Статті в журналах з теми "Art, European – 15th century"
Щоб переглянути інші типи публікацій з цієї теми, перейдіть за посиланням: Art, European – 15th century.
Оформте джерело за APA, MLA, Chicago, Harvard та іншими стилями
Ознайомтеся з топ-50 статей у журналах для дослідження на тему "Art, European – 15th century".
Біля кожної праці в переліку літератури доступна кнопка «Додати до бібліографії». Скористайтеся нею – і ми автоматично оформимо бібліографічне посилання на обрану працю в потрібному вам стилі цитування: APA, MLA, «Гарвард», «Чикаго», «Ванкувер» тощо.
Також ви можете завантажити повний текст наукової публікації у форматі «.pdf» та прочитати онлайн анотацію до роботи, якщо відповідні параметри наявні в метаданих.
Переглядайте статті в журналах для різних дисциплін та оформлюйте правильно вашу бібліографію.
1
Artamonova, Svetlana. "Art Collections of the Russian State Library." Art Libraries Journal 17, no. 2 (1992): 27–28. http://dx.doi.org/10.1017/s0307472200007793.
Повний текст джерелаАнотація:
The former Lenin State Library in Moscow, now the Russian State Library, holds extensive collections of graphic and photographic materials, Russian and foreign, dating from the 15th century to the present day. These include a collection of some 434,000 posters, of which film and political posters form the largest subsections; a smaller number of pre-Revolutionary posters is of special interest. The collection of engravings totals some 93,000 items, and includes both works of European masters and Russian popular prints. There are also collections of postcards, “albums”, and manuscripts.
2
Chernyi, Valentin D. "FOREIGNERS’ PERCEPTION OF RUSSIAN ARTWORK IN THE 16TH-17TH CENTURIES." RSUH/RGGU Bulletin. Series Philosophy. Social Studies. Art Studies, no. 3 (2022): 112–24. http://dx.doi.org/10.28995/2073-6401-2022-3-112-124.
Повний текст джерелаАнотація:
The article considers general approaches to the perception of Russian artwork by foreigners in medieval Russia from the end of the 15th to the 17th century. The establishment of a unified Russian state made ways for establishing various contacts with European countries. Representatives of different countries who came from Europe to Russia on various missions formed their own idea of the unfamiliar state, including its artistic culture. Artwork rarely came to the attention of travelers, who, due to the difference of religion, were usually not allowed into Orthodox churches. As a result, stable stereotypes were formed about the low artistic quality of icons and about the attitude of Russians to them as objects of pagan worship. Only a few of travelers, who got direct access to the best works and relevant explanations, could appreciate the artistic merits of icons as works of art. Along with icons, according to the testimony of foreign authors, since the end of the 15th century, portrait images also began to come into use. Despite the different foundations and traditions of ancient Russian and European art, the close interaction of the countries inevitably led to a common understanding of the tasks and forms of artistic work
3
ZADNIPRYANY, Gennady. "SEARCH FOR ARTISTIC SOLUTIONS IN THE EUROPEAN RENAISSANCE ENGRAVING." ART Space 1, no. 4 (2024): 99–118. http://dx.doi.org/10.28925/2519-4135.2024.46.
Повний текст джерелаАнотація:
The article examines the search for artistic solutions in the European engraving of the Renaissance. The technological, aesthetic and social reasons for the emergence of this new art form are considered. The difference between edge and incisal engraving techniques on wood and metal is highlighted. The main features and mannerisms of famous masters of various national schools of reproduction, creative and book engraving are described. Engraving on the territory of Europe arose at the turn of the 14th and 15th centuries. It had its own technological prototypes that existed before. For xylography, these are stamps-seals and punches, for engraving - the craft of jewelers, for etching – the skill of gunsmiths. But, like a print on paper of an image cut on a special board or etched on a metal plate, it appears only in our time. This coincided with the collapse of the medieval highly synthetic type of art, the growing desire for a more visually accurate depiction of nature, interest in a scientific perspective, secular themes. Unlike painting, engraving took on the qualities of symbolism and abstraction. In addition, engraving differs from other types of fine art by a special quality – circulation. In the second half of the 15th century, books appeared with illustrations showing various tools or the structure of the Solar System, the specifics of certain plants, and city views. The circulation of the engraving contributed to the rapid and convenient distribution of the nobility. This continued until the middle of the 19th century, when photography and photomechanics appeared, which in many ways replaced engraving [4]. But until that moment, thanks to its ability to reproduce, engraving itself can be considered one of the tools for expanding knowledge. Today, in the era of digital technologies, interest in traditional engraving techniques does not disappear. Studying and rethinking the achievements of previous periods makes it possible to expand the expressive means of artistic works.
4
Haneca, Kristof, Ria De Boodt, Valérie Herremans, Hilde De Pauw, Joris Van Acker, Carl Van de Velde, and Hans Beeckman. "Late Gothic Altarpieces as Sources of Information on Medieval Wood Use: A Dendrochronological and Art Historical Survey." IAWA Journal 26, no. 3 (July 15, 2005): 273–98. http://dx.doi.org/10.1163/22941932-02603001.
Повний текст джерелаАнотація:
Wooden altarpieces are important features of European medieval material culture, especially of the Late Gothic Fine Arts from the 15th and 16th century. Many of them were carved in the Brabantine towns of Antwerp, Brussels and Mechelen in present-day Belgium. Although they were highly esteemed and exported all over Europe, little is known about their production process. In order to understand the context of the creation of the altarpieces, a detailed analysis of the wood has been completed to supplement and test historical documentation and art historical approaches. Tree-ring patterns and anatomical features of 209 wooden sculptures from collections of different museums were analyzed. Tree-ring analysis proved the 15th –16th century origin of the sculptures but also allowed a detailed technical characterization of the carversʼ basic material. The striking uniformity of the grain and the sawing pattern revealed that medieval woodcarvers preferred quarter sawn oak lumber, imported from the Baltic area. Stylistic and iconographic hypotheses concerning the current setting of several altarpieces could be founded, based on the wood anatomical and dendrochronological observations. Intensive collaboration between wood biologists and art historians proved to be essential in order to reconstruct the creation process of carved wooden altarpieces.
5
Haneca, Kristof, Ria De Boodt, Valérie Herremans, Hilde De Pauw, Joris Van Acker, Carl Van de Velde, and Hans Beeckman. "Late Gothic Altarpieces as Sources of Information on Medieval Wood Use: A Dendrochronological and Art Historical Survey." IAWA Journal 26, no. 3 (2005): 273–98. http://dx.doi.org/10.1163/22941932-90000116.
Повний текст джерелаАнотація:
Wooden altarpieces are important features of European medieval material culture, especially of the Late Gothic Fine Arts from the 15th and 16th century. Many of them were carved in the Brabantine towns of Antwerp, Brussels and Mechelen in present-day Belgium. Although they were highly esteemed and exported all over Europe, little is known about their production process. In order to understand the context of the creation of the altarpieces, a detailed analysis of the wood has been completed to supplement and test historical documentation and art historical approaches. Tree-ring patterns and anatomical features of 209 wooden sculptures from collections of different museums were analyzed. Tree-ring analysis proved the 15th–16th century origin of the sculptures but also allowed a detailed technical characterization of the carvers' basic material. The striking uniformity of the grain and the sawing pattern revealed that medieval woodcarvers preferred quarter sawn oak lumber, imported from the Baltic area. Stylistic and iconographic hypotheses concerning the current setting of several altarpieces could be founded, based on the wood anatomical and dendrochronological observations. Intensive collaboration between wood biologists and art historians proved to be essential in order to reconstruct the creation process of carved wooden altarpieces.
6
Lacko, Miroslav. "Výroba zelenej farby v Uhorsku do konca 18. storočia." Historica. Revue pro historii a příbuzné vědy 15, no. 1 (July 2024): 17–41. http://dx.doi.org/10.15452/historica.2024.15.0002.
