scholarly journals FORMULĂRI STILISTICE ÎN ARHITECTURA TIMIȘOAREI ȘI VÂRȘEȚULUI (SEC. XVIII-XX). STUDIU DE CAZ: PALATELE PRELAȚILOR ORTODOCȘI SÂRBI

2021 ◽  
Vol 1 (7) ◽  
pp. 85-94
Author(s):  
Mihaela Gh. Vlăsceanu
Keyword(s):  
20Th Century ◽  
Focal Point ◽  
Modern Art ◽  
Orthodox Church ◽  
Art Patronage ◽  
General Phenomenon ◽  
Romantic Period ◽  
Ecclesiastical Architecture ◽  
Ideological Dimension ◽  
Artistic Values

Being monuments endowed with ideological dimension, the Orthodox Bishopric Serbijan palaces from Vârșeț and Timișoara present interesting stylistical evolutions, from 18th century’s late Baroque to 20th Century Viennese Secession. Symbolizing the power of Orthodox Church rulers, these constructions adopted the Catholic Baroque style, crossed through the Romantic period with the rebirth of neoclassical values and ended in what was configured at the beginning of the 20th century as the closure with the academic dimension and the introduction of the Secession style. The hypothesis of the paper states the importance of European artistic values in defining identity, as the case of these two palaces with their evolution, an evolution that culminated in synthesis. Art patronage from this perspective has implications for the evolution, as such, the two monuments illustrate Serbian religious authority and its reaction to the modern art. In this case the palaces stand as hallmarks for the ecclesiastical architecture of the Banat, a focal point in the general phenomenon.

scholarly journals Communion songs not regulated by the typicon in the recent tradition of Serbian church singing

Muzikologija ◽  
2004 ◽  
pp. 121-152
Author(s):  
Vesna Peno
Keyword(s):  
20Th Century ◽  
Fundamental Question ◽  
Orthodox Church ◽  
Liturgical Texts ◽  
Historical Themes ◽  
19Th And 20Th Century ◽  
The Church ◽  
The Way

In notated collections of Serbian church hymns from the 19th and 20th century there are, among others, communion songs with texts that were not regulated by the Typicon. These so-called "arbitrary communion songs" have been very popular in the recent tradition of Serbian church chanting. They have been gradually pushing out the hymns that are regulated for singing on concrete days and feasts during the church year. Analysis of possible influences that determined the way texts and the melodies delved into the recent Serbian church chanting follows two possible directions. The first commenced from late-Byzantine singing tradition; more specifically, from a group of songs that although based on liturgical texts, were performed in extra-liturgical occasions. These are calophonic irmoi which were composed by a great number of known late-Byzantine masters of singing. The second direction had its beginning in Russian spiritual music that generated a new melodic genre kant, based on western models. The majority of those compositions have freely written spiritual texts, too, and not part of the liturgy. Kanti were, namely, singing numbers in liturgical dramas - theatrical pieces with Christian historical themes. The majority of arbitrary communion hymns from Serbian collections have texts from the psalms or use texts for irmoi of specific canons. There is only one text that does not belong to the output of church hymnography. In spite of that, the melodies of the analyzed hymns reflect the presence of traditional compositional procedures characteristic of late-Byzantine and Serbian traditions. On either side, they possess atypical musical phrases that relate them to the the kanti. The usage of paraliturgical songs instead of communion hymns is commentated upon from the liturgic aspect also. That song belongs to the central part of the Liturgy and most fundamental during the service of the Orthodox church. Therefore the deviation in Serbian practice from the rules that define its place and role demonstrate the distancing from the tradition, raises a fundamental question: is liturgical meaning being compromised.

scholarly journals The authority of the ecumenical patriarch in the Orthodox Church: A historico-canonical analysis

2010 ◽  
pp. 301-322
Author(s):  
Vasilije Vranic
Keyword(s):  
20Th Century ◽  
Canon Law ◽  
Historical Analysis ◽  
Vital Role ◽  
Eastern Orthodox ◽  
Orthodox Church ◽  
Christian Church ◽  
Exact Role ◽  
History Of ◽  
The Right

