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2021 ◽  
Vol 1 (1) ◽  
Author(s):  
Dele Jegede

Ikere, a city in Ekiti State of southwestern Nigeria, comes up often in the literature of art history on two principal accounts: first, its art and architecture, and second, its major annual fesitval. These are the two central concerns of this paper. In the first part, the unique architecture of the afin and the traditional sculptures that were its central feature present the opportunity to examine the interconnectedness of continuity and change, tradition and modernity, and the centrality of art in the Oba's quest for political pre-eminence. Ikere came to in­ternational attention through the vlrtuoslc sculptures of one of Africa's master carvers--Olowe (ca. 1873-1938), who lived in Ise-Ekiti, a town about 15 miles east of Ikere. In addition to offering new insights into the relevance of Olowe to Ikere, this essay posits a re-examination of the birth year of Olowe. In the sec­ond part, this essay dissects the Olosunta festival, which remains central to the collective identity of a people who subscribe to different religious doctrines. The early history of Ikere acknowledges the city as a site for the simultaneous reign of two rulers, the Ogoga and the Olukere. But it is the annual celebration of the Olosunta festival that serves as the rallying point for the indigenes of the city at the same time that it provides a time-honored structure for handling potentially explosive cultural and political contestations.


2021 ◽  
Vol 8 ◽  
pp. 28-47
Author(s):  
Thu Huong Thi Vu ◽  
Tuan Dung Nguyen

In the 16th century, the first Spanish and Portuguese Dominican missionaries arrived in Southeast Asia, included Vietnam, but only after the first decades of the seventeenth century, Christianity began to take hold and lived through different episodes of the Proclamation of the Christian faith: first it was tolerated and then abandoned by the dynasties, supported by the colonialists, declined in the north by the communists, it expanded in the south under the Republic of Vietnam and stabilized until now after the reunification of the country followed by a long breakage due to political change. Along with this story, sacred architecture was interpreted in various ways to define identities in religious life and faith. However, the most difficult period of religious architecture is not only in the political conflict of the past, but also until now, the time of the economic boom. The change of values as well as the aesthetic system make sacred art and architecture remain a giant wheel stuck in mud.


2021 ◽  
Author(s):  
◽  
Ariana Faulkner

<p>I am interested in the synergy between art and architecture. Art is typically graphic and architecture is typically spatial. This research investigates how an exploration of both graphic and spatial techniques might inform architecture.  I explore this synergy between graphic and spatial within the context of Hataitai, Wellington. This suburb has the opportunity to grow, physically and socially. This research proposes a Continuing Education Centre that promotes a new cultural hub. This proposal responds to the suburb’s car-dependent nature and aims to enhance Hataitai’s cultural resilience  What graphic and spatial opportunities does architecture offer to improve pedestrian infrastructure and enhance cultural resilience?  I use the design proposal as a vehicle to investigate how art-led experimentation could influence the architectural language and design. I use printmaking as a creative starting point to explore the possibilities of art-led experimentation. From the prints, I investigate the ambiguity of depth and flatness, I then develop experimentation through physical modelling, hand drawing and digital modelling. The resulting design expands a weakly-defined pedestrian network and enriches the cultural fabric through an architectural language that explores both spatial and graphic overlaps.</p>


2021 ◽  
Author(s):  
◽  
Ariana Faulkner

<p>I am interested in the synergy between art and architecture. Art is typically graphic and architecture is typically spatial. This research investigates how an exploration of both graphic and spatial techniques might inform architecture.  I explore this synergy between graphic and spatial within the context of Hataitai, Wellington. This suburb has the opportunity to grow, physically and socially. This research proposes a Continuing Education Centre that promotes a new cultural hub. This proposal responds to the suburb’s car-dependent nature and aims to enhance Hataitai’s cultural resilience  What graphic and spatial opportunities does architecture offer to improve pedestrian infrastructure and enhance cultural resilience?  I use the design proposal as a vehicle to investigate how art-led experimentation could influence the architectural language and design. I use printmaking as a creative starting point to explore the possibilities of art-led experimentation. From the prints, I investigate the ambiguity of depth and flatness, I then develop experimentation through physical modelling, hand drawing and digital modelling. The resulting design expands a weakly-defined pedestrian network and enriches the cultural fabric through an architectural language that explores both spatial and graphic overlaps.</p>


Encyclopedia ◽  
2021 ◽  
Vol 1 (4) ◽  
pp. 1303-1311
Author(s):  
Paola Vitolo

Joanna I of Anjou (1325–1382), countess of Provence and the fourth sovereign of the Angevin dynasty in south Italy (since 1343), became the heir to the throne of the Kingdom of Sicily, succeeding her grandfather King Robert “the Wise” (1277–1343). The public and official images of the queen and the “symbolic” representations of her power, commissioned by her or by her entourage, contributed to create a new standard in the cultural references of the Angevin iconographic tradition aiming to assimilate models shared by the European ruling class. In particular, the following works of art and architecture will be analyzed: the queen’s portraits carved on the front slabs of royal sepulchers (namely those of her mother Mary of Valois and of Robert of Anjou) and on the liturgical furnishings in the church of Santa Chiara in Naples; the images painted in numerous illuminated manuscripts, in the chapter house of the friars in the Franciscan convent of Santa Chiara in Naples, in the lunette of the church in the Charterhouse of Capri. The church of the Incoronata in Naples does not show, at the present time, any portrait of the queen or explicit reference to Joanna as a patron. However, it is considered the highest symbolic image of her queenship.


space&FORM ◽  
2021 ◽  
Vol 2021 (48) ◽  
pp. 45-62
Author(s):  
Jan Kurek ◽  

Sacred buildings in Poland in the 20th century are characterized by a great variety of forms – although the sacred world is by its nature conservative. Different conditions should be taken into account when designing a church. In the sphere of sacred art and architecture one should rationally draw from the treasury of the new and the old. After World War II over 3,500 new churches were built in Poland, including the church in Nowa Huta in Krakow. This realization is an attempt to reconcile traditional forms with modernity and with the recommendations of the Second Vatican Council.


2021 ◽  
Vol 31 ◽  
pp. 467
Author(s):  
Zeev WEISS
Keyword(s):  

Book Review:Asaf Friedman, Art and Architecture of the Synagogue in Byzantine Palaestina, Cambridge: Cambridge Scholars Publishing, 2019


Author(s):  
Gökhan Kodalak

There is a peculiar aesthetic undercurrent traversing Baruch Spinoza’s philosophy, harbouring untapped potentials and far-reaching consequences for contemporary discussions on aesthetics. The relationship between aesthetics and Spinoza’s philosophy, however, has been nothing but a huge missed encounter, resulting in the publication of only a few books and a handful of articles throughout a vast period of more than three-and-a-half centuries. Which begs the question: might there be, despite our persistent negligence, much more to the relationship of Spinoza and aesthetics than first meets the eye? I will argue that there might be. For once Spinoza’s philosophy as a whole, ranging from his philosophical and political treatises to his private letters and unfinished manuscripts, is read between the lines, latent seeds of a peculiar aesthetic theory become visible—an aesthetic theory that moves beyond subjective and objective approaches that have come to dominate the field, and rather grounds itself on affective interactions and morphogenetic processes. A subterranean journey through Spinoza’s affective aesthetics constitutes the subject matter of this paper, which interweaves subtle aesthetic hints buried deep within his philosophical archive, while unfolding relevant ramifications of these promising discoveries for the current aesthetic discourse.


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