The wall paintings in the Crusader church in Abu Gosh were conserved and restored in two different operations in the last thirty years. While the conservation revealed new iconographies of the original wall paintings, the restoration added and changed details. The discernment between the two allows us once again to discuss the meaning of the original Crusader decoration program as a whole. This article argues that the frescoes decorating the church reference a set of prominent sacred places in the Holy (...) Land, and suggests an interpretation of the murals in regard to the holy place to which it is linked and to the edifice it adorns. (shrink)

This last part of the study of materials and techniques used in Minoan wall-painting discusses the execution of the actual decoration itself. After a brief reminder of our knowledge of the status of the artist and his principal tools, the main stages of the process of execution are described. It thus appears that the number and connection of these différent phases, as well as the painting techniques themselves, depend on the nature of medium used: chalk or cernent. For (...) the identification of the latter, the author proposes a new method, combining macro- and microscopic observations, and using physico-chemical characterisation analyses. (shrink)

Stoicism was one of the new philosophical movements of the Hellenistic period. The name derives from the porch (stoa poikilê) in the Agora at Athens decorated with mural paintings, where the members of the school congregated, and their lectures were held. Unlike ‘epicurean,’ the sense of the English adjective ‘stoical’ is not utterly misleading with regard to its philosophical origins. The Stoics did, in fact, hold that emotions like fear or envy (or impassioned sexual attachments, or passionate love of (...) anything whatsoever) either were, or arose from, false judgements and that the sage—a person who had attained moral and intellectual perfection—would not undergo them. The later Stoics of Roman Imperial times, Seneca and Epictetus, emphasise the doctrines (already central to the early Stoics' teachings) that the sage is utterly immune to misfortune and that virtue is sufficient for happiness. Our phrase ‘stoic calm’ perhaps encapsulates the general drift of these claims. It does not, however, hint at the even more radical ethical views which the Stoics defended, e.g. that only the sage is free while all others are slaves, or that all those who are morally vicious are equally so. Though it seems clear that some Stoics took a kind of perverse joy in advocating views which seem so at odds with common sense, they did not do so simply to shock. Stoic ethics achieves a certain plausibility within the context of their physical theory and psychology, and within the framework of Greek ethical theory as that was handed down to them from Plato and Aristotle. It seems that they were well aware of the mutually interdependent nature of their philosophical views, likening philosophy itself to a living animal in which logic is bones and sinews; ethics and physics, the flesh and the soul respectively (another version reverses this assignment, making ethics the.. (shrink)

The lavra of Ot’kht’a Eklesia and its twin monastery at Parkhali are located in an isolated, mountainous area of present-day north-east Turkey, which, in the ninth-tenth century, gradually emerged as the politically de facto independent kingdom of Tao-Klarjet’i and as a stronghold of Georgian culture. Both lavras were established on the steep slopes of valleys carved by the tributaries of the Çoruh (Č’orox’i) river by Georgian monks seeking for those “deserts” that, in their opinion, God had reserved to them since (...) the Creation of the world. Thanks to the support of David iii the Curopalates, the churches of Ot’kht’a and Parkhali erected in monumental dimensions and lavishly decorated with a complex, almost identical program of mural paintings in the apses. The present paper aims to show to what extent images could reflect the monastic view of their relationship with the natural world in terms of Biblical allegorism. In particular, it lays emphasis on the multi-layered symbolism associated with the “Holy Zion” - notion and the different ritual, performative, and visual strategies whereby site-bound holiness came to be materially evoked. (shrink)

One of the most extensive ensembles of twelfth-century mural painting still extant in France has recently been reconstituted in the Church of Saint-Silvain at Chalivoy-Milon , a small village located about forty kilometers southwest of Bourges. During the late 1970s and 1980s, conservation work carried out under the auspices of Monuments Historiques recovered the entire chevet program , a portion of which was first discovered in February 1868. The stunning exposure of a complex, predominantly Christological cycle at Chalivoy-Milon (...) sparked my interest in nineteenth-century reports of painted decoration once visible in the nave. That lost painting is the focus of the present study. (shrink)

