_Toward a Grammar ofion_ takes as its point of departure three features of modern art reading: the practice of translating the visual into institutional language, the vocabulary of representation in relation to abstract art, and the prevalence of totality as a model of art-historical knowledge.

Dans ce beau livre, superbement édité, sont reproduites pour la première fois depuis leur récente restauration (1996-1999) les peintures de l'église du monastère de Saint-Antoine, décor du XIIIe siècle qui est non seulement le plus complet et le mieux conservé d'Égypte, mais qui est aussi l'un des rares à être précisément daté. Il ne s'agit pas d'une monographie traditionnelle, mais d'un ouvrage collectif réunissant autour d'Elizabeth Bolman, maître d'œuvre de l'entreprise, une série d'auteurs venus d'horizons divers, dont les regards croisés (...) et complémentaires contribuent à la richesse et à l'intérêt du volume. (shrink)

충암 김정은 정암 조광조와 더불어 기묘사화 때 희생된 사림파 인물로서 당대의 도학사상을 대표하는 인물이다. 이런 그가 유학사상 이외에 노장철학사상에 대해 관심을 갖고 심도있는 해석을 제시한 점은 학술적 가치가 매우 크다. 그럼에도 충암사상을 노장철학의 단일 입장에서 면밀하게 연구한 성과는 전무한 상황이다.BR 이에 이 글은『충암집』에 나타난 노장철학사상과 관련한 여러 가지 내용들 가운데 특히 노자출관도(老子出關圖)와 남곽자은궤도(南郭子隱几圖)라는 그림을 보고 충암이 동명의 시작품으로 제시한「노자출관도」및「남곽자은궤도」에 나타난 노장철학의 사유세계를 구체적으로 검토해본 것이다.BR 충암은 두 그림 속에서 장자가 제시한 진인(眞人)의 모습을 확인하고, 노자를 진인으로 묘사함과 동시에 남곽자기 역시 진인으로 (...) 추정케 하는 언급을 남긴다. 이들 진인이 목표로 나아가는 공간적 배경은 신선도교적 성격을 띠고 있는 곤륜산인데, 충암은 노자와 남곽자기라는 진인이 궁극적으로는 신선의 반열에 도달함을 목표로 삼았다고 해석케 할 가능성을 남긴다. 그리고 이를 위해서는 궁극의 도에 도달해야 할 뿐만 아니라 자기 자신을 잃어버리는 자기무화의 과정이 필요함을 역설한다.BR 충암이 본 두 그림 속 노장철학의 사유세계는 변화와 무(無)에 그 사상의 지반을 둔다. 이러한 사유로 인해 충암은 결정적으로 그림은 그림일 뿐 결국 실재가 아니라는 점을 강조한다. 노자와 남곽자기의 삶의 궤적보다 중요한 것은 지금-여기에서 숨 쉬고 있는, 나를 잊은 나 자신이라는 것이다. 이같은 충암의 노장철학 해석의 의의는 인간이라면 언제든지 그 노력 여하에 따라 진인과 신선이 될 수 있다고 하는 가능성을 열어놓았다는 점에서 찾아진다. (shrink)

This study is devoted to the artistic and stylistic analysis of traditional Chinese New Year's pictures called "puhui nianhua" on the example of historical and documentary material collected in the city of Gaomi in Shandong province. It traces the changes in its form and content, the means of expression used during the five-hundred-year history of its distribution in China. The subject of attention is the development of Chinese splint pictures from the Ming Dynasty to the present. As an object, we (...) see the transformation of technological and visual features of the performance of such works within their individual varieties, which were popular in the creative activities of several generations of masters of the city of Gaomi. The purpose of the study is to get a general idea of how the main varieties of "puhui nianhua" were born and formed in the creative activity of Gaoming artisan artists. By means of artistic-stylistic, iconographic and comparative-historical analysis, the author identifies several stages in the process of formation of the tradition of making such pictures. Moreover, a typological series of Chinese New Year's splints is proposed, consisting of images of Lao and Buddhist saints, visualizations of homophonic metaphors, and a description of Chinese life. Each of the presented types differs not only in the originality of the content, but also in the set of compositional and visual means used by the authors. (shrink)

Der Band ist der erste eines Corpus, das von der Akademie von Athen geplant und herausgegeben wird. Das Ziel ist, alle byzantinischen Fresken Griechenlands in mehreren Bänden zu publizieren. Im vorliegenden Band werden die Fresken der Insel Kythera vorgestellt. Die griechische Version dieses Bandes erschien bereits 1997 unter dem Titel: Ευϱετήϱιο Βυζαντινών Τοιχογϱαφιών Κυθήϱων.

This paper explores and highlights the value given to craftsmanship or technê in the community of liefhebbers and artists associated with the pictures of collections genre. Taking as its case study a group of gallery interiors by the probable inventor and leading light of the genre, Frans II Francken, it places pictures of collections within the reform of attitudes towards manual dexterity and the mechanical arts that took place in the Early Modern period. Antwerp gallery interiors exemplify the intellectual metamorphosis (...) of the hand, urging us to see in them an appeal both to the senses and to the intellect, which are fused together by the skilled artist?s technical facility. (shrink)

[Winner of the American Philosophical Association’s 2024 Journal of Value Inquiry Prize.] My thesis is that certain non-verbal paintings such as Picasso’s GUERNICA make (simple) arguments. If this is correct and the arguments are reasonably good, it would indicate one way that non-literary art can be cognitively valuable, since argument can provide the justification needed for knowledge or understanding. The focus is on painting, but my findings seem applicable to comparable visual art forms (a sculpture is also considered). My (...) approach largely consists of identifying pertinent features of viable literary cognitivism and then showing how they or close analogues can be applied to non-verbal painting. The two main features are the requirements, first, that the relevant knowledge is provided significantly in virtue of the distinctive essential feature of literary fictions, i.e., their fictionality, and second, that the knowledge stems primarily from the content of the work, not from what the auditor brings to the work. Some ways that literary fiction has been taken to be argumentative are explained, and striking similarities are found between argumentative literary fiction and argumentative painting. Potential objections are addressed, and I examine a proposed way to express, in a schematized format, both the power of an argumentative painting and its relatively simple associated propositional content. (shrink)