scholarly journals Megjegyzések az Ara Pacis Tellus-Panelje Központi Alakjának Azonosításához

2020 ◽  
Vol 64 (2) ◽  
pp. 149-167
Author(s):  
Magdus Tamás
Keyword(s):  
Recent Literature ◽  
Political History ◽  
Roman History ◽  
Work Of Art ◽  
History Of Religion ◽  
History Of Art ◽  
History Of ◽  
Ara Pacis ◽  
Excellent Source ◽  
Main Figure

Az ókori római művészettörténet egyik leggyakrabban vizsgált műalkotása az Ara Pacis Augustae. Az avatatlan szem egy kiválóan formált, részletes, domborművek sokaságát felvonultató, páratlan műalkotást lát, azonban a történettudomány és a különböző társtudományok ezen apró részletekből az Augustus-kor kiváló lenyomatát tudják nyújtani. Az Ara Pacis reliefj einek részletgazdagsága miatt mind a római politikatörténet, mind a vallás- és eszmetörténet kutatásának kiváló forrása. Jelen tanulmány elsődleges célja állást foglalni az ikonográfiai sajátosságok és a szakirodalom segítségével abban a kérdésben, hogy ki a panel főalakja.Ara Pacis Augustae is the most frequently studied work of art in the ancient Roman history of art. The uninitiated eye sees an exquisitely crafted, detailed, multitude of reliefs, a unique work of art, but history and different collaborative sciences can render an excellent imprint of Augustus era from these tiny details. Owing to the Ara Pacis’ chiselled reliefs, it is an excellent source for political history, history of religion, and ideology. The aim of this study is to take sides in the question of who is the main figure of the panel by dint of the iconographic features and recent literature.

Conditions of Visibility

2019 ◽  
Keyword(s):  
Art History ◽  
Visual Art ◽  
Fundamental Question ◽  
Ancient World ◽  
Work Of Art ◽  
History Of Art ◽  
Shared Objects ◽  
History Of ◽  
Modern Prejudice ◽  
Historical Past

We often assume that works of visual art are meant to be seen. Yet that assumption may be a modern prejudice. The ancient world - from China to Greece, Rome to Mexico - provides many examples of statues, paintings, and other images that were not intended to be visible. Instead of being displayed, they were hidden, buried, or otherwise obscured. In this third volume in the Visual Conversations in Art & Archaeology series, leading scholars working at the intersection of archaeology and the history of art address the fundamental question of art's visibility. What conditions must be met, what has to be in place, for a work of art to be seen at all? The answer is both historical and methodological; it concerns ancient societies and modern disciplines, and encompasses material circumstances, perceptual capacities, technologies of visualization, protocols of classification, and a great deal more. The emerging field of archaeological art history is uniquely suited to address such questions. Intrinsically comparative, this approach cuts across traditional ethnic, religious, and chronological categories to confront the academic present with the historical past. The goal is to produce a new art history that is at once cosmopolitan in method and global in scope, and in doing so establish new ways of seeing - new conditions of visibility - for shared objects of study.

Epilogue

2021 ◽  
Author(s):  
Patricia Emison
Keyword(s):  
Sound Recording ◽  
Work Of Art ◽  
History Of Art ◽  
History Of ◽  
Changing Role

The span of this book is roughly that of directors who had started out in silent pictures reaching the end of their careers, including their transitions to color. The introduction of sound recording and color both transformed filmmaking, not least its cost. Misgivings were voiced early on about the moral effect of the new art, even as censorship was deplored. Mannerism as an art-historical concept was being developed to supplement that of Renaissance naturalism even as filmmakers were trying to reconcile the realism to which photography might seem suited with the artificiality it also enabled. Although studying the history of film inevitably dredges up evidence of racism, sexism, and other prejudices, the history of film, like the history of art, is too complex and has long been too deeply engrained in our cultural lives for historians to choose to be ignorant of once admired works we may now in part or thoroughly deplore, as well as minor yet elucidating works that may likewise be problematic, at least in part. The supposition that respect is the default response to any work of art underestimates the changing role of laughter and other forms of active disregard, particularly during the last century.