Existem perto de 140 monumentos portugueses que ainda conservam pintura mural realizada entre os finais do século XV e os meados do século XVI. Por vicissitudes históricas diversas, a distribuição destes monumentos pelo território nacional é muito desigual, verificando-se uma concentração em templos rurais situados sobretudo no território de Entre-Douro-e- -Minho (c. 30%), em Trás-os-Montes (c. 25%) e na Beira Interior (c. 20%).A análise da iconografia destas pinturas permite tirar várias conclusões a respeito das principais devoções da época. Verifica-se (...) que São Sebastião era o santo mais representado, seguido por Santo António (de Pádua), Santa Catarina, São Pedro, São Miguel, São João Baptista e São Tiago, ao mesmo tempo que apenas a Anunciação e o Calvário têm uma representatividade equiparável à dos santos mencionados. Também é possível concluir que a preferência pelos santos referidos não estava dependente da invocação dos templos. Conclui-se, igualmente, que existe uma nítida diferenciação entre as imagens sacras representadas na zona dos templos cujo cuidado pertencia aos fregueses, a nave, e a zona sob a responsabilidade dos padroeiros, a cabeceira. Nesta comunicação pretende-se explicar quais os motivos que justificam a preeminência da representação de determinadas figuras do hagiológio cristão durante o período em causa, bem como a ausência de outras cuja presença seria expectável. Pretende-se explicar também as razões que ditam a diferenciação entre a iconografia das cabeceiras e a iconografia das paredes da nave. A análise conjugada destes dados permite trazer alguma luz sobre os motivos que justificam as principais devoções dos portugueses da época, sobretudo os que viviam em ambientes rurais. (shrink)

Fragments of painted plaster found in the destruction layer of three first floor rooms in the House of Seals and of one first floor room of the House of the Sword had broken from the ceiling. They allow the restoration of the schema in the room of the House of the Sword and of two of the rooms in the House of Seals, the latter in colour. Composed of bands surrounding a quadrangular field, these décorations, evoking carpets stretched on the (...) ceiling, are richer (costly pigments, gold leaf) and more complex (some fifteen motifs) than those in tombs of the same period, which adopted the same « carpet » composition and which borrowed from the same repertoire, often confirmed by the textiles. Since we know of no other ceiling decoration in habitation rooms, it is unwise to contrast the exuberance of these ceilings with the tomb ceilings. The room that could not be restored had moreover a much more perfunctory decoration. (shrink)

In 1233 a certain R. Joseph bar Moses of Würzburg commissioned an illuminated copy of Rashi's Bible commentary, now in Munich. After the text was finished, the task of illuminating was put into the hands of a Christian painter, apparently a man named Heinrich, who kept a lay workshop in Würzburg . Three years later a giant Bible, now in Milan, was commissioned perhaps by the same patron, but not necessarily in the same city . It, too, was illuminated; this (...) time, however, it cannot be excluded that the paintings were made by Jewish artists. Both manuscripts are richly decorated with narrative scenes involving human figures. In the following decades it became more and more customary for wealthy Jews of Germany and northern France to have their Bibles, prayer books, and other texts adorned with figural miniatures. Yet there is no evidence that during the Middle Ages human figures were painted in any form in a Jewish context before the 1230s. A few textual references from the twelfth century indicate wall paintings and stained-glass windows in synagogues with images of animals and dragons, but none have survived. Some decades after the first illuminated books made their appearance, the most outstanding authority on religious law of his time, R. Meir ben Barukh of Rothenburg , was asked his opinion of this phenomenon. R. Meir was worried, as his reply shows, but not for reasons of religious law; his concern was that images in painted books would distract believers from their pious concentration during prayer. (shrink)

