male lions, have been an important symbol for thousands of years and appear as a theme in cultures across Europe, Asia, and Africa. The cultural significance of stucco pair lion motif in Shiva temples of Bengal and relates with various types of representation of the same motif found in others. The pair Lion used as stucco (Jora Shiva Temple, Muroli, Jessore district). Shiva is the braver among the all God and Goddesses in Hindu religion during the early period and still. Thus we have found many Shiva temple build in Bengal (present West Bengal(Paschimbango) and Bangladesh). This article try to analyses about how the pair lion motif is depicting of the Shiva temple and what is the relation between Shiva and lion under Mythology and Purana. Shiva is the second most important male deity of Hindu. The usual Shiva –lingam’s which were mainly worshipped in the temples and under trees or in an open space. We would have tried to decipher about Pair Lion Motif decoration of 18th – 19th century Shiva temple of Bangladesh. Those would have to help the history of evaluation of stylized art waves is coming out by its decoration motif with ritual, beliefs and faith of Bengal society. We may look at the artistic tradition of lion sculptures those are widely found from different parts of west Bengal and Bangladesh.
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Kudelin, Andrey. "The Eastern Policy of France in the Second Half of the 17th — Second Half of the 18th Century." ISTORIYA 13, no. 12-1 (122) (2022): 0. http://dx.doi.org/10.18254/s207987840024010-0.
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The article reveals the peculiarities of the eastern policy of France in the second half of the 17th — second half of the 18th century. During the reign of Kings Louis XIV and Louis XV, the eastern policy of France underwent significant changes. At the beginning of this period, the main goal of the “eastern barrier” was to confront the Austrian Habsburgs. To this end, the government of Louis XVI used, first of all, the alliance with the Principality of Transylvania. Problems in the east distracted the Habsburgs from the wars in Europe. During the reign of Louis XV, France's foreign policy became much less consistent. At the beginning of the reign of this monarch, the policy of the “eastern barrier” continued, only now it was directed primarily against Russia, since France was very concerned about the Austro-Russian military alliance. Later, the so-called “reversal of alliances” took place, which eventually led to the Seven Years' War, during which France was on the same side with Austria and Russia, and the policy of the “eastern barrier” was temporarily forgotten. After the turn of Russian policy towards an alliance with Prussia, France is also returning to its traditional policy of containing Russia. This was reflected in the support of the Bar Confederation in Poland and pushing the Ottoman Empire and the Crimean Khanate to war with Russia. However, this policy has not led to any significant results. Apparently, the traditional alliance with the Ottoman Empire for France already at that moment did not seem so attractive to some French politicians. The weakening of the Ottoman Empire was presented to them as a possible reason for the seizure of its territories in the Eastern Mediterranean, Egypt for example.
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Fitzgerald, Deborah, Juan Pan-Montojo, Gabriel Jover Avellà, Iñaki Martín Viso, Eider de Dios Fernández, and Enrique Montañés Primicia. "Book reviews - Crítica de libros - Crítica de livros (Historia Agraria, 87)." Historia Agraria Revista de agricultura e historia rural, no. 87 (July 14, 2022): 277–300. http://dx.doi.org/10.26882/histagrar.087r10b.
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Book reviews - Crítica de libros - Crítica de livros Paul Brassley, David Harvey, Matt Lobley and Michael Winter: The Real Agricultural Revolution: The Transformation of English Farming, 1939-1985 Deborah Fitzgerald Zsuzsanna Varga: The Hungarian agricultural miracle? Sovietization and Americanization in a Communist country Juan Pan-Montojo Guido Alfani and Erik Thoen (eds.): Inequality in rural Europe (Late Middle Ages-18th century) Gabriel Jover Avellà David González Agudo y Jesús Rodríguez Morales: Bases de la depredación señorial en tierra de Segovia: Casarrubios, siglos XII-XVI Iñaki Martín Viso Teresa María Ortega López y Ana Cabana Iglesia: “Haberlas, haylas”. Campesinas en la historia de España en el siglo XX Eider de Dios Fernández José Ignacio Martínez Ruiz: Crecimiento y libertad. Los vinos de Málaga y Jerez en el mercado atlántico (1480-1850) Enrique Montañés Primicia
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Santos da Silva, J. G., and G. L. Debona. "“Avenida Central” Building – Pioneer Design and Construction with Reference to the Use of Steel Structures in Rio de Janeiro/RJ." Metálica, no. 23 (March 31, 2022): 26–31. http://dx.doi.org/10.30779/cmm_metalica_mi23_03.
