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1
Yi, Xinyue. "Science and Art in The Creation of Adam." Journal of Education, Humanities and Social Sciences 11 (April 20, 2023): 149–54. http://dx.doi.org/10.54097/ehss.v11i.7541.
Повний текст джерелаАнотація:
The Renaissance was an intellectual and cultural movement that took place in Europe from the mid-14th century to the 16th century, and profoundly influenced European intellectual life in the early modern period. Beginning in Italy and spreading to the rest of Europe in the 16th century, its influence is reflected in art, architecture, philosophy, literature, music, anatomy, etc. The Creation of Adam is one of the important works of this period. Michelangelo's rigorous judgment of the body on the basis of anatomy, coupled with the use of clairvoyance skills, paints a unique human beauty with a sense of power. Renaissance scholars adopted a humanistic approach in their studies and looked for realism and human emotions in art. Based on The Creation of Adam, this article provides a case study and literature analysis of the connection between art and science, especially the embodiment of anatomy in The Creation of Adam. This article offers contemporary historians and artists some thoughts on the visual language of science, including how to understand science as a craft or even as an art, understand which works are both scientific and artistic, and how to develop a new visual language for science.
2
Montanari, Riccardo, Philippe Colomban, Maria Francesca Alberghina, Salvatore Schiavone, and Claudia Pelosi. "European Smalt in 17th-Century Japan: Porcelain Decoration and Sacred Art." Heritage 7, no. 6 (June 5, 2024): 3080–94. http://dx.doi.org/10.3390/heritage7060145.
Повний текст джерелаАнотація:
Japanese art tradition, contrary to the case of China, is characterized by an efficient and continued, although mostly undocumented, use of smalt from the late 16th century onward. Recent studies have successfully identified this pigment, the cobalt-colored glass that spread throughout the Old Continent during the Renaissance period, as the coloring agent employed for overglaze-blue enameling on Japanese porcelains produced at the kilns of Arita (the porcelain production center of Japan) from the early 1640s until the 20th century. Fragmentary evidence of the use of smalt in Japanese sacred art has also been reported, yet its earliest incorporation into such a type of traditional art form could not be identified. In order to resolve this crucial issue, portable EDXRF was employed for the non-destructive analyses of Japanese porcelains and sacred images bearing blue decoration. Scientific analysis allowed, for the first time ever, to establish a clear timeline of smalt use. Furthermore, this evidence and the literature data both agree, leading to the identification of the origin of the blue material used on both art productions.
3
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
4
Smirnova, Engelina. "Contacts and Opposition between Russian and European Art in the 16th Century: Some Observations." Actual Problems of Theory and History of Art 6 (2016): 242–51. http://dx.doi.org/10.18688/aa166-3-25.
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5
Antipov, Ilya, Alexandra Trushnikova, and Maksim Kostyria. "Architecture and Icon: the Origin of the Stepped Gables in the Icon ‘The Vision of the Sexton Tarasiy of Khutyn’." Baltic Journal of Art History 21 (August 20, 2021): 31–59. http://dx.doi.org/10.12697/bjah.2021.21.02.
Повний текст джерелаАнотація:
The article invites to look afresh at the late 16th century Novgorod icon‘The Vision of the Sexton Tarasiy of Khutyn`’ and the Faceted Palace,built in 1433 by German craftsmen. The stepped gables of the building,located west of St Sophia Cathedral in the icon, were interpreted asrealistic image of the upper parts of the Faceted Palace that havenot survived. However, the iconographic analysis of more than ahundred of the Russian icons and illuminated manuscripts datingback to the second half of the 16th – early 17th centuries proved thatthe stepped gable was a decorative architectural motive, widespreadsince the 1560s–1570s. The authors classified the images of buildingswith stepped gable in the late medieval Russian art, and determinedtheir possible sources among the Northern European prints of the15th – 16th centuries. The comprehensive study ascertained that thebuilding in the icon ‘The Vision of the Sexton Tarasiy’ can’t be used forreconstruction of the Faceted Palace. Since 1560s–1570s the schematicrepresentation of the city in Russian art often placed buildings withthe stepped gables (initially acquired from the European prints)next to the churches. Panorama of Novgorod in the Khutyn` iconfollowed this pattern and combined fantastic forms with ratherrealistic depiction of the church edifices.
6
Kostyria, Maksim. "Images of Antique Cities and “Fire Landscapes” in West European Art of the 16th century." Actual Problems of Theory and History of Art 5 (2015): 484–91. http://dx.doi.org/10.18688/aa155-5-53.
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7
Opanasiuk, Oleksandr. "Modernism and Postmodernism: Objectivation of the Content of Phenomena." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 3-4(52-53) (December 14, 2021): 99–118. http://dx.doi.org/10.31318/2414-052x.3-4(52-53).2021.251810.
Повний текст джерелаАнотація:
The phenomena of modernism and postmodernism are studied. Modernism and postmodernism are analyzed in the context of the project Modern, which belongs to European culture and determines its development in the direction of modernization of history. It was found that the dynamics of the Modern project is determined by four phases of development, they largely coincide with the periods of formation of European culture: 14th –16th — the first phase of development of the Modern project (5th – 16th centuries — symbolic period of European culture); 17th – 18th centuries — the second phase of the Modern project (17th – 18th centuries — classical period of European culture); 19th century — the third phase of the Modern project (19th century – romantic period of European culture); late 19th – 21 st centuries — the fourth phase of the Modern project (late 19th – 21 st centuries — intentional period of European culture). This objectifies modernism and postmodernism as phenomena, the content of which is determined by the final phase of the Modern project and the final (intentional) period of European culture. Emphasis is placed on the possibility of interpreting modernism and postmodernism as one phenomenon — modernism-postmodernism. It is stated that postmodernism correctly defines the content of cultural and artistic life of the present, but does not explain the laws of cultural formation, bypasses the future development of culture and art, focuses on its concepts and resorts to semantic transformations of the idea of “afterˮ: afterpostmodernism, after non-classical thinking, theses such as postmodernism after modernism, etc. This explains the limitations and inability of postmodernism to cultural creativity. Comparing the semantic foundations of the theory of modernism and postmodernism with the concept of intentionalism of culture and art opens a new perspective in the analysis and ontology of modern and postmodern intentions and cultural and artistic life in general.
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Shrivastava, Ashish K., and Dr Ajit Singh Patel. "Culture and Leadership in the Collective and Sustainable Growth of an Organization." International Journal of Management and Humanities 9, no. 9 (May 30, 2023): 22–26. http://dx.doi.org/10.35940/ijmh.i1602.059923.
Повний текст джерелаАнотація:
Fine art, classical music, and gourmet cuisine made "culture" aristocratic. City life became "culture" "civilization" (from lat. oivitas, city). Folktales helped Romantics see themselves as a "culture." "Low culture," the culture of social misfits, and "high culture" usually contrast. European culture developed in reaction to social inequalities in the late 18th and early 19th centuries. Europeans like Jean-Jacques Rousseau and Thomas Hobbes associated "culture" with "anarchy" and "nature." Native Americans, governed by Europeans since the 16th century, symbolised this contrast. Culture-advanced people and groups are hypothesised. Lewis's distinction may have affected Henry Morgan's cultural evolution theory and Herbert Spencer's social Darwinism. The split between high and low cultures has been attributed to the struggle between European colonial powers and European elites and non-elites. Leadership is visible and teachable, research shows. It's simple. Experience, constructive criticism, and chances may benefit potential leaders. Leaders grow via self-reflection, academics, experience, formal education, and training. You must recognise, grasp, and act on certain traits, concepts, and behaviours to encourage greater collaboration. Easy-to-learn skills are more useful. Leaders always improve. This paper will summarize the organizational culture and leader qualities and form a link in between.
