Статті в журналах з теми "Art, European – 17th century"
Щоб переглянути інші типи публікацій з цієї теми, перейдіть за посиланням: Art, European – 17th century.
Оформте джерело за APA, MLA, Chicago, Harvard та іншими стилями
Ознайомтеся з топ-50 статей у журналах для дослідження на тему "Art, European – 17th 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
Akimov, Sergey S. "The 17th Century Dutch Art in E.I.Rotenberg’s Studies." Vestnik of Saint Petersburg University. Arts 13, no. 3 (2023): 413–31. http://dx.doi.org/10.21638/spbu15.2023.302.
Повний текст джерелаАнотація:
The contribution of Evsei Rotenberg to the studies in history of the 17th century Dutch art is analyzed in this article. Investigations in Dutch art of the Golden Age were one of the main lines in scientific interests of Evsei Rotenberg, great specialist in classical West-European art, during all his activity. He also wrote about Italian Renaissance, especially Michelangelo and Titian, and about the most important esthetic and creative problems and tendencies of the 17th century art, the greatest masters of this epoch. The paper highlights his evolution as a researcher from point of view subjects and methodology of studies, analyzes the conceptual ideas explaining the specificity of the Dutch art, shows their place in Russian scientific tradition and their significance for the further development of art historian science. His professional formation was held under guidance of Prof. B.R.Vipper in Moscow University and in post-graduate course. Rotenberg’s PhD dissertation (1956) was devoted to realistic bases of Dutch art of the period of flourishing (Rembrandt and masters of genre painting). He is the author of works about Rembrandt and Vermeer, the monograph about development of the Dutch art including architecture, sculpture and decorative crafts. His most fundamental investigations — “West-European 17th Century Art” and “West-European 17th Century Painting. Thematic Principles” — were published in 1971 and 1989. Rotenberg analyzed Dutch school in aspects of style and non-style line and relationships between mythological and non-mythological creative conceptions in art of this epoch.
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
Lisovich, Inna I. "Visual Representation of Scientific Corporations in European Culture of the 17th Century." Observatory of Culture, no. 2 (April 28, 2014): 98–103. http://dx.doi.org/10.25281/2072-3156-2014-0-2-98-103.
Повний текст джерелаАнотація:
Is devoted to the comparative analysis of visual representations of scientific corporations in European painting and graphic art in the 17th century. The author reveals both organizational principles of scientific institutions and symbolic, cultural, political, scientific and social values which underpinned them.
4
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.
5
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
6
Trofimova, Violetta S. "SPACES OF ART CULTURE ORGANIZATION CREATED BY WOMEN INTELLECTUALS OF THE 17TH CENTURY." Russian Studies in Culture and Society 8, no. 2 (June 30, 2024): 71–93. http://dx.doi.org/10.12731/2576-9782-2024-8-2-238.
Повний текст джерелаАнотація:
Background. The concepts of cultural space and cultural space were analyzed by A.Ya. Flier, L.P. Repina and others. In Western European culture of the 17th century, the problem of the place and role of a woman creator became more acute. The beginning of the present of women’s creativity originates in those times. Women's intellectual culture is a mental and verbal foundation created by creative women of a specific historical era and a specific country. The relevance of the study of women's intellectual culture of the 17th century is associated with the revival of the awareness of women creators of the past and the destruction of stereotypes in relation to women's creativity. The article analyzes the aspect of the organization of women's intellectual culture of the 17th century in order to identify the spaces in which women creators created works of art. Methods. While analyzing cultural institutions, an axiological approach is used with the inclusion of an anthropological component. While analyzing the space of art culture organization, methods such as analysis of the physical characteristics of the space, its internal structure, functions, values, place and role of creators in it and the results of their creative activity are used. Results. Creative women in the 17th century create their own spaces for the production of artistic cultural objects. Such spaces are monastery, female academy, salon, and Women’s Republic of Letters. Conclusion. The closed spaces for the organization of women's intellectual culture were monastery and female academy, where works of art were created within the framework of tradition. The open space was the salon, which created favorable conditions for creative innovation. In the space of Women’s Republic of Letters the new principles of upbringing and education were worked out.
7
Antonucci, Gianluca. "The Church and the art of governing people in a period of crisis: An analysis of the Inchiesta Innocenziana (1650-55)." CONTABILITÀ E CULTURA AZIENDALE 23, no. 1 (June 2023): 39–59. http://dx.doi.org/10.3280/cca2023-001003.
Повний текст джерелаАнотація:
Introduction. The focus of this work is the Inchiesta Innocenziana (Enquiry by Pope Innocenzo the 10th) upon the monasteries of the Italian States in the mid-17th century. Aim of the work. This study intends to demonstrate that in the Church, in the mid- 17th century - around one century later than in the European States - economics is introduced in the art of government as the correct manner of managing individ- uals, goods, and wealth in action at a distance. Methodological approach. The study is based on the investigation of primary and secondary sources related to the Inchiesta Innocenziana. The study analyses the various aspects and specially chosen techniques which, in a period of crisis, led the Catholic Church to run one of the first large-scale ‘auditing' upon its ‘branches' (monasteries) located within the Italian States. Main findings. It is shown, through an interpretative approach, how the Church worked inspired, not by the Law of God (human, natural, and divine), but by the art of governing people, as described by Foucault, giving techniques and practices for a concrete form of political rationality. Originality. The paper considers the relevant emergence of accounting and accountability practices, in a power/knowledge scheme, in decisions regarding a reconstruction after a crisis, by a complex interacting organisation such as the Catholic Church of the mid-17th century.
8
Pérez-Jiménez, Aurelio. "The Lamp of Anaxagoras (Plu., Per. 16.8-9) and its Reception in the Art of the 17th-19th centuries." Ploutarchos 14 (October 30, 2017): 69–106. http://dx.doi.org/10.14195/0258-655x_14_4.
Повний текст джерелаАнотація:
In this article I follow the trails wich the famous anecdote of Anaxagoras, Pericles and the lamp (Plu., Per. 16.8-9) has let in European art of the last centuries. I will comment the details of different artistic pieces from the17th century emblematic and from Neoclassical painting and sculpture of the 18th and 19th Centuries, as well as some 19th French ‘pendules’, to put in value the importance that this anecdote has had in European art, due to its didactic strength and to its litterary plasticity.
9
Bevz, Mykola. "The wooden architectural complex of the city and royal residence of the John III Sobieski in Kukizów." Budownictwo i Architektura 18, no. 4 (March 20, 2020): 059–82. http://dx.doi.org/10.35784/bud-arch.710.
Повний текст джерелаАнотація:
The palace in Kukizów of King of Poland John III Sobieski is known only to a narrow group of architecture and art historians. The palace and park complex ceased to exist in the 19th century. The architecture of the palace is known especially from the descriptions in the inventory documents from the early 18th century. Although the authorship of the palace design belongs to the well-known artists of the era – Augustyn Wincenty Locci and Piotr Beber, its architecture has not yet been reconstructed. A specific feature of the royal residence in Kukizów was the construction of royal buildings and town buildings in a wooden material. The intention to create a city complex and an entirely wooden residence was a unique experiment in the field of European architecture and urban planning of the 17th century. In the paper we present the results of our research on the architecture of the palace and town for the end of the 17th century.
