Articles de revues sur le sujet « Tatar Painting »

ABOUT THE 1791 PICTURE OF VILNIUS BY OBERBOMBARDIER WOJCIECH IWASZKIEWICZ The article discusses a watercolour painting from a private collection authored by Wojciech Iwaszkiewicz, artillery ober-bombardier of the Grand Duchy of Lithuania. In the background of the urban landscape are objects that allow easy identification of the capital of Lithuania: partly ruined Upper Castle and the Bekesh Hill. Other objects and figures are identifiable by the inscriptions on the other side of the painting. Particularly interesting is the first plan of the drawing, which depicts the Tatar Gates and a few wooden houses standing near them. This is the only known view of the Tatar Gates of the Vilnius defensive wall. The buildings also depict a number of city dwellers, most of them being military personnel of the Grand Duchy of Lithuania (artillery officer, cannoneer, ober-feurwerker, etc., as well as the author of the painting himself ), thus the picture is also interesting as a source of research into different military uniforms. Inscriptions by the Upper Castle and Bekesh Hill reflect legends and stories, popular among Vilnians at the end of the eighteenth century. In the former case, one tower of the castle is named as the temple of the pagan god Lelum Polelum Swistum po Swistum. Yet above the Bekesh Hill is written a legend about the reckless death of this cadet on the way down while riding a horse. Through historical sources we were able to determine that W. Iwaszkiewicz enlisted into the army of the Grand Duchy of Lithuania as a cannoneer in the spring of 1790, soon was raised to the rank of the bombardier and in the spring of 1791 to the ober-bombardier, yet in the summer of 1793 he was raised to the rank of stykjunker. The painting in analysis is related to a particular event: attempts to reform and strengthen the Lithuanian artillery at the end of the eighteenth century and the amassing of the military in Vilnius. In spite of somewhat primitive style of the painting, it’s a very interesting and valuable document of urban iconography. Keywords: Vilnius, Wojciech Iwaszkiewicz, Bekesh Hill, Upper Castle, Tatar Gates, artillery.

There are very few monuments of icon art of the 13th-15th centuries, but they give a great opportunity to learn a lot about the state of the Ukrainian Church of that time, about the strengthening of faith, and also about the stylistic quest for Ukrainian artists. The development of the iconography of those centuries in Ukraine marked the Tatar-Mongol invasion. When a person or a whole nation falls into a difficult situation, faith in God grows, spirituality rises. Monuments of culture of the XIII-XV centuries record especially jealous hope in God, the strengthening of the religiosity of different sections of the people. From this time there is hardly any secular art: everything preserved is permeated with Christian religiosity. In these years, such great temples are not already built, as in the early centuries of Christianity in Russia, but small, but well-fortified churches throughout Ukraine are built. There are also various centers of icon-painting. Their masters focused mainly on the ancient art of Kiev, introduced in their samples many local elements. Icons painted in various spiritual centers, in particular in the monasteries, are striking by their monumentality and severity, which reflected that day (See: The History of Ukrainian Art, Vol. 6, vol., 1968).

The Western campaign of the Mongols in Eastern and Central Europe in 1236–1242, led by Batu and the military commander Subedei, has long been imprinted in the memory of contemporaries and descendants. The central place in the historical literary and visual monuments of the Late Middle Ages was occupied by the Battle of Legnica — a battle between the Polish-German army and the Mongols on April 9, 1241. This article examines the image of the Mongols in book min-iatures of the Shlakenwerter Codex, presented in the Getty Museum (USA), on an altar painting created in the 30–40s. The 15th century is currently in the collection of the National Museum in Warsaw and in the images of the Freytag Codex, stored in the collections of the library of the University of Wroclaw (Poland). The author notes the preserved interest of Europeans in the Gentiles and in the events of the past centuries. The corpus of ethnic markers used by European artists to designate “strangers” is highlighted. Also, an association is made between the creation of images with Mongols in regard to the invasions of Tatar and Hussite troops in Silesia in the 14th–15th centuries and the struggle with the Moors on the Iberian Peninsula as well as the need to consolidate Christian society in the fight against the enemies of the Catholic Church.

История создания одного из красивейших памятников архитектуры Владикавказа – Суннитской мечети – до сих пор не получила своего исчерпывающего освещения. Представлены не только различные ее аспекты, но сохраняются частные вопросы к конкретным деталям строительства. Данное положение определяет актуальность рассматриваемой проблемы. Научная новизна работы заключается в привлечении к анализу ряда оригинальных источников, в том числе вводимых в научный оборот впервые. Соответственно целью исследования является реконструкция строительного этапа создания мечети на основе рассмотрения всего выявленного к сегодняшнему дню фонда письменных источников. В исследовании использовались методы текстуального и хронологического исследования источников, индуктивного и логического анализа на основе принципа историзма и системности изложения. В ходе исследования было надежно подтверждено, что строительство мечети происходило в 1902–1908 гг. Оно включало в себя и период ее росписи в 1906–1908 гг. Роспись мечети велась под руководством Ф.Я. Долежаля. Главными инициаторами строительства Суннитской мечети были представители татарской общины Владикавказа. Через них, скорее всего, был представлен и первоначальный проект мечети. Авторство проекта остается под вопросом. Договор на строительство с конкретными подрядчиками – Г.П. Якуниным и Ермаковым был подписан, надо полагать, представителями именно татарской общины города. Вероятно, что инженерно-архитектурное сопровождение строительства изначально осуществлялось подрядчиками по утвержденному местными властями плану. В роли главного мецената строительства и, видимо, владельца мечети изначально выступил М.М. Мухтаров. Ему приходилось активно вмешиваться в процесс строительств в условиях возникавших по его ходу конфликтных ситуаций. The history of the creation of one of the most beautiful architectural monuments of Vladikavkaz – the Sunni Mosque – has not yet received its exhaustive coverage. Not only its various aspects are presented, but also private questions remain regarding specific details of building. This thesis determines the relevance of the problem under consideration. The scientific novelty of the work lies in the involvement in the analysis of a number of original sources, including those introduced into scientific circulation for the first time. Accordingly, the purpose of the study is the reconstruction of the building stage of the creation of the mosque based on the consideration of the entire fund of written sources identified to date. The study used the methods of textual and chronological study of sources, inductive and logical analysis based on the principle of historicism and systematic presentation. During the study, it was reliably confirmed that the construction of the mosque took place in 1902–1908 years. It also included the period of its painting in 1906–1908 years. The painting of the mosque took place under the direction of F. Ya. Dolezhal. The main initiators of the construction of the Sunni mosque were representatives of the Tatar community of Vladikavkaz. Most likely, the initial design of the mosque was also presented through them. The building contract with specific contractors – G.P. Yakunin and Ermakov was signed, presumably, by representatives of the Tatar community of the city. It should be assumed that the engineering and architectural support of the construction was initially carried out by the contractors according to the plan approved by the local authorities. M.M. Mukhtarov initially acted as the main patron of the construction and, apparently, the owner of the mosque. He had to actively intervene in the construction process in the context of conflict situations that arose along the way.