9
Schmale, Wolfgang. "Critical Note: Representations of the continents by means of allegorical figures in the early modern period. (Bodies and Maps: Early Modern Personifications of the Continents, edited by Maryanne Cline Horowitz and Louise Arizzoli, Brill, Leiden 2020)." Diciottesimo Secolo 7 (November 18, 2022): 147–52. http://dx.doi.org/10.36253/ds-13179.
Повний текст джерелаАнотація:
In the early modern period, the representation of the continents by means of allegorical figures enjoyed great popularity. The book Bodies and Maps: Early Modern Personifications of the Continents, edited by Maryanne Cline Horowitz and Louise Arizzoli, is very stimulating, richly documented and fundamental with regard to the detailed source-critical examination of concrete individual visualisations of the continents. The focus of the book rather lies with the 16th century, while part 5 focuses on the 18th century. In the 18th century, continent allegories entered into the public sphere and reached broader strata in the society. In this century, Eurocentrism progressed considerably, but did not invent it. The volume’s co-authors pose the question of Eurocentrism as well as that of racism with regard to the late Middle Ages and the 16th century. Because of their widespread use, continent allegories can be counted among the most important primary sources from which we can draw conclusions about how extra-European cultures could be represented, interpreted and viewed from a European perspective. They represent much more than just an art-historical source, they are, especially when one thinks of their accessibility in public spaces for everyone, actually a historical source of the first rank, behind which not least travelogues and theoretical concepts such as the history of civilisation as a universal history compete with the Christian history of salvation in the Bible.
10
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.
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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.
12
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
13
Demchenko, Aleksandr Ivanovich. "The edges of humanism of the Renaissance in the mid-13th – the mid-16th century: Part 1." Pan-Art 4, no. 2 (April 4, 2024): 75–84. http://dx.doi.org/10.30853/pa20240011.
Повний текст джерелаАнотація:
The essay is dedicated to exploring the art and culture of the Renaissance period, heralding Modern times, spanning from the mid-13th to the mid-16th century. This part of the work highlights the artistic achievements of the Middle East during the specified period, particularly in architecture, poetry (including the rise of humanism). Turning to European culture, the author specifically addresses the art of the Orthodox world (primarily focusing on church painting and, to a lesser extent, on the Ancient Russian Znamenny chant), noting its influence on the currents of the Renaissance. The author delves into the Gothic style, somewhat contrasting traditional notions of the Renaissance period (a kind of “counterculture”), across its various manifestations in visual arts, music and literature. Special attention is given to the central part of Renaissance art, tracing its evolution from the Early Renaissance (masterpieces of sculpture in Gothic cathedrals) to the Proto-Renaissance (paintings and frescoes by Italian masters, the emergence of psychologism in painting, the literary movement of Dolce stile nuovо marking the transition from the Middle Ages to Modern times, Ars Nova in musical art). The exploration of this theme will continue in the next part of the essay.
14
Essary, Kirk. "Passions, Affections, or Emotions? On the Ambiguity of 16th-Century Terminology." Emotion Review 9, no. 4 (May 25, 2017): 367–74. http://dx.doi.org/10.1177/1754073916679007.
Повний текст джерелаАнотація:
The history of emotions is notably fraught with semantic anxiety, and a great deal of ink has been spilt in attempts to clarify emotion terminology, with respect to both historical and contemporary usage. Because the 16th century is both a momentous time of linguistic change for European languages (including Latin), and often for some reason neglected by historians of emotion trying to tell a longer story about emotion terminology, this article provides an overview of how 16th-century lexicons and prominent humanist authors handle the basic Latin emotion terms affectus and passio. It suggests further that 16th-century usage confounds Thomas Dixon’s assertion that “classical Christian” usage consists of a generally firm distinction between the two terms.
15
Rostański, Adam, Izabela Gerold-Śmietańska, and Barbara Tokarska-Guzik. "Historical and Contemporary Herbaria as a Source of Data in Plant Taxonomy and Phytogeography Research: An Example from Poland." Diversity 16, no. 8 (July 23, 2024): 434. http://dx.doi.org/10.3390/d16080434.
Повний текст джерелаАнотація:
The art of drying plants has a long tradition. It was already known in the Middle Ages as a form of documenting flora. It began to develop more intensively in Europe in the 16th century. This method of documenting plant collections quickly gained recognition among scientists. Its role and importance has changed throughout historical periods. The current study presents a short history and resources of Polish and European herbaria against the background of world data. It primarily focuses on indicating their contemporary importance in research in plant taxonomy and geography, as well as on the current situation of herbaria and problems identified using the example of Polish herbaria.
16
Ette, Ottmar. "Magic Screens. Biombos, Namban Art, the Art of Globalization and Education between China, Japan, India, Spanish America and Europe in the 17th and 18th Centuries." European Review 24, no. 2 (April 18, 2016): 285–96. http://dx.doi.org/10.1017/s1062798715000630.
Повний текст джерелаАнотація:
Garcilaso de la Vega el Inca, for several centuries doubtlessly the most discussed and most eminent writer of Andean America in the 16th and 17th centuries, throughout his life set the utmost value on the fact that he descended matrilineally from Atahualpa Yupanqui and from the last Inca emperor, Huayna Cápac. Thus, both in his person and in his creative work he combined different cultural worlds in a polylogical way.1 Two painters boasted that very same Inca descent – they were the last two great masters of the Cuzco school of painting, which over several generations of artists had been an institution of excellent renown and prestige, and whose economic downfall and artistic marginalization was vividly described by the French traveller Paul Mancoy in 1837.2 While, during the 18th century, Cuzco school paintings were still much cherished and sought after, by the beginning of the following century the elite of Lima regarded them as behind the times and provincial, committed to an ‘indigenous’ painting style. The artists from up-country – such was the reproach – could not keep up with the modern forms of seeing and creating, as exemplified by European paragons. Yet, just how ‘provincial’, truly, was this art?
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Andrade, Thainan Noronha de. "A CONCEPÇÃO MÍSTICA DE IMAGEM EM FRANCISCO DE HOLANDA * THE MYSTICAL CONCEPTION OF IMAGE IN FRANCISCO DE HOLANDA." História e Cultura 8, no. 2 (December 7, 2019): 247. http://dx.doi.org/10.18223/hiscult.v8i2.2667.