10
Agyarkoh, Dr Eric, and Dr Eric Kwadwo Amissah. "Development of Graphic Design Practice and Education in Ghana." Journal of Education and Culture Studies 6, no. 2 (April 30, 2022): p71. http://dx.doi.org/10.22158/jecs.v6n2p71.
Повний текст джерелаАнотація:
In Ghana, Graphic Design is regarded as one of the contemporary arts that was introduced in the Gold Coast by the British (The colonial administration) and European merchants in the 17th Century. Since then, the art has gone through series of metamorphosis in various aspects till date. However, empirical evidence indicates that the developmental patterns of the art in Ghana has not been documented comprehensively. Using qualitative research approaches such as historical research method, interviews, document review, narrative and inductive analysis, this paper sought to conduct a comprehensive research into the local Graphic Design industry to gather pieces of fragmented documented and oral information from relevant stake holders who were purposively selected from different parts of Ghana based on their professional memory on industrial practice and Graphic Design education in Ghana, to reconstruct the history of the art for posterity. The study revealed that, commercial press printing and newspaper advertising were introduced in the Gold Coast first before outdoor advertising and desktop publishing. Also, colonisation, successive government policies, technological inventions in the western countries, and developments in computer technologies have contributed immensely to the development of Graphic Design practice and education in Ghana from the 17th Century to date.
11
Kholbekov, Mukhammadjon. "PERCEPTION AND INTERPRETATION OF CREATIVITY OF ALISHER NAVOI IN FRENCH ORIENTAL STUDIES." ALISHER NAVOIY INTERNATIONAL JOURNAL 1, no. 1 (January 30, 2021): 17–27. http://dx.doi.org/10.26739/2181-1490-2021-1-2.
Повний текст джерелаАнотація:
Information about Navoi began to reach Europe as early as the 17th century. Over time, he became one of the most famous people of the East in Europe. His works are translated into some European languages in separate fragments. Similar works have been translated in France, England, Italy, Holland, and other countries [Захидов 1961:13-14]. In the 19th century, the study of Navoi art in these countries was especially intensified. His works are translated, scientific works about his work are written, dictionaries for his works are compiled, etc
12
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.
13
Morein, Ksenia N., and Liudmila N. Shaymukhametova. "Ensemble Music-Making in the Mirror Reflection of 17th and 18th Century Western European Painting." ICONI, no. 1 (2019): 135–40. http://dx.doi.org/10.33779/2658-4824.2019.1.135-140.
Повний текст джерелаАнотація:
During the Baroque era ensemble music-making was a favorite pastime. For the nobility and the middle class “communication by means of music” was an inherent part of life: the musical language was the means of expressing respect, presenting “musical offerings” and confessions of love. In musical competitions virtuosi demonstrated their exceptional performing skills, and high-society ladies accompanied readings of poetical works with playing the harp or the lute. The desire to make music in the form of solo or ensemble performance was shared by players on various instruments endowed with different levels of preparedness. This “social demand” resulted in the appearance of the two-staff form of notation, endowed with traits of a quasi-score, which it was customary to call the keyboard urtext. However, this music can be termed as being for the keyboard only upon the condition of their performance on the organ or the harpsichord. The structure of the “two-staff scores” from the 17th and 18th centuries possesses immense possibilities, since it presents a universal form of notation for ensemble and orchestral compositions in convolved form. As the result of the traits of the quasi-score, the baroque urtext became a unique phenomenon, a peculiar “mirror of the epoch”, which registered numerous 17th and 18th century musical instrumental clichés, scenes of music-making in duos, trios, and even images of groups of the baroque orchestra — the solo and the continuo. A sort of mirror reflecting pictures of music-making and ensemble groups was provided by the art canvases of 17th and 18th century painters.
14
Chebakova, Polina. "“Four Parts of the World: Asia on an Elephant, Europa on a Bull, Africa on a Lion, America on a Crocodile, on Their Usual Signs”: Personifications of Four Continents in 18th-century Russian Art." Человек и культура, no. 3 (March 2024): 36–51. http://dx.doi.org/10.25136/2409-8744.2024.3.70707.
Повний текст джерелаАнотація:
Since the end of the 17th century, personifications of the four parts of the world, or four continents (Europe, Asia, Africa, and America), have appeared in Russian art, along with many elements of the Western European allegorical vocabulary. These allegorical figures in some works of art attracted the attention of researchers, but their iconography has not yet been elaborately analyzed. The present article summarizes information about personifications of the four parts of the world in 18th-century Russian art. Their iconography is examined in Western European context and in comparison with their descriptions in iconological lexicons (e.g., Honoré Lacombe de Prézel’s "Dictionnaire iconologique, ou introduction à la connoissance des peintures, sculptures, médailles, estampes...") and literature. The iconography of the personifications of the four parts of the world, borrowed from European art, varied from case to case, following different patterns, but remained recognizable. Allegorical figures could be accompanied by various symbolic animals. Sometimes parts of the world could be depicted as children, also in accordance with one of the variations of European iconography. The appearance of allegorical figures of the four continents in panegyric art served to the purpose of glorifying the Russian Empire and its ruler. By pointing to the universality of their meaning, these allegorical figures helped to exalt the imperial nature of power. In addition to the examples of personifications of the four parts of the world in 18th-century Russian art which were already analyzed, the article adds works of art that had not previously attracted attention in connection with this topic, including images of not-preserved decorations of court celebrations, as well as alternative embodiments of universal meaning (such as images of the winds).
15
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.
16
AKIMOV, SERGEY. "ICONOLOGY: SPECIFICITY AND LIMITS OF THE METHOD AND ITS OPPORTUNITIES IN TEACHING ART HISTORY AT CHILDREN'S ART SCHOOLS." Культурный код, no. 2023-3 (2023): 33–50. http://dx.doi.org/10.36945/2658-3852-2023-3-33-50.
Повний текст джерелаАнотація:
The peculiarities of the iconological method are considered in this article in connection with the topical issues of teaching art history at children's art school. It is impossible to adequately understand painting and graphics of the Middle Ages, Renaissance and the 17th century without iconological interpretations, however, from the point of view of pedagogy difficulties arise associated with the complexity of semantic interpretation, many aspects of which are extremely difficult to be explained to schoolchildren. Competent and dosed application of iconological techniques will enrich students' perception of art works, expand their cultural horizons, and update existing knowledge and skills. The author formulates a comprehensive view on the specificity of iconology, examines the methodological foundations of various interpretations of works of classical Western European art and offers some recommendations regarding the use of iconology in teaching art history at initial stage of art education.
17
Alekseeva, Lyubov. "The Issue of the Split (Schism) in the Vremya and Epokha Journals (1861–1865)." Неизвестный Достоевский 8, no. 1 (March 2021): 120–48. http://dx.doi.org/10.15393/j10.art.2021.5281.