Повний текст джерелаАнотація:
Since only a few stable pigment production centres in Central Europe subsisted until the industrial period in the 19th century, those that became regionally known and influenced the European pigment market deserve the attention of historical research. One of the significant European green pigment production centres in the Late Middle Ages and the Early Modern Age was the Banská Bystrica mining district in present day Central Slovakia, the former part of the Lower Hungarian mining area. Production of green copper pigment was carried out continually from the mid-15th century until 1950 at the latest. However, the methods of its application changed over time. While in the Late Middle Ages this green pigment was applied as a colouring matter for objects of art, from the 16th century it was used as a utilitarian colour for coating indoor walls and exterior facades. During the 19th century, the mentioned green pigment (Berggrün) was produced only as a concentrate for the production of copper
7
Schrire, Carmel. "The historical archaeology of the impact of colonialism in 17th-century South Africa." Antiquity 62, no. 235 (June 1988): 214–25. http://dx.doi.org/10.1017/s0003598x00073932.
Повний текст джерелаАнотація:
The written sources are overwhelming for that great historical event, the conquest of the world by Europeans between the 15th and the 19th centuries. Historical archaeology, especially in north America, now provides an important source of evidence of a different character. But what was it like to receive Europeans on your shore, what was it like to be dispossesed? Here is a report specifically concerned with relations between native and newcomer at the Cape, one of those African regions which first felt the European impact.
8
Bella, Takushinova. "Parsuna – the first secular representation of the traditional Russian icon." Resourceedings 2, no. 3 (November 12, 2019): 1. http://dx.doi.org/10.21625/resourceedings.v2i3.618.
Повний текст джерелаАнотація:
The second half of the 15th century in the Russian Church history marked a strong decline of spiritual life, which naturally found its reflection in the icon painting. The feeling of integrity of an image, its depth were lost. At the same time, the weakening influence of the Orthodox Balkans and the Byzantine Empire gave way to the influence of the Catholic West with its profoundly different principles of religious art.In this transitional period of the Russian cultural life, characterized by the transformation of the medieval worldview and the formation of new artistic ideals, appeared parsuna (a rough Russian transliteration of the Latin word “persona”) - an early secular portrait of a lay person in the iconographic style that represents an important transition in Russia’s art history. The first pasruna were painted, most probably, by the iconographers of the Moscow Kremlin Armoury in the 17th century. The painters of these portraits were usually monks that tended to be anonymous, showing a humility.Although the stylized forms used in parsuna reveal a lack of concern with preserving the actual features of a person, but rather their overall image (special attributes and signatures allow to define represented), it still can be viewed as one of the very first attempts to look at person not only through the rigid iconographic canons, but also through a prism of psychological interpretation. Thus, this transitional image may be concerned as the initial fundamental step on the way to the further introduction fo the European portrait tradition in Russia.In this study, we would like to consistently trace how parsuna, thanks to its completely new stylistic value, can be considered one of the earliest stages on the way to the secularization of the Russian art in the early 17th century, which led to the separation from the strict iconographic religious canons and, consequently, to the rapprochement with the European art.
9
Tchernik, Alexander. "Armillary Sphere in the Ideology of the Late Middle Ages and Early Modern Times." ISTORIYA 14, no. 6 (128) (2023): 0. http://dx.doi.org/10.18254/s207987840027170-6.
Повний текст джерелаАнотація:
The armillary sphere is one of the most famous badges. The opinion that this image of a navigation device visualizes Portugal is an anachronism. In Europe the armillary sphere was used not only in Portugal. Models of the celestial structure based on the concept of the sphericity of the universe have a long tradition. In the 15th — 16th centuries the armillary sphere served as a designation of the highest imperial ambitions and appeared in various contexts related to messianism and the interpretation of biblical prophecy. The armillary sphere is a conceptual model of the cosmos structure, its physical, spiritual, and political sides. By the end of the 15th century the armillary sphere became a stable representation of the universe — an image full of Christian meaning, which had a pan-European distribution and pan-European significance. The image of the sphere is a visualization of the highest European values of that time, an example of which is the use of it by Elizabeth I and her entourage.
10
Pezzè, Stefano. "“Una cerbia bianchissima e bella”." Reinardus / Yearbook of the International Reynard Society 28 (December 31, 2016): 142–67. http://dx.doi.org/10.1075/rein.28.10pez.
Повний текст джерелаАнотація:
Considering European literature’s relationship with animals, it is immediately evident that the stag (and its feminine counterpart, the doe) performs a prominent role, and that this role has evolved considerably throughout cultures and centuries. Of further interest is the symbology associated with white stags and hinds, creatures which make several appearances in Western literature and art. Whilst the meanings they carry vary according to space and time, their main feature – being guiding animals – remains basically constant. After a presentation of the most important values of the symbol from the classics to French literature, this paper aims to explore its recurrences in Italian literature in the 14th and 15th century, in order to confirm the survival of the guiding pattern and to unravel the relationships between the Italian examples and their precedents.
11
Bjork, Robert E. "Incunabula Short Title Catalogue (ISTC): The International Database of 15th-century European Printing. Database." Renaissance and Reformation 42, no. 2 (October 24, 2019): 165–67. http://dx.doi.org/10.7202/1065129ar.
Повний текст джерела
12
Song, Tianyi, and Xiangyang Bian. "Origin and Promotion of Artificial Field Rearing Technology of Tussah." Asian Social Science 17, no. 12 (November 29, 2021): 73. http://dx.doi.org/10.5539/ass.v17n12p73.
Повний текст джерелаАнотація:
The artificial field rearing technology of Tussah silkworm is the first creation of China's sericulture, and thus opened the industrialization process of modern silk industry in the world. Because the literature on the origin and dissemination of the artificial field rearing of tussah is more in ancient Chinese books, the international overall research on the technology of the artificial field rearing of tussah academic papers is very rare. By referring to many ancient documents and translating them, this paper points out that the origin of artificial field rearing technology of tussah silkworm is in the late Ming and early Qing dynasty (from the beginning of the 15th century to the middle of the 15th century), and the only place of its origin is the mountainous area in the southwest of Shandong province, from which it spread to Henan, Sichuan, Anhui, Guizhou, Japan, Russia and European countries.
13
ABASTADO, PHILIPPE, GILLES GUIRAMAND, and BERNARD BOUSQUET. "Signs of ageing, the lifespan and self-representation in European self-portraits since the 15th century." Ageing and Society 25, no. 2 (February 24, 2005): 147–58. http://dx.doi.org/10.1017/s0144686x04002715.
Повний текст джерелаАнотація:
Painters' self-portraits offer the opportunity to study signs of ageing through the centuries. In this paper, we examine 687 self-portraits by 506 European painters from the 15th to the 20th century. To qualify for the analysis, painters had to be unquestionably identified, have known years of birth and death, and the self-portraits had to be dated unequivocally. ‘Age scores’ for the characteristics of the lower face were developed. Ptosis of the upper eyelid, bags under the eyes and the characteristics of beards were also recorded. Among the main findings, the painters of self-portraits that exhibited ptosis of the upper eyelid had a higher actual age than those of portraits which did not (55 versus 38 years). Similarly, those that represented bags under the eyes were older painters (47 versus 33 years). The percentages of portraits with eyelid ptosis and bags under the eyes were similar through the centuries and in three zones of Europe. The age scores of the lower half of the face were also consistent in all centuries, except at ages 40–49 years. The painters' average lifespan significantly increased during the 18th century; and within Europe a north–south lifespan gradient has been evident since the 17th century. We conclude that ageing has had similar facial manifestations over the last five centuries, except between 40 and 50 years of age.
14
E.V., Kilimnik. "THE INTERNATIONAL FORM IN THE WORLD OF THE WORLD OF THE WEST EUROPE AND FORTIFICATION ART OF THE CRUSADERS IN THE MIDDLE EAST OF THE XIth AND XIIIth CENTURY." Global problems of modernity 1, no. 7 (July 31, 2020): 4–16. http://dx.doi.org/10.26787/nydha-2713-2048-2020-1-7-4-16.