Повний текст джерелаАнотація:
Francisco de Holanda (1517-1584), artista e teórico de arte português, se destaca como uma figura de grande relevância na cultura do século XVI, tendo sido o primeiro tratadista europeu a elaborar uma sistematização da operação artística de fundamentação neoplatônica, influência que se estende por sua produção plástica. O seguinte artigo tem o propósito de discutir, dentre os diversos aspectos da obra holandiana, a concepção de imagem expressa em seus escritos e sua produção pictórica, identificando algumas de suas fontes conceituais. Tal iniciativa visa contribuir, em sentido amplo, para o estudo das relações entre a filosofia, religião e a arte; e em sentido estrito, para a compreensão da obra de Francisco de Holanda e da cultura artística do século XVI.*Francisco de Holanda (1517-1584), Portuguese artist and art theoretician, stands out as an important figure in the 16th century culture, being the first European writer to elaborate a Neoplatonic based systematization of the artistic operation, influence that spreads to his plastic production. The following paper aims to discuss, among several aspects of the holandian work, the conception of image expressed in his writings and his pictorial production, identifying some of his theoretical sources. Such initiative aims to contribute, in a broad sense, to the study of the relations among philosophy, religion and art; and, in a strict sense, to the comprehension of Francisco de Holanda’s work and the artistic culture of the 16th century.
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Oleniak, M. "RENAISSANCE RESEARCH ON SIMILE (16TH–18TH CENTURIES)." Вісник Житомирського державного університету імені Івана Франка. Філологічні науки, no. 2(95) (December 17, 2021): 138–50. http://dx.doi.org/10.35433/philology.2(95).2021.130-150.
Повний текст джерелаАнотація:
The article deals with the study of the concepts of simile in the Renaissance during the 16th –18th centuries in both Western and Eastern traditions. It outlines the transition from the classical fundamentals to their renaissance interpretation in the European specialized literature, the original texts of which became the subject of analysis. The correlation of terminology of different epochs is established and the dependence of scientific thought on the historical stage of society development is highlighted. It was found that because simile was regarded as a rhetorical figure, interest in it was limited to specific practical tasks related to the art of eloquence and, to a lesser extent, belles-lettres style. The functions of the described category, which were singled out by leading linguists, are stated as well as the most influential researchers who deepened the development of the basic principles of simile interpretation by classical rhetoricians. The article proves that the content, scope and hierarchy of terms for simile differ depending on the eras and the authors of rhetoric, reflecting the specifics of translation of ancient Greek and Latin texts, the development of linguistic thought and deepening the analysis of ancient Greeks and Romans. It is established that only at the end of the 18th century the English term "simile" was introduced as a descendant of a number of ambiguous, not always specialized terms (homoeosis, icon, paradigm, parabola, similitude, resemblance, comparison), often synonymous with one another.
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Pope, Peter E. "Bretons, Basques, and Inuit in Labrador and northern Newfoundland: The control of maritime resources in the 16th and 17th centuries." Études/Inuit/Studies 39, no. 1 (April 1, 2016): 15–36. http://dx.doi.org/10.7202/1036076ar.
Повний текст джерелаАнотація:
Early Euro-Inuit contacts in Atlantic Canada raise a complex issue in the ethnohistory of resource exploitation. In the 16th century, Breton, Norman, and Basque crews developed a seasonal salt-cod fishery on the coasts of northern Newfoundland and southern Labrador, in about the same period that the Inuit moved southwards along the Labrador coast. The Basques also exploited the Strait of Belle Isle, between Newfoundland and Labrador, for shore-based whaling. Sometime before 1620, Europeans then appear to have withdrawn from Labrador until about 1680, when Canadian merchants based in Quebec began to exploit the Strait for salmon and seals, while French migratory crews edged northwards again from Newfoundland. European withdrawal from Labrador largely coincided with a long-running guerrilla war, waged by the Inuit against Breton and Basque fishermen exploiting Newfoundland’s Great Northern Peninsula. The chronological coincidence suggests that the movement of Inuit into southern Labrador by the end of the 16th century may well have motivated Europeans to avoid this coast through much of the 17th century. French attitudes to the Labrador Inuit can be contextualized by comparison with contemporary understandings of Euro-Inuit relations elsewhere. Inuit attitudes to Europeans are harder to assess but recognition of their struggle for access to resources is a step towards an appreciation of historical Inuit agency.
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Rohotchenko, Svitlana. "REVIVAL OF UKRAINIAN BLACKSMITHING: ART PRACTICES AND EDUCATION DURING THE 1970S–2010S." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 4 (May 28, 2021): 680–92. http://dx.doi.org/10.17770/sie2021vol4.6288.
Повний текст джерелаАнотація:
The article is aimed at making an outline of the revival process experienced by professional Ukrainian blacksmithing art, development of which resumed in the 1970s, after an imposed pause that had lasted for over half a century. The facts from the history of development and further evolution of blacksmithing are publicized, as well as the reasons that caused almost complete distinction of traditional blacksmithing handicraft and professional blacksmithing art as a result of suppression by the Soviet power. The objective of the research is a real-time coverage of the stages of revival of blacksmithing craft, art, and education. Extermination of the traditional blacksmithing education that existed in Ukraine since the 16th century and up till 1917 took its toll. Young blacksmiths were trained in the forges where they worked as assistants. The first departments of artistic blacksmithing were established in the colleges, technical schools, institutes, and academies only in the late 1980s. Lack of specialized education was a drawback for Ukrainian blacksmithing comparing to the European states where there was no gap in training practice. In the article, the most well-known modern Ukrainian blacksmithing educational institutions are analyzed on the basis of historical method, chronological and cultural approaches.
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Montanari, Riccardo. "The Art of the Jesuit Mission in 16th-Century Japan: The Italian Painter Giovanni Cola and the Technological Transfer at the Painting Seminario in Arie." Eikon / Imago 11 (March 1, 2022): 119–27. http://dx.doi.org/10.5209/eiko.76742.
Повний текст джерелаАнотація:
The Jesuit Mission in Japan was characterized by the establishment of the first painting Seminario in the Far East supervised by the Italian Jesuit Painter Giovanni Cola, who arrived in Nagasaki from Rome in 1583. The activity of the painting school focused on the production of sacred images needed for the Missionaries' evangelization effort, and it soon became a hub of Renaissance technology. European pigments were made available to Japanese and Chinese painters who trained at the Jesuit facility. New archaeometric studies have enabled to present in this work, for the first time, a renewed interpretation of historical records, also revealing, along with documentary evidence, that Arie, a place located in Kyushu, where the Seminario stayed between 1595 and 1597, played a major role as it hosted the first European glass workshop in the Far East. The systematic use of pigments introduced at Arie influenced the production of scared images both in Japan and China. However, the overall technological transfer proved an asymmetrical process due to the fierce persecution of Christians from 1614, and, as a consequence, local production of imported pigments will not start until the lifting of the ban on Christianity in 1873 with the return of Europeans to Japan.
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Ji, Chunuo. "A Study on Raphael: One of the Three Masters of the Renaissance." Communications in Humanities Research 3, no. 1 (May 17, 2023): 1141–46. http://dx.doi.org/10.54254/2753-7064/3/2022966.
Повний текст джерелаАнотація:
In the 14th century, the Renaissance first emerged in various city-states in Italy, and then expanded to Western European countries, reaching its peak in the 16th century. The influence of the Renaissance has been reflected in art, architecture, philosophy, literature, music, science and technology, politics, religion, and intellectual inquiry. Renaissance scholars took a humanist approach to their research and looked for realism and human emotion in art. As one of the three masters of the Renaissance, Raphael represents the pinnacle that Renaissance artists can achieve in the career of ideal beauty. Raphael was an unmistakable, unfettered, eloquent poet, painter, and extremely agile and superhuman. Raphael visualized the artistic ideals of Renaissance Neoplatonism as if they were easy to visualize. He embraced the artistic ideal of Neoplatonism, and with his refined painting skills, he brought the humanism of the Renaissance to the extreme. Although there are not many works left by Raphael, the talent displayed in his works has a far-reaching influence on future generations. This article will analyze Raphael's influence on the artistic creation style of the Renaissance and the artistic creation of later artists from the perspective of humanism and classicism by appreciating Raphael's six works.
