scholarly journals A Preliminary Study of a Nineteenth-Century Persian Manuscript on Porcelain Manufacture in the Sipahsalar Library, Tehran

2018 ◽  
Vol 35 (1) ◽  
pp. 293-299 ◽  
Author(s):  
Mehran Matin ◽  
Moujan Matin
Keyword(s):  
Nineteenth Century ◽  
Modern Technology ◽  
Porcelain Factory ◽  
Art And Technology ◽  
Porcelain Production ◽  
History Of Art ◽  
History Of ◽  
Preliminary Study ◽  
Qajar Period ◽  
Porcelain Manufacture

Abstract The Risāla dar tafṣīl-i sākhtan-i chīnī (A Treatise on Porcelain Manufacture) is a Qajar-period manuscript in Persian, housed at the Sipahsalar Library in Tehran. It is the only known source that details the modern technology of porcelain production in the Qajar era (1789–1925). According to the information in the colophon, the scribe, Masih ibn Muhammad Baqir al-Firuzabadi, completed the manuscript in the year 1284 (1868). The text mentions that it is the translation of a French work, but no further reference to the original book is given. The purpose of this essay is to introduce and review the Persian manuscript, to reveal its relation to the three-volume Traité des arts céramiques ou des poteries (Treatise on Ceramic Arts or Potteries) by Alexandre Brongniart, a nineteenth-century scientist and director of the Sèvres Porcelain Factory, and to underline its importance to the history of art and technology in Qajar Iran.

Architectural Innovation in Early Byzantine Cyprus

2014 ◽  
Vol 57 ◽  
pp. 1-29
Author(s):  
Charles Anthony Stewart
Keyword(s):  
Nineteenth Century ◽  
Byzantine Empire ◽  
Archaeological Research ◽  
Documentary Evidence ◽  
Medieval Architecture ◽  
Textual Evidence ◽  
History Of Art ◽  
Architectural Innovation ◽  
History Of ◽  
Pointed Arch

The monuments of the Byzantine Empire stand as a testimony to architectural ingenuity. The history and development of such ingenuity, however, may often be difficult to trace, since this requires investigating ruins, peeling away centuries of renovations, and searching for new documentary evidence. Nevertheless, identifying the origins of specific innovations can be crucial to an understanding of how they later came to be used. In fact, ‘creative “firsts” are often used to explain important steps in the history of art’, as Edson Armi noted, adding that ‘in the history of medieval architecture, the pointed arch [and] the flying buttress have receive this kind of landmark status’.Since the nineteenth century, scholars have observed both flying buttresses and pointed arches on Byzantine monuments. Such features were difficult to date without textual evidence, and so they were often assumed to reflect the influence of the subsequent Gothic period. Archaeological research in Cyprus carried out between 1950 and 1974, however, had the potential to overturn this assumption.

scholarly journals The E.A.T. Datascape: An Experiment in Digital Social History of Art

2019 ◽  
pp. 110-137
Author(s):  
Christophe Leclercq ◽  
Paul Girard ◽  
Daniele Guido
Keyword(s):  
Social History ◽  
Art History ◽  
Digital Design ◽  
Art World ◽  
Robert Rauschenberg ◽  
Art And Technology ◽  
The Social ◽  
History Of Art ◽  
History Of ◽  
Interdisciplinary Projects

Experiments in Art and Technology (E.A.T.) is an organization co-founded in 1966 by artists Robert Rauschenberg and Robert Whitman, and engineers Billy Klüver and Fred Waldhauer, in order to support collaboration between artists and engineers. The E.A.T. datascape is a digital instrument for analyzing the digitized traces left by its members via many available resources. Its aim is to study as closely as possible the complexity of collaborative interdisciplinary works. The E.A.T. datascape methodology makes it possible, by means of an anthropological action-centred approach, to go beyond the distinction between art history and art sociology and to renew the social history of art by challenging the notion of authorship and by describing the work as constituted by the intersection between heterogeneous trajectories, rather than an object within a context that would influence it, or constitute its environment. In other words, it allows us to reflect on what digital design does, in turn, to the social history of art, and to put forward hypotheses about what a digital social history of art might be or could offer to the study of complex, interdisciplinary projects that are multiplying in the contemporary art world.

Land-Grant Hybrids: From Art and Technology to SEAD

Leonardo ◽  
2019 ◽  
Vol 52 (3) ◽  
pp. 261-270 ◽  
Author(s):  
Kari Zacharias ◽  
Matthew Wisnioski
Keyword(s):  
Public Engagement ◽  
Ethnographic Study ◽  
Land Grant ◽  
Institutional History ◽  
Land Grant Universities ◽  
Art And Technology ◽  
History Of Art ◽  
History Of ◽  
Matters Of Concern ◽  
Current Practices

The authors explore the role that public and land-grant universities play in sciences, engineering, arts and design (SEAD). They combine a networked institutional history of art and technology collaborations with an ethnographic study of SEAD initiatives. They use the notion of land-grant hybrids to describe widespread entanglements between research, teaching and public engagement. Their study identifies three “matters of concern” that aid in rethinking the origins, current practices and possible futures of SEAD: disparities in sponsored collaboration, the need for hybrid practitioners to demonstrate measurable impact and the ambiguities of what counts as appropriate art and reputable research.