Повний текст джерелаАнотація:
The main purpose of the study is to conduct architectural and historical analysis of the formation of medieval feudal castles as a phenomenon of chivalrous culture of Europe and the Middle East. The task of the study is to analyze the general and special in the evolution of forms in the castle architecture of Western Europe and the Jerusalem medieval kingdom. Creation of architectural and historical typology of castle forms that existed in the regions of medieval Western Europe and the Levant. In the course of the analysis of the formation of Middle Eastern castle complexes of the 12th - 13th century. found that on the one hand they were traditionally based on cultural and construction practices, Introduced to the regions of the Levant by European knights ‒ tower-donjon type of castle, which arose during the conquest in the areas of Israel, Palestine and Syria, on the other ‒ somewhat different from the architectural traditions of Western Europe, local technologies for processing stone quads, the construction of walls that have a boot, the use of cement solution, the creation of a tower-shaped building at the towers-don having a significant amount. Applied in the Middle East construction innovations with the active use of Romano-Byzantine traditions, getting to the territory of Western Europe, developed a chivalrous culture of castle building. As a result of cultural and historical analysis of European and Middle Eastern castle forms of the 12th and 13th century. it was determined that a better system of protection ‒ small wall niches, vaulted system of overlaps ‒ was introduced into the European fortification art by returning crusader knights. Thanks to the acquired building experience, the Crusaders in Western Europe were introduced to a new type of castle, the castel, which was borrowed from the old Roman-Byzantine military architecture during the conquest of the Levant. Based on the study of European castle forms, it was revealed that the new composition of the castle was introduced by knights-pilgrims from the middle east to the lands of Western and Central Europe, where it got its development, thanks to the French masters-fortifiers who formed this classic castle type in the 13th - 15th centuries.
15
Kloppmann, Wolfram, Lise Leroux, Philippe Bromblet, Pierre-Yves Le Pogam, Anne Thérèse Montech, and Catherine Guerrot. "A pan-European art trade in the late middle ages: Isotopic evidence on the master of Rimini enigma." PLOS ONE 17, no. 4 (April 12, 2022): e0265242. http://dx.doi.org/10.1371/journal.pone.0265242.
Повний текст джерелаАнотація:
The identity of artists and localisation of workshops are rarely known with certainty before the mid-15th century. We investigated the material used by one of the most prolific and enigmatic medieval sculptors, the Master of the Rimini Altarpiece or Master of Rimini, active around 1420–40. The isotope fingerprints (Sr, S and O) of a representative corpus of masterpieces but also minor artworks, attributed to the Master of Rimini and his workshop, are virtually identical, demonstrating the unity of the corpus and a material evidence behind the stylistic and iconographic ascriptions. The material used is exclusively Franconian (N-Bavarian) alabaster, 600 km distant from the supposed zone of activity of the Master of Rimini workshop according to recent literature. The same material was later used by the prominent Late Medieval German carver Tilman Riemenschneider, active in Würzburg after 1483, whose small corpus of alabaster sculptures we have been able to characterize almost entirely. Based on these findings, we propose here an alternative to the prevailing hypothesis of a Flemish or N-French workshop being founded on similarities of the Rimini sculpture with motives in Flemish and French painting. Our scenario, returning to the initial proposal of a German localisation of the Master of Rimini workshop, assumes the migration of an artist, perhaps trained in the Low Countries or strongly inspired by the Flemish art, to Southern Germany where he founded a highly productive export workshop, well situated on the crossroads of medieval trade, with a pan-European radiance. This study sheds a spotlight on the on the trade networks of luxury goods, the raw material used for their production, and the high-end art market in Europe as well as on international migration of artists and styles, at the eve of the Renaissance.
16
Troitskaya, Anna A. "Pilgrim Signs in the Context of European Cultural Practices." Observatory of Culture 19, no. 3 (July 5, 2022): 266–73. http://dx.doi.org/10.25281/2072-3156-2022-19-3-266-273.
Повний текст джерелаАнотація:
The main purpose of the paper is to trace the continuity of the form of pilgrim signs: Renaissance secular hat badges inherited the shape and composition of late medieval pilgrim badges. More than a hundred European portraits of the late 15th — first half of the 16th century represent a model in a headdress decorated with a similar medal or badge, often with an emblematic image inside. This accessory originates from the religious tradition of keeping small medallions from pilgrimage sites, made of cheap metals or wax and known as “pilgrim signs”. The relevance of the research lies in the comparison of cultural traditions usually studied separately from each other due to their belonging to different periods of art history, as well as in an attempt to trace their continuity. The author analyzes the process of transferring the semantic meanings of pilgrim badges from the religious sphere to the field of socio-cultural practices associated with secular aristocratic fashion and the goals of personal self-identification. The article highlights the main aspects of the existence and functioning of pilgrimage signs, analyzes the practices of their purchase, wearing and storage. The author examines the development of their external forms, the variety of materials, as well as the meanings with which these signs were endowed in everyday life. There is found that Renaissance hat badges still retained the meaning of religious patronage. In some examples of portrait images, there is presented the practice of wearing jewelry badges-brooches that were part of aristocratic fashion suits, the elements of which can be interpreted in the context of personal self-identification practices. In this role, the hat badges imply a kind of expression of feelings, moods and intentions of the person portrayed. In the process of comparing the Renaissance brooches and pilgrim signs, there is also manifested their significant semantic difference organizing the visual narrative.
17
Mohd, Siti Hadija. "Secular Humanism and Islamic Humanism – Is there a Common Ground?" JUSPI (Jurnal Sejarah Peradaban Islam) 3, no. 1 (July 1, 2019): 33. http://dx.doi.org/10.30829/juspi.v3i1.4025.
Повний текст джерелаАнотація:
<p><em>In the modern and post-modern world, we have loosely used the term humanism to describe many subjects and the use has been too broad for its specificity and objectivity to be precisely comprehended. In fact, at many points, it has lost positivity in light of discussion within the current century. The term humanism or humanist came from the 15th-century Italian academic world to describe the process of teaching and learning of art and literature between teachers and students. It is very interesting to find out that both the ancient Greeks-Romans and the early modern European use of the concept of humanism was very much in order to detach from the rising of scientific and empirical processes, as well as the rise of modern knowledge. Either way, the point attempted to be broken here is the fact that the early history and use of the concept of modernism had completely nothing to do with the detachment of religion or a divine influence from human life and choice. Humanism in both ancient Roman and middle-age European had little or no correlation with trying to steer clear neither from any religious influence nor from trying to be modernized with new knowledge from the scientific world. Humanity and humanism in Islam shall be limited to the recognition of human rights, effort, kindness, generosity, being productive and giving benefits to others in the society, instead of having the limitless and boundless definition, which has become meaningless.</em></p><p><em>Keywords: Secular humanism, Islamic humanism, ideology.</em></p>
18
Diligul, Ekaterina. "The Tale of the Theotokos of Tikhvin as a Source for the History of Construction Process in Russia in the First Third of the 16th Century." Vestnik Volgogradskogo gosudarstvennogo universiteta. Serija 4. Istorija. Regionovedenie. Mezhdunarodnye otnoshenija, no. 3 (June 2022): 107–16. http://dx.doi.org/10.15688/jvolsu4.2022.3.7.
Повний текст джерелаАнотація:
Introduction. At the turn of the 15th – 16th centuries, a new stage of development began in the history of Russian culture, marked by acquaintance with Western European traditions. This process was especially pronounced in the monuments of ancient Russian temple architecture and was reflected in the active construction activities of Italian masters invited to Russia by Moscow rulers. For art historians, one of the important problems in the study of ancient Russian architecture is the process of organizing construction activities. Despite the large number of surviving architectural monuments of the 15th – 16th centuries, evidence of the construction process is fragmentary. In this regard, the introduction of new sources on this issue into scientific circulation is an urgent task. Methods and materials. The work is focused on the analysis of the text of one of the copies of the Tale of the Theotokos of Tikhvin, kept by the Manuscript Department of the Library of the Russian Academy of Sciences (NIOR BAN, Collection of the Archeographic Commission No. 157). It contains information about the construction of the porch of the Assumption Cathedral in Tikhvin obtained by textual comparison of a number of lists of Tales. Analysis. During the study, one of the plots of the Theotokos of Tikhvin was analyzed and the peculiarities of the organization of the construction process in Tikhvin in the first third of the 17th century were revealed. Results. In the process of studying the plot on the construction of the cathedral porch, the stages of construction work carried out from April to June 1537 were restored. In the text of the Tale there is one of the earliest references to the “sovereign drawing”, in accordance with which the porch was built.
19
Nothaft, C. Philipp E. "Ephemerides in high medieval Europe: The textual evidence." Journal for the History of Astronomy 52, no. 1 (February 2021): 33–52. http://dx.doi.org/10.1177/0021828620981432.
Повний текст джерелаАнотація:
A common aspect of the practice-oriented side of pre- and early modern mathematical astronomy was the computation of ephemerides, that is, tables that displayed the daily positions of the planets in a synoptic and calendrical format. Even though medieval Europe was no exception in this regard, the existence of ephemerides in this period and region has gone largely unnoticed, owing both to terminological difficulties and the low survival rate of actual specimens. What exists in significant numbers, however, are texts describing different approaches to constructing ephemerides and computing their various entries. The article demonstrates this by discussing ten such texts dating from approximately the middle of the 12th century to just after 1300. Taken in its entirety, this hitherto neglected corpus provides conclusive evidence against a view according to which ephemerides entered European astronomical practice only in the 15th century.