Collingwood’s Opposition to Biography

2012 ◽  
Vol 6 (1) ◽  
pp. 44-59 ◽  
Author(s):  
Vasso Kindi
Keyword(s):  
Subject Matter ◽  
Main Concern ◽  
Work Of Art ◽  
Artistic Creation ◽  
Positive View ◽  
History Of Art ◽  
History Of ◽  
The Subject ◽  
Portrait Painting ◽  
Entertainment Value

Abstract Biography is usually distinguished from history and, in comparison, looked down upon. R. G. Collingwood’s view of biography seems to fit this statement considering that he says it has only gossip-value and that “history it can never be”. His main concern is that biography exploits and arouses emotions which he excludes from the domain of history. In the paper I will try to show that one can salvage a more positive view of biography from within Collingwood’s work and claim that his explicit attacks against biography target specifically the sensationalist kind. First, I will show that Collingwood, in his later writings, allowed that, not only thought, but also relevant emotions can be the subject matter of history, which means that even if one takes biography to deal with emotions, it can still qualify as history. Second, I will argue, based mainly on Collingwood’s Principles of Art, that biography can be compared to portrait painting, in which case, it can be redeemed as a work of art and not just craft and, thus, have more than entertainment value. It can also be part of history, and more specifically part of the history of art which Collingwood endorses, if one takes the life of an individual, recounted by a biographer, to be an artistic creation, as Collingwood seems to suggest.

scholarly journals HUMBERTO RIVAS, DESDE LO ROMÁNTICO Y LO SINIESTRO. HUMBERTO RIVAS FROM THE ROMANTIC AND THE SINISTER.

2017 ◽  
Author(s):  
José Antonio Aristizábal
Keyword(s):  
20Th Century ◽  
Work Of Art ◽  
Photographic Image ◽  
History Of Art ◽  
Initial Hypothesis ◽  
History Of ◽  
Inner World ◽  
The Mind ◽  
Siglo Xx ◽  
Eugenio Trias

Palabras clave:Fotografía, estética, Humberto Rivas, Rafael Argullol, Eugenio Trías.Keywords: Photography, esthetic, Humberto Rivas, Rafael Argullol, Eugenio Trías.Resumen:El siguiente artículo busca dar una lectura a la obra del fotógrafo Humberto Rivas, Premio Nacional de Fotografía y unos de los mayores exponentes de la fotografía española de finales del siglo XX. Se parte de la convicción de que hace falta ubicar a Humberto Rivas en una tradición de pensamiento estético, ya que las distintas lecturas que existen sobre su trabajo, aunque importantes, no han  dejado de ser lecturas impresionistas que no han reflexionado en profundidad sobre su obra. Este artículo trata de ver a Rivas a partir de unas categorías estéticas. Para ello se remite a las reflexiones de Rafael Argullol para distinguir aquello propio del artista romántico, y a las aportaciones filosóficas de Eugenio Trías acerca de lo siniestro en la obra de arte, y las vincula a la obra de Humberto Rivas. La hipótesis inicial es de que Rivas no se sentía como un fotógrafo que atrapa momentos o documenta acontecimientos, sino como un creador, y su obra es resultado de un artista que se repliega sobre sí mismo con la intención de producir una imagen reflejo de su mundo interior, la cual se puede explicar desde la mente del artista romántico, aunque el contexto no sea el romanticismo. Por último, aunque el artículo hable sobre Humberto Rivas, también es una manera de construir un relato entre la imagen fotográfica y distintos valores estéticos que hacen parte la historia del arte. Abstract:The following article seeks to give a reading to the work of photographer Humberto Rivas, National Photography Prize and one of the greatest exponents of Spanish photography at the end of the 20th century. It is based on the conviction that it is necessary to locate Humberto Rivas in a translation of aesthetic thought, since the different readings that exist on his work, although important, have not ceased to be Impressionist readings that have not reflected in depth on his work . This article tries to see Rivas from some aesthetic categories. For this he refers to the reflections of Rafael Argullol to distinguish that of the romantic artist and the philosophical contributions of Eugenio Trías about the sinister in the work of art, and links them to the work of Humberto Rivas. The initial hypothesis is that Rivas did not feel like a photographer who catches moments or documents events, but as a creator, and his work is the result of an artist who recoils on himself with the intention of producing a reflex image of Its inner world, which can be explained, from the mind of the romantic artist although the context is not romanticism. Finally, although the article talks about Humberto Rivas, it is also a way to build a narrative between the photographic image and the values ​​that have served to interpret painting or sculpture in the history of art.

