scholarly journals Lviv magazine cover between two world wars – collective image of national artistic modernism

2019 ◽  
pp. 152-158
Author(s):  
P. Nesterenko
Keyword(s):  
National Culture ◽  
Contemporary Art ◽  
The West ◽  
Cultural Life ◽  
National Characteristics ◽  
Cultural Renaissance ◽  
Political Boundaries ◽  
Depth Study ◽  
History Of ◽  
Aesthetic Ideas

Now that we have the opportunity to view Ukrainian art in all its manifestations without ideological reservations and political boundaries, it is important to highlight magazine graphics. If the magazine graphic of the Ukrainian artists of the Russian and Soviet empires of the first half of the XX century is more or less investigated, then the Galician-Ukrainian cultural renaissance of the interwar twenty years in Lviv still requires its in-depth study. 1920s-30s of the XX century – time of productive ideas in the art of Ukrainian book and magazine graphics. A wave of emigration of creative intellectuals from eastern Ukraine comes to Lviv, which, combined with prominent local masters who received brilliant education in the West, raised the development of artistic culture, in particular book and magazine graphics, at an unprecedented level. Lviv was at the crossroads of diverse aesthetic ideas. All the contemporary art currents that reflected in the high artistic phenomenon – "Lviv's formalism" – were reflected here. An important factor in the history of the Galician artistic movement of the 1920s–1930s was the founding of the Association of Independent Ukrainian Artists. Its main purpose was popularization and development of Ukrainian art, education of creative youth, assistance to Ukrainian artists. The Lviv Magazine graph between the two world wars demonstrated the diversity of artistic currents and was of great importance for the holistic development of Ukrainian culture. She demonstrated the high professionalism of the artists and organically fit into the pan-European art. Given the dispersal of Ukrainians and the danger of assimilation, the publishing business with its book and magazine covers encouraged and supported the cultural life of the Ukrainian diaspora. The artists who worked on preserving the Ukrainian national culture adapted the diversity of artistic currents and influences to national characteristics.

  G. BAEV’S ACTIVITIES ON CHRISTIAN EDUCATION IN OSSETIA.

2020 ◽  
Author(s):  
Л.К. Гостиева
Keyword(s):  
Christian Education ◽  
National Culture ◽  
Technical Information ◽  
Active Participation ◽  
Orthodox Church ◽  
Periodical Press ◽  
Public Figure ◽  
Cultural Life ◽  
Educational Literature ◽  
History Of

Одной из сфер многогранной деятельности видного государственного и общественного деятеля Осетии Георгия (Гаппо) Васильевича Баева являлось христианское просвещение, которое он видел в развитии осетинского языка и осетинской письменности, в издании богослужебной, научно-просветительной и художественной литературы на осетинском языке, в становлении национальной периодической печати. Отмечены заслуги Баева в этих областях культурной жизни Осетии. Рассмотрена его деятельность в качестве цензора религиозно-просветительского журнала на осетинском языке Чырыстон цард ( Христианская жизнь ), как одного из организаторов Осетинского издательского общества Ир , а также секретаря и председателя Общества распространения образования и технических сведений среди горцев Терской области. Особое внимание уделено переизданию Святого Евангелия на осетинском языке в новой редакции, его участию в выходе в свет поэмы А.Кубалова фхрдты Хсан и сборника стихотворений К.Л.Хетагурова Ирон фндыр , в издании газеты на осетинском языке. Показан его вклад в дело собирания и издания устного народного творчества осетин. Отмечена организационная и практическая помощь Баева выдающемуся русскому ученому В.Ф.Миллеру в период его работы над осетинско-русско-немецким словарем. Акцентировано внимание на активном участии Баева в жизни православной церкви, его помощи в ремонте и строительстве православных храмов и школ. Сделан вывод о том, что его активная деятельность по христианскому просвещению в Осетии оставила глубокий след в истории осетинского православия, способствовала развитию национальной культуры и формированию самосознания осетин. One of the spheres of multifaceted activities of the prominent state and public figure of Ossetia Georgy (Gappo) Vasilyevich Baev was Christian education, which, in his opinion, lay in the development of the Ossetian language and Ossetian writing, in the publication of liturgical, scientific and educational literature in the Ossetian language, in the formation of the national periodical press. Baevs merits in these fields of the cultural life of Ossetia are noted. His activity as a censor of the religious and educational magazine in Ossetian Chyryston tsard (Christian life), Secretary and Chairman of the society for the dissemination of education and technical information among the mountaineers of the Terek region, one of the organizers of the Ossetian publishing society IR is considered. Special attention is paid to the reissue of the Holy gospel in the Ossetian language in a new edition, the publication of A. Kubalovs poem fhrdty Hsan and the collection of poems by K.L. Khetagurov Iron fndyr, the publication of the newspaper in the Ossetian language. His contribution to the collection and publication of oral folk art of Ossetians is shown. Russian scholar V.F. Miller in his work on the Ossetian-Russian-German dictionary received organizational and practical assistance from G.Baev. Attention is focused on the active participation of Baev in the life of the Orthodox Church, assistance in the repairing and construction of Orthodox churches and schools. It is concluded that his active work on Christian education in Ossetia left a deep mark in the history of Ossetian Orthodoxy, contributed to the development of national culture and the formation of self-consciousness of Ossetians.

