Monachijski portret króla Zygmunta Augusta i uwagi o ikonografii ostatniego Jagiellona

W zbiorach Bayerische Staatsgemäldesammlungen w Monachium jest przechowywany portret króla Zygmunta Augusta, który po ponad pół wieku poszukiwań przez polskich historyków sztuki został niedawno odnaleziony i zidentyfikowany. Ma on ogromne znaczenie dla ikonografii ostatniego Jagiellona bowiem, jak dotąd, jest jego jedynym znanym malarskim przedstawieniem w całej postaci, powstałym za życia modela. Wizerunek pozostaje w związku z miniaturowym portretem monarchy w popiersiu, dawniej w kolekcji arcyksięcia Ferdynanda II Tyrolskiego w Ambras, obecnie w Münzenkabinett w wiedeńskim Kunsthistorisches Museum. Oba obrazy, tego samego autora, powstały na polskim dworze tuż przed połową XVI stulecia. Ich twórca był dobrze obeznany ze stosowanymi wówczas we Włoszech i cieszącymi się uznaniem kompozycjami portretowymi. Monachijski obraz trafił do bawarskich zbiorów Wittelsbachów, jak wszystko na to wskazuje, wraz z wyprawą ślubną królewny Anny Katarzyny Konstancji Wazówny, w roku 1642 wydanej za mąż za księcia neuburskiego Filipa Wilhelma. Należał do zespołu wizerunków członków rodziny Jagiellonów, zabranych do Bawarii przez Wazównę, lecz powstał w okolicznościach innych niż pozostałe portrety i jest dziełem o odmiennej genezie artystycznej. Ujawniony w zbiorach monachijskich portret nie tylko w istotny sposób wzbogaca ikonografię ostatniego Jagiellona, lecz ma również znaczenie dla wiedzy o królewskim mecenacie. Summary: The Bayerische Staatsgemäldesammlungen collection in Munich houses a portrait of King Sigismund Augustus, which was recently discovered and identified by Polish art historians following a quest lasting more than half a century. It sheds important light on the iconography of the last Jagiellonian, as it remains to date the only known representation in pictorial form of the model during his lifetime. It is related to a bust portrait miniature of the monarch, formerly found in the collection of Archduke Ferdinand II of Tirol in Ambras, and nowadays on show in the Münzenkabinett in the Kunsthistorisches Museum in Vienna. Both paintings by the same artist were produced at the Polish court just before the mid-16th century. Their creator was well acquainted with the highly regarded compositional techniques used at the time in portraiture in Italy. All the evidence suggests that the Munich painting found its way into the Bavarian Wittelsbach collections as part of the trousseau of Princess Anna Catherine Konstancja Wazówna, who in 1642 married the Neuburian prince Philip Wilhelm. It was included in the collection of portraits of members of the Jagiellonian family, that Wazówna took with her to Bavaria. However, it was painted in circumstances different from other portraits and is a work with a different artistic genesis. This portrait unearthed in the Munich collection not only greatly enriches the existing iconography of the last Jagiellonian, but it also makes a significant contribution to our knowledge of royal patronage.

SEMINAL BREAKTHROUGH IN TACTILE PICTOGRAM DESIGN FOR VISUALLY IMPAIRED IN TRAIN STATION

One of the ideal public transportation facilities for the visually impaired in daily activities is trains. To be used at maximum, there is a need for communicative media to support the independence of orientation and mobility for the visually impaired in the train station. The media plays a role in supporting visually impaired individuals to know where they are, where to go, and how to reach the destination. The previous result regarding visually impaired ability to identify pictorial form which is designed with Primadi Tabrani’s ancient visual language semiotic approach shows a great opportunity for a pictogram to be the solution. However, the challenge is how to make the visually impaired person understand the meaning description that has been designed into tactile pictogram by touch. Basic consideration in designing process is the clarity of visual form when being touched, which is influenced by the way the shape is drawn and the tactile height

No Time to Move: Motion, Painting and Temporal Experience

This paper is concerned with the senses in which paintings do and do not depict various temporal phenomena, such as motion, stasis and duration. I begin by explaining the popular – though not uncontroversial – assumption that depiction, as a pictorial form of representation, is a matter of an experiential resemblance between the pictorial representation and that which it is a depiction of. Given this assumption, I illustrate a tension between two plausible claims: that paintings do not depict motion in the sense that video recordings do, and that paintings do not merely depict objects but may depict those objects as engaged in various activities, such as moving. To resolve the tension, I demonstrate that we need to recognise an ambiguity in talk of the appearance of motion, and distinguish between the depiction of motion and the depiction of an object as an object that is moving. Armed with this distinction, I argue that there is an important sense in which paintings depict neither motion, duration, nor – perhaps more controversially – stasis.