Повний текст джерелаАнотація:
The article is devoted to the issue of the schism in the Vremya and Epokha journals published by the brothers Fyodor and Mikhail Dostoevskys. The content of the articles and reviews published in them is considered from the viewpoint of pochvennichestvo (native soil) position of the publications. The stance of their editorial board is formulated in the Announcement about the publication of the Vremya journal in 1861, which became a program document. The main concept of Vremya, as well as the Epokha journal that followed it, was the need to merge the educated part of society with the people. There was a spiritual, political and social gap, a split between them, which was caused not only by the church reform of the 17th-century, but also by subsequent state reforms that caused people’s rejection. The idea of the Dostoevskys' journals was to get to know the people, recognize their originality, appeal to the native principle, pochva (soil), the communal form of life, the synthesis of the ideas developed in Europe, which will find their development in the Russian narodnost’ (Russian people). These thoughts were absorbed by F. M. Dostoevsky’s idea of enhanced knowledge of Russia, which was reflected in his article “Two Camps of Theorists.” Using the publications in the Vremya and Epokha journals, it is demonstrated that the concept of split (schism) in the minds of the 19th-century authors was much broader than the historical phenomenon caused by the 17th-century church reform. They consider the split not only as a religious, but also as a social and political phenomenon that requires deep research and rectification, a synthesis of European and popular principles.
18
Sofron, Daniel. "3. The Oblique Parallel Perspective of Asian Art." Review of Artistic Education 26, no. 1 (March 1, 2023): 163–70. http://dx.doi.org/10.2478/rae-2023-0023.
Повний текст джерелаАнотація:
Abstract This paper examines the use of oblique parallel perspective as a method of structuring pictorial space in Far Eastern art. Unlike the conical perspective of the Renaissance, this type of perspective is not grounded on a scientific foundation; and yet, it follows a series of well-defined principles that offer a rational solution to the problem of representing space. Inspired by the philosophies of the Far East, Asian perspective is a completely different phenomenon, if we compare it to the types of perspective used by European artists. In the 17th century, Asian artists begin experimenting with convergence – an element that is typical of conical perspective. This phenomenon did not take hold, as the attempts to adapt conical perspective did not have an impact on the deeply traditional cultures of the Far East.
19
Shemyakova, Yana V. "The Apocalypse iconographic sources in Russian murals of the 17th century." Vestnik of Saint Petersburg State University of Culture, no. 3 (56) (2023): 130–34. http://dx.doi.org/10.30725/2619-0303-2023-3-130-134.
Повний текст джерелаАнотація:
The fact of the Dutch Bibles engravings by Borcht and Piscator (Visscher) use in Russian art in the 17th century well studied for a long time. But these ouvrages practically didn`t become the subject of Russian scientists’ research. The Borcht and Piscator Bibles have been reprinted many times with additions and corrections. At some point some of Borcht’s prints became part of the Piscator Bible, replacing earlier graphic cycles and one of them is the Apocalypse. It was the first cycle that Russian artists created by Western European engravings. Studies of Russian monumental painting rarely concern the type of Piscator edition that the artists used. The Piscator and Borcht-Piscator Bibles often serve as the prototype of the same monument, but they have significant differences in the number of scenes and the design of individual compositions. The identification of the differences between the apocalyptic engravings in the Borcht and Piscator editions can outline ways to solve the problem of identifying iconographic sources of apocalyptic cycles in Russian murals of the 17th century. Today this problem is not only not solved, but also insufficiently emphasized.
20
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.
21
Огородникова, Т. П. "Works by Western European artists in the Irkutsk Regional Art Museum named after V.P. Sukachev." Iskusstvo Evrazii [The Art of Eurasia], no. 1(32) (March 30, 2024): 196–217. http://dx.doi.org/10.46748/arteuras.2024.01.015.
Повний текст джерелаАнотація:
Статья посвящена исследованию и введению в научный оборот ряда живописных произведений европейских художников из коллекции Иркутского областного художественного музея имени В.П. Сукачёва. Рассматриваются картины XIX века, неизвестных мастеров XVII века и копии с целью установить сведения о подлинности картин, времени их создания и авторах произведений, оценить разные виды копий. В исследовании применяются доступные методы атрибуции: на основе стилистического анализа изучаются документальные свидетельства, особенности композиций, колорита, живописной манеры, стиля эпохи, подписи и надписи. Полученные сведения определят художественную ценность произведений, их принадлежность национальным школам Европы и значение для европейской коллекции музея. The article presents the results of research of several paintings by European artists from the collection of the V.P. Sukachev Irkutsk Regional Art Museum and the introduction them into scientific use. The study evaluates the authenticity, creation time, and authorship of paintings, as well as different types of copies, by examining paintings from the 19th century, unknown masters from the 17th century, and copies. The study uses available methods of attribution, including stylistic analysis, documentary evidence, composition peculiarities, colour, pictorial manner, style of the epoch, signatures, and inscriptions. The obtained data will determine the artistic value of the works, their affiliation with European national schools, and their significance for the museum's European collection.
22
Spinelli, Aria. "Experimental Institutionalism and Radical Statecraft: Art in Autonomous Social Centres and Self-Managed Cultural Occupations in Rome." Arts 12, no. 3 (June 12, 2023): 123. http://dx.doi.org/10.3390/arts12030123.
Повний текст джерелаАнотація:
This article analyses experimental institutionalism in the city of Rome, focusing on artistic practices of the C.S.O.A. Centro Sociale Autonomo Occupato (Squatted Autonomous Social Centre) Forte Prenestino and the three-year occupation of Valle theatre, Teatro Valle Occupato. In scholarly research on art institutionalism, artistic practices in squatted spaces are often overlooked. While the 1990s European wave of experimental institutionalism transformed the concept of an art museum or art institution into a processed-based, community-oriented, and participatory platform, in Rome, the collectives of activists and artists used more autonomous endeavours, such as processes of instituting, to affirm how artistic practices’ use of radical imagination can foster collective agency, creativity, and radical statecraft. In the following, radical statecraft is understood as a political act that reclaims and creates anew institutional infrastructures. Teatro Valle Occupato’s experimental cultural institution of the commons at the 17th-century theatre Valle from 2012 to 2015, and the projects of artists and musicians of the European underground cultural hub C.S.O.A. Forte Prenestino at the squatted 19th-century Old Fort in the working-class, peripheric neighbourhood of Centocelle, are crucial examples of artistic, cultural, and institutional experimentation, whereby artistic and cultural practices foster social relationships based on freedom, mutualism, solidarity, and the commons. In both cases, the contingency to grassroots politics forged the desire and imagination to either create a social space anew or carve out a new place for instituting the commons. Reclaiming spaces in which art is used as a means of radical statecraft, these practices reimagine society fostering non-market-driven social relationships becoming pivotal in the struggles against the neoliberal turn in Italy.
23
Fekete, Albert, and Peter Gyori. "Chinese pavilions in the early landscape gardens of Europe." Landscape architecture and art 18 (October 7, 2021): 78–87. http://dx.doi.org/10.22616/j.landarchart.2021.18.08.