This dissertation investigates how art, truth, and politics are tightly integrated in Raphael's historical narratives in the Stanza d'Eliodoro. ;The first chapter argues for the importance of paying careful attention to pictorial structure--that close analysis of painting can make a strong contribution to the social history of art. The second chapter begins this interpretive path. It first describes the room's decorative ensemble as a whole and how the histories are located within its complex figurative scheme. Then, drawing upon Martin (...) Heidegger's analysis of postmedieval processes of Vorstellung, it defines the pictorial narratives themselves as representations and concludes that as pictorial representations these narratives appear unable to ground the truth of sacred history. ;Chapter 3 focuses on the Expulsion of Heliodorus, a mural replete with self-referential models of both its own mode of authorship and mode of reception. These self-referential cues help define what it means for the Heliodorus to be not only a pictorial representation but more extensively a work of art. It is Raphael's art of representation that shows forth and validates the metaphysical truth of papal history. ;The latter part of Chapter 3 and all of Chapter 4 offer readings of the Heliodorus as well as the three other histories--the Liberation of St. Peter, Mass at Bolsena, and Repulse of Attila--construing them as theologico-political narratives of the divinity of papal power. All four histories express at the level of narrative form the dilemma of the papacy's contemporary political trajectory only for this predicament to find imaginative "resolution" through the movement of the narrative action. This chapter expounds upon the configurations of historical time in the decorative scheme and how this projects the political unconscious of papal desire. Yet the fifth and final chapter concludes that the Eliodoro narratives are not simply collective wishfulfillments but more properly public symbols that rhetorically address a beholder so to persuade him to accept as true the papacy's desired self-image of its own historical mission. Raphael's art of representation was essential towards this end. (shrink)

Wallace-Hadrill's reading of spatial hierarchy does not address the representation of gender in mythological paintings. However, a rough survey indicates that the majority are erotic and/or violent. Erotic depictions common on household items suggest that the Romans were sensitive to this content; the likely use of pattern books in selecting programs for domestic decoration suggests a synoptic awareness of it. This points to the applicability of contemporary theories of representation and power, and Mulvey's model of visual pleasure in narrative film (...) is adapted for this paper. According to Mulvey, film offers two pleasures: scopophilia, which presents the woman as aesthetic-erotic fragments, suggesting but concealing her difference ; sadistic voyeurism, which assumes difference and then investigates, punishes, or forgives it. Both are illustrated in paintings of Ariadne abandoned and rediscovered, and in other paintings which portray either the gaze or erotic violence . While these paintings seem to confirm in relation to gender what the rest of the house says about class and status, some paintings confuse the issue. The male body is often fetishized , and attacked ; gender and role are sometimes deliberately ambiguous . Such transgressions of the boundaries of the male body are not a part of Mulvey's theory, and they suggest the use of gender to complicate as well as confirm the class/status message of the house; two different negotiations of this use are found in the House of the Vettii and the House of the Ara Maxima. One can compare reversals and reassertions of gender, class and status in other evidence, in literature, pantomime and the games. (shrink)

The aim of the following paper is to show that it is not possible to penetrate into the depths of Nikolay Raynov's universe and to comprehend its wholeness, without posing and investigating the question about the origin or the foundation of his various creative occupations, i.e his novels, philosophic and theosophic writings, art history and critique, paintings, decorative design etc. This question is far too complex to be answered briefly without being simplified, and therefore two main directions will be articulated: (...) the recption of Orphism developed in Plotinus' and Porphyry's Neoplatonism – which is the basis of modern Theosophy –, and the synthetic understanding of art, which puts Raynov's views in close proximity to Wassily Kandinsky and Nicholas Roerich. (shrink)

This study delves into the porcelain calligraphy and painting of the Ming and Qing dynasties, aiming to uncover the spiritual and cultural narratives encapsulated in these artistic expressions. During these eras, marked by the zenith of Chinese porcelain artistry, the incorporation of religious motifs was not merely decorative but a profound reflection of the prevailing religious beliefs, cultural norms, and aesthetic inclinations of the time. This paper conducts a deep analysis of the religious elements manifested in Ming and Qing (...) dynasty porcelain artworks, exploring how these elements articulate religious devotion, mirror cultural practices, and influence artistic transformations. Through detailed appreciation and interpretation of three exemplary cases—Yongle blue and white entwined flowers, Jiajing blue and white road Fu Yunhe large plate, and a blue and white seawater river cliff pattern three-legged furnace—this study reveals how these works serve as conduits for spiritual reflection and cultural transmission. Each piece not only embodies the religious and philosophical zeitgeist of its era but also highlights the dynamic interplay between art and societal evolution, thus underscoring the multifaceted roles ancient religious art plays in perpetuating cultural heritage, enchanting viewers with its artistic allure, and reflecting broader social transformations. (shrink)