The new social context after the 1859 Union of the Principalities saw an increase in the interest to recover the national history and the Romanian cultural heritage. Alongside the private attempts made by some passionate collectors (General Nicolae Mavros, Ban Mihalache Ghica, Major D. Papazoglu, etc.) the Wallachian and Moldavian Governments initiated several actions in an attempt to recover the national patrimony. The movement was all the more legitimate due to the criminal carelessness of the Greek hegumens in the dedicated monasteries in obedience to the Greek Church whose main preoccupation was to acquire huge incomes from renting the estates while letting the monuments and the national cultural values fall into decay. This study, which relies on historical archives, presents three such unknown initiatives: one of the Moldavian governments and two others carried out by the Wallachian governments. 1. In 1860, in Moldova, Vasile Alexandrescu-Urechia, director of the Ministry of Cults and Public Instruction urged the protopopes and the school teachers in the county seats to identify in churches and monasteries the old religious books that were valuable for the history of Romanian literature so that the state could purchase them and store them safely in the Public Library. 2. In Wallachia, we can see a similar concern for the salvation of the Romanian cultural heritage. Here, in may 1863, Christian Tell, the Minister of Cults, granted 2880 lei to Cezar Boliac, to embark on an “archeological journey” that was to last two months, starting from “Zimnicea downwards and to the Bessarabian region that had been returned to Moldavia.” In the same year in September, Christian Tell’s successor, Al. Odobescu, delegated Grigore Bengescu to make a similar journey to the monasteries in the counties of Dolj, Romanați, Gorj and Mehedinți which had not been visited in the summer of 1860 when a similar research had taken place. 3. In order to recover the heroic moments in the national history, minister Barbu Vlădoianu organised a painting contest with a prize of 300 golden coins to evoke the battle of Teișani, from September 1602, between the boyar Stroe Buzescu and the Tatar Khan’s nephew. Since no participants entered the first stage of the contest on 12th February 1860, the Ministry organised another contest on 2nd May 1860, where they also invited painters from Moldavia to take part.

The formation of the Soviet image of the past in the context of the doctrine of «our great ancestors» was extended not only to historiography, fiction and journalism. A special place was occupied by cinema. The Bolsheviks were very early realized the tremendous role of cinema as a means of influencing mass culture. With the help of cinema, the party leadership sought to form a «true» view of reality, thereby educating people in the spirit of «communism and internationalism». Founded in the early 30’s oftheXX century. the genre of historical cinema, became the basis of all Soviet cinema. Rejecting the leading role of the «masses» in the tapes, bolsheviks turn to the biography of outstanding and «progressive» historical personalities, first of all, rulers and generals. Throughout the period of existence of Soviet cinema, the historical biographies of Alexander Nevsky, Ivan the Terrible, Peter I, Michael Kutuzov, Alexander Suvorov and others were filmed. The most important document of the memory of Danylo Romanovich in the era of Soviet patriotism was the film of Ukrainian director Yaroslav Lupiya – «Danylo – Prince Galician». The Film was created in 1987 at the Odessa Film Studio named after O. Dovzhenko. Before us is a work that was supposed to create a stable image of Prince Danylo Halytsky in the consciousness of Ukrainian society. The image is dictated «from above». The ecranisation of Danylo Romanovych requires a detailed study of not only the history of the film, but also the reception of the ruler in the Soviet image. This will allow us to trace and analyze the struggle for the appropriation and stylization of the image in detail, as well as contradictory directions in forming the concept of the «Soviet patriot» of Danylo Halytsky. The figure of King Danylo as well as the political history of the Galician-Volyn was state remained unknown to a wide cinema. In the official historical discourse of the USSR, the image of Danylo Romanovych was used very carefully and only where «party» leadership needed it. Despite the growing interest in the history of Kievan Rus in the cinema, Danylo’s film adaptation resembled his «popularity» in the scientific literature of that time. Certain changes occurred only during the Perestroika period. The directorate of the Odessa film studio named after O.Dovzhenko was interested in the history of the medieval past of Ukraine. Here the Ukrainian director Yaroslav Lupi created his picture «Danylo – Prince Galitsky». The film is considered to be the banner of publicity. The tape appeals to the heroic Ukrainian past of the times of Kyivan Rus and Galicia-Volyn state, which became the shield of Europe against the Mongol-Tatar invasion. On the posters devoted to the premiere of the film, it was indicated that the tape glorifi the famous Ukrainian prince Danylo Halytsky. However, we have doubts about the screen image of the key hero of the Western Ukrainian myth. What was the real stylization of the image of the Old Russian ruler in the eponymous painting that had so long been in the «shadow» of the Soviet historical culture? Keywords: thesoviet image, soviet historical culture, wide cinema, ecranisation of King Danylo Romanovych, historical discourse

The article examines the stylistic evolution of the Tatar national artist Ildar Zaripov in the late Soviet period (1960-1980s). A characteristic is given to his work, where special attention is paid to the early stage. For the first time, an analysis is made of previously unknown paintings by the artist. His inclination to the traditions of the Russian avant-garde during the formation of Ildar Zaripov is revealed. It is concluded that stylistic collisions were a natural and necessary stage for the formation of the artist's individual style.

According to Georgian and foreign sources it is believed that TrebizondEmpire was created by the help of Georgian kingdom. Thispolitical event is revealed not only in the literature sources, but alsoin mural painting of Georgian churches. In particular this refers tothe representations of St. Eugenios of Trebizond: the patron of thenewly created empire. The fact is that St Eugenios was never morethan local saint and his representations are very few outside theTrebizond area. That is the reason why the representations of StEugenios in Georgian churches are so important and could be consideredas the part of contemporary Georgian politics.There is a figure of holy soldier with old Georgian inscription“St. Eugenios of Trebizond” in the mural painting of Timotesubanidated by 1205-1215 years. Another example of declaring the politicalproject that has been prepared by Georgian kingdom a longtime ago, can be seen in Vardzia (1184 -1185), where the royal donators_ King Giorgi III and his daughter Queen Tamar are representedwith St. Eugenios of Trebizond.