HATİCE SULTAN (NEŞETÂBÂD) SARAYI GRAVÜRÜ ÖRNEKLEMİNDE DEĞİŞEN İSTANBUL KÜLTÜRÜ

2021 ◽  
Vol 6 (12) ◽  
pp. 87-106
Author(s):  
Nazlı Ece GEYİK ◽  
Musa BİLİK
Keyword(s):  
Ottoman Empire ◽  
Daily Life ◽  
Topographic Image ◽  
Historical Document ◽  
The West ◽  
Natural Landscape ◽  
Cultural Life ◽  
Renaissance Period ◽  
History Of ◽  
Cultural Structure

The fact that the Ottoman Empire was an exotic and mysterious Eastern country has been an important issue that has great meaning for Western orientalist engraving artists. The natural landscape, topographic image, mosques, palaces, daily life and the Bosphorus of Istanbul which is the capital of the Empire, were important elements that lived in the engravings of many painters. After going to Europe, many of these painters turned their paintings into an album with the technique of Engraving. These albums have survived to the present day as a historical document introducing the socio-cultural life of the Ottoman Empire. 18. in the century, Sultan III. During Selim's period, there were serious changes and transformations in the cultural sense. During this period, the Ottoman palace opened its doors to Western artists, and a culture that developed under the influence of the West began to gain a place, especially in Istanbul. In this article, after briefly mentioning the history of Engraving art, information is given about the life of the Orientalist Painter Melling, who grew up under the influence of the Renaissance period in Europe and turned his face to the East. After mentioning the artist's work as a painter and architect in Istanbul, his relationship with Hatice Sultan, the sister of Sultan Selim III, and the dimensions of this relationship were evaluated. It is aimed to examine the change and transformation of the palace and the socio-cultural structure of the period through the Neşetabad Palace engraving made by Melling.

scholarly journals The Acts and Decrees of the Synod of Diamper and the Machinations of Religious Colonization

2021 ◽  
pp. 53-60
Author(s):  
Shimi Paul Baby
Keyword(s):  
Turning Point ◽  
Decisive Role ◽  
The West ◽  
History Of Christianity ◽  
Cultural Life ◽  
Christian Culture ◽  
History Of ◽  
Christian Practices ◽  
Different Cultures ◽  
The Church

The Synod of Diamper is, arguably, amongst the most significant milestones in the history of St. Thomas Christians in Kerala. This Synod was convened in the church at Udayamperoor, Kochi, Kerala, from June 20 to June 26, 1599. As is documented, it was Archbishop Alexis De Menezes of Goa who convoked this Synod. 200 decrees were passed during the nine sessions which were held during the Synod; these decrees, in toto, became a turning point in the history of Christianity in Kerala. Primarily, the Synod of Diamper was a religious/theological one. However, its subsequent decisive role in the history and culture of Kerala also gave the Synod a social face. A close scrutiny of the canonas [canon] reveals that these decrees were formulated with a consideration of only Christian practices that were prevalent and familiar in the West [Occident]. In a grimly ironic sense, the canonas overtly attempts a coax-hoax, whereby the Christians of Kerala would be coerced to follow the rules of the occidental version of Christianity; and this disciplining would be aided by various methods including expulsions from parish, ex-communication, etc. One big fallout of this scenario was that the Christians of Kerala, who till then had a variegated co- existence with different cultures, were forced to take up an exclusive and singular notion of Christian culture. Through these canonas, many of the existing socio- cultural customs of the Christians of Kerala were abolished; an attempt to sculpt the socio-cultural life of this native populace and bring it in accordance with the image of the Christian that the West upheld.  This article aims to reveal the methodology through which the Institutionalized Western Theological-agencies, by means of constant surveillance and an enforced seclusion-exclusion axis, exerted power on regional and native Christian group.