Bataille, Georges (1897–1962)

2018 ◽  
Author(s):  
Jonathan Maskit
Keyword(s):  
Human Life ◽  
Adult Life ◽  
History Of Religion ◽  
Wide Range ◽  
History Of Art ◽  
Limits Of Knowledge ◽  
History Of ◽  
Academic Philosophy ◽  
Formally Trained

Georges Bataille was born in Billom, France, raised in Reims, and spent much of his adult life in Paris. Never formally trained as a philosopher, he worked from 1922 to 1942 as a librarian at the Bibliothèque Nationale. In addition to his philosophical works, Bataille also wrote on the history of art as well as a number of critical works and novels. Owing to his position outside academic philosophy, Bataille was able to treat diverse topics in ways which might have been unacceptable otherwise. His work addresses the importance of sacrifice, eroticism and death, as well as the kinds of ‘expenditure’ evidenced by what he called the general economy. It draws on diverse sources (Hegel, Nietzsche, Marcel Mauss, anthropological research, and the history of religion, among others) and treats a wide range of topics: the role of art in human life, the practice of sacrifice in ancient and modern cultures, the role of death in our understanding of subjectivity, and the limits of knowledge.

The Disenchantment of the World: A Political History of Religion

1998 ◽  
Vol 77 (3) ◽  
pp. 131
Author(s):  
Francis Fukuyama ◽  
Marcel Gauchet
Keyword(s):  
Political History ◽  
History Of Religion ◽  
The World ◽  
History Of

scholarly journals MELACAK MAKNA KONSEP KERUPAAN PADA LAMBANG INSTANSI DI INDONESIA DENGAN SUMBER BENTUK MATAHARI

2020 ◽  
Vol 11 (2) ◽  
pp. 206-225
Author(s):  
Wisnu Adisukma
Keyword(s):  
Problem Solving ◽  
The Sun ◽  
Work Of Art ◽  
History Of Art ◽  
History Of ◽  
Contextual Meaning ◽  
Axis Mundi

The article tittled Melacak Makna Konsep Kerupaan Pada Lambang Instansi di Indonesia dengan Sumber Bentuk Matahari is intended to pursue the textual and contextual meaning of institution sign with basic shape of sun. With iconographic approach would be obtained deeper and broader meaning from a work of art. Through this approach, the artwork will be a major concern in reviewing the history of art, nevertheless still necessary to understand the contextual and symbolic aspects. As the results, sign with basic shape of sun is the cosmic center, cental, foundation point, origin, sangkan paran, or axis mundi. Therefore, it is as the sun that is the problem solving of many problematics in its era.

Roman history and the ideological vacuum

2006 ◽  
Author(s):  
T. P. Wiseman
Keyword(s):  
Political Philosophy ◽  
Twentieth Century ◽  
Roman Republic ◽  
Political History ◽  
Roman History ◽  
The Political ◽  
History Of ◽  
Concepts Of Democracy ◽  
The Many

For the twentieth century, the political history of Athens was essentially ideological, involving great issues of freedom and tyranny, while that of the Roman Republic was merely a struggle for power, with no significant ideological content. But why should that be? The Romans were perfectly familiar with the concepts and terminology of Greek political philosophy and used them to describe their own politics, as Cicero explains in writing in 56 bc. Not surprisingly. Greek authors who dealt with Roman politics used the concepts of democracy and oligarchy, the rule of the many or the rule of the best, without any sense that it was an inappropriate idiom.

George Roerich Annual International Meeting (Ancient and Medieval India and Central Asia Text and memory of Culture)

2019 ◽  
Vol 2 (1) ◽  
pp. 191-203
Author(s):  
E. V. Tyulina
Keyword(s):  
Central Asia ◽  
Textual Analysis ◽  
The Political ◽  
International Meeting ◽  
Language Philosophy ◽  
History Of Religion ◽  
Textual Tradition ◽  
History Of Art ◽  
History Of ◽  
Medieval India

Abstract: The article offers a review of the 58th George Roerich Annual International Meeting. The meeting was attended by 34 scholars from Russia and Ukraine who conduct their research in the fields, which did interest the late Yu.N. Roerich, such as Tibet, India and Central Asia. The talks were held on the subjects closely related to the political history, history of art, language philosophy and the history of religion. The scholars analyzed mostly unknown or very little texts, both ancient and medieval, written in Sanskrit, Pali, Tibetan, Nepalese, Chinese, Japanese and other languages. Along with the textual analysis they also offered results of their research in such areas as textual tradition, migration, as well as interpretation and translation into other languages.

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