AbstractThe Delft artist Leonaert Bramer (1596-1574) appears to have been intensively involved in the decoration of Delftware. Hitherto four separate examples were known, mostly dating from the 1650s and 1660s (figs.1, 2, 4, 6). The article presents ten (perhaps eleven) new examples of 'Bramer ware' (figs. 8, 9, 11, 13, 15, 17, 19, 21, 23(?), 26; see also note 19) produced between possibly as early as 1630 and 1670. Furthermore, eight of his designs have been found in the archives of the Koninklijke Tichelaar Makkum pottery; the compositions were 'pounced' onto the pottery, i.e. stencilled by dusting powder through a pricked paper pattern (figs. 24, 25, 27, 28, 29, 31, 32). Two early series of drawings by Bramer from the 1630s (most of them in London-scenes from the Old Testament-and Bremenscenes from the New Testament), or derivations from them, seem to have frequently served as patterns for pottery painters (figs. 3-21). Oddly, one of these compositions, Joseph cast into the well by his brothers (fig. 10), occurs on a dish decorated with grotesques which is often regarded as Haarlem work (fig. 11). The use of a Delft artist's composition, combined with the fact that Marion van Aken-Fehmers (Haags Gemeentemuseum, The Hague) has traced a similar grotesque dish bearing the mark of the Delft pottery 'De Porceleyne Bijl' (see note 18), clearly shows that I laarlem did not have a monopoly on grotesques. A total of ten pounces are kept at Makkum: four drawings by Bramer (figs. 24, 25, 27, 29; two pricked repeats of the composition Jacob's Dream: fig. 28) and four pricked stencils (figs. 31, 32). Stylistically, the drawings can be dated to the late 1650s. All ten are pricked along the outlines; the four original drawings are 'matrixes', the others were used as stencils. The composition of Judah and Tamar (fig. 25) is virtually identical with Bramer's version of twenty years earlier. The Judah and Tamar pounce was used until well into the 18th century, judging by a plate dated 1783 in Paris (fig. 26). The coarse manner of painting demonstrates that the use of a pricked paper pattern based on the design of a professional artist was no guarantee for the quality of the result, which depends enti rely on the pottery painter. This accounts for the frequently mediocre standard of the painting on most plates. Nevertheless, a few plates and dishes display painting of such high quality and a manner so similar to Bramer's that it is not unlikely that they were painted by the Delft artist himself (figs. 2, 6, 21). 'Bramer ware' is unmarked. However, on grounds of circumstantial evidence three potteries can be identified where Bramer ware might have been produced: 'De Porceleyne Fles', 'De Grieksche A' and 'De Dissel'. 'De Dissel', where Abraham de Cooge worked, is a likely candidate, in view of a large series of drawings which Bramer made for De Cooge in 1646 (see note 7). In the past, much surprise has been evinced at the gap between the artists of Delft and the potters and decorators of pottery. Despite the heyday of both painting and the pottery industry in Delft in the mid-17th century, and despite the fact that artists and potters were members of the same guild, they seem to have operated quite separately. The material assembled here has brought artists and potters a little closer to each other.

The purpose of the creation of this work is as a work of social criticism and messenger because it visualizes the negative behavior received by women in their social life in society in contemporary painting. The method of creating the work uses five stages, namely the preparation stage (observation and exploration), elaboration (searching and collecting references), synthesis (application of main ideas), realization of concepts (making works) and the completion stage (in the form of reports and exhibitions of final works). In creating the artworks, the author used acrylic paint and mixed media in the form of paper on canvas. The ten works that the author created each contain themes about the struggles and feelings of women amidst the onslaught of negative comments as they try to live a better life, the resulting works measure 100 x 120 cm with titles including: Judge, I Can Fly Too, Aku dan Saya, Kami Tidak Sama, Perempuan! Bukan Wanita, Money Can't Buy Your Freedom, Kehormatan, Jujur, Madame Red, and Tatap.

Stimulasi kemampuan anak merupakan salah satu hal yang dapat dilakukan sebagai penunjang dari keberhasilan pendidikan adalah dengan cara memahami serta menerapkan metode yang tepat dalam melakukan aktivitas penting yang ditanamkan sejak usia dini karena termasuk keterampilan yang sangat dibutuhkan untuk menunjang masa dewasanya. Stimulasi tersebut biasanya diimplementasikan di lembaga Pendidikan Anak Usia Dini (PAUD) melalui kegiatan pembiasaan, namun selama masa pandemi Covid-19 pemerintah memberlakukan kebijakan pembelajaran sekolah di semua jenjang yang biasanya tatap muka menjadi belajar dari rumah (BDR). Peran orang tua menjadi sangat penting dalam hal tumbuh kembang semua aspek, terutama dalam pendidikan keterampilan motorik halus anak usia dini. Tujuan penulisan ini untuk mendeskripsikan bagaimana pendidikan motorik halus anak usia 4-5tahun yang dapat dilakukan di keluarga. Metode penelitian ini menggunakan kajian pustaka dari berbagai referensi yang relevan. Hasil analisis diperoleh data bahwa melalui pembiasaan sederhana seperti bermain puzzle, melipat ketas origami, meronce, finger painting dan bermain plastisin dapat mendorong anak dalam menumbuhkan perkembangan keterampilan hidup anak usia dini.

ABSTRACTApplications of technology and machinery equipment in service activities are done to complete the renovation and repair of boats or wooden vessels. Development of the infrastructure for members of the fishermen group is currently focused on equipment for the repair and renovation of the boat hull and the maintenance of the driving machine. And for the improvement of the renovation or repair of the boat hull, the service team has compiled a working activity including understanding and deepening of boat or wooden boats, engineering and equipment for renovation and boatbuilding, understanding and deepening of ship damage, and implementation in a group of fishermen. The process of maintenance and repair of boats on the ship's body (hull) in fishermen partners in principle were carried out through several stages include the washing and cleaning of all parts of the ship, patching, coating and painting. The process of painting through several stages of surface cleaning, patching if there are starting cracks and holes, drying, smoothing, basic coating and painting. Some tools for boats maintenance and repair especially for renovation and manufacture of wooden boats consist of saws (machines and manuals), drills, fittings, grinders, cutting (various sizes), clamps and other support equipmentKeywords: boat, hull, propulsion machine, machinery ABSTRAKKegiatan pengabdian aplikasi teknologi dan peralatan permesinan dilakukan untuk menyempurnakan renovasi dan perbaikan perahu atau kapal kayu. Pengembangan kelengkapan sarana anggota kelompok nelayan pada saat ini difokuskan pada peralatan untuk perbaikan dan renovasi lambung atau bodi dan perawatan mesin penggerak. Dan untuk penyempurnaan renovasi atau perbaikan kapal kayu, tim pengabdian menyusun langkah kerja atau kegiatan pengabdian meliputi pemahaman dan pendalaman perahu atau kapal kayu, teknik dan peralatan renovasi dan pembuatan perahu, pemahaman dan pendalaman kerusakan kapal, dan sejenisnya dan pelaksanaan di kelompok nelayan. Proses perawatan dan perbaikan kapal pada bagian badan kapal (lambung kapal) di mitra nelayan pada prinsipnya dilakukan melalui beberapa tahapan meliputi pencucian seluruh bagian kapal, penambalan (pemakalan), pendempulan dan pengecetan kapal. Proses pengecatan melalui beberapa tahapan yakni pembersihan permukaan, penambalan kalau ada yang mulai retak dan berlubang, pengeringan, penghalusan, pelapisan dasar dan pengecatan. Beberapa peralatan perawatan dan perbaikan lambung perahu terutama untuk renovasi dan pembuatan perahu kayu meliputi gergaji kayu (mesin dan manual), bor, pasah, gerinda, tatah (berbagai ukuran), clem/pencepit dan peralatan pendukung lain.