scholarly journals A ARTE A PARTIR DO SEU LUGAR: O TRABALHO IN SITU DE DANIEL BUREN E OS ESPA�OS EXPOSITIVOS NOS NOS 19701 / Art from its place: Daniel Buren?s in situ work and exhibition spaces in the 1970?s

2022 ◽  
Vol 27 (42) ◽  
pp. 188-209
Author(s):  
Tiago Machado
Keyword(s):  
Contemporary Art ◽  
The United States ◽  
Art Exhibition ◽  
Avant Garde ◽  
The North ◽  
Cultural Life ◽  
History Of ◽  
Practical Performance ◽  
Opening Up

Pela an�lise de algumas instala��es realizadas pelo artista franc�s Daniel Buren (1938)�durante a d�cada de 1970, procura-se evidenciar a import�ncia dos locais especializados de exposi��o da arte para a constru��o do sentido da hist�ria da arte contempor�nea. Apesquisa ora apresentada se organiza em torno dos escritos de Daniel Buren e na documenta��o fotogr�fica produzida na ocasi�o de cada uma das interven��es analisadas, centrando-se em tr�s pontos principais: na an�lise da situa��o dos museus de arte europeus que ent�o se abriam para a arte contempor�nea; na atua��o comercial e pr�tica das galerias de vanguarda nos Estados-Unidos e, finalmente, no papel exercido no campo art�stico pelos ?novos museus? que, ao final da d�cada de 1970, se consolidam como espa�os importantes para a anima��o da vida cultural no hemisf�rio Norte.Palavras-chave:Trabalho in situ. Museu. Galeria. Novos museus. D�cada de 1970.�AbstractThrough the analysis of some installations carried out by the French artist Daniel Buren (1938) during the 1970s, we seek to highlight the importance of specialized art exhibition sites for the construction of the meaning of the history of contemporary art. The� research presented here is organized around the writings of Daniel Buren and the photographic documentation produced during each of the analyzed interventions, focusing on three main points: the analysis of the situation of European art museums that were then opening up to the contemporary art; in the commercial and practical performance of avant-garde galleries in the United States and, finally, in the role played in the artistic field by the ?new museums? which, at the end of the 1970s, were consolidated as important spaces for the animation of cultural life in the North hemisphere.Keywords:Work in situ. Museum. Gallery. New museums. 1970s.

“Akhundov Library”: From the Past to the Present

2009 ◽  
pp. 115-118
Author(s):  
Kerim M. Takhirov
Keyword(s):  
National Culture ◽  
National Library ◽  
Stages Of Development ◽  
The Past ◽  
Cultural Life ◽  
The World ◽  
History Of

The stages of development of the Azerbaijan National Library named after M. Akhundov, the main library in the country and one of the largest universal libraries of the world, which is widely regarded as a treasury of national culture of Azerbaijan. Its history reflects the history of librarianship development in the country. In 2008 the library celebrated its 85th jubilee which was the big event in research, educational and cultural life of Azerbaijan.

Art Narratives and Globalization

2011 ◽  
Vol 56 (2) ◽  
pp. 135-144
Author(s):  
Patricia Esquivel
Keyword(s):  
Contemporary Art ◽  
Art World ◽  
The West ◽  
History Of Art ◽  
The World ◽  
History Of ◽  
End Of Art ◽  
Arthur Danto

Arthur Danto proklamierte das »Ende der Kunst«, d. h. das Ende der auf ein Narrativ und auf eine unidirektionale Grundlage basierenden Kunstgeschichte. In der zeitgenössischen Kunstwelt und besonders in der Historiographie hingegen findet man durchaus ein Telos. Dieses Telos ist die Globalisierung. Es gibt heute ein sich ausbreitendes unidirektionales Narrativ, dessen Regel als »Netzwerklegitimation« erklärt werden kann. Ein Netzwerk, dessen Ausmaß (mehr Regionen der Welt), Sättigung (mehr Objekte) und Historizität (umfassendere Entwicklungsketten) zunehmen. Das Netzwerk hat auch einen Mittelpunkt, den Westen, wenn auch nicht für immer.<br><br>Arthur Danto proclaimed the »end of art«, that is, the end of the history of art structured on a narrative and unidirectional basis. But in contrast to Danto’s ideas, we detect a telos in the contemporary art world, especially in historiography. This telos is globalisation. At present, we have a clearly expansive unidirectional narrative in which the norm can be summed up as »network legitimation.« A network that is growing in extent (more regions of the world), saturation (more objects) and historicity ( further-ranging chains of development). The network also has a centre, the West, although it may not last forever.