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The first Brazilian capital was Salvador/BA, between 1549 and 1763. Then, the city of Rio de Janeiro/RJ was the second capital of Brazil, from 1763 to 1960. Until 1763, Salvador/BA was considered a more modern and equipped city. However, based on the discovery of gold in the region of Minas Gerais/MG, and the consequent risk of smuggling, it was necessary to transfer the main headquarters of the country to a city closer to the region of the mines [1]. In this sense, between the end of the 17th century and the beginning of the 18th century, the city of Rio de Janeiro/RJ becomes the main link between Minas Gerais and Europe. Subsequently, with the reduction of the production of precious metals, the city went through hegemonies and economic crises, during the following two centuries, due to a series of changes in the economy, which became supported mainly by the agricultural production of sugar cane and coffee. [2].
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Andrianova, Irina. "Stenography and Literature: What did Western European and Russian Writers Master the Art of Shorthand Writing For?" Studia Slavica Academiae Scientiarum Hungaricae 64, no. 1 (June 2019): 1–11. http://dx.doi.org/10.1556/060.2019.64101.
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What brings together Daniel Defoe, Charles Dickens, Vsevolod Krestovsky, Nikolai Chernyshevsky, Fyodor Dostoevsky, Аlexander Kuprin, George Bernard Shaw, and Аstrid Lindgren, i.e. writers from different countries and belonging to different epochs? In their creative work, they all used stenography, or rapid writing, permitting a person to listen to true speech and record it simultaneously. This paper discloses the role of stenography in literary activities of European and Russian writers in the 19th and early 20th centuries. Some researchers believe that the first ties between shorthand and literature appeared in the days of Shakespeare when the playwright's competitors used shorthand to put down the texts of his plays. Others have convincingly refuted this viewpoint, proving that such records never existed. The most famous English novelist in the 17th and 18th centuries Daniel Defoe can be considered one of the first writers who used shorthand in his literary work. The writers mastering the art of shorthand writing such as Defoe, Dickens, and Lindgren were popular in various professional spheres (among others, the secret service, journalism, and secretarial service) where they successfully applied their skills in shorthand writing. Stenography was an integral part of a creative process of the authors who resorted to it (Dostoevsky, Krestovsky, Shaw, and Lindgren). It economized their time and efforts, saved them from poverty and from the terms of enslavement stipulated in the contracts between writers and publishers. It is mainly thanks to stenography that their works became renowned all over the world. If Charles Dickens called himself “the best writer-stenographer” of the 19th century, F. M. Dostoevsky became a great admirer of the “high art” of shorthand. He was the second writer in Russia (following V. Krestovsky), who applied shorthand writing in his literary work but the only one in the world literature for whom stenography became something more than just shorthand. This art modified and enriched the model of his creative process not for a while but for life, and it had an influence on the poetics of his novels and the story A Gentle Creature, and led to changes in the writer's private life. In the course of the years of the marriage of Dostoevsky and his stenographer Anna Snitkina, the author's artistic talent came to the peak. The largest and most important part of his literary writings was created in that period. As a matter of fact, having become the “photograph” of live speech two centuries ago, shorthand made a revolution in the world, and became art and science for people. However, its history did not turn to be everlasting. In the 21st century, the art of shorthand writing is on the edge of disappearing and in deep crisis. The author of the paper touches upon the problem of revival of social interest in stenography and its maintenance as an art. Archival collections in Europe and Russia contain numerous documents written in short-hand by means of various shorthand systems. If humanity does not study shorthand and loses the ability to read verbatim records, the content of these documents will be hidden for us forever.
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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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Миронска-Христовска [Mironska-Hristovska], Валентина [Valentina]. "Релациите меѓу Високата Порта и Охридската архиепископија во 18 век (причини за приближување и одделување)." Slavia Meridionalis 11 (August 31, 2015): 321–37. http://dx.doi.org/10.11649/sm.2011.019.