20
Ugleva, Natalya V. "New Information in the Attribution of “The Table of Princess Sophia”." Observatory of Culture 20, no. 1 (March 31, 2023): 47–55. http://dx.doi.org/10.25281/2072-3156-2023-20-1-47-55.
Повний текст джерелаАнотація:
Despite the longtime research of Russian furniture art, the area of ancient monuments still requires in-depth study. The existing attributions of monuments, carried out in the 19th and 20th centuries, do not have convincing justifications. The least studied is the furniture belonging to the pre—Petrine heritage, which traditionally dates back to the 16th — 17th centuries on the basis of either the time of the owner’s life (whose name was often preserved as a documented unconfirmed legend) or the date of creation of the architectural structure (the place of discovery). The author believes that these artifacts should be considered as an object of art, included in the context of the development of European styles, and, respectively, their attribution should be carried out on the basis of methods adopted in art criticism practice — descriptions and analysis, which together give the most objective result. To test the proposed method, the article considers a monument from the furniture collection of the State Historical Museum (SHM) — “The Table of Princess Sophia”. To date, it has been attributed twice: in the inventory book of the SHM’s Department of Wood and Furniture — as a sample of furniture of the late 17th — early 18th century; and in the dissertation of the curator of this collection Z.P. Popova — to the 1690s. The results obtained show that the written sources used in the article, the discovered analogues, and the analysis of the constructive and artistic solutions of the subject allow us to attribute this monument to the work of domestic masters and determine the time of its creation in the 15th — first half of the 16th century, as well as to use it as a reference subject for attribution. At the same time, the analysis of the provenance of the Table shows that there are no grounds for confidently asserting its former belonging to the sister of Peter I. The preserved legend should rather be used in a subjunctive sense, and the main memorial component should be considered a connection with the past of the Novodevichy Monastery.
21
Углева, Н. В. "Attribution of the Throne Chairs of Tsars Boris Godunov and Mikhail Romanov in the 19th–21st Centuries: Historical and Art Historical Aspects." Nasledie Vekov, no. 1(25) (April 22, 2021): 100–108. http://dx.doi.org/10.36343/sb.2021.25.1.008.
Повний текст джерелаАнотація:
Древние тронные кресла отечественных монархов из собрания Музеев Московского Кремля были неоднократно опубликованы на протяжении XIX — XXI вв., но и сегодня нельзя считать работу по их атрибуции законченной. Примером тому — о два древнейших артефакта — тронные кресла царей Бориса Годунова и Михаила Романова: вопрос определения времени и места их создания остается неразрешенным. Ошибка исследователей заключается в том, что их внимание сосредоточено на ювелирном декоре предметов, не был применен метод описания и анализа художественных и технических приемов изготовления артефактов в целом, а также архивная документация изучена в недостаточной степени. По мнению автора, упомянутые предметы являются образцами персидской работы XV–XVI вв., в то время как прежде кресло царя Бориса Годунова датировалось 1603-1605 гг., а атрибуция принадлежавшего царю Михаилу Романову варьировалась между второй половиной XVI — первой третью XVII вв., причисляя изделие к московской или иранской работе. The article examines two ancient throne chairs of Russian monarchs from the collection of the Moscow Kremlin Museums: the chair of Tsar Boris Godunov, which is believed to have been received at the beginning of the 17th century as part of the ambassadorial gifts from Shah Abbas I, and the chair which researchers associate with the name of Tsar Mikhail Fyodorovich. The aim of the article is a comprehensive study of these objects based not only on their external description, but also on the identification of their structure, parts hidden by metal and woven coatings. In addition, for the first time, the author considers the chairs as pieces of furniture art, trying to “embed” them into the line of the development of artistic styles. In the course of the research, the method of description and analysis of artistic and technical methods of making artifacts, methods of comparative analysis and interpretation of historical sources were applied. The materials of the study were archival documents, published sources and the results of research by Russian historians and museologists. Various historical evidence about the investigated artifacts and views on their dating, reflected in documents and research works, is analyzed. The author compiled descriptions of the throne chairs and made assumptions about the possibility of a later change in their appearance. The analysis of the form and decor made it possible to attribute the throne chair of Tsar Boris Godunov as an example of a Persian work of the 15th–16th centuries; the use of European heritage is clearly traced in the creation of its artistic image. The attribution of the chair of Tsar Mikhail Fyodorovich cannot be considered final, because today there are several versions of it (a sample of the work of the Moscow Kremlin Workshops of the 17th century, precious plates of Iranian production of, presumably, the 16th century were used in its decoration; Iran, Isfahan, second half of the 16th century (?); work of Iranian court masters of the first third of the 17th century). This throne chair presumably has a pair – the chair of Tsar Alexei Mikhailovich: outwardly these objects are remarkably similar and look like a set, in which, with the general logic of shaping, only the manner of decoration is somewhat different. The visual analysis of the monument allows classifying it as a sample of Persian work, made under the influence of the Renaissance art, which spread from Italy to Europe in the 15th–16th centuries. The need to study these rarities with the use of modern technologies and research methods is emphasized.
22
Roese, P. M., and A. R. Rees. "A Bibliography of Benin: a commentary on published & unpublished sources written in German." African Research & Documentation 45 (1988): 15–26. http://dx.doi.org/10.1017/s0305862x0001181x.
Повний текст джерелаАнотація:
As the history of the former Benin Empire is well known to the specialists, there is no need to elaborate on it in this paper. Although sporadic information about Benin was reaching Europe as early as the end of the 15th Century, real interest was aroused only in the wake of the British ‘Punitive Expedition’ to Benin City in 1897. Few had suspected the existence of such a highly developed African culture with a range and volume of works of art which were brought to Europe as booty by the returning army. Initial investigations in Benin left many questions unanswered, and it was the late J.U. Egharevba (1934) who collected and published the surviving oral traditions as a framework for understanding the past. However, despite several attempts to construct a chronology, exact dates for some events, especially before the arrival of the first Europeans, are still uncertain.
23
Roese, P. M., and A. R. Rees. "A Bibliography of Benin: a commentary on published & unpublished sources written in German." African Research & Documentation 45 (1988): 15–26. http://dx.doi.org/10.1017/s0305862x0001181x.
Повний текст джерелаАнотація:
As the history of the former Benin Empire is well known to the specialists, there is no need to elaborate on it in this paper. Although sporadic information about Benin was reaching Europe as early as the end of the 15th Century, real interest was aroused only in the wake of the British ‘Punitive Expedition’ to Benin City in 1897. Few had suspected the existence of such a highly developed African culture with a range and volume of works of art which were brought to Europe as booty by the returning army. Initial investigations in Benin left many questions unanswered, and it was the late J.U. Egharevba (1934) who collected and published the surviving oral traditions as a framework for understanding the past. However, despite several attempts to construct a chronology, exact dates for some events, especially before the arrival of the first Europeans, are still uncertain.
24
Naumenko, Valery. "The “Latins” on Mangup. Unique Western-European Cross-Encolpion from the Excavations of Prince’s Palace in Ancient Mangup: Problems of Attribution and Dating." Vestnik Volgogradskogo gosudarstvennogo universiteta. Serija 4. Istorija. Regionovedenie. Mezhdunarodnye otnoshenija, no. 6 (February 2021): 100–115. http://dx.doi.org/10.15688/jvolsu4.2020.6.7.
Повний текст джерелаАнотація:
Introduction. The article is devoted to the analysis of a unique cross-encolpion of the WesternEuropean type from the excavations of the Mangup Prince’s Palace. Methods. The research is complex. When describing the find, traditional methods of art history analysis were used, and data from X-ray fluorescence studies were used to determine the material of the product. Attribution of the cross is made on the basis of the generally accepted method of analogies in archaeological science. Analysis. The encolpion is related to a small group of cast silver crosses with “Latin” features, which were produced during the third quarter of the 15th century in one of the craft workshops of Kaffa. Their author was a master-scholarship holder who most likely moved to the capital of Genoese Gazaria in the Northern Black Sea region from one of the cities of Northern Italy. Results. Among the many reasons why this encolpion, as a mandatory attribute of the clothing of a Catholic Priest, could end up on Mangup, the most likely are: unknown in the sources Genoese embassy to the capital of the Principality of Feodoro in the period of 1450–1475 for the purpose of establishing a permanent Catholic mission here; the presence of a Catholic priest in the large embassies of Kaffa to the court of the rulers of Feodoro in 1455, 1465 or around 1471; participation of Genoese, who fled from Kaffa after its capture by the Ottoman army, in the subsequent defense of the Mangup fortress in summer and autumn 1475.