This article continues the author’s series of publications on the history of organization and participants of the studies in Eastern culture in the Crimea in the mid-1920s. A page of the expeditionary activities of the team of the Central State Restoration Workshops in the Crimea is revealed. This work was a part of large-scale archaeological and ethnographic expedition for the study of the Crimean Tatar monuments. It was commissioned and funded by the Crimean ASSR and carried out by researchers from the academic centres of the USSR. The article has analysed the participation of Boris Nikolaevich Zasypkin (1891–1955), a well-known restorer and the organizer of the archaeological monument protection in different regions of the USSR, in the study of the Crimean cultural heritage. It has introduced into the scholarship previously not known documents from the collections of the Central State Restoration Workshops now residing in the Moscow Central State Archives. These materials shed light on new aspects of the architect-restorer B. N. Zasypkin’s works in the Crimea in 1926 and 1927. The texts of Zasypkin’s reports on his works on the peninsula in 1926 are supplied. Informative but little-known letters of P. I. Chepurina, the head of Yevpatoria Archaeological and Ethnographic Museum, and K. E. Grinevich, the director of the State Museum of Tauric Chersonese, to B. N. Zasypkin uncover tough personal communications of the researchers of the Crimea and Zasypkin’s role in the said process. Zasypkin’s activities for the preservation of the museum in Yevpatoria has been demonstrated. He arranged the intercession of the museum existence and preservation of its storage from the Head of the Museum section of the Glavnauka (Supreme Administration of Scientific, Scientific-Artistic, and Museum Establishments) at the People’s Commissariat for Education of the RSFSR N. I. Sedova, the Head of the Glavnauka F. N. Petrov, and the Chair of the State Academy for the History of Material Culture N. Ia. Marr. The Central State Restoration Workshops’ expedition under the supervision of I. E. Grabar to the peninsula has been reconstructed. It included the head of the Commission for the Preservation and Discovery of Ancient Paintings in Russia and the art historian A. I. Anisimov, the restorer G. O. Chirikov, and the photographer A. V. Liadov. The 1927 expedition was aimed at the inspection of architectural monuments where paintings survived and the development of necessary measures to protect and maintain these architectural sites. Zasypkin’s work for the recording of Chersonese monuments has been shown.

Culture undergoes constant changes. Although today, Poland is an almost ethnically homogenous country, ages ago, the dialogue of cultures took place not only on the borderlines of the First Polish Republic but also in the then capital city of Cracow. In 1390, Slavic Benedictine monks who used Old Church Slavic language settled in the church of the Holy Cross in Krakow. Francis Skaryna (Francysk Skaryna), a pioneer of Belarusian printing and later the founder of the first printing house in Eastern Europe in Vilnius, published the first Cyrillic prints in the world in Cracow and in the early 16th c. also studied there. Poland was a great example of a multicultural society. In the early 16th c. the Catholics and the Protestants, the Jews and the Armenians, the Tatars and the Karaims lived in Poland. After the Union of Lublin, the Crown of the Kingdom of Poland and the Grand Duchy of Lithuania formed one of the biggest countries in Europe at the time; it was inhabited by the Poles, the Lithuanians, the Ukrainians and the Belarusians. In the mid-16th c. Poland became a shelter for multitudes of religious dissenters in Western Europe, such as the Lutherans, the Calvinists, and other Protestants. Today it is useless to seek traces of such multiculturality in many museums. In museums which collect paintings related to the Eastern Orthodox Church, places of monuments connected with Polish culture are frequently occupied by late icons of mediocre artistic value smuggled from Russia. The article attempts to explain this phenomenon in the context of the transformation of modern museology.

Abstract Introduction: The Patient Engagement-Cancer Genome Sequencing Research Center (PE-CGS; NCI U2C CA252973) based at the University of New Mexico Comprehensive Cancer Center (UNMCCC) with partners at Mayo Clinic Comprehensive Cancer Center, the Translational Genomics Research Institute, and the Black Hills for American Indian Health Research Center are developing culturally appropriate strategies and methods to address the underrepresentation of American Indians (AIs) in genomic research. Our efforts are directed towards the implementation of tailored cancer prevention, diagnosis, and treatment strategies that reduce cancer health disparities in Tribal communities. Methods: The PE-CGS Center has three units, each tasked with specific research components to engage AI participants in participatory, clinically-meaningful genomic research: 1) the Participant Engagement Unit; 2) the Genomics Characterization Unit; and 3) the Engagement Optimization Unit (EOU). The Center also has a Tribal Advisory Committee, composed of Tribal Governors, Presidents, and tribal health advocates and experts, who provide direction on all research matters. The PE-CGS EOU uses iterative rapid-cycle research techniques to optimize engagement and shares these strategies with other units for timely implementation. To date, the EOU has developed and implemented three key efforts. First, to aid in recruiting participants for the study, the EOU tailored a series (6) of participant-facing informational materials that include artwork from a local AI artist who combined her traditional and scientific knowledge to prepare complementary imagery. Second, the EOU is currently implementing a series of semi-structured discussions to document participant perceptions on criteria including engagement, communication, and education. Lastly, the EOU implemented a survey among UNMCCC providers on their return of results processes. Results: EOU discussions are ongoing and have provided important perspectives on participant satisfaction and areas for improvement. Participants have commended study staff on their efforts to make enrollment straightforward. Participants report discussing the study with family prior to enrolling, highlighting the importance of continuing to engage with the entire community on the goals of the study. The provider return of results survey is complete (n=42/62, response rate=68%); one key finding was that providers who return somatic test results rarely provide participants with a hard copy of the results or utilize complementary materials that might enhance their explanation of the test findings. Conclusion: The EOU serves an innovative function through its rapid-cycle methods to optimize participant engagement. Although participants are generally pleased with their study participation, there are numerous opportunities for improvement. The informational materials represent a novel contribution to the field of genomic research. Efforts will continue to implement optimized processes for effective engagement of AI communities in genomic research and cancer care delivery. Citation Format: Shoshana Adler Jaffe, Kendal Jacobson, Joseph Rodman, Cindy Blair, Debra MacKenzie, Mallery Quetawki, Tamar Ginossar, V. Shane Pankratz, Andrew Sussman, Ursa Brown-Glabermen, Jeffrey Trent, Cheryl Willman, Shiraz I. Mishra. The art of science: Painting a new image of genomic research in the indigenous communities of the Southwest [abstract]. In: Proceedings of the 16th AACR Conference on the Science of Cancer Health Disparities in Racial/Ethnic Minorities and the Medically Underserved; 2023 Sep 29-Oct 2;Orlando, FL. Philadelphia (PA): AACR; Cancer Epidemiol Biomarkers Prev 2023;32(12 Suppl):Abstract nr B134.