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Relations between the Sublime Porte and the Archbishopric of Ohrid in the 18th century (reasons for rapprochement and estrangement)Non-canonical abolition of the Ohrid Archbishopric on May 17, 1767 is an act that made deep impact in Macedonian history. The abolition of the Ohrid Archbishopric, conducted at the discretion of the Constantinople Patriarchate – is the key axis around which present denials of Macedonian Church revolve together with the denial of historical cultural tradition of Macedonian nation, Macedonian territories and Macedonian name. As a result of this situation, from today’s perspective, we are given the opportunity to highlight the raising of Macedonian question, which unfortunately hasn’t been resolved primarily due to the politics of our neighbours.Since the abolishment occurred during the Ottoman rule in Macedonia, the subject matter results from it as well as the consideration of relations between the Sublime Porte and the Ohrid Archbishopric. Ever since the 14th century Macedonia was territorially and administratively under the Sublime Porte, where as spiritually it was independent (as of the 10th century). The Porte not interfering with the autocephaly of Ohrid Archbishopric provided a range of benefits to the development of Macedonian medieval written tradition (notably by scriptor centers), the continued development of Slavic church services, the development of other cultural spheres as well as preservation of Macedonian folk language and Macedonian beat.The key turning point in deteriorated relationship between the Archbishopric and the Porte occurred in the late 17th or early 18th century, when the Porte was highly engaged in European political and military events, when its economic power declined, when phanariotes strengthened their positions as Constantinople Patriarchate and in the external and internal politics of the Ottoman empire. Their propaganda against Ohrid church superiors was so successful that triggered frequent replacement of archbishops, their financial power was so great that they became leaders in trade on the Balkans, Russia and Europe, they acquired range of privileges, one of the key being that they were official interpreters – dragomen in negotiations between the Porte and European powers. They used it all to achieve their political goal – abolition of the Ohrid Archbishopric, an act through which they tended to realize their Megali Idea for the process of which they began assimilation that interfered with church services, cultural heritage, language, identity and the territory of Macedonian people. Relacje pomiędzy Wysoką Portą a arcybiskupstwem ochrydzkim w XVIII wieku (powody zacieśniania i rozluźniania wzajemnych stosunków) Niekanoniczna likwidacja arcybiskupstwa ochrydzkiego 17 maja 1767 roku okazała się wydarzeniem brzemiennym w skutki dla historii Macedonii. Decyzja patriarchatu w Carogrodzie o jego likwidacji stała się punktem odniesienia, wokół którego koncentrują się problemy współczesności – negowanie istnienia Macedońskiego Kościoła Prawosławnego, kulturowo-historycznej tradycji macedońskiej, narodu macedońskiego, terytorium państwa oraz jego nazwy własnej. Ciągłość tej sytuacji z dzisiejszej perspektywy daje możliwość podkreślenia problemu macedońskiego, który nie został rozwiązany w wyniku polityki, jaką prowadziły sąsiednie państwa.Likwidacja arcybiskupstwa nastąpiła w okresie panowania osmańskiego, co pozwala na ukazanie relacji kształtujących się pomiędzy Wysoką Portą a arcybiskupstwem ochrydzkim. Ziemie macedońskie od XIV wieku znajdowały się pod terytorialną i administracyjną jurysdykcją państwa osmańskiego, utrzymywały jednak od X wieku niezależność religijną.Autokefalię arcybiskupstwa ochrydzkiego wobec Wysokiej Porty umożliwiała średniowieczna tradycja piśmiennicza (skupiona głównie wokół ośrodków skryptorskich), kontynuacja liturgii w języku słowiańskim oraz zachowanie języka, którym posługiwali się słowiańscy mieszkańcy ziem macedońskich.Pogorszenie relacji pomiędzy arcybiskupstwem a Portą nastąpiło pod koniec XVII wieku i na początku wieku XVIII, kiedy imperium osmańskie było maksymalnie zaangażowane w politykę i wojny prowadzone w Europie, kiedy słabło ekonomicznie. Tymczasem fanarioci wzmacniali swe pozycje w patriarchacie w Carogrodzie, zyskiwali też na znaczeniu w wewnętrznej i zewnętrznej polityce państwa. Działania, jakie podejmowali wobec biskupów ochrydzkich, okazały się na tyle skuteczne, że zaczęli wypierać hierarchów macedońskich z ich stanowisk. Fanarioci stawali się coraz większą siłą finansową – zyskali uprzywilejowany status w handlu na Bałkanach, w Rosji i w Europie, otrzymali również liczne przywileje, jakie zapewniała im funkcja oficjalnych tłumaczy (dragomanów) w rozmowach pomiędzy Portą a państwami europejskimi. Wszystko to wykorzystywali do realizacji swoich celów politycznych – likwidacja arcybiskupstwa w Ochrydzie miała być krokiem do urzeczywistnienia Megali Idei, prowadzącym do asymilacji ludności ziem macedońskich poprzez wprowadzenie liturgii w języku greckim, asymilację dziedzictwa kultury, języka i tożsamości.
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Shennan, J. H. "The rise of patriotism in 18th-century Europe." History of European Ideas 13, no. 6 (January 1991): 689–710. http://dx.doi.org/10.1016/0191-6599(91)90136-m.
