scholarly journals The use of woody plants in Estonian and Livonian manor ensembles during the second half of the 17th century

2020 ◽  
Vol 72 (1) ◽  
pp. 75-90
Author(s):  
Sulev Nurme
Keyword(s):  
Woody Plants ◽  
Landscape Architecture ◽  
18Th Century ◽  
17Th Century ◽  
Spatial Design ◽  
Literary Sources ◽  
Spatial Composition ◽  
The Common ◽  
Map Analysis

AbstractNot much is known about the 17th-century Estonian and Livonian landscape architecture. Most of the information is based on the descriptions found in historical archival and literary sources and on some of the well-known engravings. According to these, a common idea of that era's landscape architecture is that it was humble in scale and design, and was similar to the practice of late-medieval times when there was no space or ambition to grow woody plants in small gardens of castles. But when diving into the Swedish manor plans dating back to the last decades of the 17th century, it can be noted that the layouts of manorial hearts are inherent to the spatial design of early baroque, which is characterized by a landscape that has strongly been redesigned and includes a decorative garden, kitchen garden and a park. This article focuses on the spatial composition of Estonian and Livonian manor parks of the second half of the 17th century and observes the role of trees and their use in these landscapes. This article is based on the results of a study about the planning of baroque manor hearts Understanding the Role of 18th Century Estonian Manor Ensembles in Contemporary Planning and Conservation (Eesti 18. sajandi mõisaansamblid 21. sajandi maastikuplaneerimises: avastamine, mõistmine, tõlgendamine) which was carried out by the author of this article. The map analysis results deal with the spatial structure of manor ensembles and the observations made during the analysis. The article examines the possible ways of using woody plants in 17th-century Estonian manors while looking at the manor ensemble as an architectonic of early baroque. Based on the research results it can be said that by the last decades of the 17th century the wealthiest manors had already built manor hearts with a modest but a clearly baroque style layout which is characterized by a regular and symmetrical ensemble core, a garden axially connected to the main building and avenues heading into the landscape. This type of approach enables to broaden the common conception of the era's garden and park architecture in the manor hearts of Estonia and Livonia. Based on what is highlighted in the article it can be said that the tradition and practice of garden art that has shaped the image of Estonian landscape had already been developed by the end of the 17th century.

scholarly journals The “Slavic-Russian Nation” in the Historical Literature of Ukraine and Russia from the 1600s to the mid-1700s

Slovene ◽  
2020 ◽  
Vol 9 (2) ◽  
pp. 417-447
Author(s):  
Petr S. Stefanovich
Keyword(s):  
18Th Century ◽  
17Th Century ◽  
The Political ◽  
Russian History ◽  
Slavonic Language ◽  
Imperial Identity ◽  
History Of ◽  
The Common ◽  
The Church ◽  
Century Literature

The article analyzes the history of the concept of a “Slavic-Russian nation”. The concept was first used by Zacharia Kopystenskij in 1624, but its wide occurrence starts in 1674, when Synopsis, the first printed history of Russia, was published in Kiev. In the book, “Slavic-Russian nation” refers to an ancient Slavic people, which preceded the “Russian nation” (“rossiyskiy narod”) of the time in which the book was written. Uniting “Slavs” and “Russians” (“rossy”) into one “Slavic-Russian nation”, the author of Synopsis followed the idea which was proposed but not specifically defined by M. Stryjkovskij in his Chronicle (1582) and, later, by the Kievan intellectuals of the 1620s–30s. The construction of Synopsis was to prove that “Russians” (“rossy”) were united by both the common Slavic origin and the Church Slavonic language used by the Orthodox Slavic peoples. According to Synopsis, they were also supposed to be united by the Muscovite tsar’s authority and the Orthodox religion. The whole conception made Synopsis very popular in Russia in the late 17th century and later. Earlier in the 17th-century literature of the Muscovite State, some authors also proposed ethno-genetic constructions based on Stryjkovskij’s Chronicle and other Renaissance historiography. Independently from the Kievan literature, the word “Slavic-Russian” was invented (first appearance in the Legend about Sloven and Rus, 1630s). Both the Kievan and Muscovite constructions of a mythical “Slavic-Russian nation” aimed at making an “imagined” ethno-cultural nation. They contributed to forming a new Russian imperial identity in the Petrine epoch. However, the concept of a “Slavic-Russian nation” was not in demand in the political discourse of the Petrine Empire. It was sporadically used in the historical works of the 18th century (largely due to the influence of Synopsis), but played no significant role in the proposed interpretations of Russian history.

scholarly journals Fest and revolt In Alboroto y Motín de Indios de México / Fiesta y revuelta en Alboroto y Motín de indios de México