This essay draws on Kenneth George's ethnographic study of the Indonesian painter Abdul Djalil Pirous and his art, as well as Pirous's own characterizations of his paintings as “spiritual notes,” to theorize and examine how paintings serve as ethical media. The essay offers a provisional definition of and methodology for “visual ethics” and considers how pictures and language can function quite differently as sites for ethical reflection. The particular painting analyzed here is a large temple mural of the (...) death of the Buddha located at Wat Unnalom, a prominent Buddhist monastery in Phnom Penh, painted in the 1980s by Cambodian artist Sum Pon. After discussing the lifeworld of Pon's Mahāparinibbāna and varied Khmer Buddhist interpretations of the painting, I suggest that the painting's rendering of “moral vision” helps us understand Buddhist ways of seeing more generally. I conclude by returning to George's question about how our understanding of ethics would change if we took pictures as the “fulcrum of moral relationships,” arguing that pictures can embody certain kinds of tensions or paradoxes that are difficult to explain and grasp discursively, such as paradoxes that arise from the inevitability and yet inexplicability of death as well as the tensions between Buddhist aims of cultivating “boundless” love and the particularities of our own individual experiences of love. (shrink)

Painted ceramics occupy an important place in ancient Chinese art and are the result of creative activity of people of primitive society. A large number of Neolithic patterns on ceramics are similar to those signs and symbols that were made on jade products of the same period. Such patterns resembled drawings made by hand and represented realistic and abstract ornaments, plant, zoomorphic patterns, etc. Thus, the subject of this study is the so-called "jade" patterns on painted ceramics of the Neolithic (...) era. The object of the study are objects of painted ceramics of the Neolithic era in China. Special attention is paid to the consideration of the specifics of ceramic products, as well as the features of their decors. The semantics of images on objects of Chinese painted ceramics is complex and ambiguous. The study revealed that it is associated with the development of human thinking, people's understanding of natural phenomena, awareness of the changing seasons, as well as the emergence of animism and totemic culture. These patterns had different interpretations, while they were not only a way of expressing the feelings and experiences of primitive people, but also a way for them to record important events from life, similar to modern memoirs. Thus, the novelty of this article is its comparative nature, manifested in the comparison of ornaments of painted ceramics and ancient Chinese jade products. (shrink)

Deleuze’s philosophy of painting can be seen to pose certain challenges to a phenomenological approach to philosophy. While a phenomenological response to Deleuze’s philosophy is clearly needed, I show in this article how an approach taken in a recent paper by Christian Lotz proves inadequate. Lotz argues that through Deleuze’s refusal to accept the place of representation in art, he is unable to distinguish art from decoration, or to give a coherent account of how the content of art can (...) be represented. I show that this criticism emerges from a misreading of the place of representation in Deleuze’s philosophy. I will argue that by failing to take account of some of the key features of Deleuze’s wider ontology, such as the importance of both the virtual and the actual for his analysis of objects, Lotz’s critique proves unsuccessful. In particular, I want to show that Lotz’s criticisms rest on a failure to attend to the systematic nature of Deleuze’s philosophy, and in particular, the place of Deleuze’s analysis of Bacon within the system as a whole. I will further show that Lotz’s phenomenological defence commits the fallacy of petitio principii, assuming the validity of the phenomenological method in order to justify the phenomenological approach. (shrink)