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Villaverde, Xabier. "La Virgen de Quito. Un símbolo de la fe y de la ciudad de Quito." Colloquia, Academic Journal of Culture and Thought 2 (July 5, 2017): 75. http://dx.doi.org/10.31207/colloquia.v2i0.7.
Повний текст джерелаАнотація:
The image referred to as Virgen de Quito, an art work by Bernardo de Legarda, sculptor and painter belonging to the Baroque Quito School of Art, is an artistic and religious referent for said city. It has been discussed whether the image is inspired in the Virgin of the Apocalypse, in the Immaculate Conception or in the Virgin of the Assumption. According to the author, complete identification between the Virgin of the Apocalypse and the Immaculate Conception is an iconographic synthesis originated in Spain by the end of the 16th Century. The same occurred later on with the advocation of the Virgin of the Assumption, which accepts the statement that Virgin Mary rose up to Heaven. Such dogma is very close to that of the Immaculate Conception. Therefore, it can be affirmed that any of the three aforementioned denominations applied to the Virgen de Quito may be correct. This paper also synthesizes which images are considered to be forerunners to this emblematic work of art, whose hybridization between the European and the Indigenous appears as a feature of our Baroque.
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Treter, Anna. "Wybrane passusy z czternastowiecznego traktatu Summa de exemplis et rerum similitudinibus Giovanniego z San Gimignano. Możliwe źrodło inspiracji dla ośmiu emblematow z cyklu Symbolica vitae Christi meditatio (Braniewo: Jerzy Schonfels, 1612) Tomasza Tretera." Terminus 23, no. 3 (2021): 309–39. http://dx.doi.org/10.4467/20843844te.21.012.13849.
Повний текст джерелаАнотація:
Chosen Passages from the 14th-Century Treatise Summa de exemplis et rerum similitudinibus by Giovanni da San Gimignano: A Possible Source of Inspiration for Eight Emblems from the Cycle Symbolica vitae Christi meditatio (Braniewo: Jerzy Schönfels, 1612) by Tomasz Treter In 1612, the Jerzy Schonfels’ printing house in Braniewo published Tomasz Treter’s posthumous work titled Symbolica vitae Christi meditatio. This cycle of ascetic and mystical reflections was considered by Janusz Pelc to be one of the most interesting emblem books written in the Polish Commonwealth. Also Tadeusz Chrzanowski, an art historian, referred to Treter’s work as quite a unique work of Polish emblem art. The same researcher quoted the originality of some of the concepts and ingenuity of many icons (lacking direct correlates among contemporary emblem collections). In 2018, Alicja Bielak wrote an article in which she identified the three 16th-century emblem works (i.e. Hadrianus Junius’ Emblemata, Claude Paradin’s Devises heroiques and Aneau Barthelemy’s Picta poesis) as graphic sources of Treter’s cycle. The main goal of this paper is to identify another, non-emblematic source of inspiration for the Polish author, namely the 14th-century encyclopaedia Summa de exemplis et rerum similitudinibus by the Italian Dominican Giovanni da San Gimignano. It is argued here that Treter might have come into contact with Giovanni’s treatise during his first stay in Rome (1569–1584) and transposed it into the language of emblems. The first section of the paper shortly discusses the life and work of the Italian Dominican, with the particular emphasis on his encyclopaedia. The core of the article consists of the comparison of Treter’s eight emblems with selected passages from Summa de exemplis and setting these emblems against the background of the European tradition. The following emblems are discussed in detail: Fides, Conversatio sancta, Spiritualis profectus, Humilitas, Poenitentia, Correctio fraterna, Fortitudo and Mansuetudo. The study concludes with the claim that even though Treter uses symbols rooted in contemporary emblem art, he interprets them in a different way than other creators did. On the other hand, one can observe a striking accordance between Treter’s interpretations and the ones by Giovanni da San Gimignano. Unlike other 16th and 17th century emblematists, the Polish priest provides a religious rather than a moral interpretation.
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Kornii, Lidiia. "Specific Character of Ukrainian-Russian Contacts in the Musical Culture of the 17th – 18th Centuries: A Modern View." Materìali do ukraïnsʹkoï etnologìï 21 (24) (November 30, 2022): 28–32. http://dx.doi.org/10.15407/mue2022.21.028.
Повний текст джерелаАнотація:
The relevant problem of the significance of the Ukrainian-Russian musical dialogue in the 17th –18th centuries for the future development of Ukrainian and Russian musical cultures is considered in the article. Ukrainian-Russian contacts have taken place in the field of professional music, dominated with religious Christian themes at that time. Significant achievements of Ukrainian musical art of the late 16th - the first half of the 18th century are noted, where Ukrainian Orthodox traditions are combined with the adapted achievements of Polish and Western European art: the reformation of musical notation and the appearance of the five-line Kyiv notation, used to record church singing, the emergence and development of polyphonic church works of the baroque style, the genre of cant and school drama, significant achievements in choral church performance. The backwardness of the musical culture of Muscovy in the period of the 16th–17th centuries from the European world and imitating Ukrainian achievements in church singing, choral performance, canto culture and school theater are emphasized. It is accentuated that the composers, regents, choristers, musical works have been necessary for the implementation of such a restructuring in Moscow musical culture. The voluntary and forced resettlement of Ukrainian musical forces to Russia for almost two centuries is considered in the submitted work. They have taken musical works with them and remained there. It has caused a situation when many Ukrainian musicians are turned in Moscow and St. Petersburg. So, there are reasons to believe that they have been creating Ukrainian culture outside Ukraine in Muscovy (Russia), relying on Ukrainian traditions. There are, in particular, Ukrainian composers M. Berezovskyi and D. Bortnianskyi, who have initiated and developed the Ukrainian classical style of sacred music in Russia among them. At the same time the constant and systematic transfer of Ukrainian musical forces, as it is noted already, for almost two centuries has been bleeding Ukrainian musical culture and affected negatively its development in the 19th century.
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Abdullayeva, Sevda, and Samira Gasimova. "XVII century Azerbaijani culture through the eyes of european travelers." Grani 24, no. 2 (February 28, 2021): 41–45. http://dx.doi.org/10.15421/172113.