2020 ◽  
pp. 44-56
Author(s):  
Leonor Taiano
Keyword(s):  
Common Good ◽  
New Spain ◽  
Active Role ◽  
17Th Century ◽  
Collective Consciousness ◽  
The Common Good ◽  
The Third ◽  
Starting Point ◽  
The Common

Este estudio examina la manera cómo Carlos de Sigüenza y Góngora describe el binomio fiesta-revuelta en Alboroto y motín de indios de México. La investigación está estructurada en cinco partes. La primera toma como punto de partida el concepto de polis y los órdenes que rigen el bien común. La segunda alude a la percepción del fasto desde las diferentes perspectivas de los miembros de la polis novohispana. La tercera parte analiza la importancia del letrado en la organización virreinal. En la cuarta parte se examina el papel activo de las indias en la organización y desarrollo de la revuelta. Finalmente, en la quinta parte, propongo la existencia de una conciencia colectiva plebeya en el virreinato de Nueva España. A través de este análisis se llega a conclusión de que el motín de 1692 presenta las características propias de las revueltas que tuvieron lugar en los territorios españoles a lo largo del siglo XVII, en los cuales, durante el momento festivo, surgía una acción contestataria que trataba de imponer la isonomía en la polis This research analyses how Carlos de Sigüenza and Góngora describes the dichotomy of festivity-revolt in Alboroto y motín de Indios de México. This study is structured in five parts. The first one takes as its starting point the concept of polis and the regulations for the common good. The second one alludes to the Spanish splendor produced in the different members of Novohispanic polis. The third part analyses the letrado’s function within the viceregal organization. The fourth part examines the active role of Female Indigenous in the revolt’s organization and development. Finally, in the fifth part, I propose the existence of a Plebeian collective consciousness within the viceroyalty of New Spain. Through this analysis, the study concludes that the revolt that took place In 1692 has all the characteristics of the revolts that happened in the Spanish territories throughout the 17th century, in which, during a celebratory event, there could arise insurrectionary actions to impose the isonomia in the polis.

From Research on the Literary Hermeneutics

2021 ◽  
pp. 9-84
Author(s):  
Anatoly S. Demin ◽  
Keyword(s):  
18Th Century ◽  
Literary Work ◽  
17Th Century ◽  
Foreign Affairs ◽  
16Th Century ◽  
Old Russian ◽  
Russian State ◽  
State Library ◽  
The Aesthetic

The research consists of the series of articles analyzing the pre- viously unexplored expressiveness, figurativeness, fantasy and sarcasticity of a number of Old Russian works. The first article reveals the expressiveness of the “Turkic” utterances of Afanasy Nikitin in The Journey Beyond Three Seas according to the list of the Russian State Archive of Ancient Acts (RSAAA), f. 181, no. 371 of the first quarter of the 16th century. The second article characterizes the distorted, fantastic earthly worlds depicted in the Tale of the Twelve Dreams of King Shahaisha according to the list of the Russian National Library (RNL), Kir.-Beloz., no. 22/1099 of the 1470s; in the Conversation of Three Saints according to the list of the Russian State Library (RSL), Troitsk., no. 778 of the beginning of the 16th century; in the collection of proverbs and sayings according to the list of the RSAAA, Ministry of Foreign Affairs, Moscow Main Archive (MMA), no. 250–455 of the late 17th century; in The Tale of Ersh Ershovich according to the list of Pushkin House, 1.27.105 of the late 17th — early 18th centuries; in the Bird Council according to the list of the RNL, 0.XVII.17 the mid-18th century; in the Medicine Book. How to Treat Foreigners according to the list of the RNL, Q.XVII.96, Peter’s time; in the Legend of a Luxurious Life and Fun according to the list of the RNL, 0.XVII.57 of the first quarter of the 18th cen- tury. The third article examines the aesthetic role of verses in the collections of the late 17th century: RSL, Tikhonravov, no. 233, 249, 380, 411, 499. The fourth article shows that some compilers of collections of the 17th century appreciated the visual arts of works, mostly very old (оn the example of collections of the RSL, Tikhonravov, no. 460, 384, 18, 340, 231). In two Appendices to the article are published the descriptions of the composition of the collection no. 231 and the text of the parable about the dispute of parts of the human body. In two Ap- pendices to the article, it is said about the everyday depiction of the collection of proverbs and sayings according to the list of the RSAAA, MMA, no. 250–455 of the late 17th century and on the expressiveness of articles in the miniature collection of the RSL, Bolshakov, no. 325. The fifth article points to the mocking meaning of proverbs and sayings about criminals in the same collection of the RSAAA, MMA, no. 250–455. Finally, the sixth article draws attention to the evolution of the literary work of Archpriest Avvakum from brief mentions of events to detailed stories about them (оn the material of Vita, petitions, Book of Interpretations, Book of Accusations, Write-off about the creation of man, The Lamentable Word about the death of noblewoman F. Morozova). We must warn you that the pictorial and expressive meaning of the examples and phrases quot- ed from the texts of the monuments is not thoroughly proved in this work, but is only stated. Otherwise, each example would require an independent essay on certain literary means, and the theme and composition of the work would be completely different.