The Grass is Greener: Władysław Hasior in an Ecocritical Perspective

2021 ◽  
pp. 155-171
Author(s):  
Karolina Kolenda
Keyword(s):  
Environmental History ◽  
Art History ◽  
Land Art ◽  
Ecological Art ◽  
Research Perspectives ◽  
History Of Art ◽  
Local Tradition ◽  
History Of ◽  
Preliminary Study ◽  
The Relationship

The text offers an analysis of selected works by Władysław Hasior from an ecocritical perspective. The focus is placed on Hasior’s best-known work, The Organ, as well as on several parts of his Photo Notebook. The analysis seeks to demonstrate that an application of an ecocritical perspective to the reading of Hasior’s work may help fill in the blanks in the environmental history of art in Poland. Several recent publications and exhibitions that concern the relationship between art and nature focus on uncovering the “prehistory” of ecological art in Poland or the local tradition of Land Art. The text is meant as a preliminary study of possible research perspectives that the proposed reading may open up, as well as a consideration of whether ecocriticism could serve as an opportunity to bring the tenets of horizontal art history into the practice of rereading the work of Polish artists and their relationship with the landscape.

Novel Anxieties

2020 ◽  
Vol 40 (2) ◽  
pp. 387-400
Author(s):  
Beyza Lorenz
Keyword(s):  
Nineteenth Century ◽  
Postcolonial Theory ◽  
New Technologies ◽  
Life Experiences ◽  
Modern Technology ◽  
Late Nineteenth Century ◽  
New Order ◽  
Time And Space ◽  
Time Space ◽  
History Of

Abstract Building on recent scholarship on postcolonial theory and the history of the modern Middle East, this article analyzes the viewpoints of late nineteenth-century Ottoman novelists on the modernization projects of the Tanzimat and post-Tanzimat periods. It argues that the Ottoman novelists Ahmet Midhat, Fatma Aliye, and Recaizade Mahmut Ekrem developed a counter-discourse against rapid modernization projects in Istanbul. Through a depiction of everyday life experiences related to the latest inventions of modern technology, Ottoman novelists thematize individual anxieties on a range of topics, which included a criticism of productivity, changing gender roles for men and women, and the new order of time and space. Keeping in mind that drastic changes in technology introduced distinctive modes of experiencing time and space in the nineteenth century, this article suggests that criticism by Ottoman intellectuals can be better understood within the context of the reaction to shifting time-space schemes and the proliferation of new technologies across the globe.

scholarly journals German history of art of 19th century and problems of Armenian Medieval heritage

2017 ◽  
pp. 147-150
Author(s):  
A. A. Arutynyan ◽  
Keyword(s):  
Nineteenth Century ◽  
Classical Tradition ◽  
19Th Century ◽  
German History ◽  
Medieval Art ◽  
National School ◽  
History Of Art ◽  
Art And Culture ◽  
History Of

The science of art in Germany is based on the classical tradition, associated with a focus on ancient heritage, and a romantic perception of Gothic as a manifestation of the national school. In the mid-nineteenth century the first General history of art appeared, which, along with the national art and culture examined regional schools. Armenian medieval art is systematized and concisely described in the work of Kugler, in Schnaase’s book analysis becomes more comprehensive, detailed and consistent.

scholarly journals From specimens, curiosities and illustrations to representatives of the history of art

1970 ◽  
pp. 55
Author(s):  
Britta Tøndborg
Keyword(s):  
Nineteenth Century ◽  
Eighteenth Century ◽  
Fine Art ◽  
Historical Approach ◽  
History Of Art ◽  
History Of

-investigating the role of painting in the display context of the eighteenth century Copenhagen Kunstkammer.Paintings and fine art in general have always formed a part of the royal collections in Denmark, but they have not always been perceived in the same way or venerated for the same reasons. This is particularly true of the eighteenth century Kunstkammer where paintings formed an integral part of the encyclopaedic display in the first half of the century, only to be segregated gradually during the second half in order to be placed in the first of a series of specialized galleries of paintings. Two versions of the royal gallery of paintings were installed in the first decades of the nineteenth century; the latter was based on an art historical approach. Most of the paintings in the Kunstkammer survived the transformation from illustrations to fine art, whereas others where deemed unfit candidates for the great survey history of art. 

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