Lucas van Valckenborch’s Winter Landscape hangs in the Kinsthistorisches Museum in Vienna. It was painted four hundred years ago as one of a set of the four seasons. Measured by sales of reproductions, it is one of the most popular paintings in the museum, though it is by no means the most distinguished example of the genre to which it belongs. The picture is a snow scene. In the long series of represented planed that recede from foreground to horizon, fallen (...) snow covers fields and roves. Across the surface of the canvas and scarcely diminishing in scale from bottom to top, touches of white paint represent falling snow. It is not a small painting, and these are not mere feathery indications, but palpable dabs from a loaded brush. To a taste fed on Modernist painting—or, for the pedantic, to a prejudice fuelled by Modernist accounts of painting—it is by virtue of this surprising frankness that the painting achieves more than mere anecdotal charm. It is not the illusion of depth in the picture that holds our sophisticated attention, nor the atmospheric re-creation of a leaden sky, nor do we admit to being engaged by the over-rehearsed animation of the peasants. What gives us pleasurable pause is the strange and distinctive form of skepticism about appearances that is set in play when the allure of imaginative depth meets resistance from the vividness of decorated surface.5 5. Wollheim uses the term ‘twofoldness’ for ‘this strange duality—of seeing the marked surface, and of seeing something in the surface.’ In his account this experience leads to a thematizing of the image, which ‘ushers in representation.’ Translated into his terminology, my suggestion would be that the Winter Landscape can be seen as catering to a Modernistic taste for the thematizing of ‘twofoldness’ itself. Charles Harrison is staff tutor and reader in the history of art at the Open University. He is the author of English Art and Modernism 1900-1939 , and he is now completing a second volume, English Art and Modernism 1940-1985. He is co-author of A Provisional History of Art & Language , and his most recent book—Essays on Art and Language—is due out in 1989. He has been associated with the Art & Language group since 1971 and is editor of the journal Art-Language. (shrink)

In the first centuries BCE and CE, Roman wall painters frequently placed representations of works of art, especially panel paintings, within their own mural compositions. Nathaniel B. Jones argues that the depiction of panel painting within mural ensembles functioned as a meta-pictorial reflection on the practice and status of painting itself. This phenomenon provides crucial visual evidence for both the reception of Greek culture and the interconnected ethical and aesthetic values of art in the Roman world. (...) Roman meta-pictures, this book reveals, not only navigated social debates on the production and consumption of art, but also created space on the Roman wall for new modes of expression relating to pictorial genres, the role of medium in artistic practice, and the history of painting. Richly illustrated, the volume will be important for anyone interested in the social, ethical, and aesthetic dimensions of artworks, in the ancient Mediterranean and beyond. (shrink)

In 2008, the Musée des Beaux-Arts de Lyon acquired a painting called The Flight into Egypt which was attributed to the French artist Nicolas Poussin. Thought to have been painted in 1657, the painting had gone missing for more than three centuries. Several versions were rediscovered in the 1980s and one was passed from hand to hand, from a family who had no idea of its value to gallery owners and eventually to the museum. A painting that (...) had been sold as a decorative object in 1986 for around 12,000 euros was acquired two decades later by the Musée des Beaux-Arts de Lyon for 17 million euros. What does this remarkable story tell us about the nature of art and the way that it is valued? How is it that what seemed to be just an ordinary canvas could be transformed into a masterpiece, that a decorative object could become a national treasure? This is a story permeated by social magic the social alchemy that transforms lead into gold, the ordinary into the extraordinary, the profane into the sacred. Focusing on this extraordinary case, Bernard Lahire lays bare the beliefs and social processes that underpin the creation of a masterpiece. Like a detective piecing together the clues in an unsolved mystery he carefully reconstructs the steps that led from the same material object being treated as a copy of insignificant value to being endowed with the status of a highly-prized painting commanding a record-breaking price. He thereby shows that a painting is never just a painting, and is always more than a piece of stretched canvass to which brush strokes of paint have been applied: this object, and the value we attach to it, is also the product of a complex array of social processes – with its distinctive institutions and experts – that lies behind it. And through the history of this painting, Lahire uncovers some of the fundamental structures of our social world. For the social magic that can transform a painting from a simple copy into a masterpiece is similar to the social magic that is present throughout our societies, in economics and politics as much as art and religion, a magic that results from the spell cast by power on those who tacitly recognize its authority. By following the trail of a single work of art, Lahire interrogates the foundations on which our perceptions of value and our belief in institutions rest and exposes the forms of domination which lie hidden behind our admiration of works of art. (shrink)

One of the important theological issues for ancient and medieval thought was to account for the existence of evil. Augustine provided an aesthetic explanation: evil exists for contrast, to let the good stand out more prominently. Thus, just as a painting that uses both dark and bright colors, the universe that contains both good and evil is beautiful as a whole. The argument was debated in the twelfth and thirteenth centuries. Alexander of Hales, as well as the Franciscan tradition (...) in general, strongly supported the Augustinian position. The article discusses a previously unknown debate between Albert the Great and Bonaventure about this issue and suggests that Bonaventure is defending his fellow-Franciscan Alexander. (shrink)