Desa Pelemwatu Kecamatan Menganti Kabupaten Gresik banyak berdiri kompleks perumahan karena Kecamatan Menganti letaknya sangat strategis berbatasan langsung dengan wilayah Kota Surabaya. Banyaknya perumahan maka banyak pula sampah yang ditimbulkan terutama plastik. Metode yang digunakan dalam Pengabdian kepada Masyarakat (PkM) adalah memberikan pelatihan keterampilan kerajinan dari limbah plastik di Desa Pelemwatu. Keterampilan kerajinan diberikan kepada warga desa Pelemwatu yang berusia remaja. Target dari kegiatan PKM adalah mengubah mitra atau khalayak sasaran agar memiliki keterampilan dengan membuat produk kerajinan memanfaatkan limbah plastik rumah tangga yang berada di sekitar rumah. Melalui kegiatan PKM ini diharapkan warga desa mampu mewujudkan desa yang berwawasan lingkungan. Sasaran utama kegiatan ini adalah remaja Desa Pelemwatu Kecamatan Menganti, Gresik sebanyak 20 peserta. Pelatihan ini dilakukan dua kali tatap muka yaitu tanggal 28 Juli dan 4 Agustus 2019. Pelatihan ini menghasilkan barang kerajinan yang memiliki nilai fungsi dan nilai estetis. Teknik yang dipraktikkan yaitu teknik gunting, tempel, lipat dan teknik cat. Pelemwatu Village is located in Menganti District, Gresik Regency. In the District of Menganti there are many residential complexes, which are very strategic because they are directly adjacent to the city of Surabaya. The number of houses causes a lot of waste, especially plastic. PKM team trained the teenagers to craft skills from plastic waste. These handicraft skills are given to villagers, especially teenagers of productive age. The target of the PKM activity is to change partners or target audiences to have skills by making handicrafts using household plastic waste around the house. Through this community service activity, it is hoped that the villagers will be able to create an environmentally friendly village. The main target of this activity is the teenagers of Pelemwatu Village, Menganti District, Gresik, totalling 20 participants. This training was conducted twice face-to-face, namely on July 28 and August 4, 2019. This training produced handicraft items that had functional and aesthetic values. The techniques practised are scissors, paste, folding and painting techniques.

Kegiatan dilakukan dalam bentuk pelatihan soft skill berupa edukasi budaya dan sejarah Batik, serta hard skill keterampilan bagi peserta didik di SMP Negeri 158 Jakarta. Pelatihan keterampilan untukmencapai kompetensi melukis dan melilin kain. Hasil akhir yang ingin dicapai berupa pengenalan produk guna mengembangkan potensi wirausaha berbasis budaya lokal Jakarta.Proses edukasi Pengabdian Kepada Masyarakat mengacu pada Contextual Teacing and Learning (CTL), yakni; a. Siswa terlibat aktif dalam pembelajaran 4 pertemuan tatap muka dan 2 pertemuan daring, b. Siswa diarahkan menemukan dan menghubungkan materi membatik melalui realita dan situasi kehidupan Jakarta dan Batik dari masa ke masa. Metode pelatihan pada kegiatan ini adalah; 1) analisa situasi, 2) metode tutorial, 3) metode demonstrasi, dan 4) evaluasi. Hasil dari Pengabdian kepada Masyarakat sebagai berikut; a. Siswa antusias mengikuti rangkaian kegiatan terutama pada saat praktik, dan b.Siswa kurang tertarikmengikuti kelas daring,kurangnya minat belajar daring didorong oleh siswa masih menganggap nilai akademis di sekolah lebih penting daripada keterampilan tambahan dari luar sekolah. The activities carried out took the form of soft skills training in the form of batik culture and history education, as well as hard skills for students at SMP Negeri 158 Jakarta. Skills training to achieve competence in painting and waxing fabrics. The final result to be achieved is product introduction to develop entrepreneurial potential based on Jakarta's local culture.The Community Service education process refers to Contextual Teaching and Learning (CTL), namely; A. Students are actively involved in learning in 4 face-to-face meetings and 2 online meetings, b. Students aredirected to find and connect batik material through the realities and life situations of Jakarta and batik fromtime to time.The training method for this activity is; 1) situation analysis, 2) tutorial method, 3) demonstration method, and 4) evaluation. The results of Community Service are as follows; A. Students enthusiastically participate in a series of activities, especially during practicum, and b. Students are less interested in taking online classes, the low interest in online learning is driven by students still considering academic grades at school to be more important than additional skills from outside school.

Books and artworks have a long common history. Written texts, as well as the joy of reading and the act of writing them, appeared in pieces of art from early Antiquity onwards, well before the current form of the book itself was invented. Apart from indicating readers and writers, the book had also become a basic symbol of culture, education, or the attribute of saints. On the other hand, there are many artists who create special books, i.e. special one-copy and one-edition volumes, not only containing the artist’s drawings or paintings but the whole assemblage of the book (and often even the paper itself) is the creator’s own work. From the Early Modern Age and especially from Romanticism onwards, the sketchbook of the artist grew rapidly in its importance. In this paper, however, I would like to survey another aspect: when the book, and especially its material property or physicality, serves as the basis of the creation of a novel artwork. In other words, I focus on pieces of art where the book is not simply a depicted motif or an attribute and it is not even a newly-created book-art object. Hence my current examination aims to analyze the phenomenon of the book, as how its materiality and referential ability may inspire the artist to further develop considerations on cultural, social and political issues. Works by Sophia Pompéry, Ákos Czigány, the art collective Slavs and Tatars, Jorge Méndez Blake and Carla Filipe are analyzed.Article received: April 15, 2019; Article accepted: June 23, 2019; Published online: September 15, 2019; Review ArticleHow to cite this article: Somhegyi, Zoltán. "Empty Pages and Full Stops: On the Aesthetic Relation between Books and Art." AM Journal of Art and Media Studies 19 (2019): 69-75. doi: 10.25038/am.v0i19.306

Despite a complex and often tragic history, the Ukrainian people have inherited from previous generations a powerful array of cultural heritage sites, much of which has survived to the present day. Represented by a tangible and intangible component, cultural heritage in society fulfills the ambitious tasks of forming civic consciousness, a sense of national dignity, patriotism and pride in the glorious historical past. In addition, it is able to successfully implement such tasks as the formation of the tourist image of the territories, by attracting the attention of tourists to increase the demand for recreation in the region and thus solve a number of socio-economic problems of the latter. Unlike tangible cultural heritage, the objects of which are mostly known to the general public, elements of intangible cultural heritage are often unknown not only to foreign tourists but also to citizens of the state. In this regard, given the uniqueness of many elements of the intangible cultural heritage of Ukraine, as well as their ability to become a powerful tourist resource, it is obvious the need for greater promotion, the formation of a stable interest in them. Undoubtedly, the inclusion of elements of intangible cultural heritage in the National List and the UNESCO Representative List, as well as holding various thematic festivals, master classes with folk artists, organizing exhibitions of their works, creating and disseminating advertising and information products on the subject. Currently, the National List of Elements of Intangible Cultural Heritage has 26 items, Petrykivka Decorative Painting as a phenomenon of Ukrainian ornamental folk art, Cossack Songs of Dnipropetrovsk Region and the Tradition of Kosovo Painted Ceramics are included in the UNESCO analogue. The Crimean Tatar ornament ornek and the culture of Ukrainian borscht are waiting to be included in the UNESCO List. Being a valuable tourist resource, intangible cultural heritage is able to develop the tourist potential of the territory and form the competitive advantages of the tourist product in the world and national tourist market.