A Questionnaire on Decolonization

October ◽  
2020 ◽  
Vol 174 ◽  
pp. 3-125
Author(s):  
Huey Copeland ◽  
Hal Foster ◽  
David Joselit ◽  
Pamela M. Lee
Keyword(s):  
Twentieth Century ◽  
Contemporary Art ◽  
Postcolonial Theory ◽  
Political History ◽  
The Political ◽  
Art World ◽  
The West ◽  
Art Activism ◽  
History Of ◽  
Point Of Reference

The term decolonize has gained a new life in recent art activism, as a radical challenge to the Eurocentrism of museums (in light of Native, Indigenous, and other epistemological perspectives) as well as in the museum's structural relation to violence (either in its ties to oligarchic trustees or to corporations engaged in the business of war or environmental depredation). In calling forth the mid-twentieth-century period of decolonization as its historical point of reference, the word's emphatic return is rhetorically powerful, and it corresponds to a parallel interest among scholars in a plural field of postcolonial or global modernisms. The exhortation to decolonize, however, is not uncontroversial-some believe it still carries a Eurocentric bias. Indeed, it has been proposed that, for the West, de-imperialization is perhaps even more urgent than decolonization. What does the term decolonize mean to you in your work in activism, criticism, art, and/or scholarship? Why has it come to play such an urgent role in the neoliberal West? How can we link it historically with the political history of decolonization, and how does it work to translate postcolonial theory into a critique of the neocolonial contemporary art world? Respondents include Nana Adusei-Poku, Brook Andrew, Sampada Aranke, Ian Bethell-Bennett, Kader Attia, Andrea Carlson, Elise Y. Chagas, ISUMA, Iftikhar Dadi, Janet Dees, Nitasha Dhillon, Hannah Feldman, Josh T. Franco, David Garneau, Renee Green, Iman Issa, Arnold J. Kemp, Thomas Lax, Nancy Luxon, Nelson Maldonado-Torres, Saloni Mathur, Tiona Nekkia McClodden, Alan Michelson, Partha Mitter, Isabela Muci Barradas, Steven Nelson, Ugochukwu-Smooth C. Nzewi, Alessandro Petti, Paulina Pineda, Christopher Pinney, Elizabeth Povinelli, Ryan Rice, Andrew Ross, Paul Chaat Smith, Nancy Spector, Francoise Verges, Rocio Zambrana, and Joseph R. Zordan.

scholarly journals Features of Private Art Collecting in Ukraine in 1990s–2000s

2020 ◽  
pp. 66-71
Author(s):  
Hanna Andres ◽  
Mariia Lutska
Keyword(s):  
Contemporary Art ◽  
Insurance Companies ◽  
The West ◽  
Totalitarian Regime ◽  
Art Collections ◽  
Art Collecting ◽  
Non Profit ◽  
History Of ◽  
Artistic Heritage ◽  
Private Collections

The article analyzes private art collecting in 1990s–2000s in Ukraine. It is important to mention that collecting works of art in Ukraine of the time indicated in the article does not have comprehensive coverage. The complexity of the study of this issue is also due to the closeness and limitation of access to private collections. The collapse of the USSR, the transition from a totalitarian regime to democracy and the establishment of a market economy in Ukraine contributed to the formation and creation of private collections of artistic works. At this time, three main branches of non-state collecting begin to form: private collections, corporate collections of institutions (banks, insurance companies) and foundations. In the early 1990s the practice of collecting works by banks came to Ukraine from the West. Ukrincombank, Southern Bank, Gradobank, etc. were involved in that work. The interest of private individuals in forming their own collections also begins with Ukraine’s acquisition of Independence, but gains momentum in the early 2000s. The art collections were represented by E. Dymshyts, L. Bereznitsky, A. Adamovsky, I. Voronov, V. Pinchuk and others. One of the most important collections began to be initiated by Boris and Tatiana Hrynyov family of in 1996. Their idea of the collection arose from the concept of Kharkiv artists. In the circle of their interests — the art of Soviet nonconformists and Ukrainian contemporary art. Foundations of art appeared in Ukraine after the proclamation of Independence in 1991. These are non-governmental and non-profit organizations, established by private or corporate enti- ties. Important foundations in Ukraine, that have their own collections of art, are Soviart, Alexander Feldman Foundation, Stedley Art Foundation etc. The collections of the 1990s and 2000s are very important for the history of Ukrainian art and collecting. The collectors of this period have played a key role in preserving the artistic heritage of Independent Ukraine.