Comparative study of wall paintings in churches dedicated to St Clement in Stará Boleslav and Rome reveals the wide international networking of contemporary agents in artistic transfer. The importance of late twelfth-century wall paintings in St Clement’s in Stará Boleslav – among Bohemia’s foremost medieval monuments – is underscored by their close proximity to the place of the martyrdom and the center of the cult of the country’s patron, St Wenceslas. The Bohemian church’s consecration echoes the Cyril and Methodius mission, (...) resonating with the transfer of St Clement’s relics from the Crimea to Central Europe, then to the Basilica of San Clemente in Rome. The frescoes in the Roman basilica’s lower church have been recognized as an important source for the concept of the paintings. The extensive, and iconographically exceptional, image cycle of St Clement’s life was commissioned by a high-ranking cleric, possibly the Salzburg archbishop, Adalbert of the Přemyslid family. The recent fresco restoration survey has yielded insights into the painting technique and will become the basis for the future rescue and rehabilitation of the Romanesque church’s wall decoration. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Feminist Studies 41, no. 3. © 2015 by Feminist Studies, Inc. 689 Susannah Bartlow White Fear in Universities: The Story of an Assata Shakur Mural No one is going to give you the education you need to overthrow them. No one will teach you your true history, teach you your true heroes if they know that knowledge will set you free. Theory without practice is just as incomplete (...) as practice without theory. The two have to go together. —Assata Shakur, quoted on a mural at Marquette University What does it mean to whitewash? To terminate? I have been tasting and retasting these words on my tongue after a mural of Assata Shakur at Marquette University was whitewashed, and I was fired—terminated —for having supported the mural, ending a fourteen-year career in feminist academia. As the founding director of the Gender and Sexuality Resource Center (GSRC), my job was to build an academic support office for women’s, gender, and LGBTQ+ education and empowerment. In the center’s third year, Amanda Smith (a Marquette senior) and Jeanette Martín (a community artist and program assistant at the center) envisioned, planned, and executed the Assata Shakur mural project as a way to invite greater community interest. In my role as director of the center, I supported the project, communicated it to senior leaders, and spread the word about the community-painting day in late March 2015. The mural was on display for six weeks at the GSRC before a storm of  Students fill in detail of the Assata Shakur mural at Marquette University’s Gender and Sexuality Resource Center. Photograph by Amanda T. Smith. News and Views 691 media coverage in mid-May prompted the university to cover the mural in white paint and fire me for my support of the project. My experience of this process was as rapid as it sounds: I received a few phone calls alerting me that the whitewashing of the mural was imminent and that there was a formal review of my leadership decisions, and I was fired twenty-four hours later. The idiomatic usage of “whitewash” tells us that something is shameful and that it has been, or ought to be, covered up. Whose cover-up was it—and whose shame? Over the six weeks it was on display at the center, the mural invited people into a quiet space off a hallway, and it had sparked discussion among staff, faculty, and students who used the space. The mural was one of very few images of a black woman anywhere on Marquette’s campus, and it contributed to a sense among many students of color that the GSRC was a space in which they were welcomed and safe and where they could be comfortable. Yet in the distortions of white supremacy, the mural looked like a threat, rather than an intellectual and community representation central to the university itself. Other recent cases of faculty repression, from Steven Salaita to Saida Grundy and Zandria Robinson, demonstrate how concerns about liability, finances, and public perception guide administrators ’ decisions about representation on campuses. Far from being liberal utopias, or even spaces that respect speech, universities remain testing grounds when students’ or educators’ actions present direct antiracist critique. What more clear or direct example of antiracist critique than the quotes we chose for the mural: Assata Shakur’s own words asserting the importance of street smarts and intellectual prowess, naming the power invested in knowledge systems and the importance of claiming that power for ourselves? Universities are, in our time, particularly responsive to pressure from the right. Private, nonprofit, advocacy organizations troll university websites looking for evidence of liberal bias; conservative media outlets publish student bloggers who feed the fantasy that the facts of United States history, presented without whitewashing, do not belong in classrooms. In particular, those who study the lives and knowledges of historically marginalized populations are in the crosshairs of right-wing attacks. In the case of the mural—and in each of the other cases cited above— it was either a right-wing news source or a powerful donor or decision 692 News and Views maker who raised concerns about leftist bias, civility, or... (shrink)