Повний текст джерелаАнотація:
At the beginning of the 16th century, due to the establishment of the Safavid Empire of Azerbaijan, the culture of the people also developed significantly, especially due to the strengthening of the centralized political structure. “Language commonality, which is one of the factors of the national stage of public unity” was a reality that closely united the people of Azerbaijan in the 17th century.In the 17th century, Azerbaijan was remaining one of the most important cultural centers of the Near and Middle East. The ongoing Safavid-Ottoman wars at that time dealt a crushing blow to the cultural development of the people. Many famous Azerbaijani scientists were captivated and taken to Istanbul, and some were transferred to Qazvin and Isfahan. Only in the middle of the 17th century there was a certain revival in the development of science and education in Azerbaijan. There were various educational institutions in the cities of the country, which were the centers of crafts, trade and culture. In the Middle Ages, all educational institutions, including madrassas, neighbour schools, tekyehs, were, of course, religious in nature.A careful analysis of the information provided by medieval historians and travelers leads to the conclusion that book printing was not only known in Azerbaijan in the middle of the 17th century, but even a printing press was brought here. The French traveler Chardin writes that the Safavid Empire, aware of the benefits of printing, was in favor of bringing it to Iran.Generally, the history of Azerbaijan in the Middle Ages (as well as in the XVII century) had the character of a scientific chronicle. However, even the mere recording of real events served to develop the historical thinking of the people, to ensure the connection of inheritance. The expansion of folk art, the spread of cultural potential in the Near and Middle East was one of the features of the development of Azerbaijani culture in the 17th century. Unfavorable socio-economic and political processes had a negative impact on the development of culture in the country.
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Titarenko, Svetlana D. "The Metamorphosis of Mannerism in Russian Poetry at the Turn of the 19th–20th Centuries: Valery Bryusov and Nikolay Gumilev." Studia Litterarum 8, no. 2 (2023): 182–99. http://dx.doi.org/10.22455/2500-4247-2023-8-2-182-199.
Повний текст джерелаАнотація:
This article is dedicated to the insufficiently studied topic concerning comparative analysis of European mannerism and neo-mannerist tendencies in Russian modernist poetry. The basis of this analysis is formed by ideas of Ernst Robert Curtius regarding mannerism as a constant theme in European literature and classic art history studies (Max Dvořák, Erwin Panofsky) and modern philological studies dedicated to this style of the 16th century. The article examines the poems from early poetry collections by Valery Bryusov, such as “Juvenilia” (1892–1894), “Chefs d’oeuvre” (1894–1896), “Mе eum esse” (1896–1897), and “Pearls” (1910) by Nikolay Gumilev. It demonstrates that the neo-mannerism in Bryusov’s and Gumilev’s poetry was brought upon by influence of French culture and Art Nouveau style, which reveals in the creation of the contingent, aestheticized and exotic image of the world. The poets use techniques of theatricalization in order to develop plots. A complexity of poetic manner is characteristic, principles of surprise poetics are created in line with it. The picturesque scenes, motifs of narcissism and love games are varied. The topoi of mannerism or early baroque are used. It allows us to talk about the actualization of mannerist model of thinking that embody ideas of aesthetic rebel against tradition.
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Batsiayev, Vasil F. "Theatrical arts of Jews in Belarus." Humanitarian: actual problems of the humanities and education 21, no. 1 (April 14, 2021): 31–47. http://dx.doi.org/10.15507/2078-9823.053.021.202101.031-047.
Повний текст джерелаАнотація:
Introduction. Spiritual culture occupies an important place in the life of the Jews in Belarus. Its important component is art, including theatrical. In Belarus since the 16th century there are many different Jewish theatrical associations, but they have not been sufficiently studied to date. There are no special works on this problem in the ethnological literature. At the same time, the analysis of the process of their creation, repertoire and activity, determination of forms and structure is of great scientific interest and is of great practical importance. Research Methods. The structural method was applied for studying Jewish theater associations in Belarus. This method allowed to identify their forms (clubs, enterprises, studios, theaters) and structure. To consider the process of creating theater associations, activities in different historical periods, the comparative-historical method was applied. The functional method was also used, with the help of which the functions of theatrical associations were clarified. Results. On the basis of the analyzed scientific literature, the article examines the process of creating Jewish theatrical associations in Belarus, identifies their forms, structure, clarifies the drama and activities in various historical periods. Theatrical associations are also characterized, which used in their performances works of modern and classical drama, which absorbed the best features of Jewish culture on the Belarusian land, widely turned to Jewish literature, staged the first plays of many authors. Discussion and Conclusion. As a result of the study, it was revealed that the theatrical art of the Jews of Belarus began to develop in the 16th century, and the repertoire of Jewish theatrical associations (clubs, enterprises, studios and theaters) consisted mainly of Jewish classical and Soviet drama, Western European comedies. They also staged a high tragedy, vaudeville and operettas. The performances of these associations are characterized by a striving for bright stylized folk shows with sharp satirism, grotesque, buffoonery, carnivalism. Jewish theatrical art has made a notable contribution to Jewish culture. It contributed to the ideological, aesthetic and international education of the people.
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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.
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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.
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De Caro, Antonio. "From the Altar to the Household. The Challenging Popularization of Christian Devotional Images, Objects, and Symbols in 16th and 17th Century China." Eikon / Imago 11 (March 1, 2022): 129–44. http://dx.doi.org/10.5209/eiko.77135.
Повний текст джерелаАнотація:
After the expeditions of wealthy merchants and Franciscan missionaries during the 14th century, the Chinese empire under Ming rule did not engage profusely with the European world, and vice versa. This period of artistic and intellectual silence and detachment was broken in the late 16th century when the Jesuit missionaries reconnected two worlds –Europe and China– reactivating previous medieval commercial, artistic, and intellectual routes. Silk –the product par excellence commercialized along the routes connecting China and Europe– was then accompanied by other precious products, including Chinese ceramics reaching various European courts and European paintings that reached the Ming court in Beijing. This paper addresses the complex and challenging popularization of Roman Catholicism through objects and images during the early modern era. In particular, it focuses on the diffusion of devotional images and objects used by Roman Catholic missionaries and the religious practices related to them.
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VAN SOEST, ROB W. M., and ALEXANDER PLOTKIN. "Alcyonium bursa Linnaeus, 1758 is not a sponge." Zootaxa 4951, no. 1 (April 1, 2021): 193–200. http://dx.doi.org/10.11646/zootaxa.4951.1.12.
Повний текст джерелаАнотація:
In the 10th edition of the Systema Naturae (Linnaeus, 1758), which is the starting point of the Code for Zoological Nomenclature (ICZN Art. 3), Linnaeus named three species of the genus Alcyonium, A. arboreum, A. digitatum, and A. bursa. The genus name Alcyonium was based on the 16th and 17th century pre-Linnaean use for a diversity of marine organisms, including cnidarians, sponges, bryozoans, and algae. In the first valid presentation of the genus name, Linnaeus narrowed this down to comprise two clear cnidarians (A. arboreum, currently Paragorgia arborea, and A. digitatum, still accepted under this name and subsequently assigned as type species), but the pre-Linnaean diversity perhaps explains why the third species, A. bursa, was not recognized as a cnidarian. Linnaeus defined it as ‘Alcyonium acaule pulposum subglobosum. Habitat in O. Europaea.’ (translated as: Alcyonium without stalk, fleshy, semiglobular. From the European Ocean).’ Attempts to fix its identity among contemporary authors at the end of the 18th and beginning of the 19th century followed a checkered course, with opinions varying from algae to tunicates and sponges.
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Tyutyunnik, Yu G. "On the Question of the European Landscape Origin (A Viev of the Scientist of Landscape Science)." Izvestiya Rossiiskoi Akademii Nauk Seriya Geograficheskaya 87, no. 2 (March 1, 2023): 304–21. http://dx.doi.org/10.31857/s2587556623020103.