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Mikkelsen, Kim Sass. "Old habits die hard, sometimes: history and civil service politicization in Europe." International Review of Administrative Sciences 84, no. 4 (September 5, 2016): 803–19. http://dx.doi.org/10.1177/0020852316652487.
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This article examines relationships between historical administrative systems and civil service politicization across Europe. I argue that to appreciate when and how history matters, we need to consider public service bargains struck between politicians and senior bureaucrats. Doing so complicates the relationship between historical and current administrative systems: a bureaucratic, as opposed to patrimonial, 18th-century state infrastructure is necessary for the depoliticization of ministerial bureaucracies in present-day Western Europe. However, the relationship does not hold in East-Central Europe since administrative histories are tumultuous and fractured. Combining data from across the European continent, I provide evidence in support of these propositions. Points for practitioners This article addresses policymakers dealing with reforms of personnel policy regimes at the centre of government. It considers the importance of history for politically attractive reforms, as well as the limits of this importance. I argue that 18th-century state infrastructures shape the extent to which political appointments are politically attractive tools for administrative control. I show that only in countries that feature a bureaucratic, as opposed to patrimonial, 18th-century infrastructure are ministerial top management occupied by a permanent, as opposed to politically appointed, staff. However, in East-Central Europe, a ruptured administrative history ensures that the distant past does not similarly shape the extent of political appointments.
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Helgason, Jon. "Why ABC Matters: Lexicography and Literary History." Culture Unbound 2, no. 4 (November 4, 2010): 515–27. http://dx.doi.org/10.3384/cu.2000.1525.10230515.
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The purpose of this article is twofold. First, I wish to discuss the origins of The Swedish Academy Dictionary against the backdrop of the social and cultural history of lexicography in 18th and 19th century Europe. Second, to consider material aspects of lexicography – the dictionary as interface – in light of German media scientist Friedrich Kittler’s “media materialism”. Ultimately, both purposes intend to describe how letters and writing have been constructed and arranged through-out the course of history. In Kittler’s view, “the intimization of literature”, that took place during second half of the 18th century, brought about a fundamental change in the way language and text were perceived. However, parallel to this development an institutionalization and disciplining of language and literature took place. The rise of modern society, the nation state, print capitalism and modern science in 18th century Europe necessitated (and were furthered by) a disciplining of language and literature. This era was for these reasons a golden age for lexicographers and scholars whose work focused on the vernacular. In this article the rise of the alphabetically ordered dictionary and the corresponding downfall of the topical dictionary that occurred around 1700 is regarded as a technological threshold. This development is interesting not only within the field of history of lexicography, but arguably also, since information and thought are connected to the basic principles of mediality, this development has bearings on the epistemo-logical revolution of the 18th century witnessed in, among other things, Enlightenment thought and literature.
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Sutcliffe, Adam. "The Origins of Jewish Secularization in 18th Century Europe." Journal of Modern Jewish Studies 10, no. 2 (July 2011): 307–10. http://dx.doi.org/10.1080/14725886.2011.580998.
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Dummett, Michael. "The history of card games." European Review 1, no. 2 (April 1993): 125–35. http://dx.doi.org/10.1017/s1062798700000478.
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Playing cards were introduced into Europe from the Islamic world in the second half of the 14th century, forming packs with essentially the same structure as now, but with different suit-signs and court figures. Trick-taking games were certainly among those games which were introduced with the cards used to play them; but trumps and bidding were later European inventions. The former of these ideas derives from the games played with the Tarot pack (which was not associated with fortune-telling or the occult until the late 18th century); the latter from the Spanish game of Ombre, once fashionable all over Europe.
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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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Pullat, Raimo, and Tõnis Liibek. "The inventory of Michael Meyer’s property (1758) as a reflection of a Tallinn (Reval) merchant’s material world during the Age of the Enlightenment." Kwartalnik Historii Kultury Materialnej 69, no. 4 (December 23, 2021): 497–512. http://dx.doi.org/10.23858/khkm69.2021.4.005.
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The inventory of Tallinn merchant Michael Meyer’s (1704–1758) property is one of the largest inventories of an 18th century citizen of Tallinn. Almost the entire world of his possessions is reflected in this unique source. The inventory provides a comprehensive picture of his success, lifestyle, and hobbies, and the diverse list of household items provides a good idea of a prosperous merchant’s home in northeast Europe in the 18th century. The unique body of sources (Michael Meyer’s will, property inventory, and auction reports) provides comprehensive insight into the development of Tallinn’s material culture, i.e., the material culture history of Northern Europe, during the century of Enlightenment.