Повний текст джерелаАнотація:
The image of China perceived by the Europeans in the 17th to 18th century was based on the travelogues of the travellers and missionaries. Despite the fact that the first descriptions did not include any pictures of the world, people and landscapes described, the far exotic country with its history and tangible heritage became very popular. This article deals with Chinese pavilions (pagodas, teahouses) built in the early European landscape gardens before 1750 without any architectural plans, using only sketches based on descriptions and travelogues, since in the first half of the 18th century, no relevant technical guidance was available yet. The structures reviewed started to be used frequently in European gardens and public parks from 1750’s, having an inevitable influence on the garden pavilions built from the second half of the 18th century, and indirectly to the image and character of some influential gardens in European context. Moreover, through their craggy appearance, the Chinese pavilions – as eye catchers – played an accentuated compositional and spatial role too in the European garden history.
24
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?
25
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.
26
Hanovs, Deniss. "THE ARISTOCRAT BECOMES A COURTIER… FEATURES OF EUROPEAN ARISTOCRATIC CULTURE IN THE 17th CENTURY." Via Latgalica, no. 1 (December 31, 2008): 62. http://dx.doi.org/10.17770/latg2008.1.1590.
Повний текст джерелаАнотація:
As John Adamson outlined in his voluminous comparative analysis of European court culture, „in the period between 1500 and 1750 a „Versailles model” of a court as a self-sufficient, situated in a free space, architectonically harmonious city-residency remote from the capital city, where the king’s household and administration was located, was an exception.” The Versailles conception and „model” both architectonically and in terms of practical functioning of the court was spread and secured in the 18th century, developing into a model of absolutism which was imitated to different extents. The spectrum of the adoption of the court of Louis XIV by material and intellectual culture reached from the grand ensembles of palaces of Carskoye Selo in Peterhof, Russia, Drottningholm in Sweden and Sanssouci in Germany to several small residences of the German princes’ realms in Weimar, Hanover, and elsewhere in Europe. Analyzing the works of several researchers about the transformation of the French aristocracy into court society, a common conclusion is the assurance of the symbolic autocratic power by Louis XIV to the detriment of the economic and political independence of the aristocracy. In this context, A. de Tocqueville points at the forfeiture of the power of the French aristocracy and its influence and a simultaneous self-isolation of the group, which he defines as a „caste with ideas, habits and barriers that they created in the nation.” Modern research, when revisiting the methods of the resarch on the aristocracy and when expanding the choice of sources, is still occupied with the problem defined in the beginning of the 19th century by A. de Tocqueville: The aristocracy lost its power and influence, and by the end of the 18th century also its economic basis for its dominance in French society. John Levron defines courtiers as functional mediators between the governor and society, calling them a „screen”.1 In turn, Ellery Schalk stated that in the time of Louis XIV the aristocracy was going through an elite identity crisis, when alongside the old aristocracy involved in military professions (noblesse d’épée), the governor allowed a new, so-called administrative aristocracy (noblesse de robe) to hold major positions and titles of honour. Along with the transformation of the traditional aristocratic hierarchy formed in the early Middle Ages, which John Lough described as an anachronism already back in the 17th century, also the status of governor and its symbolic place in the aristocratic hierarchy changed. It shall be noted that it is the question of a governor’s role in the political culture of absolutism by which the ideas of many researches can be distinguished. Norbert Elias thinks that an absolute monarch was a head of a family, which included the whole state and thereby turned into a governor’s „household”. Timothy Blanning, on the other hand, thinks that the court culture of Louis XIV was the expression of the governor’s insecurity and fears. This is a view which the researcher seems to derive from the traumatic experience of the Fronde (the aristocrats’ uprising against the mother of Louis XIV, regent Anna of Austria), which the culturologist K. Hofmane interpreted from a psychoanalytical point of view and defined Louis XIV as a conqueror of chaos and a despotic governor. In the wide spectrum of opinions, it is not the governor’s political principles which are postulated as a unifying element, but scenarios of the representation of power, their aims and various tools that are combined in the concept of court culture. N. Elias names symbolic activities in the court etiquette as the manifestation of power relations, whereas M. Yampolsky identifies a symbolic withdrawal of a governor’s body from the „circulation in society”, when a governor starts to represent himself, thereby alienating himself from society. George Gooch in this way reprimanded Louis XV as he thought this development would deprive the royal representation from the sacred. In turn, Jonathan Dewald in his famous work „European Aristocracy” noted that Louis XIV was not the first to use the phenomenon of the court for securing the personal authority of a governor, and refers to the courts during the late period of the Italian Renaissance as predecessors of French court culture. What role did the monarch’s closest „viewers” – the courtiers – play in this? K. Hofmane by means of comparison with the ancient Greek mythical monster Gorgon comes to conclusion that the court had to provide prey for the Gorgon (the king), who is both scared and fascinated by the terrific sight (of power and glory). The perception of the court as a collective observer implies the presence of the observed and worshiped object, the king. The public life of Louis XIV, which was subjected to the complicated etiquette, provided for the hierarchical access to the king’s public body. Let’s remember the „Memoirs” of Duc de Saint-Simon that gives a detailed description of the symbolic privileges granted to the courtiers, which along the material gifts (pensions, concessions and land plots) were tools for the formation of the identity and the status of a new aristocrat/courtier – along with the right to touch the king’s belongings, his attire, etc. The basis for securing the structure of the court’s hierarchy was provided by the governor’s body along the lines mentioned above, which according to the understanding of representation by M. Yampolsky was withdrawn from society and placed within the borders of the ensemble of the Versailles palace. There, by means of several tools, including dramatic works of art, the governor’s body was separated from its symbolic content and hidden behind the algorithms of ritualized activities. Blanning also speaks about a practice of hiding from the surrounding environment, thereby defining court culture as a hiding-place that a governor created around himself. It was possible to look at a governor and thereby be observed by him not only on particular festivals, when a governor was available mostly for court society, but also in different works of visual art, for example, on triumphal archs, in engravings, or during horse-racings.
27
Wang, Zhiyi. "Leonardo Da Vinci: The Art of Anatomy in The Renaissance." Journal of Education, Humanities and Social Sciences 28 (April 1, 2024): 598–602. http://dx.doi.org/10.54097/wmb7hd23.
Повний текст джерелаАнотація:
The contention of a hundred schools of thought during a cultural movement which characterised the Italian and European life from the 14th to the 17th century. During this period, artists represented by Da Vinci also conducted wonderful research in various scientific fields, among which anatomy was the most typical. The subject of this article is the achievements of Renaissance artists in the field of anatomy, exploring the beauty of combining art and science. As one of the "Three Masters of the Renaissance", Leonardo Da Vinci has made great achievements in anatomy, and has disclosed these secrets about the human body to the public with works of great artistic value. This article sorts out the events related to anatomy by making a comparative analysis of his representative works of art and other anatomy-related works of other artists in the same period, so as to fully understand the interdependent relationship between art and anatomy in the Renaissance.
28
Портнова, Ирина. "Russian Animalier Art in the XVIII- XIX Centuries in the Context of European Schools: The Origins and Nature of Development." Space and Culture, India 9, no. 1 (June 24, 2021): 50–65. http://dx.doi.org/10.20896/saci.v9i1.1135.