25
Sołkiewicz-Kos, Nina, Nina V. Kazhar, and Mariusz Zadworny. "Project of Revalorization and Extension of the Historic Monastery Complex of St Sigismund’s Parish in Częstochowa (Poland) — A Case Study." Vestnik of Saint Petersburg University. Arts 12, no. 2 (2022): 295–318. http://dx.doi.org/10.21638/spbu15.2022.205.
Повний текст джерелаАнотація:
This article presents theoretical problems related to the renovation of historic buildings in Europe of the second half of the 20th and the beginning of the 21st century. They concern the creation of scientifically justified concepts and methods of renovation aimed at preserving the authenticity and historical significance of monuments. Historical architectural developments, including buildings from different eras, determine the individual appearance of historic European cities. Architectural monuments allow one to become aware of the originality of culture and character traits of each nation. Therefore, in the context of globalization, the study, protection and use of historical objects is one of the factors shaping the national self-awareness. Practical activities related to the adaptation of historical cultural space to contemporary needs were discussed on the example of the revalorization of a 15th-century religious complex located in the historic area of the city of Częstochowa in Poland. This area, called the “Old Town”, is one of the main elements of the compositional canvas of the town’s urban layout (beginning of the 19th century). The revalorization of the St Sigismund church complex together with the monastery buildings, due to the importance for the urban layout of the city, as well as due to its historical, cultural and religious significance, constituted an essential challenge for designers, archaeologists, historians and local authorities.
26
Bjork, Robert E. "The British Library, with contributions from institutions worldwide. Incunabula Short Title Catalogue (ISTC): The International Database of 15th-century European Printing. Database." Renaissance and Reformation 42, no. 2 (August 27, 2019): 165–67. http://dx.doi.org/10.33137/rr.v42i2.32989.
Повний текст джерела
27
Nguyen, Duy Phuong. "Missionary Activity and Civilization of Western Missionaries: a Case of Cochinchina (Vietnam) During the XVI and XVII Centuries." Vostok. Afro-aziatskie obshchestva: istoriia i sovremennost, no. 1 (2022): 106. http://dx.doi.org/10.31857/s086919080010743-4.
Повний текст джерелаАнотація:
As in many other religions, missionary activity is seen by Catholics as a self-fulfilling mission, a sacred act to expand the scope of God’s kingdom. The geographical discoveries, along with the progress of the maritime industry in the 15th–16th centuries, opened a great prospect for “spreading the Gospel” to faraway lands, including Cochinchina (Vietnam). Along with missionary activities, Western civilization also followed the missionaries, who introduced it into the indigenous social life, contributing to the creation of the West–East connection, and the world integration of this land. Based on the many sources, such as the memoirs and correspondence of the missionaries themselves in Cochinchina and the works on the Catholic history of some Vietnamese and foreign researchers, especially the latest studies of Vietnamese historians, the article focuses on studying about missionary activities along with the introduction of Western civilization by missionaries in Cochinchina from the 16th century to the 18th century. The resusts show that the activities of the missionaries under the encouragement policy of the Cochinchina government are the basic factors promoting the process of spreading Western civilized values in Vietnam. This is an inevitable result of the spread of Catholicism which is an important role in the cultural exchange between East and West in Cochinchina in the 16th and 17th centuries. The paper contributes to clarifying the history of the development of Catholic doctrine in Vietnam and affirm the merits of Western missionaries as a bridge to bring European scientific and technical knowledge to Cochinchina.
28
Углева, Н. В. "The Experience of Attribution of the Throne Chair of Tsar Alexei Mikhailovich Romanov and the Ivory Throne in the 19th–21st Centuries." Nasledie Vekov, no. 2(30) (June 30, 2022): 80–92. http://dx.doi.org/10.36343/sb.2022.30.2.006.
Повний текст джерелаАнотація:
В статье уточняется атрибуция двух тронных кресел («алмазного трона» и «костяного трона») из собрания Оружейной палаты, датировка и происхождение которых до настоящего времени не были точно установлены. Материалами послужили сами изучаемые предметы мебели, архивные источники, опубликованная документация дворцовых приказов и Архива Оружейной Палаты, коронационные альбомы, а также результаты предшествовавших исследований. Выявлены обстоятельства появления «алмазного трона» в кремлевской сокровищнице, сделан вывод о датировке его создания XV–XVI вв. и первоначальном изготовлении работавшими в Иране европейскими мастерами. Появление «костяного трона» датируется периодом не ранее 1621 г. На основе источников первой половины XVII в. описывается подобный объект – «большой костяной стул», предполагается, что два данных предмета фактически являются одним и тем же артефактом, восходящим к XIV в. и за время своего бытования пережившим множественные реконструкции и изменения. The study aims to clarify the attribution of two throne chairs (“diamond throne” and “ivory throne”), which are part of the collection of the Kremlin Armoury, since their dating and origin are still objects of scientific discussion. The materials used were the furniture items themselves, documents from the Russian State Archive of Ancient Acts, published documents of palace orders and the Armoury Archive, coronation albums, as well as the results of previous historical, art history and museological studies conducted by various scientists during almost two hundred years. The author for the first time considers the studied artifacts as objects of furniture art, using the method of stylistic analysis, the comparative method, research methods used in source studies and specialized auxiliary scientific disciplines, as well as methods and techniques for establishing the text. The author substantiates the dating of the appearance of Alexei Mikhailovich’s throne chair in the Kremlin Treasury, reveals the name of the person who ordered the throne and the role of persons involved in donating the throne chair. The author analyzes references to the chair in the coronation albums and in later studies containing the image of the subject. The exhibit is considered from the point of view of the development of furniture art: the author examines its shape, decorations, miniatures placed on its body, and the dedicatory inscription. The author infers that the throne chair dates back to the 15th–16th centuries, its original manufacturers were European masters working in Persia, and that new elements were added to the decor in a later period. Analyzing the ivory throne, the author draws an analogy between this throne and the throne of Maximianus of Ravenna (6th century), tracing the two chairs back to the legendary throne of King Solomon. Based on the analysis of the decor details, the author argues that the ivory throne appeared no earlier than in 1621. She hypothesizes that the throne has a Russian origin. The author describes the decoration of the throne and proves the idea that it was not the only piece of furniture decorated with ivory decor in the royal treasury. Based on the sources of the first half of the 17th century, the author describes a similar object – a “large ivory chair”, indicates the details that distinguish it from the ivory throne. She assumes that these two items are actually the same artifact dating back to the 14th century, which, during its existence, survived multiple reconstructions and changes, and took its final shape in the 1830s.
29
Morozova, Anna V., and Aysan Daroudi. "Written and Pictorial Sources on the Architecture of Persia and Central Asia during the Era of Timur’s and Timurids’ Rule." Vestnik of Saint Petersburg University. Arts 12, no. 4 (2022): 724–43. http://dx.doi.org/10.21638/spbu15.2022.409.