The article is devoted to the problem of changing stylistic paradigm in the Persian poetry of XVI-XVII centuries and reflection of this process in self-consciousness of outstanding authors of the period. Parallel with preserving stable norms of traditional poetics literary practice demonstrates flexibility and forms new range of popular poetic strategies. New aesthetic criteria if ideal poetic language, expressed with epithet ‘colourful’, appears alongside with criteria of previous period, expressed with epithet ‘sweet’ and step by step gets leadership. Lyric poetry (...) of three famous authors of the period of formation and golden age of Indian style served the object of analyses. The phenomena of visualization of imagery connected with perfect poetic language illustrated by examples of ‘Poet and Poetry’ motifs located in ‘frame text’ in end of the qhazal. These motifs serve one of the regular contexts of author’s name and show author’s attitude to his creation, including stylistic preferences. Refinement of poetic fantasy being declared basic condition of creating perfect poetry described visually as coiling lasso, poetry itself as flourishing garden, fountain or European house decorated with painting. Such characteristic of word creation has analogies in the works of Baroque style theorist Giambattista Marino. (shrink)

In recent years, a trend has emerged in the field of art conservation, the aim of which is to protect street art objects. Attempts to conserve murals face many problems. This is due to various factors – lack of time distance to this type of objects, difficulties in assessing their artistic value, frequent lack of interest of artists in the conservation of their works, material impermanence of murals, their often-occasional nature; also, the fact that most of these objects are not (...) legally protected. The paper discusses the problems faced by an art restorer who wants to save murals. Examples of murals are presented, the conservation of which is not possible, among others, due to the fact that the houses on which they were painted are intended for demolition. There are also examples of murals whose rescue from destruction gained public approval and the conservation of which was carried out. The paintings are in a very poor condition. This is a feature of most murals, which are usually made on old, unrepaired plasters with low-quality paints. Their maintenance is a very difficult task. The presentation shows the various stages of conservation of works lacated in Warsow. The conservation of the murals is carried out in order to preserve street art facilities. Apart from the involvement of art conservators, social support for this type of activity is also important. However, one should be aware that most of murals have no chance of becoming a permanent part of the city landscape. Their fate will be determined by chance. (shrink)

As two different art categories, literature and painting use temporal words and spatial images respectively to convey information and narrative. In addition to the pursuit of visual decoration, the paintings in books and periodicals in the period of the Republic of China were widely and profoundly influenced by the literature of the same period from the aspects of the style of expression, the theme of content and the creative techniques, thus breaking through the limitations of their own media and (...) achieving narrative effects like literary. The reflection of literary thoughts and trends in theme, the translation of classical novels in content and the use of literary techniques such as metaphor, synaesthesia and “Bixing” in the expression techniques that further highlighted the functional value, aesthetic value, and historical value of the images. In the visual information age, only by maintaining the characteristics of their own media and absorbing the narrative advantages of other artistic media, can images break through the limitation of plane static space and achieve a narrative effect with more artistic appeal and ideological and cultural depth. (shrink)

There is no such thing as ART. There are public monuments and celebrations of victories, icons, religious teaching, civic pride, courtier flattery, family legitimation, secularization of the sacred, celebration of the ordinary as ordinary, attempts to shock, political statements, making money, decoration of homes, corporations, visual debates on what the world looks like—debates about what the world is—debates about what we see. On the other hand, we can look at anything—clouds, a tree, a face, a road, a herd of cows (...) in a field—as if they were works of art, finding a composition of patterns and resonances of color, texture, and form. Directly or indirectly, consciously or unconsciously, works of art.. (shrink)

The Glyde mural in the University of Alberta’s Rutherford Library is a testament to the history of Alberta as it was understood by white society in the 1950s. A contemporary viewer described the painting as depicting “the civilizing influences in the early life of the Province.” The prominent historical heroes in the mural represent the main institutions that were involved in this process of ‘civilizing the savages'. An artefact of modern colonial racism, it has overshadowed the threshold (...) of the library’s South reading room since 1951. This article brings the ideas of several historical theorists to bear on the impact and implications of the historical memory invoked by the mural. (shrink)

The aim of the paper is to give a glimpse of the syncretism and complexness of the work of Nikolay Raynov and to propose an approach that would show his methods of implication of artistic historical ideas into paintings and works of decorative art. Furthermore, it is a reflection about the 130th anniversary exhibition of Raynov's paintings at the Sofia City Art Gallery1 from the perspective of its historical place in European art and its actual insight.