Повний текст джерелаАнотація:
In the context of landscape studies and from the standpoint of the “power” theory of fine art by Gilles Deleuze (the concepts of line-strength, color-strength, composition-strength), the process of the birth of the “landscape” genre in European fine art, starting from prehistoric times and ending with the first half of the 16th century, in which the formation of the genre can be considered complete. It is shown that the landscape genre (“landscape-as-such”) was born gradually, passing through the stages of “landscape-decor,” “landscape-background,” “landscape-condition,” “landscape-participant.” The essence and features of each stage are explained. The role of individual painters who made the greatest contribution to the formation of the genre in different periods of the development of European art, from the Proto-Renaissance to the High Renaissance, is revealed. The features of the methods of depiction, artistic interpretation and representation of landscape components (geocomponents) and the landscape as a whole at different stages of the genre’s formation are shown. Particular attention is paid to the work of such masters of the Early and Northern Renaissance as Masolino da Panicale, Albrecht Dürer, Leonardo da Vinci, Albrecht Altdorfer, Augustin Hirschvogel. The outstanding importance for the development of the landscape genre in European painting of the work of Albrecht Dürer, especially his watercolors of the 1480s–1490s, is emphasized. An attempt is made to reveal the ontological specifics of landscape images, based on the theory of the existential-topological representation of geocomponents, the landscape as a whole and the place of a person in it. For this, such concepts of the philosophy of poststructuralism as “ogiva,” “faciality,” “landscapity” are used.
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Armetta, Francesco, Gabriella Chirco, Fabrizio Lo Celso, Veronica Ciaramitaro, Eugenio Caponetti, Massimo Midiri, Giuseppe Lo Re, et al. "Sicilian Byzantine Icons through the Use of Non-Invasive Imaging Techniques and Optical Spectroscopy: The Case of the Madonna dell’Elemosina." Molecules 26, no. 24 (December 15, 2021): 7595. http://dx.doi.org/10.3390/molecules26247595.
Повний текст джерелаАнотація:
The iconographic heritage is one of the treasures of Byzantine art that have enriched the south of Italy, and Sicily in particular, since the early 16th century. In this work, the investigations of a Sicilian Icon of Greek-Byzantine origin, the Madonna dell’Elemosina, is reported for the first time. The study was carried out using mainly non-invasive imaging techniques (photography in reflectance and grazing visible light, UV fluorescence, infrared reflectography, radiography, and computed tomography) and spectroscopic techniques (X-ray fluorescence and infrared spectroscopy). The identification of the constituent materials provides a decisive contribution to the correct historical and artistic placement of the Icon, a treasure of the Eastern European historical community in Sicily. Some hidden details have also been highlighted. Most importantly, the information obtained enables us to define its conservation state, the presence of foreign materials, and to direct its protection and restoration.
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Klauza, Karol. "Współczesne teorie piękna i decorum. Wybór poglądów XX wieku." Sacrum et Decorum 14 (2021): 7–29. http://dx.doi.org/10.15584/setde.2021.14.2.
Повний текст джерелаАнотація:
The aim of this study is an attempt to continue the discussion started by the extremely useful and competent synthesis of views on the relations between art and matter, presented in the article “The Transformations of the Symbolic and Theological Meaning of Matter Reflected in Christian Aesthetics and Art” by Janusz Krolikowski. Since the 16th century, European thought on the nature of beauty has been marked by interpretations that draw on the achievements of many academic disciplines. Numerous secular views on aesthetics were expressed in the period between the Baroque and positivism, and the ecclesiastical ones between the era of post-Tridentine theology to the time of accomodata renovatio of the Second Vatican Council and the concept of culture born out of it. Philosophers and art historians, especially of the nineteenth century, sought new justifications for changing views on beauty and its role in building the generational identity of the human being. In the field of philosophy, the views of George Berkeley and Immanuel Kant, among others, are experiencing a renaissance, and in religious thought, the same is true for the views of Joseph Ratzinger, prefect of the Congregation for the Doctrine of the Faith during the pontificate of John Paul II, concretised by the thought of Hans Urs von Balthasar. They correspond with the ideological inspirations of contemporary artists. Christian Churches undertake a dialogue with them in their Magisterium. In this way they develop elements of Christian aesthetics. Polish researchers have also made their contributions to this field.
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Wójcik, Zbigniew. "Italian Horse Riding School." Physical education, sport and health culture in modern society, no. 1 (49) (March 31, 2020): 60–63. http://dx.doi.org/10.29038/2220-7481-2020-01-60-63.
Повний текст джерелаАнотація:
The system solutions in the field of horse riding technique appeared for the first time in Italy in the 16th century, but at the same time equestrian academies also functioned in other countries, e.g. Austria, France, Germany and Russia. They formed the horse riding system which was based on such movements that horse never performs in its natural habitat. Therefore, according to the methodology research, applicable in historical and pedagogical sciences, an attempt was made to determine stages of the Art of Horsemanship on the European continent. In the research process, it was established that the horse riding style that had been being practiced for several centuries, was not changed until the late 19th century. The revolutionary changes, based on years of observation and experience, were made by Captain Federico Caprilli of the Military Equestrian School in Pinerolo (Italy). The result of his observations accepeted in 1906 was an innovative horse riding system called natural. A great numer of officers from 22 countries were coming to Italy at that time to learn the new system. As it was very practical, it became quickly adapted by equestrian sport.
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Pichugina, Olga K., and Denis V. Ilitchev. "“THE MADONNA WITH A VEIL” BY RAPHAEL SANTI. ORIGINAL. COPIES. IMITATIONS." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 40 (2020): 172–83. http://dx.doi.org/10.17223/22220836/40/14.
Повний текст джерелаАнотація:
The article is devoted to the history of the existence and technique of the original, copies and imitations of the Madonna with the Raphael Madonna del velo, one of the most popular objects of copying in the European pictorial culture of the 16th – 17th centuries. The history of the original Raphael is closely connected with the medieval icon of Madonna del Popolo, revered as the hand-made work of the apostle Luke and the lifetime portrait of the Mother of God. The glory of the medieval original in the eyes of contemporaries was projected onto the picture of Raphael, giving it the status of an actual interpretation of the ancient shrine. This explains the special interest in its copying. During the 16th century, the original Raphael, now stored in the Conde Museum in Chantilly, France, was updated, radically changing the plot of the work. In the XVII century, imitations of Raphael's paintings were often distributed, often created by large masters. The article deals with the methods of copying, typical for artistic practice of the 16th century. As a rule, the painting, which came out of the walls of the workshops of famous artists, was the product of the collective work of the master – the owner of the workshop, apprentices and pupils. The finished composite composition created by the master was previously performed in the form of a cardboard-priporokh, the so-called spolvero, with which it was transferred to a picturesque base. The cardboards were carefully preserved, donated and handed down by inheritance. Traces of spolvero are found in the original Madonna del velo. Currently in the scientific literature there are references to more than one hundred copies of the Madonna with a veil. Some of them are considered works of the 16th century. The most famous copies are kept in the Louvre, the Center of P. Getty, the collection of D.P. Morgan and Del Drago. The Louvre copy of the painting is considered the closest to the original. In all of these works, the drawing of the part of the composition related to the initial version of the original is relatively accurately reproduced. The figure of Josef, which appeared later, is reproduced in different versions with significant variation in the position and proportions of the head and hand drawing. It can be assumed that the compositions of early copies were created either directly from Rafael’s cardboard. Or usеd copies from it. The figure of Josef may have been directly copied from the original or created from cardboard, in which the drowing was of simplified schematic nature. Two-figured copy of the painting, displaced from panel to canvas by one of the Russian school of restoration A.F. Mitrokhin in 1827, kept in the Urals in the Art Museum of Yeraterinburg.