Повний текст джерелаАнотація:
The article is devoted to the study of the most valuable source at the culture and architecture of Persia and Central Asia during the reign of Timur (late 14th — early 15th centuries) — the diary of the Spanish ambassador to the court of Timur. At this stage in the development of researching on the Persian and Central Asian architecture of the Timurid period, along with the problem of “analysis” of monuments and artistic style, the problem of “synthesis” of image of these architecture is urgent. The authors of this article propose a methodology for restoring the general impression of this architecture, which can serve as a basis for the process of “synthesis”, based on the study of the contemporary written source of the early 15th century — the diary of the Spanish grandee Ruy Gonzalez de Clavijo, who was part of the Spanish embassy, sent by the Castilian king Enrice III to the court of Timur at 1403–1406. Being an educated man and receptive to the new, Clavijo was able to isolate the characteristic features of the worldview of a man of the East, primarily an oriental despot, and the associated features of the art of the East. He and his colleagues in the embassy drew attention to the cunning, treachery, ingenuity, secrecy of the eastern rulers. The Spaniards were struck by the luxury, power and wealth of Timur’s state, which at that time was at the zenith of glory. The Spaniards, accustomed to the stability of architectural images in their native Spain, were amazed at the variability of the artistic images of the East. They drew attention to the love of the representatives of the peoples of the East for free draperies, giving themselves to the will of the wind, in the temporary architecture and in festive women’s clothes, that by their nature were well consistent with the decoration of architectural buildings. The Spanish envoys revealed that subservient to the first and most faithful fresh impression, tenaciously grasping the main difference between the architecture of Timur’s state and contemporary European architecture. This difference consisted in the desire to create an image that is changing, diverse, fluid, mobile, not instantly solved and full of mystery, but at the same time striking the imagination with its luxury and wealth and according to the understanding of their masters, customers and spectators. The conclusion about the specifics of Timurid architecture, made on the basis of a study of the diary of the Spanish ambassador, is supported by the authors of the article turning to the analysis of written and pictorial sources created by representatives of the studied culture itself.
30
Kirpichnikov, Ivan. "Integration in Muscovy: The Case of Ryazan Elite." ISTORIYA 13, no. 11 (121) (2022): 0. http://dx.doi.org/10.18254/s207987840023147-0.
Повний текст джерелаАнотація:
The integration of previously independent political entities into a single political unit was one of the main challenges facing European Medieval and Early modern rulers. The case analyzed in this study is the Ryazan region located in the southern part of Eastern Europe, which was ultimately annexed by the expanding Muscovite state in 1521. The first part of the article covers the main historiographical approaches to the problem of regionalism in the history of Early Modern Russia. The second part is devoted to a discussion of the methodology and results of the prosopographical study of the Ryazan service elite in the end of the 15th — first third of the 17th century. This case is one of the clearest examples of “soft” (non-violent) integration since the annexation of the Grand Duchy of Ryazan was not accompanied by either property confiscation or forced resettlement. The Muscovite government consistently preserved the local social structure. The members of the local elite were often involved in carrying out administrative and military service in their native region. The Ryazan community was significantly transformed by the Oprichnina confiscations, but the old local elite families preserved their traditional position in the local community. The Ryazan elite had a relatively low social status in the Muscovite ruling class hierarchy. The Time of Troubles opened a new page in the history of the Ryazan elite. Ryazan service people securely settled in Moscow, which led to a deep transformation of their career strategies and lifestyles.
31
Burganova, Maria A. "LETTER FROM THE EDITOR." Scientific and analytical journal Burganov House. The space of culture 17, no. 5 (December 10, 2021): 8–9. http://dx.doi.org/10.36340/2071-6818-2021-17-5-8-9.
Повний текст джерелаАнотація:
Dear readers, We are pleased to present to you Issue 5, 2021, of the scientific and analytical journal Burganov House. The Space of Culture. Upon the recommendation of the Expert Council of the Higher Attestation Commission, the journal is included in the List of Leading Peer-reviewed Scientific Journals and Publications in which the main scientific results of theses for the academic degrees of doctor and candidate of science must be published. The journal publishes scientific articles by leading specialists in various humanitarian fields, doctoral students, and graduate students. Research areas concern topical problems in multiple areas of culture, art, philology, and linguistics. This versatility of the review reveals the main specificity of the journal, which represents the current state of the cultural space. The journal traditionally opens with the Academic Interview rubric. In this issue, we present an interview with Alexander Burganov, Academician of the Russian Academy of Arts, an outstanding Russian sculptor, National Artist of Russia, Doctor of Art History, Professor, Director of the Burganov House Moscow State Museum, interviewed by Irina Sedova, the Head of the 20th Century Sculpture Department of the State Tretyakov Gallery. This dialogue became part of the sculptor’s creative evening at the State Tretyakov Gallery, which included a personal exhibition, donation of the sculptural work Letter, screening of a special film and a dialogue with the audience in the format of an interactive interview. In the article “The Apocalypse Icon from the Kremlin’s Assumption Cathedral. Dating and Historical Context”, T. Samoilova points out the similarities between some motifs of the Apocalypse iconography and the motifs of Botticelli’s illustrations to the Divine Comedy, as well as the role of a line in both artworks which testifies to the influence of the Renaissance art on icon painting of the late 15th — early 16th centuries. Studying palaeography and stylistic features of the icon, the author clarifies the dates and believes that the icon was most likely painted after 1500, in the first decade of the 16th century. P. Tsvetkova researches the features of the development of the Palladian architectural system in Italy, in the homeland of Andrea Palladio. On the examples of specific monuments, drawings and projects created during two and a half centuries, the author analyses the peculiarities of the style transformation in the work of Palladio’s followers, the continuity of tradition, deviations from canonical rules. In the article “Artistic Features of the Northern White Night Motif in the Landscapes of Alexander Borisov and Louis Apol”, I. Yenina conducts art analysis and compares the works of the Russian “artist of eternal ice”, A. Borisov, and the Dutch “winter artist”, L. Apol. They were the first to depict such a phenomenon as a white night in the Far North. V. Slepukhin studies the artworks of the first decades of the Soviet era in the article “Formation of the Image of a New Hero in Russian Art of 1920- 1930”. The author concludes that the New Hero in the plastic arts of the 1920s–1930s was formed as a reflection of social ideals. The avant-garde artists searched for the Hero’s originality in the images of aviators, peasants, women. The artists of socialist realism began to form the images of the “typical” heroes of the time — warriors, athletes, rural workers, scientists, as new “people of the Renaissance”. In the article “Dialogues of the Avant-garde”, A. N. Lavrentyev presents a comparative analysis of spatial constructions created by the Russian Avant-Garde Artist Alexander Rodchenko and the famous kinetic European and American artist Alexander Calder in the first half of the 20th century. Wei Xiao continues his analysis of contemporary art in the article “Chinese Sculpture in the New Era”. The author notes that the art of sculpture is in many ways a reflection of social change, both in terms of cultural content and practice. The author emphasises the need for cultural identity to preserve national traditions and spirituality. Xu Yanping’s article “The Dynamics of the Choral Culture Development in China in the 1930s on the Example of Huang Tzi’s Oratorio Eternal Regret” is a scientific study of a particular phase of the active entry of Chinese choral music into the sphere of the oratorio genre, directly related to the name of the great Chinese composer, Huang Tzi. It also highlights the issues of the country’s political life in the 1930s, which actively influenced the creation of nationwide singing movements and new choral works in the country. The author believes that the oratorio Eternal Regret presented in the article is a unique creation that organically combines ethnic musical material and Western composition techniques. The publication is addressed to professionals specialising in the theory and practice of the fine arts and philology and all those interested in the arts and culture.
32
Garcin, Jean-Claude. "Femmes des Mille et une nuits." Arabica 63, no. 3-4 (May 26, 2016): 261–93. http://dx.doi.org/10.1163/15700585-12341393.
Повний текст джерелаАнотація:
We can assume that we find for the first time in the 15th century the character of Šahrazād as a courageous woman who had taken upon herself to get the king away from his bias against the women after his wife deceived him. Šahrazād tells him stories in which women have not infrequently more fortitude and deserve more to be trusted than men who are sometimes immature. But there are also from the same century other stories in which ancient themes continue, for instance about crafty and lustful women. In the 16th century, “Dalila the wily” upgrade crafty women, but in the seventeeth century, the Ottoman’s connections with Protestant communities in Germany introduced to the Arabian Nights European witches and bird-women. Anyway men have to avoid to fall in love with women. During the 18th century, a solution to the problem of good relationship between men and women is sketched in the “Masrūr and Zayn al-Mawāṣif” story. The two characters, a christian man and a jewish woman, live happily after they had both converted to Islam. In the same way, the Arabian Nights end when the king gives up his bias against the women and marry Šahrazād, “a good wife [. . .] a pure, a chaste, a devout one”. But he has to keep faith with his wife and preserve responbility for her, according to Islamic Law. Du ixe/xve siècle semble dater le personnage d’une Šahrazād qui s’est donné pour mission de faire revenir le roi de ses préventions sur les femmes, après qu’il ait découvert l’infidélité de son épouse. Šahrazād lui présente des contes où les femmes apparaissent souvent comme plus fortes et dignes de confiance que les personnages masculins, parfois immatures. Mais le recueil enregistre également pour cette époque, des contes où les vieux topoï de la femme rusée et lubrique persistent. Au xe/xvie siècle, le personnage de « Dalila la Rusée » revalorise la ruse des femmes, mais, au xie/xviie siècle, les contacts du pouvoir ottoman avec les protestants d’Allemagne introduisent dans les contes des Nuits, sorcières et femmes-oiseaux venues d’Europe, et les femmes à nouveau sont renvoyées à leur rôle de reproductrices dont il ne faut surtout pas s’éprendre. C’est au xiie/xviiie siècle, qu’une solution s’ébauche. Dans le conte de « Masrūr et Zayn al-Mawāṣif », les deux héros, un chrétien et une juive, trouvent leur bonheur dans une conversion à l’islam. De même à la fin des Nuits, lorsque le roi abandonne ses préventions à l’égard des femmes et épouse Šahrazād, la « bonne épouse [. . .] pure, chaste et pieuse », devient l’épouse du roi revenu de ses erreurs, et au roi s’imposent pour sa part les devoirs de fidélité et d’autorité sur sa femme, comme l’enseigne l’Islam. This article is in French.