scholarly journals Seni Lukis Modern Bernafaskan Islam di Bandung 1970-2000an

Panggung ◽  
2020 ◽  
Vol 30 (1) ◽  
Author(s):  
Agus Cahyana ◽  
Reiza D Dienaputra ◽  
Setiawan Sabana ◽  
Awaludin Nugraha
Keyword(s):  
Contemporary Art ◽  
Modern Art ◽  
The West ◽  
Visual Elements ◽  
History Of

ABSTRACTWriting the history of the development of modern Indonesian painting from thematic point of viewstill refers to importance events that compose the mainstream of contemporary art trends in Indonesiainfluenced by the West. While events that are no less important relating to the emergence of aesthetictendencies related to religion have been marginalized, especially in modern art with Islamic breath becomeimportant part in the history of the development of modern Indonesian painting, aesthetic approach toanalyze the visual elements present in the painting. The result of this study the development of modernIslamic art in Bandung shows that there are 4 period of development, the 70s, the 80s, the 90s, and 2000s.This division of time is based on thematic tendencies that emerge and became the main tendencies at eachtime.Keywords: Painting, modern, Islam, BandungABSTRAKPenulisan sejarah perkembangan seni lukis modern Indonesia dari sudut pandang tematik hinggasaat ini masih mengacu pada peristiwa penting yang menggubah arus utama kecenderunganseni rupa kontemporer di Indonesia yang dipengaruhi Barat. Sementara peristiwa yang tidakkalah penting berkaitan dengan munculnya kecenderungan estetik yang berkaitan denganagama menjadi terpinggirkan, khususnya dalam seni lukis modern bernafaskan Islam. Halitu yang menjadi latar belakang penelitian ini dilakukan dengan tujuan agar perkembanganseni lukis modern bernafaskan Islam menjadi bagian penting dalam sejarah perkembanganseni lukis modern Indonesia khususnya di kota Bandung. Penelitian ini menggunakan metodesejarah visual yang tentu melibatkan pendekatan estetik untuk menganalisis unsur-unsurrupa yang hadir dalam lukisan. Hasil dari penelitian ini perkembangan seni lukis modernbernafaskan Islam di kota Bandung secara tematik menunjukkan bahwa terdapat 4 periodeperkembangan, yaitu masa tahun 70-an, masa perkembangan di tahun 80-an, di tahun 90-andan tahun 2000-an. Pembagian masa ini berdasarkan kecenderungan tematik yang muncul danmenjadi kecenderungan utama pada tiap masa.Kata Kunci: Seni lukis, modern, Islam, Bandung

scholarly journals Zheng Manqing: el Salón Conmemorativo y el legado del Maestro de las Cinco Excelencias en Taiwán

2012 ◽  
Vol 3 (4) ◽  
pp. 34
Author(s):  
Russ Mason
Keyword(s):  
Civil War ◽  
Cultural Revolution ◽  
Chinese Culture ◽  
Font Size ◽  
The West ◽  
Republic Of China ◽  
International Reputation ◽  
Cultural Renaissance ◽  
History Of ◽  
Senior Students

<p class="MsoNormal" style="text-align: justify; margin: 0cm 0cm 6pt;"><span style="mso-ansi-language: EN-US;" lang="EN-US"><span style="font-size: small;"><span style="font-family: Calibri;">Professor Zheng Manqing (1902-1975), a fine artist and a notable taijiquan disciple of Yang Chengfu, emigrated to Taiwan in 1949 following the Chinese civil war between the Guomindang and Maoist factions. Under Republic of China President Chiang Kai-shek’s Cultural Renaissance Movement, Zheng played an important role in preserving the cultural treasures of traditional China. During the period of Mao Zedong’s Cultural Revolution when the Mainland was veiled to foreign eyes behind the Bamboo Curtain, Zheng was instrumental in introducing taijiquan and other elements of Chinese culture to the West. Zheng passed away at his home in Yonghe, Taiwan in 1975 but not before establishing an international reputation for his mastery in taijiquan and other arts. Recently, a portion of his former residence was converted into a memorial hall (the Zheng Manqing Jinian Guan) by senior students interested in preserving his martial tradition, paintings, calligraphy, and other artifacts. This article provides a brief history of Zheng’s life and his legacy in Taiwan, as well as a photographic tour of the Zheng Manqing Memorial Hall.</span></span></span></p>

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