Hebrew Bible Quotations in Arabic Transcription in Safavid Iran of the 11th/17th Century: Sayyed Aḥmad ʿAlavī’s Persian Refutations of Christianity

2013 ◽  
Vol 1 (1-2) ◽  
pp. 235-252
Author(s):  
Dennis Halft
Keyword(s):  
Hebrew Bible ◽  
17Th Century ◽  
The Bible ◽  
Arabic Characters ◽  
Literary Sources ◽  
Jewish Scriptures ◽  
The Common

In Muslim polemical writings on the Bible written in Arabic, scriptural quotations frequently appear in Arabic transcription of the original Hebrew. This phenomenon also occurs in the Persian refutations of Christianity by the 11th/17th-century Shīʿī scholar Sayyed Aḥmad ʿAlavī. The adduced biblical materials, however, vary significantly depending on the particular manuscript or recension. Nevertheless, they reflect the common repertoire of scriptural verses invoked by Muslim authors. In contrast to Henry Corbin, who argued on the basis of the Hebrew verses transcribed in Arabic characters that ʿAlavī was a Hebraist and directly acquainted with the Jewish Scriptures, it is suggested here that the Shīʿī scholar relied instead on lists of biblical “testimonies” to Muḥammad. Although ʿAlavī’s literary sources are as yet unknown due to a lack of research, there is evidence from the manuscripts dating from ʿAlavī’s lifetime that he copied the transcribed Bible quotations from earlier Muslim writings.

Giulio Mancini e la nascita della connoisseurship

2016 ◽  
Vol 79 (1) ◽  
pp. 63-71
Author(s):  
Stefano Pierguidi
Keyword(s):  
18Th Century ◽  
Art Market ◽  
17Th Century ◽  
Modern Approach ◽  
Works Of Art

Abstract The role of Giulio Mancini as the father of connoisseurship has been recently questioned on the grounds that Mancini never aimed to discuss the attributions of contemporary works of art. Generally the birth of modern connoisseurship, with figures such as the Richardson brothers, has been linked to the growing art market of the 18th century, and the most important 17th-century forerunners, such as Marco Boschini, acted as dealers as well: all these connoisseurs dealt with the attributions of paintings of the previous centuries. This paper explores the roots of connoisseurship in the topography work of Mancini, author of the first modern artistic guide to Rome. Mancini, studying the early Renaissance frescoes in Rome (Jacopo Ripanda, Pastura, Pinturicchio, Baldassarre Peruzzi), discussed Vasari’s biographies and suggested new attributions with a modern approach that clearly anticipates the method of later connoisseurs.

scholarly journals Jaspar de Isaac’s Engraving “Narcissus”: On the Sources of Konstantin Somov’s Early Art

2020 ◽  
Vol 17 (2) ◽  
pp. 164-172
Author(s):  
Anna E. Zavyalova
Keyword(s):  
18Th Century ◽  
Fine Arts ◽  
17Th Century ◽  
The State ◽  
Contextual Analysis ◽  
French Edition ◽  
State Museum ◽  
First Time ◽  
Artistic Heritage

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.

scholarly journals Mata Rantai Perdagangan Lada di Kalimantan Bagian Tenggara Pada Abad ke-17-18

2020 ◽  
Vol 5 (2) ◽  
pp. 113-120
Author(s):  
Endang Susilowati
Keyword(s):  
Rural Areas ◽  
18Th Century ◽  
17Th Century ◽  
East India Company ◽  
Dutch East India Company ◽  
Port City ◽  
Important Link ◽  
The Relationship

In the period of 17th  century up to 18th century, pepper was one of the important commodities of Southeastern Kalimantan. Pepper was produced by Dayak tribes in rural areas of Southeastern Kalimantan, transported through the rivers and traded in Banjarmasin, which was the most important port in the region.  Merchants from all around the globe visited Banjarmasin to trade for this commodity. This article aims to study the linkage of the pepper trade in Banjarmasin which involved pepper farmers in rural areas, Chinese and Banjar merchants as the middlemen, Sultan and court officials as the holders of privileges in pepper trade, and foreign traders (Chinese, Dutch, and the British) as the buyer of pepper in the port city of Banjarmasin. By discussing the role of each part of the link, the relationship between these parts can be seen clearly. The results of this study indicate that pepper farmers are the most disadvantaged party in this trade link, they hardly benefit from the growing trade of the pepper they produced. Meanwhile the middlemen, Sultan and court officials had enjoyed huge profits. The Sultan even used pepper as a political tool to gain the support of Dutch authorities (Dutch East-India Company) in dealing with their enemies. Another important link was the Chinese, Dutch and British merchants who competed for the pepper supplies. The Chinese traders who charged the pepper for a higher price had easier way to obtain the pepper supplies than the Dutch and British traders who were supported by their trading authorities.