Повний текст джерелаАнотація:
This study delves into the process of development of Russian animal art of the 18th-19th Centuries. The primary purpose of the research was to make a review of these two historical periods, which determined the typical features of the early and mature periods of development of animal art in Russia—the time of the birth and development of the genre. According to the author, genre issues are important, and talking about it is necessary to define the image of the animalistic nature in all its specificity. In addition, it is noted that researchers do not characterise the stage of early Animalism, which first appeared in the 18th Century, sufficiently. Nevertheless, this genre has demonstrated all the love of artists for the real perception of the natural world and their sincere will to create its truthful and reliable reflection in their works. This tendency is typical for Western European Art. At the same time, it has been explicitly expressed in the works of Russian animal artists. Compared with European Animal Art of the 17th-18th Centuries, Russian ‘Kunstkammer drawing’ and how the class of ‘animal and birds’ was organised looked like a real innovation. These two factors have contributed to the creation of a full-fledged animalistic image. The author underlines that the main principle of imitation of nature was at the basis of teaching in the Russian school. It eventually led to the formation of the genre with its complex, distinctive features. These unique features was observed in the animal art of the 19th Century, mainly in the form of hippique images.
Nevertheless, there was an attempt to combine two separated historical periods— the 18th and 19th Centuries, which demonstrated different images, approaches (animal naturalia of the 18th Century and horse characters of the 19th Century). The author, here, tends to talk about Russian Animalism of the 19th Century, one of the most explored ones. Doing so underlines the importance of animal art of the two periods as a historically conditioned cultural phenomenon in the relationship between genres of Fine Art and trends of the time. The historical and artistic method made it possible to identify the connection between these two eras in which Animalism was expressed significantly. Its originality is that it combined two diverse eras into one national whole.
Submitted: December 20, 2020; Revised: 12 February 2021; Accepted: 8 April 2021
29
Iacob, Anisia. "Lipsius’ De constantia, 17th Century Still Life Painting and the Use of Constancy Today." Studia Universitatis Babeș-Bolyai Philosophia 65, Special Issue (November 20, 2020): 35–53. http://dx.doi.org/10.24193/subbphil.2020.spiss.03.
Повний текст джерелаАнотація:
"Lipsius’ De constantia, 17th Century Still Life Painting and the Use of Constancy Today. The present article revisits the main ideas from Justus Lipsius’ De constantia in the light of the present ongoing pandemic. Through his interest for the Stoics, Lipsius was able to contribute to a more general and European interest towards this topic, reviving the Stoic philosophy under the name of Neostoicism. The influence of his ideas can be seen in some art production, especially the one that is connected to the places where Lipsius lived and it is a testimony to their popularity and the various ways of transmitting them. Even if the Stoic ideal remains an ideal, the Neostoicism of Justus Lipsius is meaningful in as much as any philosophy that deals with crises because it can help us view the text from both its relevancy and our recent general experience. The isolation, the anxiety, the uneasiness and fear are emotions that have been more or less present in our lives during this pandemic and they require a solution. Constancy is the solution that Justus Lipsius proposes. Keywords: Justus Lipsius, Neostoicism, Still Life Painting, Pandemic, Moral Philosophy, Crisis Philosophy."
30
VАRENTSOVA, Larisa Yu. "PALACE AGRICULTURE IN RUSSIA IN THE 17TH CENTURY." Tyumen State University Herald. Humanities Research. Humanitates 6, no. 3 (2020): 118–36. http://dx.doi.org/10.21684/2411-197x-2020-6-3-118-136.
Повний текст джерелаАнотація:
Throughout the 17th century, the Palace economy developed dynamically in the Royal fiefdoms, which by the middle — the second half of the 17th century were characterized by high profitability. The Palace lands provided the Romanov House with everything it needed. The components of the Palace economy included agriculture, fishing grounds, and manufacturing facilities. At the same time, the Royal manufactories were not numerous, the fishing grounds were not in all the sovereign’s fiefdoms, only agriculture dominated everywhere. The relevance of this work lies in studying the historical experience of socio-economic and political development of the Russian state in the 17th century. The purpose of the article is to consider Palace agriculture in Russia in the 17th century. The methodological basis of the study relies on the principles of historicism and scientific objectivity. The author has used the works by russian pre-revolutionary historians V. N. Tatishchev, S. M. Solovyov, and M. Baranovsky, as well as the works of researchers of the soviet and post-soviet periods S. I. Volkov, V. I. Buganov, V. A. Korostelev, and A. V. Topychkanov. The novelty of the research consists in the introduction of new historical sources into scientific circulation. The source database consists of the unpublished office documents from the Armory chamber fund 396, the Palace department fund 1239 of the Russian State Archive of Ancient Acts (RGADA, Moscow), as well as from the rare handwritten and old-printed books fund of the Moscow state United art historical, architectural and natural landscape museum-reserve. Among the published sources, we can distinguish a group of office documents. These are census, parish, and expense books of orders of Secret Affairs and the Grand Palace. In addition, the author has used the historical and geographical materials of the 17th — early 18th century from the books of the Discharge Order and the memoirs by the german traveler A. Oleary. The results show the place of Palace agriculture in the economy of the Tsar’s domain in Russia in the 17th century. The author has identified the main directions in the development of agriculture on the territory of the Palace fiefdoms. Having studied the attempt to modernize the Palace agriculture during the reign of Tsar Alexei Mikhailovich and to use the best european experience, this research highlights the significance of the Secret Affairs Order, which was in charge of many agricultural objects in the second half of the 17th century; their geographical coordinates are indicated. The author reveals the main features of the development of Palace grain farming, horticulture, animal husbandry, poultry farming, and beekeeping. The examples of farming in some Tsar’s villages of the Moscow Region showcase the ways of providing labor for the main objects of agriculture in the Tsar’s domain. The agricultural products from the Royal fiefdoms were intended for the Royal family. To a lesser extent, they were sent for sale on the domestic market. Different Royal fiefdoms specialized in particular fields. Namely, Izmailovo, Chashnikovo, Alekseevskoye, Stepanovskoye, Ekaterininskaya Grove, and Yermolino Palace villages near Moscow supplied rye, oats, wheat, hops, flax, and hemp. Grape, fruit, and mulberry orchards were bred in Chuguev, Astrakhan, Bryansk, and the Moscow Region. Russian and German specialists were involved in their service. The Palace villages Pachino, Alekseevskoe, Stepanovski, Ermolino, situated near Moscow, and the villages Lyskovo and Murashkino near Nizhny Novgorod were the centres of the Palace livestock. Tsar’s apiaryies were in Karpovka, Volnovsky, Kharkiv, Chuguyev, Olesinska, and Hotnichescom counties. Palace agriculture was served using the forced labor of palace peasants and posadsky people, soldiers, archers, while only small amounts of hired labor were involved.
31
Будрина, Л. А. "European iconography of Ural’s relief icons." Iskusstvo Evrazii [The Art of Eurasia], no. 1(32) (March 30, 2024): 96–111. http://dx.doi.org/10.46748/arteuras.2024.01.007.