33
Hsu, Yu-Tung. "Medici Influence in 15th Century Movements." Journal of Education, Humanities and Social Sciences 8 (February 7, 2023): 982–87. http://dx.doi.org/10.54097/ehss.v8i.4390.
Повний текст джерелаАнотація:
During the Renaissance period, the Medici family has played a fundamental role in encouraging the spread of humanism ideas. As humanist believed, spirit of human is lost during the Middle Ages prior to the Renaissance period due to feudal system. The introduction of such humanism idea is impactful towards the society; however, it is lacking in direct support that promotes such idea. In Florence, the Medici family made huge contributions to allowing the growth of humanism to be shown in works of art that challenges traditional thinking. During the stage where financial power is mostly held by kings and political leaders, the success of the Medici in the Medici bank allows them to support artists who are in need for support. By stabilizing peace in Florence, it provided chances for artists under Medici support to receive a positive environment for art creation. The peaceful Florence also brought in more artists from other places to investigate into the rising humanism possibilities; hence, Florence under Medici control became an important art center.
34
Martínez, María J., and Francisco J. Marco. "Written on stone: Engraved European medieval solar eclipses." Proceedings of the International Astronomical Union 15, S367 (December 2019): 489–91. http://dx.doi.org/10.1017/s1743921321000223.
Повний текст джерелаАнотація:
AbstractIn the context of the European Middle Ages as the period roughly covering from the 5th to the 15th centuries, the astronomical records are rarery found in scientific treatises. At least, not until the 15th century. A few surprinsing examples in which the observations were recorded in a particularly original way on stone are found. In this poster we will shortly review the only four cases in which this occurred in Europe.
35
Nag, Koustav. "Post-Colonial Time: The Evaluation of Printmaking Practice and Present Time." Praxis International Journal of Social Science and Literature 6, no. 4 (April 25, 2023): 39–47. http://dx.doi.org/10.51879/pijssl/060404.
Повний текст джерелаАнотація:
Printmaking has a long and rich history that dates back thousands of years. The earliest forms of printmaking were developed in ancient china, where the artist would create prints using wood blocks as early as the 7th century. However, in the 15th century in Europe, printmaking began to develop into a proper art form. Johannesburg was a German goldsmith printer and inventor widely credited with movable type printing in the mid-15th century. In 1455 Bible was the first important Book in history. In the 16th century, Goa was the first place in India where printing technology started during the British period. Initially, it was used for religious printing and some commercial printing, like religious posters, pamphlets etc. later 20th century, this printing process transformed into fine art printmaking techniques. It became an educational part of developing printing technology and technician. This printing technology became a curriculum for the Art & Craft College, like Madras art college, Kolkata Govt. Art and Craft College, J.J art college, Lahore art college (now in Pakistan), and another essential college is Kala Bhavana under the Visva Bharati University. From post-colonial to contemporary times, printing to printmaking evolved in many ways. Most places academically followed the colonial curriculum, but commercial printing technology rapidly changed. Academically Visva Bharati University Santiniketan develops new technology for the students.
36
Camara, Esperança, Stefano Zuffi, and Anthony Shugaar. "European Art of the Sixteenth Century." Sixteenth Century Journal 39, no. 2 (July 1, 2008): 550. http://dx.doi.org/10.2307/20478951.
Повний текст джерела
37
Domínguez, Frank, Stefano Zuffi, and Brian D. Phillips. "European Art of the Fifteenth Century." Sixteenth Century Journal 38, no. 4 (December 1, 2007): 1143. http://dx.doi.org/10.2307/20478687.
Повний текст джерела
38
Tyler, Christopher W. "The Intersection of Visual Science and Art in Renaissance Italy." Perception 49, no. 12 (December 2020): 1265–82. http://dx.doi.org/10.1177/0301006620974973.
Повний текст джерелаАнотація:
In the time of the Renaissance, a major aspect of vision science was understanding how spatial information projected to the viewpoint of the observer, that is, visual perspective, which is one of the primary cues to depth perception. Perspective representation was thus an early form of virtual reality. Although accurate perspective representation was developed earlier in the 15th century, the first analytic perspective scheme was developed by Piero della Francesca, whose chef d’oeuvre is in the Church of San Francesco, Arezzo, in which the present lecture took place. The focus of the lecture was to evaluate some of the contributions of Piero della Francesca and his 15th-century contemporaries to the visual science, art and symbolism of his era, and its significance for the perception of depth structure from two-dimensional images.
39
Zhou, Yutong. "A Brief Analysis of Alberti’s Art Theory - Taking On Painting” as an Example." Journal of Soft Computing and Decision Analytics 2, no. 1 (January 9, 2024): 86–91. http://dx.doi.org/10.31181/jscda21202436.
Повний текст джерелаАнотація:
People’s perceptions of artists in Italy, particularly Florence, have transformed since the 15th century. Artists have created works of art that reflect the humanistic ethos of the era, which has fostered the study of art theory by humanist scholars and contributed to the development of an art historical consciousness. In his artistic theory, the Italian humanist Alberti of the early 15th century reflected the new development of Florentine art. Alberti, an artist and theorist of the early Renaissance, examined the changes in artistic creation in the new era with a very avant-garde and contemporary perspective, and applied scientific theoretical knowledge to painting creation as a premise for studying painting art techniques. His influential treatise “On Painting” is regarded as the first systematic painting theory work in the West, establishing the groundwork for Renaissance art theory. His description of the sublime nature of painting elevated painting’s status and reputation as an art form. It is also advantageous to facilitate the transition of painters from painters to artists. This article is founded on the theoretical content proposed in Alberti’s “On Painting” art theory work, analyzing the painting concepts proposed by Alberti and its governing function in Renaissance art.
40
Samkoff, Aneta. "From Central Asia to Anatolia: the transmission of the black-line technique and the development of pre-Ottoman tilework." Anatolian Studies 64 (2014): 199–215. http://dx.doi.org/10.1017/s006615461400009x.
Повний текст джерелаАнотація:
AbstractBlack line is a polychrome overglaze painting technique that was developed in Central Asia in the late 14th century. Black-line tilework is also found in 15th- and 16th-century Anatolia, yet it is unclear how the tradition emerged in this region. This paper investigates the appearance of the technique in Anatolia and situates it in the context of Timurid (1370–1501) tilework as well as the development of Anatolian traditions of the Rum Seljuk (1077–1307) and Beylik (1071–1453) periods. The analysis is conducted by tracing the history of two tiles from the collection of the Metropolitan Museum of Art and by stylistic, technological and contextual comparisons with Seljuk, Timurid and Ottoman examples. I suggest that the introduction of the black-line technique to Anatolia was concurrent with the introduction of yellow pigment in the 15th century. I also propose that the Metropolitan Museum tiles should be redated to the second half of the 15th century on the basis that they were produced in Anatolia by craftsmen trained in Transoxiana who were also familiar with local Rum Seljuk and Karamanid traditions. These artists introduced new eastern styles which, together with local traditions, created an exciting experimental period in Anatolian tilework production and contributed to the emergence of Ottoman tile art.
41
Yuldasheva, Gulandom. "A description of the cultural environment of Herat in the studies of Maria Sabtelni." Uzbekistan:language and culture 6, no. 1 (March 10, 2023): 84–96. http://dx.doi.org/10.52773/tsuull.uzlc.2023.1/jcfg8220.