Speaking with All Boldness

Abject Joy ◽  
2021 ◽  
pp. 90-129
Author(s):  
Ryan S. Schellenberg
Keyword(s):  
Prisoner Of War ◽  
Social Imagination ◽  
Roman World ◽  
Literary Sources ◽  
The Social ◽  
The Common

This chapter examines the complex role of prison in the social imagination of the Roman world by outlining four common tropes: the prisoner of war, the fallen aristocrat, the common malefactor, and the unvanquished herald of truth. Whereas most treatments of the ancient prison reproduce the elite perspective of their literary sources, this survey privileges evidence that attests to the experience of the non-elite. This provides a richly textured backdrop against which to read Paul’s suggestive yet curiously undeveloped self-depiction as a prisoner, and, in particular, his insistence that he will continue in all boldness (parrhēsia) despite his chains. With his non-elite addressees inclined in any case to sympathize with his plight, here Paul gestures toward a familiar trope wherein prison signifies the tyrant’s ineffectual attempt to silence a divine messenger.

scholarly journals Mathematicians and Mathematics at Prague University during the Second Half of the 18th Century

2021 ◽  
Author(s):  
Georg Schuppener
Keyword(s):  
18Th Century ◽  
Modern Science ◽  
17Th Century ◽  
Teaching Mathematics ◽  
Minor Importance ◽  
Significant Development ◽  
The Enlightenment ◽  
And Mathematics ◽  
Jesuit Order

The paper describes the situation of teaching mathematics and its position at Prague University in the second half of the 18th century. In order to be able to adequately present the specific changes during this period, I first explain the development of the role of mathematics as a modern science among the Prague Jesuits in the two centuries before. It is pointed out that the Jesuits initially assigned only a very minor importance to mathematics. From the middle of the 17th century, however, there was significant development. In the middle of the 18th century, under the influence of the Enlightenment, state reforms set in, which also significantly influenced the structure and content of education at Prague University. I describe the consequences of these reforms – that also led to the dissolution of the Jesuit Order – for mathematics. Finally, I deal with the life and work of mathematicians and astronomers at Prague University in the second half of the 18th century.

Kunstschilders, gilde en academie Over het probleem van de emancipatie van de kunstschilders in de Noordelijke Nederlanden van de 16de en 17de eeuw

1987 ◽  
Vol 101 (1) ◽  
pp. 1-33 ◽  
Author(s):  
Hessel Miedema
Keyword(s):  
Art History ◽  
18Th Century ◽  
17Th Century ◽  
Source Material ◽  
The Other ◽  
Literary Sources ◽  
Artistic Freedom ◽  
The One ◽  
The University ◽  
Craft Guilds

AbstractThis article is a report on research undertaken in 1984-5 by a working group of art history students of the University of Amsterdam into the problem of the emancipation of artists f rom the craft guilds (Note 1). The research was based on Hoogewerff's excellently documented book on the Guilds of St. Luke and on published source material. The idea that artists and especially painters regarded the guilds as oppressive is a deeply rooted one (Note 2) and people are all too readily inclined to write of 'the artists' gaining their emancipation' from the Guilds of St. Luke. However, it is now clear that professional painters covered such a wide social spectrum that it is impossible to lump them all together under a single heading (Note 5), while a provisional investigation mainly, focussed on the first half of the 17th century even suggested that there could have been no question at all of emancipation. It became clear that the guilds continued to function all over the Northern Netherlands in the 17th century as Protectors of the profession, that there was no evidence of their hampering artistry and that if there was any emancipation, it took place within the guild itself. A factor that makes such research difficult is that the literary sources are by no means unambiguous or even reliable. In contrast to the meaning current in their day qf someone who does something with paint and a brush, Vasari and Van Mander used the term 'painter' only for those who painted scenes and portraits, not, for example, for those who did banners or ornamental work (Notes 7,8). Thus Van Mander's freguently cited tirade against the guild (Note 9) loses much of its force in respect of the emancipation theory. Moreover, it is the only text of that type in the Netherlands. Houbraken twisted the facts to fit his vision of the artist, projecting his idea of the artist's superiority on to the historical situation (Note II). Thus this study moved between two poles : on the one hand it again confirmed (Note 12) that the guilds continued to function until late in the 18th century, while on the other there was a growing need among their more successful members for an enhanced status and regard, which manifested itself in their assuming control of the guild and restructuring it more clearly and also in their uniting in additional groupings, in which the emphasis was laid on more intellectual and theoretical, aspects and links were sought with amateurs. Although both these moves could be regarded as a certain form of emancipation, neither can be ascribed to an urge for artistic freedom which was hampered by the guilds.

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