Повний текст джерелаАнотація:
Рельефные иконы (и, несколько позднее, пейзажи) — особый тип камнерезной продукции, чрезвычайно популярной в среде уральских камнерезов XIX века. Их технология была достаточно подробно описана и проанализирована ранее, в том числе в целом ряде публикаций автора, однако по-прежнему актуальным остается вопрос истоков подобного рода произведений и использованной иконографии. Настоящая статья посвящена вновь выявленным источникам заимствований из европейского искусства, что позволяет провести параллели со схожими по типу произведениями западноевропейских мастеров. Также статья вводит в научный оборот идентификацию источников иконографических схем и деталей композиций, что дает возможность использовать их для атрибуции уральских произведений, уточнить и аргументировать их датировку. Так, к ранее установленному и опубликованному автором факту обращения создателей рельефных икон к немецким гравюрам второй половины XIX века добавляется выявленное заимствование из разнообразных западноевропейских источников XVII–XVIII столетий. Эти данные позволяют существенно расширить границы датировок для ряда произведений, а также уточняют круг памятников, знакомых камнерезам и используемых уральскими мастерами. Новые сведения включают региональное искусство Урала в общий для европейского декоративного искусства XIX века процесс переосмысления наследия предшествующих эпох, аргументируя актуальный тезис о необходимости рассмотрения уральской художественной промышленности как части европейской художественной культуры указанного столетия. Relief icons (later also landscapes) are the peculiarity of the stone cutting production, very popular in the Ural stone cutting artists of the 19th century. The technology of this kind of production was described and analysed previously, especially in some publications of the author. However, the question about the sources of this type of production and about the used iconography still actual. The present article is dedicated to the new discovered sources of inspiration in the European art, what open the studies of the parallels between Ural’s works and the similar kind of objects by the west-European artists. Also, the article proposes the identification of some sources of the iconographic details and composition, what permit the attribution of Ural’s works, precise and argument the dating. In the fact, to the previously discovered and published by the author information about the use by the creators of the relief icons of the German engraving of the second half of the 19th century, article adds newly discovered information about the use of the different west-European sources of the 17th–18th centuries. This information permits us to enlarge the dating for some pieces, and to precise the circle of the sources, knot weed and used by the local artists. New data permit us to include the regional Ural art to the common for the European decorative art of the 19th century process of the rethinking of the heritage of the pastime, argument the actual thesis about the analyses of the Ural artistic industry as a part of the European culture of the 19th century.
32
Agratina, Elena E. "THE EMERGENCE OF ART CRITICISM IN FRANCE IN THE SECOND HALF OF THE 17TH AND THE FIRST HALF OF THE 18TH CENTURY." RSUH/RGGU Bulletin. Series Philosophy. Social Studies. Art Studies, no. 3 (2022): 146–64. http://dx.doi.org/10.28995/2073-6401-2022-3-146-164.
Повний текст джерелаАнотація:
The topic of the emergence of art criticism in France in the second half of the 17th and the first half of the 18th century, being rather widely covered in foreign academic literature, is still underdeveloped in Russian art history. Nevertheless, that issue is extremely important for understanding the processes that took place in the French and more widely in the European artistic milieu. The article aims to highlight the process of the criticism formation not only as a literary genre but primarily as a phenomenon of cultural life. Based on original written sources and foreign academic literature, the author traces how the appearance of fine art in the light of publicity was prepared in the Parisian artistic milieu. The author addresses the important questions that arose during the formative and legitimizing phase of criticism, such as its distinction from pre-existing art theory, as well as the distinction between the critic and the theorist or fine art historian. The artwork must now satisfy not only the master and the customer and a small circle of connoisseurs, society also becomes an active participant in artistic life, and the viewer enshrines the right to judge the art. The author shows how criticism is gradually becoming more diverse and polyphonic. Works written on behalf of a wide variety of characters are appearing, writers are adapting various literary genres that already exist: epistolary, diary, plays, poems, dialogues. For many years, criticism becomes an active channel of communication linking all participants in artistic life.
33
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.
34
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.
35
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.
36
Kouretsis, Alexandros, Iraklis Varlamis, Laida Limniati, Minas Pergantis, and Andreas Giannakoulopoulos. "Mapping Art to a Knowledge Graph: Using Data for Exploring the Relations among Visual Objects in Renaissance Art." Future Internet 14, no. 7 (July 3, 2022): 206. http://dx.doi.org/10.3390/fi14070206.
Повний текст джерелаАнотація:
Graph-like structures, which are increasingly popular in data representation, stand out since they enable the integration of information from multiple sources. At the same time, clustering algorithms applied on graphs allow for group entities based on similar characteristics, and discover statistically important information. This paper aims to explore the associations between the visual objects of the Renaissance in the Europeana database, based on the results of topic modeling and analysis. For this purpose, we employ Europeana’s Search and Report API to investigate the relations between the visual objects from this era, spanning from the 14th to the 17th century, and to create clusters of similar art objects. This approach will lead in transforming a cultural heritage database with semantic technologies into a dynamic digital knowledge representation graph that will relate art objects and their attributes. Based on associations between metadata, we will conduct a statistic analysis utilizing the knowledge graph of Europeana and topic modeling analysis.
37
Flores Rosas, David Alberto. "Revelaciones de la divina proporción en La estigmatización de san Francisco de Asís, pintura del siglo XVII, atribuida a Baltasar de Echave Orio." Intervención 2, no. 24 (December 28, 2021): 303–50. http://dx.doi.org/10.30763/intervencion.257.v2n24.36.2021.
Повний текст джерелаАнотація:
En el análisis compositivo de la pintura La estigmatización de san Francisco de Asís, atribuida a Baltasar de Echave Orio, fue relevante el apoyo tecnológico de los rayos X. Los sorprendentes resultados, inéditos, revelaron la maestría del proceso creativo que conllevó la manufactura de esa obra de arte. Se demuestra que su belleza artística estuvo condicionada por la sección áurea y el meticuloso análisis compositivo de su creador; implicado en un problema de atribución, con este estudio se abre un nuevo panorama desde la conservación-restauración, que reconoce la audacia técnica de un artista culto, con formación europea y con acceso a los impresos del Viejo Continente difundidos en la Nueva España del siglo XVII. ______ X-ray technology provided relevant support in the compositional analysis of the painting, La estigmatización de san Francisco de Asís, attributed to Baltasar de Echave Orio. The unprecedented and amazing results revealed the creative mastery that crafted this work of art and proved that the artistic beauty of the piece (immersed in a problem of attribution) was conditioned by the golden section and its creator’s meticulous compositional analysis. From the conservation-restoration perspective this study opens a novel view that recognizes the technical audacity of a cultured, European-trained artist who had access to prints from the Old World that were disseminated across 17th Century in New Spain.
38
Susidko, Irina P. "Venice and Opera in the 18th Century." Problemy muzykal'noi nauki / Music Scholarship, no. 2 (2024): 55–68. http://dx.doi.org/10.56620/2782-3598.2024.2.055-068.