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Kozyrev, Alexey P. "Prince V. F. Odoevsky in search of “Russian harmony”." Philosophy of the History of Philosophy 2 (2021): 316–30. http://dx.doi.org/10.21638/spbu34.2021.120.
Повний текст джерелаАнотація:
The article examines the searching for national identity in the musical and critical heritage of Prince Vladimir Fyodorovich Odoyevsky, which is associated with his philosophical interests and reflects his philosophical development after the “Society of Lyubomudriye” (“Society of Wisdom”) and “Russian nights”. The 19th century is the century of discovery of the national, and the culture and aesthetics of romanticism contributed to that discovery and led to intense nation-building. Odoevsky distinguishes between Russian and the so-called “general” Western European music, basing this distinction on the analysis of Old Russian singing. It is based on the system of Echos (“glas”) and Ecphonesis (“poglasitsa”), which is typologically close to the ancient Indian scales. He studies the “hook letter” (“Kryuki”) reform carried out in the 16th–17th centuries by Ivan Shaidurov and other “didascals”, comparing it with the activities of Guido of Arezzo in the West in the 11th century. Odoevsky perceives music, firstly, as an ordered system of mathematical patterns, that is confirmed by the ideas of Leibniz and Euler, and secondly, as a special spiritual reality associated with ascetic practices. Odoevsky connects the national in music not with an appeal to folk songs, and even less with its recording in the spirit of European harmony, but with a deep form of musical composition, associated with the specificity of musical neuma. Music turns out to be an integral part of the iconosphere, it correlates with architecture and other kinds of art. Odoevsky’s ideas were developed in the works of the contemporary Russian cultural philosopher and composer Vladimir Martynov. The article examines the controversy of Sergei Taneyev and Pyotr Tchaikovsky, in which Taneyev, continuing Odoevsky’s ideas, defends the concept of a special “Russian harmony” and builds his work strategy in accordance with that idea. Tchaikovsky, on the other hand, stands for the unity of the European musical process, although he recognizes the national originality of various musical schools. Tchaikovsky’s statements about the contiguity of the Russian musical tradition with the European tradition were censored in the Soviet publication of Tchaikovsky and Taneyev correspondence (1951).
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Xu, Yidan. "The Scientific of Renaissance Artworks - Based on Dürer and Leonardo da Vinci's Work." Journal of Education, Humanities and Social Sciences 11 (April 20, 2023): 75–80. http://dx.doi.org/10.54097/ehss.v11i.7505.
Повний текст джерелаАнотація:
From the second half of the 14th century to the end of the 16th century, Western and Central European countries witnessed a revolutionary movement in cultural thought, the Renaissance, which was guided by humanism and a human-centred world view. The works of art were transformed by this humanist ideology, and the achievements of science were combined with the use of scientific theories such as perspective, mathematics and anatomy to make their works more relevant to their time. The use of scientific theories underpinned the development of Renaissance painting as a whole. The relationship between Renaissance works and science is explored through an analysis of typical Renaissance works by Dürer and Leonardo da Vinci. This paper will discuss Dürer and Leonardo da Vinci’s work and its connection to science. It will discuss how Dürer used the golden ratio in Adam and Eve and how Dürer linked the human body to geometry to demonstrate his profound study of mathematics in his book The Four Books of Human Proportions. At the same time, this paper will discuss how Leonardo da Vinci applied his study of human proportions and perspective to painting. The study finds that the study of the golden ratio in these works has implications for the creation of today's graphic design students.
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HALIKOWSKI-SMITH, STEFAN. "‘Insolence and pride’: problems with the representation of the South-East Asian Portuguese communities in Alexander Hamilton's ‘A New Account of the East Indies’ (1727)." Journal of the Royal Asiatic Society of Great Britain & Ireland 19, no. 2 (April 2009): 213–35. http://dx.doi.org/10.1017/s1356186308009383.
Повний текст джерелаАнотація:
AbstractOne of the most influential European printed sources on South-East Asia at the turn of the eighteenth century was the Scottish sea-captain Alexander Hamilton's memoirs. The picture he paints of the Portuguese communities that had existed since the period of Portuguese ascendancy in the sixteenth century is overwhelmingly negative. But a close textual and empirical analysis of his text shows that not only was he frequently misinformed in terms of the historical developments relating to that community, but that he merely conforms to a set of standard rhetorical tropes we can associate with the Black Legend, which had grown up in Protestant countries of northern Europe since the 16th century to denigrate Portugal and her achievements. This article urges that this key text consequently be used with far greater circumspection than has hitherto been the case.
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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.
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Florek, Marek. "Stećak Tombstones as a Source for Research on Mediaeval Bosnian Elites." Światowit, no. 60 (December 5, 2022): 113–31. http://dx.doi.org/10.31338/0082-044x.swiatowit.60.7.
Повний текст джерелаАнотація:
The term stećak (pl. stećci) is used in the Bosnian, Serbian and Croatian languages to refer to mediaeval monolithic tombstones from Bosnia and Herzegovina, as well from the nearby territories of Croatia, Serbia and Montenegro. Their number is estimated at between 50,000 and almost 70,000. The earliest preserved stećci come from the 12th century, whereas the latest date to the beginning of the 16th century. Their forms vary, but most often they have the shape of a slab, vertical or horizontal monolith, or stylized cross. Some of them have images – engraved or carved in low relief – representing, e.g., weaponry, people, animals, genre scenes (hunting, fighting, dancing), various symbols and ornaments, and – very seldom – short inscriptions. In the past, they were attributed to the followers of the Bogomil heresy or the stock-breeding Vlachs, they were also regarded as original products of the mediaeval Bosnian population – created independently from external influences and models, as a sign of the revival of the traditional Slavic pagan beliefs dating back to the times of the Indo European community. According to the currently prevalent assumption, stećci – with their forms and symbols – fit the broad trend of European sepulchral art referring to the ethos of chivalry and Christianity, but at the same time they were a means used to manifest the distinctive character of the local elites and groups aspiring to be included in them. The images present on stećci – especially genre scenes and heraldic motifs – are an invaluable source of information about the culture and life of local elites in mediaeval Bosnia.
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ÇİL, Hande, Mustafa Hikmet AYDINGÜLER, and Burak BOYRAZ. "Yves Klein: An Actual Review of His Anthropometries & Monochromes Abstract." İnsan ve Toplum Bilimleri Araştırmaları Dergisi 12, no. 3 (September 29, 2023): 2258–78. http://dx.doi.org/10.15869/itobiad.1294099.