Teaching with Images among the Jews and Manichaeans of Late Antique Mesopotamia

Although much has been written about the art of the famous synagogue at Dura-Europos, its rootedness in Mesopotamia has gone largely unexplored. This study looks south along the local trade routes to Iranian Babylonia and examines evidence available about the religious function of Durian Jewish and Sasanian Manichaean pictorial art as part of a shared regional development of techniques of instruction. It reveals that the distinctly different forms of pictorial art used by these two communities in mid-third-century Mesopotamia are nevertheless comparable based on their didactic function. They both: (1) displayed a visual library of doctrinal subjects, that is, they captured, in pictorial form, a large sample of core tenets which were also recorded in the respective sacred texts of these religions; (2) fulfilled a primarily didactic function, that is, their pictorial genres (narrative scenes, didactic portraits, and diagrams in the Manichaean case) played a dominantly instructional role; and (3) effectively supplemented oral instruction, that is, the paintings were sermonized about and discussed in light of living interpretations. I argue that these correlations result not from direct influence between the two communities, but rather from a shared approach to what images can do for a religion. The Jewish and Manichaean paintings in question emerged simultaneously and in relative closeness to one another. While the Jewish archeological records of the painted synagogue are all but silent, various characteristics of the mid-third-century Manichaean paintings are noted in literary records, including what they portrayed and, most importantly for this study, the pedagogical reasons for how and why they were used. As evidenced by Iranian, Coptic, and Syriac textual sources from between the mid-third and the late fourth and early fifth centuries, the founding prophet of Manichaeism, Mani (active from 240 to 274/277 CE), not only wrote down his own teachings, but also created visual representations of them on a solely pictorial scroll—the Book of Pictures—that he and his highest-ranking elects used in the course of oral instructions while missionizing across greater West Asia and the East Mediterranean region.

Unification of the Architectural Space and Landscape Through Intensification in Pictorial Form

The research is prompted by the need to merge architecture and nature through the homogenization of architectural space and landscape. When uniting the architecture and the nature, an unbreakable connection is created, represented in the pictorial form. A link that allows the human to be part of this homogenization, without affecting it, but on the contrary, giving it spirituality and purpose while satisfying the basic purpose of this architectural space. In addition to the connection that is created as a result of unification and is considered a primary, architecture - nature; architecture – landscape, there is also a connection that is related to the character of the space, a connection that brings together two deeply ancient close activities, architecture and art. The aim of the research is to develop and interpret the image of this relation architecture - nature, through the adaptation and the essence of the architectural space, while allowing appropriate use and constant inspiration that are directly related to the program features of this architectural space.

DATA VISUALIZATION TECHNIQUES: A REVIEW

Data visualization involves representing data and information in a graphical or pictorial form so that it can be easily understandable. At Present time, data is increasing at a very fast rate so, it is important to visualize and analyze the massive amount of data by using various visualization techniques. Data Visualization techniques are very helpful to visualize and understand outliers, trends, and patterns in data and thus helpful in decision making. This paper presents a review of the basic concepts of data visualization and various techniques and tools used for visualizing data. Some big data visualization techniques, which are the need of the hour, are also being discussed.

Hand Gesture Vocalizer for Dumb and Deaf People

The main purpose of this paper is to confer the system that converts a given sign used by disabled person into its appropriate textual, audio, and pictorial form using components such as Arduino Mega, Flex sensors, Accelerometer, which could be under standby a common person. A wearable glove controller is design with fl ex sensors attached on each finger, which allows the system to sense the finger movements, and aGy-61 accelerometer, which are uses to sense the hand movement of the disabled person. The wearable input glove controller sends the collected input signal to the system for processing. The system uses Random forest algorithm to predict the correct output to an accuracy of 85% on current training model.