Повний текст джерелаАнотація:
The author of the article disputes the established opinion according to which the great tradition of 17th century Venetian opera lost its significance in the European musical theater a century later. Emphasis is made of the vanguard role of opera in Venice in the first half of the 18th century, which has been marked by a set of phenomena. They include: the birth of heroic opera, the base of which was the Teatro San Govanni Crisostomo; the stake on virtuoso singers made by the Teatro San Cassiano; the productions of comic intermezzi initiated by the Teatro Can Cassiano; and the creation of the genre of opera buffa with the participation of the great Venetian comic dramatist Carlo Goldoni. A number of reasons that stipulated the leading role of Venice in the history of the development of opera is highlighted. They are connected with the emergence of accessible music theaters, which became magnets for the general public and which provided for a flourishing of the art of the theater; with the creation of a specific artistic milieu that exerted an influence on the art of decoration. A considerable amount of contribution in the creation of the fertile ground for the development of opera in Venice was made by the theatrical element, which determined the ways of living of the city dwellers and the out-of-town visitors during the period of the carnival, as well as the Venetian academies, the walls of which held unfolding disputes about opera. The intensive development of Venetian opera in the 18th century was also enhanced by the preparation of singers who mastered the new style of vocal performance.
39
Hronová Šafářová, Lucie. "Compositional development of spaces related to the fortification of cities from the point of view of garden art and landscape architecture." Acta Universitatis Agriculturae et Silviculturae Mendelianae Brunensis 60, no. 8 (2012): 87–100. http://dx.doi.org/10.11118/actaun201260080087.
Повний текст джерелаАнотація:
The article deals with the specific urban and suburban spaces where landscape design and garden art were confronted with existing or later disappearing fortification system. It analyses structures related to the landscape architecture from the baroque and classical times to the era of the pseudohistorical style, from the end of the 17th century to the end of the 19th century, with special interest devoted to the less known historical forms of the 18th century and their development. Using detailed historical maps and plans, the research reveals elements of landscape architecture in smaller or larger scale of several types – gardens close to the city walls, tree plantings and gardens on the fortification bastions, gardens and promenade alleys under them on the glacis or private gardens on the surrounding grounds, that were still influenced by the existence of the fortification system.Two historically important Moravian cities were used here as an example – Brno and Olomouc, where main types of green spaces (near the walls on their both sides) and several possible ways of their development were followed and analysed, and specific types of compositional and spatial development were defined. These could be understood as basic ‘evolution types’ specific for central European cities in general, and can be found in variations in other cities and towns in this region.
40
Holakooei, Parviz, Abbas Abed-Esfahani, Samad Samanian, and Hesam Aslani. "A technological study on the 17th century raised gilded substrates in three royal palaces of Isfahan, Iran." Open Journal of Archaeometry 1, no. 1 (December 31, 2013): 21. http://dx.doi.org/10.4081/arc.2013.e21.
Повний текст джерелаАнотація:
The raised substrates of gilding decorations, called lāyachīnīī in Persian, were widely used throughout the Safavid period (1501-1736 AD) in Iran. This paper presents the first analytical data obtained from the lāyachīnīs of three seventeenth century royal Safavid buildings (ʿAlī- Qāpū, Chihil-Sutūn, and Hasht-Bihisht) in Isfahan, Iran, using energy dispersive X-ray spectroscopy, scanning electron microscope, Xray powder diffraction, and thin layer chromatography. According to the analytical data, different forms of calcium sulfate (dihydrate, β-hemihydrate, and anhydrite), the red iron oxides, and a proteinaceous binder (probably animal glue) are the main constituents of the raised lāyachīnī substrates. The results show that a dry mixture of the plaster of Paris and the red iron oxides are mixed with diluted animal glue to obtain a slurry to be applied in several layers, one top of the another, to achieve the raised substrates. This technique is similar to those European raised pastiglia substrates although the method of the preparation in the Persian technique is different from the European one.
41
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.
42
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.
43
Yu, Sukyung. "Production and Consumption of Coromandel Lacquer Screens in the 17th and 18th Centuries." Korean Journal of Art History 312 (December 31, 2021): 75–108. http://dx.doi.org/10.31065/kjah.312.202112.003.
Повний текст джерелаАнотація:
Coromandel lacquer screen is a Chinese folding screen made from the 17th century to 19th century in China. The screen is usually about 250cm high, 600cm width and consisting of twelve panels. Although these screens were made in China during the Qing dynasty, they received their name from India’s Coromandel coast, where they were transshipped to Europe in the late 17th and early 18th centuries by merchants of the English and Dutch East India companies. The Dutch traders carried these screens from Bantam in Java, and in early accounts they were frequently called Bantam screens as well as Coromandel screens. This paper examines Coromandel lacquer screen's art historical significance in the incising global interaction and consumer culture in the 17th and 18th centuries. It first discusses historical and cultural background of production in China which have been little known about. The primary sources focus on the record of <i>Xiu Shi lu</i>, the 16th century book about lacquer, and the inscriptions left on the screens. They will give information about when the screens were produced, what was the purpose of them, and the technique of decoratively incising lacquer and adding polychrome to the voids, called <i>kuan cai</i> in Chinese. The lacquer screen features a continuous scene run through all twelve panels, just like a hand-scroll painting with variety of colours. The prominent subjects for decoration are human figures, landscape and bird-and-flower. The narrative theme with human figures, such as Birthday Reception for General Guo Ziyi and the World of Immortals were shaped by literature or play. Also, the parallels between the lacquer screens and the paintings on the same theme are found. The scenes with Europeans are rare but bring various interpretations within the historical context of the time. The landscape themes, such as the Scenes of Lake Xihu and the Nine Bend in Mountain Wuyi, were depicted famous scenic spots in China. The composition and expression of the screens were probably inspired by landscape woodblock prints, it’s because the technique of lacquer screen and woodblock cutting are similar. Lastly, bird-and-flower theme has a long tradition of wishing longevity, happiness and peace in one’s life and produced in various medium. Thanks to the enormous progress in navigation and discovered sea roots in the 16th century, Dutch and England East India Companies imported quantities of Chinese lacquerworks in the 17th century. As Chinoiserie gain popularity all over Europe, Chinese objects were consumed in various ways. Imported Coromandel lacquer screens were incorporated into European interiors. They were cut into a number of panels, which mounted within wood paneling on walls and inserted into contemporary furniture. The lacquer screen also inspired European’s imitation of Asian lacquer known by a variety of names. This paper surveys Coromandel lacquer screen’s domestic production, exploding consumption and global conquest from the 17th century to 18th centuries, when the screen was explosively made. The lacquer screen is an active participant in cross-cultural interaction, not merely a passive commodity of china. Investigating the material culture of the lacquer screen, it was originally created in chinese domestic background concerned with social prestige, in Europe, consumed to show off exotic luxury and triggered a new stylistic changes in chinoiserie.
44
Burkovska, Liubov. "Ukrainian Icons Theotokos Mother of Mercy (New Iconographic Interpretation of Traditional Plot)." Folk art and ethnology, no. 3 (September 30, 2021): 50–57. http://dx.doi.org/10.15407/nte2021.03.050.