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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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Bonța, Claudia M. "Dinamica dintre portret și peisaj în secolul al XVIII-lea. Studiu de caz: Portret de Femeie de Johann Martin Stock." Studia Universitatis Babeș-Bolyai Historia Artium 66, no. 1 (December 30, 2021): 27–42. http://dx.doi.org/10.24193/subbhistart.2021.02.
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"The Second Half of the 18th Century Highlights a New Fashion in Painting, the Portrait in Landscape that Combines the Portrait and the Landscape. The long series of female portraits arouse admiration and are imitated all over Europe. The Transylvanian space joins the new artistic trend, and we owe some spectacular achievements in this field to one of the most famous painters of the genre, Johann Martin Stock. The National Museum of History of Transylvania shelters in its collections a compositional portrait signed by Johann Martin Stock, Portrait of a Woman, 1787, a remarkable success of the 18th century local painting. Keywords: portrait, rococo, landscape, 18th century painting, Johann Martin Stock. "
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Paczkowski, Szymon. "Research on 18th Century Music in Poland. An Introduction." Musicology Today 13, no. 1 (December 1, 2016): 41–52. http://dx.doi.org/10.1515/muso-2016-0008.
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Abstract Research on 18th-century music has been one of the key areas of interest for musicologists ever since the beginnings of musicological studies in Poland. It initially developed along two distinct lines: general music history (with publications mostly in foreign languages) and local history (mostly in Polish). In the last three decades the dominant tendency among Polish researchers has been, however, to relate problems of 18th-century Polish musical culture to the political history of the Polish-Lithuanian Commonwealth and more generally – to the political history of Central Europe at large. The most important subjects taken up in research on 18th-century music include: the musical cultures of the royal court in 18th-century Warsaw (primarily in the works of Alina Żórawska-Witkowska) as well as Polish aristocratic residences (e.g. studies by Szymon Paczkowski and Irena Bieńkowska), the ecclesiastical and monastic circles (publications by Alina Mądry, Paweł Podejko, Remigiusz Pośpiech and Tomasz Jeż); problems of musical style (texts by Szymon Paczkowski); research on sources containing music by European composers (e.g. by Johann Adolf Hasse); the musical culture of cities (of Gdańsk, first and foremost); studies concerning the transfer of music and music-related materials, the musical centres and peripheries, etc.
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Boogert, Maurits van den. "Provocative Wealth: Non-Muslim Elites in Eighteenth-Century Aleppo." Journal of Early Modern History 14, no. 3 (2010): 219–37. http://dx.doi.org/10.1163/157006510x498004.
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AbstractIn the Western sources, the Ottoman legal system is often portrayed as unreliable and incidents of Europeans or Ottoman protégés of Western embassies and consulates who claimed to have been maltreated abound. These reports strengthened the common notion in Europe that Ottoman government officials were rapacious and corrupt. The article challenges these views by analyzing two incidents from 18th-century Aleppo, which shed light not only on the dynamics of Ottoman-European relations on the ground, but also on the status of non-Muslim elites in the Ottoman Empire.
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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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Sadoch, Elżbieta. "Tesori di arte sacra a Venezia e Padova nelle descrizioni dei viaggiatori polacchi del XVIII secolo." Kwartalnik Naukowy Fides et Ratio 48, no. 4 (December 30, 2021): 278–97. http://dx.doi.org/10.34766/fetr.v48i4.950.
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In the 18th century, Italian sanctuaries played an important religious and cultural role, especially in Venice and Padua. They were visited by Polish wanderers during their trips around Europe, for example: diplomatic missions, pilgrimages, educational or tourist trips. They recorded their impressions from visiting these places in the form of descriptions in diaries, journals and itineraries. Reading the reports from the expeditions provides valuable insights on the mentality, customs of upbringing, as well as the religious and aesthetic experiences of eighteenth-century adventurers. The article aims to present the ways in which the collections of sacred art were perceived by Polish travelers from the 18th century. The analysis of their accounts, especially the fragments concerning the sanctuaries in Venice and Padua, will serve to present the literary covenants used by Polish wanderers. It should also answer the questions which tendencies dominated in the travel literature of that time, what phrases and formulations were used, and what items were paid special attention to.
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Becker, Jochen, and Annemiek Ouwerkerk. "'De eer des vaderlands te handhaven': Costerbeelden als argumenten in de strijd." Oud Holland - Quarterly for Dutch Art History 99, no. 4 (1985): 229–68. http://dx.doi.org/10.1163/187501785x00125.