During the 20th century, the exact role and the scope of jurisdictional authority of the Ecumenical Patriarch was an object of attention of both theologians and historians. The problem of defining the Patriarch was reactualized through the intensification of conciliar negotiations of Orthodox Churches. The purpose of this article is to demonstrate that the pretensions of the Ecumenical Patriarch for universal jurisdiction over the entire Orthodox Diaspora, and the pretensions for the right of final arbitration in the ecclesial matters of the entire Orthodox communion, do not have a support in the Orthodox Ecclesiology. This will be argued in a historical analysis of the relevant prescriptions of the Eastern Orthodox Canon Law, which will be placed into the context of the history of the Christian Church, primarily of the Patristic period, since there disciplines play a vital role in the Orthodox understanding of Ecclesiological Tradition.

scholarly journals Different Approaches to Modern Art and Society: Li Zehou versus Xu Fuguan

Asian Studies ◽  
2020 ◽  
Vol 8 (1) ◽  
pp. 77-98 ◽  
Author(s):  
Téa Sernelj
Keyword(s):  
20Th Century ◽  
Aesthetic Experience ◽  
Modern Art ◽  
Chinese Modernity ◽  
Material Development ◽  
Modern Chinese ◽  
Chinese Aesthetics ◽  
Basic Approaches ◽  
Art And Society ◽  
The Individual

Proceeding from the inseparable relation between ethics and aesthetics in traditional (and often also modern) Chinese thought, this article aims to illuminate two important approaches to the aesthetic foundations of Chinese modernity. The relation between the individual and society, which is a core question of modern ethics, is reflected in most of the ethical theories of 20th century China. In this context, the article first presents Li Zehou’s theory of aesthetics and his definition of aesthetic experience. In this way, it aims to illuminate Li’s interpretation of modern art and society, and to posit it into a contrastive position to Xu Fuguan’s ethico-aesthetic theories, especially the ones regarding modernity and Western culture. The basic approaches applied by these two important modern Chinese scholars reveal great differences in attitude towards the spiritual and material development of humanity in the 20th century, which is especially interesting since they are both rooted in the abovementioned belief that ethics cannot be separated from aesthetics. Besides, Li Zehou sincerely admired Xu Fuguan’s work on traditional Chinese aesthetics and referred to his comprehension of general concepts of traditional Chinese aesthetics in many of his own works dealing with aesthetics.

scholarly journals Sztuka i architektura dla II Rzeczypospolitej

2020 ◽  
Vol 147 (4) ◽  
pp. 869-881
Author(s):  
Andrzej Szczerski
Keyword(s):  
World War I ◽  
Modern Art ◽  
Dynamic Processes ◽  
Art Patronage ◽  
World War ◽  
Leading Role ◽  
State Administration ◽  
The World ◽  
Administrative Structures ◽  
Art And Architecture

Art and architecture for the Second Polish Republic The period of the Second Polish Republic was a time of dynamic processes of unification and modernisation. They were also reflected in art and architecture. This should not come as a surprise given the fact that Polish artists were involved in the struggle for independence on the battlefields, while they also documented Polish military efforts during the World War I. Later on, they held positions in the state administration, especially in the administrative structures responsible for art patronage and education; finally, they were also active in the field of national propaganda. The authorities of the Second Polish Republic appreciated the importance of modern art, especially that the restoration of independence coincided with a debate about the various definitions of the Polish national style. This debate, which involved supporters of vernacular stylisation and those who promoted modernism, found its complex reflection in the Polish General Exhibition in Poznańin 1929. The exhibition confirmed that the leading role in the process of modernisation was assumed by architecture and urban planning.