Повний текст джерелаАнотація:
Baroque trends, which have been extended in the Ukrainian religious art of the late 17th – early 18th centuries, contributed to the expansion of its thematic composition, stylistic changes and the emergence of new iconographic plots. The icons Theotokos Mother of Mercy, or the Cossack Intercession, as they are also called, are a clear example of the renewal of themes in Ukrainian religious art during the Baroque period. This iconographic version of the Intercession, apparently, is borrowed from Western European painting; it is correlated with the compositional type of the image of the Intercession of the Theotokos – Madonna della Misericordia – popular in Italian art. It is supposed, that the image of the Blessed Virgin, covering the parish with the mantle, has been inspired by the vision of the Cistercian monk, theologian and writer Caesar of Geisterbach, who describes it in his Dialogus Miraculorum (1221). Formation of the iconography Madonna della Misericordia in Western European art has started in the 13th century. The Virgin usually stands on the early images. The Christians staying under the protection of the Virgin Mary are depicted on their knees and in a much smaller scale. The icons Madonna della Misericordia have been often ordered by specific groups of believers, such as fraternities, professional guilds, monasteries and abbeys. The theme of the Intercession of Theotokos of the iconographic version Theotokos Mother of Mercy has taken a special place in the Ukrainian iconography of the Baroque period. The image of the Patroness, blessing and covering the faithful with her mantle, has attracted Ukrainian masters with the realism and majesty of the compositional plan. The popularity and rapid dissemination of this iconographic variety of the Intercession have been caused also by the fact that it presents individualized images of people from different layers of the that time society with special penetration. Contemplating the icons of the Intercession in the temples, the believers have seen obviously a powerful and merciful patroness in the image of the Mother of God. Ukrainian icons Theotokos Mother of Mercy of the 17th – early 18th centuries are filled with the search for a new artistic expressiveness, reveal the nature of the transition period and the peculiarities of the process of formation of a new stylistic system of sacred painting.
45
Puganova, Ekaterina L. "The Russian Tradition of Publishing Illuminated Bibles." Observatory of Culture 20, no. 5 (November 2, 2023): 498–508. http://dx.doi.org/10.25281/2072-3156-2023-20-5-498-508.
Повний текст джерелаАнотація:
The article is devoted to the tradition of publishing engraved biblical albums in Russia (17th — early 20th centuries), made by Russian engravers after the prototypes of European engravings or after author’s drawings by graduates of the Russian Academy of Arts. Illustrated collections on the subjects of the Holy Scriptures of the Old and New Testament based on drawings by Russian artists — A.E. Egorov, A.A. Agin, M.N. Koshelevskaya, V.S. Kryukov, V.D. Fartusov — are considered. The source material for the work were copies from large collections of graphic art: the isofond of the Russian State Library, the Museum of Christian Art “Church-Archaeological Study” of the Moscow Theological Academy and the Sergiev Posad State Historical and Art Museum-Reserve, which are first introduced by the author into the scientific turnover.At present, Western European illustrated Bibles are widely studied by specialists in various fields of scientific knowledge as a large-scale phenomenon of book culture. The ways of penetration and distribution of foreign editions in the Moscow state are studied; the search, accounting and description of copies in domestic library collections are carried out; marginalia on the pages of albums and captions to images are investigated; techniques, biographies of masters, stylistics of works and methods of copying foreign samples in Russian artistic practice are studied. At the same time, the tradition of publishing Russian illuminated Bibles, created by analogy with foreign ones, remains poorly studied.Pre-revolutionary catalogues of Russian illustrated editions contain descriptions of Bible albums of the first half of the 19th century, while the vast array of illustrated printed matter of the second half of the century has not yet been systematised and catalogued.The purpose of this study is to partially fill this lacuna, to restore the chronology of the appearance of the first domestic folio Bibles, and to present an overview of lithographed editions of pictures of the Sacred History of the Old and New Testament of the second half of the 19th century.
46
Stopp, Marianne P. "Faceted Inuit-European contact in southern Labrador." Études/Inuit/Studies 39, no. 1 (April 1, 2016): 63–89. http://dx.doi.org/10.7202/1036078ar.
Повний текст джерелаАнотація:
Archaeological evidence from three sites excavated or tested between 2009 and 2013 is shown to be valuable for interpreting the diverse nature of the early Inuit-European contact zone in southern Labrador. Beginning in the late 17th century, French and then English archival records for the region describe relations with Inuit that were motivated by trade but that repeatedly devolved into violence. Indeed, if only the historical records were available we would learn little of the range of Inuit responses to colonialism other than its context of aggression. The archaeological data, in contrast, decolonize this history and point to a more nuanced contact landscape than suggested by the written records, with clues to varied cultural intersections, and Inuit resilience and persistence.
47
Seregina, A. Yu. "“Composure” and “wild fury”: Religious debates in the 17th-century English Catholic community." Shagi / Steps 9, no. 4 (2023): 50–69. http://dx.doi.org/10.22394/2412-9410-2023-9-4-50-69.
Повний текст джерелаАнотація:
Early Modern European culture abounded in various forms of public controversies. These included university debates, literary dialogues, printed polemical works, etc. The Reformation and the resulting confessional conflicts added numerous religious disputations. Religious disputations were closely linked to conversions to the ‘true faith’ and could be addressed to either national audiences or to relatively small groups. How were these ‘private disputations’ perceived and described by those who witnessed such events? In the 16th–17th centuries the European audience was well versed in the arguments of both Catholic and Protestant theologians. What, then, could be considered a victory when almost every argument of the disputants was predictable? The article presents an analysis of a disputation narrative — the story of the debates between an Anglican divine, William Chillingworth, and a Jesuit, Thomas Holland, which were held in 1634 at the house of Elizabeth Cary, Viscountess Falkland. The disputation was organized to help persuade the daughters of Lady Falkland, newly converted Catholics and future nuns Anne, Lucy, Elizabeth and Mary Cary, who experienced a religious crisis. The disputation narrative was part of the biography of Lady Falkland written by her daughters. The story was closely connected to the narrative of the conversion of the mother and the daughters to Catholicism. The process was presented as an “intellectual conversion” through rational arguments. However, the story of the disputation focuses not on the arguments but on the behavior of all the participants, and on their emotions. This is a reflection of the views of the 17th-century polemicists regarding the role of emotions and passions in the process of religious conversion and the search for truth.
48
Ильин, Андрей, and Andrey Ilin. "The constitutional startup of Russia in the global constitutionalization context." Comparative Research In Law and Politics 1, no. 2 (November 1, 2013): 108–12. http://dx.doi.org/10.12737/1933.
Повний текст джерелаАнотація:
The process of the global constitutianalization has been
started by the European civilization (English constitutional acts of
the second half of the 17th century). Maturation of the constitutionalism
is a part of the social development during the industrial period.
The constitution in its classical form should be free of any social
estates influence and political inequality. The constitutianalization
of Europe in the rough was completed by the end of the 20th century.
Russia became a nominal constitution as one of the last great European
powers. To make an objective analysis, we should compare
Russia with equal intercontinental countries: the European Powers
with their colonies. All of these states never had an all-national
constitutional act. Thus the Russian “Fundamental laws” from
the 23th of April 1906 were at the level of the most big countries
having a European metropolis, moreover they surpassed them,
because the written fundamental law was an empire-wide act,
however, their proper constitutional provisions did not apply to all
the patrials. The constitutional component of the Russian fundamental
law corresponded the baseline of European constitutionalism
of the turn of the 19th–20th centuries: a dualistic monarchy.
49
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.
50
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.