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AbstractTwo things long stood in the way of the erection of statues in public in the Northern Netherlands, on the one hand the lack of a strong central government and on the other the wrongly interpreted - Calvinist interdict on them (Note 1). The first statue of this kind, that of Erasmus in Rotterdam by De Keyser (1622), was attacked by strict Calvinists, but noted throughout Europe as an early paradigm (Note 3). Not until the 19th century did the Netherlands join in the nationalistic 'statue craze', which was just breaking out then, with two monuments to the supposed Dutch inventor of printing, Laurens Janszoon Coster. These statues of a private citizen had a predecessor in the 18th century, while a statue had already been demanded in the 17th-century eulogies of Coster. Cities had long honoured their famous inventors as important contributors to civilization and praise of the inventor was also a fundampental ingredient of the history of learning (e.g. in Pliny). In the Renaissance scientific inventions acquired a special emphasis, modern inventors being held up as evidence that the model of Antiquity could be not only equalled, but also surpassed, while both Christian civilization and the northern countries could also gain credit here (cf. Johannes Stradanus, Figs. 2, 3, Note 9, and Francis Bacon, Note 10). The significance of the invention of printing for Christianity was soon recognized, so that it was lauded above other inventions as 'divine', an attitude that was certainly also strengthened by its decisive role in the Reformation. In the Netherlands in particular, where religious and political developments were so closely interwoven, printing was regarded as an important aid to both (Notes 14, 15), while the young Dutch Republic, in which printing played such an important part, could claim the honour of counting the inventor of this important art among its citizens. This 'pious fraud' (Hellinga) is fundamental to the discussion of the history of the statues. The Coster tradition can only be traced back to about a century after the supposed invention, acquiring its definitive form at the end of the 16th century in Hadrianus Junius' Batavia Illustrata of 1598. The further enlargement on the merits of Coster also necessitated a portrait of him which, in de fault of an authentic one, had to be fabricated for the purpose, the features of the statue of Erasmus being taken over for a full-length portrait (Fig. 5), which served as a 'graphic monument'. A fictitious bust of Coster was also cited in the 17th century (Fig. 7) and this, like the early sculptural marks of honour to him (Fig. 16), belongs to the iconography of printing, the practitioners of the craft evoking their inventor. Such representations - a more or less life-size statue of Coster is still to be seen on the house of the Haarlem printer Enschedé - were not yet very public in character. The statue of Coster projected from the end of the 17th century for the garden of the Hortus Medicus in Haarlem did acquire greater publicity, however. This humanist garden of a bourgeois learned society (Note 28), reflected not only nature, but also the world of learning, as a microcosm of the arts, with sixteen busts of connoisseurs and scholars under the leadership of a full-length statue of Coster, since it was he who by his art had made the dissemination of learning possible, although he owed his place here largely to his Haarlem origins, of course. The designs made by Romeyn de Hooghe for this statue (Note 29) were only realized in 1722 in a statue by Gerrit van Heerstal, which tried to unite historical and classical features (Figs. 8-13). In the years thereafter, up to the tercentenary of the invention, the poems, medals and a weighty commemorative publication (Fig. 14, Note 35) celebrating the Haarlem inventor of printing all referred to this statue in his birthplace. Meanwhile Germany too had honoured her inventors of printing - Fust in addition to Gutenberg, initially - in 1640 and 1710 by centenary festivities often of a Protestant cast. Privileges relating to public statues may have been one of the reasons why no monuments were erected on these occasions. These privileges were, however, annulled by the French Revolution, just as the Enlightenment and political renewal furthered the cult of honouring leading civic 'geniuses'. Two Gutenberg cities under French rule took pride of pace here, but only in 1840 did Strasbourg acquire a statue of Gutenberg by David d'Angers, which illustrated his role as the enlightener of all mankind (Figs. 15-18, Note 39). In Mainz a private initiative of 1794 came to nothing (Note 40), as did a Napoleonic rebuilding plan centred on a Gutenberg Square with a statue. Not until 1829 was a semi-public statue by Joseph Stok set up there (Note 41), while in 1837 the Gutenberg monument designed by Bartel Thorwaldsen was unveiled with great ceremony (Fig. 19). The two last-mentioned statues in Mainz, like the many others erected after 1814, were the products of the nationalistic pride in the country's past history that flared up after the defeat of Napoleon. This pride in the past generally took on a nostalgic cast and served to compensate for the failure of current political ambitions: The unity of Germany long a dream, while the hoped-for great changes in the Kingdom of the Netherlands were dealt a bitter blow by the breakaway of the 'southern provinces' in 1831 (Note 44). This last event marked the start for the Northern Netherlands of a long-lasting rivalry with their Belgian