The Greek Orthodox Church in America

2020 ◽  
Author(s):  
Alexander Kitroeff
Keyword(s):  
Focal Point ◽  
The United States ◽  
Orthodox Church ◽  
Greek Language ◽  
Greek Orthodox ◽  
American Institution ◽  
Greek Orthodox Church ◽  
Language Schools ◽  
Greek Immigrants ◽  
The Church

This sweeping history shows how the Greek Orthodox Church in America has functioned as much more than a religious institution, becoming the focal point in the lives of the country's million-plus Greek immigrants and their descendants. Assuming the responsibility of running Greek-language schools and encouraging local parishes to engage in cultural and social activities, the church became the most important Greek American institution and shaped the identity of Greeks in the United States. The book digs into these traditional activities, highlighting the American church's dependency on the “mother church,” the Greek Orthodox Patriarchate of Constantinople, and the use of Greek language in the Sunday liturgy. Today, as this rich biography of the church shows us, Greek Orthodoxy remains in between the Old World and the New, both Greek and American.

Steeped in Modernism: The Teapot as Manifesto in Early 20th Century Art

2016 ◽  
Author(s):  
Maya Bielinski
Keyword(s):  
Twentieth Century ◽  
20Th Century ◽  
Political History ◽  
Modern Art ◽  
The Other ◽  
Early 20Th Century ◽  
Avant Garde ◽  
Small Window ◽  
Time Period ◽  
20Th Century Art

The art manifesto, a written political, social, and artistic proclamation of an artistic movement, surged in popularity among avant‐garde art groups in the first half of the twentieth century. Many of the manifestos featured declarations for the synthesis of art and life as well as a call for social and political power for artists of both 'high' and 'low' art forms. Concurrently, new artistic interpretations of the humble teapot became suddenly ubiquitous. This inquiry explores how the teapot emerged as a dominant symbol for the goals of Modern Art movements, and includes an analysis of the teapot's socio‐political history, its ambiguous status between high and low art, and its role in the commercial sphere. By examining the teapots of Suprematism's Kazimir Malevich, Constructivism's Mariane Brandt,and Surrealism's Meret Oppenheim, this presentation will track ideas of functionality, the teapot as symbol, and aesthetics from 1923 to 1936. This small window in time offers an analysis of the extraordinary developments in teapots, and perhaps a glimpse of the paralleled momentum that occurred more generally in design, architecture, and the other arts in this time period.

Priest Peter Ilyinsky (1871-1938): Educator, publicist, confessor

2019 ◽  
pp. 286-292
Author(s):  
Николай Сергеевич Черепенин
Keyword(s):  
20Th Century ◽  
Pastoral Ministry ◽  
Russian Orthodox ◽  
Orthodox Church ◽  
Chronological Order ◽  
Economic Activities ◽  
Crucial Point ◽  
Russian Orthodox Church ◽  
History Of ◽  
The Church

Изучение жизненных обстоятельств священнослужителей первой половины XX в. является важной составляющей изучения истории Русской Православной Церкви. Оно позволяет детально проследить некоторые процессы и явления, происходившие в Церкви того периода, на конкретных примерах. Данная статья посвящена священнику Петру Ильинскому, около сорока лет прослужившему на сельском приходе. Его служение раскрывается в статье в хронологическом порядке: педагогическая и хозяйственная деятельность пастыря дополняется описанием его публицистических трудов и заканчивается описанием его семьи и исповеднического подвига. Данная работа служит свидетельством незаурядного пастырского служения священника Петра в переломный момент жизни нашего государства и в достаточной мере иллюстрирует историческую эпоху конца XIX - первой половины XX веков на конкретном примере. The study of the life circumstances of clergymen in the first half of the 20th century is an important part of the study of the history of the Russian Orthodox Church. It allows us to trace in detail some of the processes and phenomena that took place in the Church in that period, using concrete examples. This article is about the priest Peter Ilyinsky, who served forty years in a rural parish. His ministry is presented in chronological order: his teaching and economic activities are followed by a description of his publicist writings and ending with a description of his family and confessional deeds. This work is a testimony to the extraordinary pastoral ministry of the Priest Peter at a crucial point in the life of our nation, and illustrates the historical era of the late 19th century and the first half of the 20th century with concrete examples.