Abstract. The business market in Indonesia, especially those engaged in painting, utilizes e-commerce as a communication activity in the current PPKM era. Various painting products are marketed online and packaged as attractively as possible to attract consumer interest. The level of intense competition and the Covid pandemic requires painting traders to create easy communication activities online. Experiences, motives, communication methods, and the meaning of using NFT in Pak Iin's painting shop are research questions that will be investigated. This research uses qualitative research methods. Thus, researchers try to discuss accurately in the various phenomena that exist. Observation and in-depth interviews were used as data collection techniques. In-depth interviews were conducted with informants from Pak Iin's painting shop on Jalan Braga who have used the NFT application to sell their paintings. Data reduction, presentation and verification are used as data analysis techniques - research data. The phenomenon that occurs as a painter in Pak Iin's painting shop is the only phenomenon studied by the researcher. Analyzed by using the theory of phenomenology according to Alfred Schutz as a hope to find data, evidence and information on phenomena more fully. Based on the results of the research that has been formulated on the findings of experience research, motives, ways of communication, and the right meaning in the sale of paintings by painters on Jalan Braga from the use of the NFT application, namely: 1) Experience is based on a work ethic on values ​​such as Pak Iin received direct assistance from Ridwan Kamil, Pak Iin in using the NFT application, Pak Iin's painting sales sold at a high price, and Pak Iin was patient in marketing his painting products online with direct assistance from Ridwan Kamil. 2) The motive is divided into two parts, namely the primary motive and the secondary motif. The motives of work relations and the search for connections carried out by Ridwan Kamil and Pak Iin are included in the types of primary motives and biogenetic motives for the use of scientific disciplines, maximizing self-potential, and interest in NFT applications including secondary motives with sociogenetic motives. 3) The way of communication is done face-to-face or indirectly between Pak Iin and Ridwan Kamil in interacting with each other by sending or receiving messages indirectly with the internet media. 4) The meaning obtained is the concept of being patient at work and self-benefit for the environment around Pak Iin's painting shop. Abstrak. Pasar bisnis di Indonesia khususnya yang bergerak di bidang lukisan, memanfaatkan e – commerce sebagai aktivitas komunikasi di masa PPKM saat ini. Berbagai produk lukisan dipasarkan secara online dan dikemas semenarik mungkin untuk menarik daya tarik minat konsumen. Tingkat persaingan yang ketat dan adanya pandemim Covid menuntut para pedagang lukisan harus menciptakan aktitivtas komunikasi yang memudahkan secara online. Pengalaman, motif, cara komunikasi, dan makna pemanfataan NFT di toko lukisan Pak Iin menjadi pertanyaan – pertanmyaan penelitian yang akan diteliti. Penelitian ini mneggunakan metode penelitian kualitatif. Dengan demikian, peneliti berusaha membahas secara akurat dalam berbagai fenomena – fenomena yang ada. Observasi dan wawancara mendalam digunakan sebagai teknik pengumpulan data. Wawancara mendalam dilakukan kepada informan dari toko lukisan Pak Iin di jalan Braga yang telah menggunakan aplikasi NFT sebagai penjualan lukisannya. Reduksi, penyajian dan verifikasi data digunakan sebagai teknik analisis data – data penelitian. Fenomena yang terjadi sebagai seniman pelukis di toko lukisan Pak Iin adalah fenomena satu – satunya peneliti yang diteliti. Dianalisis dengan menggunakan teori fenomenologi menurut Alfred Schutz sebagai harapan dapat menemukan data, bukti serta informasi fenomena secara lebih lengkap. Berdasarkan hasil penelitian yang telah dirumuskan pada hasil temuan penelitian pengalaman, motif, cara komunikasi, dan makna yang tepat pada penjualan lukisan yang dilakukan seniman pelukis di jalan Braga dari penggunaan aplikasi NFT yakni: 1) Pengalaman didasari oleh adanya etos kerja pada nilai – nilai seperti Pak Iin mendapatkan bantuan langsung dari Ridwan Kamil, Pak Iin pada pemanfaatan aplikasi NFT, penjualan lukisan yang dilakukan Pak Iin laku dengan harga drastis, dan Pak Iin sabar dalam memasarkan produk lukisannya secara online dengan adanya bantuan dari Ridwan Kamil langsung. 2) Motif dibagi menjadi dua bagian yaitu motif primer dan motif sekunder. Motif relasi kerja serta pencarian koneksi yang dilakukan Ridwan Kamil beserta Pak Iin termasuk kedalam jenis motif primer serta motif biogenetis pada pemanfaatan disiplin ilmu, pemaksimalan potensi diri, dan ketertarikan akan aplikasi NFT termasuk pada motif sekunder dengan motif sosiogenetis. 3) Cara komunikasi dilakukan secara tatap muka atau tidak langsung antara Pak Iin dengan Ridwan Kamil dalam berinteraksi satu sama lain dengan mengirim atau menerima pesan secara tidak langsung dengan adanya media internet. 4) Makna yang didapatkan adalah konsep sabar dalam bekerja dan kebermanfaatan diri bagi lingkungan sekkitar toko lukisan Pak Iin yang terjadi.