Повний текст джерелаАнотація:
The cultural environment of Herat, which was a model for the Is-lamic Eastern world of the 15th century, had a long imprint in the future reigns of Khurasan and Movaraunnahr. Article discusses the views of the Canadian scholar Maria Subtel-ney on the art and cultural figures of Herat under Sultan Husayn Bayka-ra’s reign in the 15th century. Alisher Navoi and Abdurrahman Jami’s role in the cultural environment of the court was tremendous, which brought up many writers and poets, historians and miniaturists, artists and com-posers.
42
Ding, Jingwen, Shahrul Anuar Shaari, Hoey Chin Christy Tong, and Long Zhang. "Bosch’s Brush: Imagination and Reality in 15th-Century Dutch." Environment-Behaviour Proceedings Journal 9, no. 27 (February 24, 2024): 73–79. http://dx.doi.org/10.21834/e-bpj.v9i27.5627.
Повний текст джерелаАнотація:
This study examines the sociocultural and psychological aspects present in Hieronymus Bosch's renowned artworks, "The Gardens of Earthly Delights" and "The Last Judgment," utilising historiography, iconography, and an analytical checklist. The findings revealed that intricate stories question established social standards and add to a deep sociocultural conversation, uncovering a diverse range of societal stories that enrich the comprehension of the complex and numerous elements of quality of life in the 15th-century Netherlands. The visionary art of Bosch has a significant impact on the ongoing sociocultural conversation, encouraging deep contemplation of the complexities of existence in the 15th century, which improves the quality of life.
43
Guellil, Meriam, Oliver Kersten, Amine Namouchi, Egil L. Bauer, Michael Derrick, Anne Ø. Jensen, Nils C. Stenseth, and Barbara Bramanti. "Genomic blueprint of a relapsing fever pathogen in 15th century Scandinavia." Proceedings of the National Academy of Sciences 115, no. 41 (September 24, 2018): 10422–27. http://dx.doi.org/10.1073/pnas.1807266115.
Повний текст джерелаАнотація:
Louse-borne relapsing fever (LBRF) is known to have killed millions of people over the course of European history and remains a major cause of mortality in parts of the world. Its pathogen, Borrelia recurrentis, shares a common vector with global killers such as typhus and plague and is known for its involvement in devastating historical epidemics such as the Irish potato famine. Here, we describe a European and historical genome of B. recurrentis, recovered from a 15th century skeleton from Oslo. Our distinct European lineage has a discrete genomic makeup, displaying an ancestral oppA-1 gene and gene loss in antigenic variation sites. Our results illustrate the potential of ancient DNA research to elucidate dynamics of reductive evolution in a specialized human pathogen and to uncover aspects of human health usually invisible to the archaeological record.
44
Weston, Nancy, and Terry W. Strieter. "Nineteenth Century European Art. A Topical Dictionary." History Teacher 34, no. 2 (February 2001): 278. http://dx.doi.org/10.2307/3054300.
Повний текст джерела
45
Rose, F. Clifford. "European neurology from its beginnings until the 15th century: An overview." Journal of the History of the Neurosciences 2, no. 1 (January 1993): 21–44. http://dx.doi.org/10.1080/09647049309525550.
Повний текст джерела
46
de Marchi, Neil, and Hans J. van Miegroet. "Rules versus play in early modern art markets." Recherches économiques de Louvain 66, no. 2 (2000): 145–65. http://dx.doi.org/10.1017/s0770451800083846.
Повний текст джерелаАнотація:
SummaryThe paper identifies and tries to account for the forms taken in selected art markets for the selling of paintings, as a response to specific features and constraints in the local regulatory environment. Our analytical histories cover 15th century Bruges, 16th century Antwerp, 17th century Amsterdam, and early 18th century London and Paris. They yield some evidence that : (1) restrictive guilds did not succeed in stifling innovation. though innovators were forced to take indirect routes and to adopt forms not always the most efficient; (2) where circumstances allowed a choice of auction form (English or Dutch) the method selected matched the prior experience of buyers (low or high respectively) ; and (3) in the single instance where guilds were open to cooperation across skill categories this coincided with a series of marketing experiments and a range of novel products.
47
Voronin, Konstantin, Andrey Dolgikh, Vladimir Matskovsky, Alexander Cherkinsky, Vadim Skripkin, and Alexander Alexandrovskiy. "Comparative Dendrochronological and14C Dating of 15th Century Russian Icon." Radiocarbon 57, no. 1 (2015): 173–82. http://dx.doi.org/10.2458/azu_rc.57.17467.
Повний текст джерелаАнотація:
A 15th century Russian icon from the Novgorod region was analyzed using both dendrochronological and radiocarbon methods [liquid scintillation counting (LSC) and accelerator mass spectrometry (AMS)]. This orthodox icon represents the Mother of God (Dexiokratusa). Fine art experts attribute the icon to between the late 14th to the early 15th centuries. The last complete tree ring was dated to AD 1409. There are indications that the trees were cut down during the summer of AD 1410. Taking into account the time for seasoning (about 8 months), the icon would have been painted in AD 1411. Wiggle-matching of the six AMS samples failed. Two of six AMS dates correspond to dendrochronological dates, while four of the six AMS dates showed differences with the dendrochronological dates by 5–39 yr. This discrepancy raises the issue of a possible regional offset from the calibration curve for the 13th century AD in NW Russia.
48
Gaspar Rodrigues, Vitor Luís. "The Portuguese Art of War in Northern Morocco during the 15th Century." ATHENS JOURNAL OF HISTORY 3, no. 4 (September 30, 2017): 321–36. http://dx.doi.org/10.30958/ajhis.3-4-4.
Повний текст джерела
49
Наталія Сулаєва. "FORMAL AND NON-FORMAL FEATURES OF ART EDUCATION IN UKRAINE FROM KIEVAN RUS PERIOD TO 1917." Collection of Scientific Papers of Uman State Pedagogical University, no. 3 (September 4, 2020): 152–59. http://dx.doi.org/10.31499/2307-4906.3.2020.219117.
Повний текст джерелаАнотація:
The results of a retrospective analysis of the presence of formal and non-formal features of art education in the territory of Ukraine from Kievan Rus period to 1917 have been highlighted in the article. First of all, it has been emphasized that the study of the historical origins of art education in the territory of Ukraine, with emphasis on its formal and non-formal features, will empower to consider the positives of the national practice of transferring the experience of artistic activity from generation to generation.It has been determined that in Kievan Rus period the process of life experience transfer took place under the conditions of original cultural and nature-friendly activity, which had features of non-formal education. Art, as an integral component of the general culture of the people, was a source that made it possible to realize the educational and formative functions of the society. The author has noted that non-formal art education was enriched with the confessional elements of the state-supported component of training in the period from the 13th century to the middle of the 15th century. It has been emphasized that in the middle of the 15th century – the first half of the 16th century, the progressive development of art promoted the transfer of experience of home-schooling artistic activity, which was non-formal one and the rise of formal art education. It has been emphasized that a new level of art education in the period from the middle of the 16th century to the first half of the 18th century, was characterized by the dominance of art education, which had non-formal features and the functioning of a small number of vocational art institutions. This stage of development was marked by the rise of vocational teacher training, which, in addition to basic subjects, contained an artistic component. It has been determined that non-formal features of the transfer of national artistic heritage were established in the period from the middle of the eighteenth century to 1917. Besides, it was happening in the conditions of the destruction of everything Ukrainian. The influence of art education, which had formal features on the one which had non-formal ones, became noticeable. The artistic component of teacher training was significantly enriched. It has been concluded that the facts determined in the article allow claiming that Ukraine has a strong foundation for transferring experience of artistic activity using non-formal art education.
50
Tóth, Dominik. "How the war wagon looked like in the 15th century?" Belvedere Meridionale 33, no. 4 (2021): 53–63. http://dx.doi.org/10.14232/belv.2021.4.4.
Повний текст джерелаАнотація:
By the first third of the 15th century, the use of war wagons on the Eastern and Central European battlefields was raised to a new level by the hussite rebels. The vehicle was adapted by the Hungarian Kingdom, as well, and there are sources containing evidences for its use in the late 16th century. Though, the rebels’ warfare is rich in bibliography, the structure of the wagon is barely known. This article aims to give a detailed account on the structure of the vehicle, and on the difference between a “civilian” and a war wagon.