Arensberg, Walter (1878–1954)

2018 ◽  
Author(s):  
Sarah Archino
Keyword(s):  
New York ◽  
Focal Point ◽  
Modern Art ◽  
Marcel Duchamp ◽  
Avant Garde ◽  
Early American ◽  
Large Glass ◽  
New York Dada ◽  
Constantin Brancusi

Walter Arensberg (April 4, 1878 to January 29, 1954) and his wife, Louise Stevens Arensberg (1879–1953), were influential patrons of the avant-garde, building a collection that included modernist art, early American Shaker furniture, and non-Western objects, primarily of African and pre-Columbian origin. They collected modern art by American and European artists, with a special concentration in work by Marcel Duchamp (who also served as their art advisor) and Constantin Brancusi. Their New York apartment, at 33 West 67th Street, hosted a frequent salon of artists, writers, and intellectuals from 1915–1921. These gatherings were a focal point for the activities and antics of New York Dada. Among Arensberg’s many friendships with artists and writers, his long association with Marcel Duchamp was perhaps most influential. When Duchamp arrived in New York in 1915, Walter Pach met him at the pier and brought him directly to the Arensberg’s apartment, where Duchamp lived during the summer of 1915. Later, Arensberg paid the rent for Duchamp’s studio, located in the same building. The Arensberg Collection would amass nearly forty works by Duchamp, including The Bride Stripped Bare by her Bachelors, Even (The Large Glass) (1921). When Arensberg was unable to purchase the artist’s infamous Nude Descending a Staircase No. 2 (1912), he commissioned a duplicate and eventually acquired the original as well.

Reich, Lilly (1885–1947)

2018 ◽  
Author(s):  
Carla Cesare
Keyword(s):  
New York ◽  
20Th Century ◽  
Modern Art ◽  
Set Design ◽  
Museum Of Modern Art ◽  
Early 20Th Century ◽  
Leading Role ◽  
Mies Van Der Rohe

Lilly Reich was a German-born designer who created interiors, displays, and exhibitions in the early to mid-20th century. She was active in the Deutscher Werkbund and in the Bauhaus, and was the first female architect to be given a retrospective at the Museum of Modern Art in New York in 1996. Reich’s career as a female designer has been said by critic Beatriz Colomina to be an example of the collaborative nature of architecture in which women have often played an unspoken role. Reich was one of the few female designers to have played a leading role in the early 20th century, yet she has gained little academic renown. As is common for female designers of the time they are often known in relation to their work with more prominent male architects or designers; for Reich, Ludwig Mies van der Rohe was both a personal and professional partner. Reich, who came from a wealthy manufacturing family, studied in 1908 at the Wiener Werkstätte and then in 1910 at the Höhere Fachschule für Dekorationskunst in Berlin. Like many women of the period she focused on textiles, needlework, and fashion as well as set design and display.

Sabri, Atta (1912–1988)

2018 ◽  
Author(s):  
Tiffany Renee Floyd
Keyword(s):  
World War Ii ◽  
20Th Century ◽  
Modern Art ◽  
Fine Art ◽  
Museum Of Modern Art ◽  
National Museum ◽  
World War ◽  
Founding Member ◽  
Plastic Arts ◽  
Modern Artists

Born in Kirkuk, Iraq, Atta Sabri was among the pioneer generation of Iraqi modern artists with careers peaking in the mid-20th century. He was an active exhibitor and participant in several burgeoning art groups. After being educated and employed as a teacher in Baghdad, Sabri joined many of his peers in studying art abroad, first in Rome at the Accademia di Belle Arti and then, after World War II, in London at Goldsmith College and the Slade School. During the years of the war, Sabri held a job at the Department of Antiquities in Baghdad. After completing his studies, the artists again took up teaching this time at the Baghdadi Institute of Fine Art. Over the course of his career, Sabri became a founding member of the Society of the Friends of Art and a member of the Society of Iraqi Plastic Arts. His exhibition record includes the seminal Industrial and Agricultural Fair in 1931 and the 1950 First Iraqi Art Show in London. Sabri also exhibited extensively at the National Museum of Modern Art in Baghdad and in 1979 the museum held a retrospective of the artist’s oeuvre.

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