neighbours, which was pursued by means of monumental art, from the statue of Rembrandt (1852) as an answer to that of Rubens (1840) to the Rijksmuseum (1885). The great importance attached to Coster in the 19th century was already manifested in 1801 by the removal of the statue in Haarlem from the Hortus Medicus to the marketplace (Note 45). National pride is abundantly evident in the prizewinning treatise published in 1816 by Jacobus Koning, who is a weighty investigation confirmed Coster's right to the invention and with it that of the Netherlands to a leading place among the civilized nations. The quatercentenary, fixed surprisingly early, in 1823, comprised every imaginable type of public entertainment and demonstration of scholarship. It is, however, striking that these expressions of national pride were still balanced by references to the elevating effect of the invention (Note 56). The most lasting mark of honour of the celebration of 1823, the abstract monument by the Haarlem sculptor D. Douglas, also looked back to the sensibilities of the 18th century in its placing on the spot where the invention had come into being in the Haarlem Wood (Fig. 23, Note 59). After this Haarlem monument of 1823 had been adduced in the discussions about the statue in Mainz before 1829, Thorwaldsen's statue, which attracted great international attention, became a greater source of annoyance to the Dutch adversaries of Gutenberg after 1829 than the statue to the Belgian inventor Dirck Martens in Aalst (Note 63) or the projected monument to William Caxton in England. Jan Jacob Frederik. Noordziek summed up this dissatisfaction in his call in 1847 to 'uphold the honour of the fatherland', in which he pleaded for a monument that would surpass the Gutenberg statue and thus serve as an argument that would establish the Dutch claim for good (Note 64). The erection of this statue was further expressly intended to be an exclusively national affair: the citizens of the Netherlands must raise the money and only Dutch artists be charged with the execution. The general discussion about the statues appears to have been less virulent than was usually the case in the preliminaries to other monuments (Note 66), Coster's merits evidently being little contested within the country itself. There were two notable critical voices, however (see Appendix). Professor M. Siegenbeek rang the changes on an old Calvinist argument in refusing a seat on the preparatory committee: in addition to the fact that there were certainly more people who deserved statues, he pointed out that the great expense involved merely evinced ostentation and that the money would be better spent on social ends. The Neo-Classicist Humbert de Superville, on the other hand, did express doubts as to Coster's right to the title, repeating aesthetic arguments which had been adduced before: statues ought, in his view, to be made in the form of durable stone herms, but he thought there was as little chance of that in this 'age of modish lay-figures' in the bronze of melted-down coins, as that the statue would be made by a Dutchman (Note 67). A typical Romantic historical controversy threw the organizers into turmoil, namely the authenticity of the representations of Coster. In particular Westreenen van Tielland unmasked the idealizing and forged portraits, arguing against the erection of a historicizing representational statue. But the defenders of Coster's honour opted for the usual historical realism (Note 68). The tenor of these polemics is found again in the conflict over the 'historical or allegorical' nature of the composition, which can be seen in the designs. Louis Royer, to whom the commission was given in 1848, wanted to show Coster walking with a winged letter A in his hand, as if on his way to show people his discovery, which was soon to wing its way round the world (cf. Fig. 22). However, this allegorical element disappeared completely in the final version, in which the choice fell on a realistic portrait, albeit Coster was still shown walking like a classical predecessor, Archimedes, who could not keep his discovery to himself (Fig. 23, Note 69). The architect H. M. Tetar van Elven was commissioned to make a base in the style of 'the last era of the Middle Ages'. The inscriptions also presented problems, but were finally agreed on in September 1855. The ceremonies, which after all manner of altercation between Royer and the main committee (Note 70) and various financial problems, were finally able to be staged from 15 to 17 July) 1856, included, in addition to the actual unveiling of the statue on the marketplace ( Van Heerstal's statue being returned to the garden again) , pageants, meetings, an exhibition and all sorts of popular entertainments. Everything was on a grander and more extensive scale than 33 years before and little remained of the motif of enlightenment through printing which had been so important then. Nalionalistic merry-making now predominated, along with expressions of devotion to the House of Orange. Less emphasis was also given to the 'darkness' of the Middle Ages, which were now beginning to be valued as part of the nation's history. The most monumental homage to this monument was a 360-page account of the events by the indefatigable Noordziek. His dream of the recognition of Coster and the nation as a whole seemed to have become a reality. But it was not to be so for long. Only fifteen years after the unveiling A. van de Linde unmasked the' 'Haarlem Coster legend' and called for the demolition of the statue, again in the interests of the nation (Note 81).