IntroductionThe European will to modify the natural world emerged through English landscape design during the eighteenth century. Released from the neo-classical aesthetic dichotomy of the beautiful and the ugly, new categories of the picturesque and the sublime gestured towards an affective relationship to nature. Europeans began to see the world as a picture, the elements of which were composed as though part of a theatrical scene. Quite literally, as I shall discuss below, gardens were “composed with ‘pantomimic’ elements – ruins of castles and towers, rough hewn bridges, Chinese pagodas and their like” (McGillivray 134–35) transforming natural vistas into theatrical scenes. Such a transformation was made possible by a habit of spectating that was informed by the theatrical metaphor or theatrum mundi, one version of which emphasised the relationship between spectator and the thing seen. The idea of the natural world as an aesthetic object first developed in poetry and painting and then through English landscape garden style was wrought in three dimensions on the land itself. From representations of place a theatrical transformation occurred so that gardens became a places of representation.“The Genius of the Place in All”The eighteenth century inherited theatrum mundi from the Renaissance, although the genealogy of its key features date back to ancient times. Broadly speaking, theatrum mundi was a metaphorical expression of the world and humanity in two ways: dramaturgically and formally. During the Renaissance the dramaturgical metaphor was a moral emblem concerned with the contingency of human life; as Shakespeare famously wrote, “men and women [were] merely players” whose lives consisted of “seven ages” or “acts” (2.7.139–65). In contrast to the dramaturgical metaphor with its emphasis on role-playing humanity, the formalist version highlighted a relationship between spectator, theatre-space and spectacle. Rooted in Renaissance neo-Platonism, the formalist metaphor configured the world as a spectacle and “Man” its spectator. If the dramaturgical metaphor was inflected with medieval moral pessimism, the formalist metaphor was more optimistic.The neo-Platonist spectator searched in the world for a divine plan or grand design and spectatorship became an epistemological challenge. As a seer and a knower on the world stage, the human being became the one who thought about the world not just as a theatre but also through theatre. This is apparent in the etymology of “theatre” from the Greek theatron, or “seeing place,” but the word also shares a stem with “theory”: theaomai or “to look at.” In a graceful compression of both roots, Martin Heidegger suggests a “theatre” might be any “seeing place” in which any thing being beheld offers itself to careful scrutiny by the beholder (163–65). By the eighteenth century, the ancient idea of a seeing-knowing place coalesced with the new empirical method and aesthetic sensibility: the world was out there, so to speak, to provide pleasure and instruction.Joseph Addison, among others, in the first half of the century reconsidered the utilitarian appeal of the natural world and proposed it as the model for artistic inspiration and appreciation. In “Pleasures of the Imagination,” a series of essays in The Spectator published in 1712, Addison claimed that “there is something more bold and masterly in the rough careless strokes of nature, than in the nice touches and embellishments of art,” and compared to the beauty of an ordered garden, “the sight wanders up and down without confinement” the “wide fields of nature” and is “fed with an infinite variety of images, without any certain stint or number” (67).Yet art still had a role because, Addison argues, although “wild scenes [. . .] are more delightful than any artificial shows” the pleasure of nature increases the more it begins to resemble art; the mind experiences the “double” pleasure of comparing nature’s original beauty with its copy (68). This is why “we take delight in a prospect which is well laid out, and diversified, with fields and meadows, woods and rivers” (68); a carefully designed estate can be both profitable and beautiful and “a man might make a pretty landskip of his own possessions” (69). Although nature should always be one’s guide, nonetheless, with some small “improvements” it was possible to transform an estate into a landscape picture. Nearly twenty years later in response to the neo-Palladian architectural ambitions of Richard Boyle, the third Earl of Burlington, and with a similarly pictorial eye to nature, Alexander Pope advised:To build, to plant, whatever you intend,To rear the Column, or the Arch to bend,To swell the Terras, or to sink the Grot;In all, let Nature never be forgot.But treat the Goddess like a modest fair,Nor over-dress, nor leave her wholly bare;Let not each beauty ev’ry where be spy’d,Where half the skill is decently to hide.He gains all points, who pleasingly confounds,Surprizes, varies, and conceals the Bounds.Consult the Genius of the Place in all;That tells the Waters or to rise, or fall,Or helps th’ ambitious Hill the heav’ns to scale,Or scoops in circling theatres the Vale,Calls in the Country, catches opening glades, Joins willing woods, and varies shades from shades,Now breaks or now directs, th’ intending Lines;Paints as you plant, and, as you work, designs. (Epistle IV, ll 47–64) Whereas Addison still gestured towards estate management, Pope explicitly advocated a painterly approach to garden design. His epistle articulated some key principles that he enacted in his own garden at Twickenham and which would inform later garden design. No matter what one added to a landscape, one needed to be guided by nature; one should be moderate in one’s designs and neither plant too much nor too little; one must be aware of the spectator’s journey through the garden and take care to provide variety by creating “surprises” that would be revealed at different points. Finally, one had to find the “spirit” of the place that gave it its distinct character and use this to create the cohesion in diversity that was aspired to in a garden. Nature’s aestheticisation had begun with poetry, developed into painting, and was now enacted on actual natural environments with the emergence of English landscape style. This painterly approach to gardening demanded an imaginative, emotional, and intellectual engagement with place and it stylistically rejected the neo-classical geometry and regularity of the baroque garden (exemplified by Le Nôtre’s gardens at Versailles). Experiencing landscape now took on a third dimension as wealthy landowners and their friends put themselves within the picture frame and into the scene. Although landscape style changed during the century, a number of principles remained more or less consistent: the garden should be modelled on nature but “improved,” any improvements should not be obvious, pictorial composition should be observed, the garden should be concerned with the spectator’s experience and should aim to provoke an imaginative or emotional engagement with it. During the seventeenth century, developments in theatrical technology, particularly the emergence of the proscenium arch theatre with moveable scenery, showed that poetry and painting could be spectacularly combined on the stage. Later in the eighteenth century the artist and stage designer Philippe Jacques de Loutherbourg combined picturesque painting aesthetics with theatrical design in works such as The Wonders of Derbyshire in 1779 (McGillivray 136). It was a short step to shift the onstage scene outside. Theatricality was invoked when pictorial principles were applied three dimensionally; gardens became sites for pastoral genre scenes that ambiguously positioned their visitors both as spectators and actors. Theatrical SceneryGardens and theatres were explicitly connected. Like “theatre,” the word “garden” was sometimes used to describe a collection, in book form, which promised “a whole world of items” which was not always “redeemable” in “straightforward ways” (Hunt, Gardens 54–55). Theatrum mundi could be emblematically expressed in a garden through statues and architectural fabriques which drew spectators into complex chains of associations involving literature, art, and society, as they progressed through it.In the previous century, writes John Dixon Hunt, “the expectation of a fine garden [. . .] was that it work upon its visitor, involving him [sic] often insidiously as a participant in its dramas, which were presented to him as he explored its spaces by a variety of statues, inscriptions and [. . .] hydraulically controlled automata” (Gardens 54). Such devices, which featured heavily in the Italian baroque garden, were by the mid eighteenth century seen by English and French garden theorists to be overly contrived. Nonetheless, as David Marshall argues, “eighteenth-century garden design is famous for its excesses [. . .] the picturesque garden may have aimed to be less theatrical, but it aimed no less to be theater” (38). Such gardens still required their visitors’ participation and were designed to deliver an experience that stimulated the spectators’ imaginations and emotions as they moved through them. Theatrum mundi is implicit in eighteenth-century gardens through a common idea of the world reimagined into four geographical quadrants emblematically represented by fabriques in the garden. The model here is Alexander Pope’s influential poem, “The Temple of Fame” (1715), which depicted the eponymous temple with four different geographic faces: its western face was represented by western classical