Повний текст джерелаАнотація:
The European-based population growth, which has manifested itself since the 16th century, first initiates a wave of migration from the countryside to the city. It then creates a ready workforce. Production centers, which benefited from the ready workforce for the first time, return to steam energy as time progresses. This situation becomes widespread rapidly and paves the way for the industrial revolution. It is now the machine that is concerned. It is hoped that in the future, mechanization and the technologies that provide it will be transferred to everyday life and facilitate human life. However, only a century later, between 1914 and 1945, two major wars appear in the continental geography. There is a devastating effect on Western societies that leaves difficult traces to be erased behind, which is encountered by the occasion of these wars. Despite this, intellectual thought and criticism from the mid-20th century experience the brightest period after the Enlightenment. If we look at the criticism of art, they are ready objects discussed. References from the First World War years, texts based on contemporary philosophy and statements expressed loudly lead to a review of traditional attitudes. New perspectives are constantly derived. These perspectives, which center the forms of expression that contain traces from the inner worlds, absorb the stage, that is, performance. The artist is now a person who has awareness of the social agenda and can think interdisciplinary. His first concern when acting is originality. During the production stages, it tests both the audience's and their own limits. New Realism (Neorealism) is a movement that is referred to by names that adopt this situation and has a wide place in the history of art. Many artistic initiatives included in the article, are associated with this movement in its short life; Yves Klein, which fits performance and artwork (1928 - 1962). It is anthropometries and monochromes, which are repeated with a method specific to today's art criticism and evaluated from a close-time perspective.
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Zavyalova, Anna E. "Jaspar de Isaac’s Engraving “Narcissus”: On the Sources of Konstantin Somov’s Early Art." Observatory of Culture 17, no. 2 (June 30, 2020): 164–72. http://dx.doi.org/10.25281/2072-3156-2020-17-2-164-172.
Повний текст джерелаАнотація:
The article reveals and introduces into scientific circulation the previously unknown artistic source of Konstantin Andreyevich Somov’s early art – Jaspar de Isaac’s engraving “Narcissus”. There is traced the course of work with this one along with other art sources (works of European masters of the 16th—18th centuries depicting hunting scenes, paintings by Antoine Watteau, Jugendstil graphics), revealed the context of reference to it, and analyzed the stylistic features of including this source in Somov’s work on the watercolor “Rest after a Walk”. These tasks are addressed in the context of the role of artistic sources from the heritage of past eras in early works of Konstantin Somov. The topic’s relevance is determined by the fact that Jaspar de Isaac’s engraving “Narcissus”, made at the very beginning of the 17th century for a French edition of the “Imagines” by Philostratus the Elder, for the first time becomes the object of research as a source of Somov’s art. The scientific novelty of the work lies in the fact that for the first time it attempts to identify (basing on a combination of formal and contextual analysis), and to use a source from the artistic heritage of France of the beginning of the 17th century in the work of K. Somov on the themes of the 18th century. The reveal of the source — the engraving “Narcissus” by J. de Isaac — made it possible to reconstruct the artist’s work on the “Rest after a Walk”. The article examines not only the sketch for this work from the collections of the Pushkin State Museum of Fine Arts, but also the drawing “A Date” from the State Tretyakov Gallery. There is stated that it is a preparatory drawing for the watercolor “Rest after a Walk”, basing on the general iconography of the watercolor, sketch and engraving “Narcissus”. The author concludes that Somov’s appeal to the engraving by J. de Isaac was not conscious, it should be attributed to the phenomenon of artistic memory, and his probable acquaintance with it had taken place before the artist left for Paris in the autumn of 1897.
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Shishkin, Vladimir. "The French Court of the 16th Century: What Else Do We Not Know About It?" ISTORIYA 14, no. 3 (125) (2023): 0. http://dx.doi.org/10.18254/s207987840024980-7.
Повний текст джерелаАнотація:
The article examines several interrelated problematic questions, the first of which reflects the justification of scientific relevance for modern Russian historical science of studying the Western royal courts of the Middle Ages and early Modern times, in particular, French court. The author presents the royal court as an important part of French history, which influenced the historical development of European and partly Russian civilization. The interest to the history of French court of Russian historians is also associated with a significant number of rare French documents of the 16th century, concentrated in Russian repositories and requiring introduction into scientific circulation. These documents are largely associated with current Russian research on curial history, which have a long tradition and focus on the institutional history of the court. An overview of current trends in curial research in Western historiography is also presented, which focuses on the study of gender characteristics, personal court members, socio-political evolution of the court, compilation of databases on courtiers and employees, movements and residences of monarchs.
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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.
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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.
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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.
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Janowski, Piotr Józef. "From Lugano to Krakow: The Career of Giovanni Battista Trevano as a Royal Architect at the Vasa Court in the Polish–Lithuanian Commonwealth." Arts 11, no. 3 (May 11, 2022): 56. http://dx.doi.org/10.3390/arts11030056.
Повний текст джерелаАнотація:
Throughout the 16th and 17th centuries, many builders, artists, and architects living on the shores of Italian lakes decided to settle in Poland. Upon arrival, they pursued brilliant careers in various areas of life. Over time, they became Polonized. This was also the case for Giovanni Battista Trevano, who was active in Krakow in the first half of the 17th century and whose lifetime achievement was to become the royal architect of the Vasa kings. This article presents Trevano’s artistic oeuvre and provides insight into his social, economic, and intellectual status in the new community, including the architect’s offspring, who pursued successful careers in army, church, and state offices throughout the 17th and 18th centuries. These new findings are based on manuscripts that have recently been discovered by the author of the article in both Polish and Swiss archives. They allow for expanding the knowledge of the Trevano family’s genealogy and biography, and correcting some unjustified views in the discourse. On the basis of research on new archival sources, one can conclude that Giovanni Battista Trevano was a prominent architect, who is credited with introducing in Poland the early Baroque style, which soon became dominant in northern European art.
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Новикова, О. Д. "On analogies: A collection of semifaience from Iznik (16th to the first decades of the 17th century) at the Kuskovo Estate Museum and the decor of the Holy Trinity church in Khoroshevo." Architectural archeology, no. 3 (February 12, 2023): 17–23. http://dx.doi.org/10.25681/iaras.2021.978-5-94375-361-9.17-23.
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Статья посвящена уточнению атрибуции керамического декора Церкви Живоначальной Троицы в Хорошеве (Москва), неоднократно привлекавшего внимание археологов, искусствоведов, историков в XX - начале XXI в. Впервые проведенное сравнение коллекции турецких предметов из собрания «Музея-усадьбы «Кусково», выполненных керамистами Изника и Дамаска в XVI-XVII вв., и двух блюд, сохранившихся из оригинального убора храма, позволяет установить их несомненную идентичность. Декор храма в Хорошеве свидетельствует о влиянии европейской культуры и раскрывает личный вкус заказчика - известного государственного деятеля, шурина царя Федора Иоанновича - Бориса Годунова (1552-1605). The article aims to provide a more precise attribution for the ceramic decor of the Holy Trinity Church in Khoroshevo (Moscow), which has often been in the focus of many pieces of research by archaeologists, historians and art scholars of the 20th and early 21st century. A comparison of the Turkish items made in Iznik and Damascus in the 17th and 18th century and preserved at the Kuskovo Estate Museum, and the two dishes surviving from the church collection, has proved that they are identical. The tableware at the Khoroshevo church has been influenced by European culture and bears evidence of personal tastes of the man who commissioned them: Boris Godunov (1552-1605), a well-known statesman, brother-in-law of tsar Fyodor Ioannovich, and later himself tsar of Russia.