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Melnik, Natalia D. "In the “Mirror” of Press: Preparation and Conduct of the First “Russian Season” by S. P. Diaghilev (1906)." Vestnik NSU. Series: History and Philology 19, no. 6 (2020): 48–58. http://dx.doi.org/10.25205/1818-7919-2020-19-6-48-58.
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Purpose. The purpose of this study is to examine the coverage in the Russian and foreign press the preparation and conduct of the first Russian season in Paris (then in Berlin) by S. P. Diaghilev in 1906, which became the beginning of implementation of large-scale activities of impresario in Western Europe, whose main objective was the promotion of almost unknown at the time for the Europeans the Russian art. Results. Quoting the correspondence of artists-friends of Diaghilev, memoirs of contemporaries, publications in the press, as well as modern research, allows the author to assert that the basis of this cultural project of the impresario was the exhibition “Two centuries of Russian painting and sculpture”, where he exhibited ancient Russian icons, works of Russian artists of the 18th century – the first half of the 19th century, as well as paintings by members of the art Association “World of Art” who were the representatives of Russian symbolism and modernism. Conclusion. The studied materials indicate that the success of the first Russian season set the stage for further cultural activities to acquaint Western Europe with a variety of achievements of Russian art and their success among critics and the public.
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Chatzis, Konstantinos. "Mobility of engineers in Europe, 15th–18th century ed. by Stéphane Blond et al." Technology and Culture 62, no. 2 (2021): 636–37. http://dx.doi.org/10.1353/tech.2021.0069.
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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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Balazs, Peter. "L’idée d’Europe au xviiie siècle – The Idea of Europe in the 18th Century." Studi Francesi, no. 161 (LIV | II) (September 1, 2010): 365–66. http://dx.doi.org/10.4000/studifrancesi.6632.
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Piterberg, Gabriel. "The Formation of an Ottoamn Egyptian Elite in the 18th Century." International Journal of Middle East Studies 22, no. 3 (August 1990): 275–89. http://dx.doi.org/10.1017/s0020743800034073.
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The conquest of the Mamluk sultanate by the Ottoman Empire brought into confrontation two centers in the history of Islamic civilization. One, Asia Minor and southeast Europe, was the center of the Ottoman Empire. The other, Egypt, had been the core of the Mamluk sultanate for 2½ centuries (1250–1517). Both states were dominated by Turkish-speaking elites based on the institution of military slavery. In both cases this slave-recruited manpower was the backbone of the army, and, to a lesser extent, of the administration.
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Watson, Katherine D. "Poisoning Crimes and Forensic Toxicology Since the 18th Century." Academic Forensic Pathology 10, no. 1 (March 2020): 35–46. http://dx.doi.org/10.1177/1925362120937923.
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The easy availability of deadly poisons in 19th-century Britain, Western Europe, and the United States led to widespread public anxiety about the prevalence of murder by poison, resulting in what might be termed a “poison panic.” The fear was fed by well-publicized reports of trials and executions which, though not especially numerous, seemed indicative of the dangerous incidence of a unique type of homicide, one that was particularly difficult to prevent or detect. As a result, poisoning crimes stimulated the development of the earliest medicolegal specialism, forensic toxicology, and consequently the careers of some of the best known expert witnesses of the Victorian era, including Mathieu Orfila, Alfred Swaine Taylor, Thomas Stevenson, and Theodore Wormley. This article traces the history of poisoning crimes and the related medico-scientific discipline of forensic toxicology using textbooks, key trials, and crime statistics to examine and evaluate their contribution to the historical development of forensic expertise and practice.
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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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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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Boyd, Rand. "Jeffrey Freedman.Books without Borders in Enlightenment Europe: French Cosmopolitanism and German Literary Markets. Philadelphia: University of Pennsylvania Press, 2012. 382p. $80 (ISBN 978-0-8122-4389-5)." RBM: A Journal of Rare Books, Manuscripts, and Cultural Heritage 14, no. 1 (March 1, 2013): 43–45. http://dx.doi.org/10.5860/rbm.14.1.396.
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Twenty years ago Jeffrey Freedman had the opportunity to spend eighteen months in the archives of the 18th-century Swiss publishing house, Société Typographique de Neuchâtel (STN), housed at the Bibliothèque Publique et Universitaire in Switzerland. That research is the foundation of his newest book. Its premise is that book history has traditionally stayed within national or regional borders, but books don’t; they go where they are wanted. The narrative Freedman weaves of the STN’s efforts to sell French language books in Germany shows this quite well; and, though it does help to have some knowledge of 18th-century European history, the . . .