architecture, its east face by Chinese, Persian, and Assyrian, its north was Gothic and Celtic, and its south, Egyptian. These tropes make their appearance in eighteenth-century landscape gardens. In Désert de Retz, a garden created between 1774 and 1789 by François Racine de Monville, about twenty kilometres west of Paris, one can still see amongst its remaining fabriques: a ruined “gothic” church, a “Tartar” tent (it used to have a Chinese maison, now lost), a pyramid, and the classically inspired Temple of Pan. Similar principles underpin the design of Jardin (now Parc) Monceau that I discuss below. Retz: Figure 1. Tartar tent.Figure 2. Temple of PanStowe Gardens in Buckinghamshire has a similar array of structures (although the classical predominates) including its original Chinese pavillion. It, too, once featured a pyramid designed by the architect and playwright John Vanbrugh, and erected as a memorial to him after his death in 1726. On it was carved a quote from Horace that explicitly referenced the dramaturgical version of theatrum mundi: You have played, eaten enough and drunk enough,Now is time to leave the stage for younger men. (Garnett 19) Stowe’s Elysian Fields, designed by William Kent in the 1730s according to picturesque principles, offered its visitor two narrative choices, to take the Path of Virtue or the Path of Vice, just like a re-imagined morality play. As visitors progressed along their chosen paths they would encounter various fabriques and statues, some carved with inscriptions in either Latin or English, like the Vanbrugh pyramid, that would encourage associations between the ancient world and the contemporary world of the garden’s owner Richard Temple, Lord Cobham, and his circle. Stowe: Figure 3. Chinese Pavillion.Figure 4. Temple of VirtueKent’s background was as a painter and scene designer and he brought a theatrical sensibility to his designs; as Hunt writes, Kent particularly enjoyed designing “recessions into woodland space where ‘wings’ [were] created” (Picturesque 29). Importantly, Kent’s garden drawings reveal his awareness of gardens as “theatrical scenes for human action and interaction, where the premium is upon more personal experiences” and it this spatial dimension that was opened up at Stowe (Picturesque 30).Picturesque garden design emphasised pictorial composition that was similar to stage design and because a garden, like a stage, was a three-dimensional place for human action, it could also function as a set for that action. Unlike a painting, a garden was experiential and time-based and a visitor to it had an experience not unlike, to cautiously use an anachronism, a contemporary promenade performance. The habit of imaginatively wandering through a theatre in book-form, moving associatively from one item to the next, trying to discern the author’s pattern or structure, was one educated Europeans were used to, and a garden provided an embodied dimension to this activity. We can see how this might have been by visiting Parc Monceau in Paris which still contains remnants of the garden designed by Louis Carrogis (known as Carmontelle) for the Duc de Chartres in the 1770s. Carmontelle, like Kent, had a theatrical background and his primary role was as head of entertainments for the Orléans family; as such he was responsible for designing and writing plays for the family’s private theatricals (Hays 449). According to Hunt, Carmontelle intended visitors to Jardin de Monceau to take a specific itinerary through its “quantity of curious things”:Visitors entered by a Chinese gateway, next door to a gothic building that served as a chemical laboratory, and passed through greenhouses and coloured pavilions. Upon pressing a button, a mirrored wall opened into a winter garden painted with trompe-l’œil trees, floored with red sand, filled with exotic plants, and containing at its far end a grotto in which supper parties were held while music was played in the chamber above. Outside was a farm. Then there followed a series of exotic “locations”: a Temple of Mars, a winding river with an island of rocks and a Dutch mill, a dairy, two flower gardens, a Turkish tent poised, minaret-like, above an icehouse, a grove of tombs [. . .], and an Italian vineyard with a classical Bacchus at its center, regularly laid out to contrast with an irregular wood that succeeded it. The final stretches of the itinerary included a Naumachia or Roman water-theatre [. . .], more Turkish and Chinese effects, a ruined castle, yet another water-mill, and an island on which sheep grazed. (Picturesque 121) Monceau: Figure 5. Naumachia.Figure 6. PyramidIn its presentation of a multitude of different times and different places one can trace a line of descent from Jardin de Monceau to the great nineteenth-century World Expos and on to Disneyland. This lineage is not as trite as it seems once we realise that Carmontelle himself intended the garden to represent “all times and all places” and Pope’s four quadrants of the world were represented by fabriques at Monceau (Picturesque 121). As Jardin de Monceau reveals, gardens were also sites for smaller performative interventions such as the popular fêtes champêtres, garden parties in which the participants ate, drank, danced, played music, and acted in comedies. Role playing and masquerade were an important part of the fêtes as we see, for example, in Jean-Antoine Watteau’s Fêtes Vénitiennes (1718–19) where a “Moorishly” attired man addresses (or is dancing with) a young woman before an audience of young men and women, lolling around a fabrique (Watteau). Scenic design in the theatre inspired garden designs and gardens “featured prominently as dramatic locations in intermezzi, operas, and plays”, an exchange that encouraged visitors to gardens to see themselves as performers as much as spectators (Hunt, Gardens 64). A garden, particularly within the liminal aegis of a fête was a site for deceptions, tricks, ruses and revelations, assignations and seductions, all activities which were inherently theatrical; in such a garden visitors could find themselves acting in or watching a comedy or drama of their own devising. Marie-Antoinette built English gardens and a rural “hamlet” at Versailles. She and her intimate circle would retire to rustic cottages, which belied the opulence of their interiors, and dressed in white muslin dresses and straw hats, would play at being dairy maids, milking cows (pre-cleaned by the servants) into fine porcelain buckets (Martin 3). Just as the queen acted in pastoral operas in her theatre in the grounds of the Petit Trianon, her hamlet provided an opportunity for her to “live” a pastoral fantasy. Similarly, François Racine de Monville, who commissioned Désert de Retz, was a talented harpist and flautist and his Temple of Pan was, appropriately, a music room.Versailles: Figure 7. Hamlet ConclusionRichard Steele, Addison’s friend and co-founder of The Spectator, casually invoked theatrum mundi when he wrote in 1720: “the World and the Stage [. . .] have been ten thousand times observed to be the Pictures of one another” (51). Steele’s reiteration of a Renaissance commonplace revealed a different emphasis, an emphasis on the metaphor’s spatial and spectacular elements. Although Steele reasserts the idea that the world and stage resemble each other, he does so through a third level of abstraction: it is as pictures that they have an affinity. World and stage are both positioned for the observer within complementary picture frames and it is as pictures that he or she is invited to make sense of them. The formalist version of theatrum mundi invokes a spectator beholding the world for his (usually!) pleasure and in the process nature itself is transformed. No longer were natural landscapes wildernesses to be tamed and economically exploited, but could become gardens rendered into scenes for their aristocratic owners’ pleasure. Désert de Retz, as its name suggests, was an artfully composed wilderness, a version of the natural world sculpted into scenery. Theatrum mundi, through the aesthetic category of the picturesque, emerged in English landscape style and effected a theatricalised transformation of nature that was enacted in the aristocratic gardens of Europe.ReferencesAddison, Joseph. The Spectator. No. 414 (25 June 1712): 67–70. Eighteenth Century Collections Online.Garnett, Oliver. Stowe. Buckinghamshire. The National Trust, 2011.Hays, David. “Carmontelle's Design for the Jardin de Monceau: A Freemasonic Garden in Late-Eighteenth-Century France.” Eighteenth-Century Studies 32.4 (1999): 447–62.Heidegger, Martin. The Question Concerning Technology and Other Essays. Trans. William Lovitt. New York: Harper and Row, 1977.Hunt, John Dixon. Gardens and the Picturesque: Studies in the History of Landscape Architecture. Cambridge, Massachusetts: MIT Press, 1992.———. The Picturesque Garden in Europe. London: Thames and Hudson, 2002.Marshall, David. The Frame of Art. Fictions of Aesthetic Experience, 1750–1815. Baltimore: Johns Hopkins UP, 2005.Martin, Meredith S. Dairy Queens: The Politics of Pastoral Architecture from Catherine de' Medici to Marie-Antoinette. Harvard: Harvard UP, 2011.McGillivray, Glen. "The Picturesque World Stage." Performance Research 13.4 (2008): 127–39.Pope, Alexander. “Epistle IV. To Richard Boyle, Earl of Burlington.” Epistles to Several Persons. London, 1744. Eighteenth Century Collections Online.———. The Temple of Fame: A Vision. By Mr. Pope. 2nd ed. London, 1715. Eighteenth Century Collections Online. Shakespeare, William. As You Like It. Ed. Agnes Latham. London: Routledge, 1991.Steele, Richard. The Theatre. No. 7 (23 January 1720).