This thoughtful, learned, well-written, extensively illustrated, and heavily documented study deserves to be regarded as a landmark in art history. Traditional art history has dealt for the most part with the “fine arts” (chiefly painting, drawing, sculpture, and architecture), whereas other human creations that take physical form (such as furniture, ceramics, textiles, and metal and glass items), whether utilitarian or decorative (or both at once), are considered “craft” or “applied art” and are studied by folklorists, anthropologists, and archaeologists and (...) often displayed in different museums. Cooke wishes to break down this “hierarchical taxonomy,” this “fragmented, hierarchical field,” that emerged from Western Europe's “misunderstanding of art,” which valued “the cerebral over the manual.” His goal, in other words, is to outline “a more inclusive human history of art”— “a connected art history.” This phrase from his subtitle refers not simply to connecting “fine art” with “applied art” but also to crossing temporal and regional boundaries. Still another act of connecting is to examine all parts of an object's life history, and thus the three main divisions of the book deal with the making of objects, their circulation from one person and place to another (and “their ability to transmit ideas” in the process), and their meaning for the persons who possessed or encountered them.Over the years I have repeatedly said that all objects made by human beings are worthy of preservation and study because they bring us into direct contact with the past and, as part of our surroundings, affect our thoughts in the present. Every object, I have argued, including copies of a single printed edition of a book (so-called duplicates), is an independent witness to the past. I am particularly pleased, therefore, to welcome a major book that explores in detail, with a wealth of examples from many centuries and cultures, the place of objects in human history. Cooke's pursuit is “object-driven,” beginning with the nature of the materials and finally coming to “the inherent power of the object itself to influence human thought and action.” (Compare the subtitle of Sherry Turkle's 2007 anthology Evocative Objects: Things We Think With.) Cooke's refusal to separate “materials” from “people,” or “technologies” from “values,” reminds me of John Szarkowski's approach to photographs. In Photography until Now (1989), Szarkowski points out that histories of photography generally treat technical matters separately from artistic ones—a split between the “empirical” and the “intuitive” that he finds indefensible, for “these two ways of knowing meet in the process of making things.” He adds, “The meeting can be cordially symbiotic or aggressively competitive, but its resolution defines the character and meaning of the thing that is made.” This statement has been a favorite of mine as an elegant characterization of the nature of art, and it is one that Cooke would clearly agree with.Cooke does not discuss photography, but he makes clear that he is not attempting a “comprehensive history that charts the complete ebb and flow of objects over time.” Rather, his book is meant to be a “suggestive guide” to the “principles of material literacy,” a “kit of tools for future complex constructions of history.” Even so, I find some of the omissions puzzling. Why, for example, are glass objects not taken up, when he so thoroughly deals with other common materials? More serious, in my opinion, is the exclusion of the fine arts. (Of the 215 illustrations, five are of oil paintings and one is of a Japanese print, but they are present only as the sources for information drawn from their pictorial content; one Hogarth engraving is shown because its image was often reproduced on punch bowls; and there is a very brief passage on the “uneasy relationship” between sculpture and material culture, but no sculptures are illustrated or used as examples for discussion.) Presumably Cooke felt it was unnecessary for his book to encompass the fine arts after demonstrating that functional objects are just as sophisticated artistically and culturally as products of the fine arts are. Yet those products also belong to the universe of “entangled objects” (How could they not?), and it would have been illuminating to see them adduced among the examples Cooke cites. One could argue that by excluding them—and by referring to the makers of the objects he does discuss as “artisans” and “craftspeople”—he comes close to reinforcing the division he wishes to eliminate.Less easy to explain is Cooke's omission of books, for they have been one of the largest and most widely circulated classes of utilitarian objects. Most people never think about books as objects, treating them only as disposable receptacles for transmitting verbal texts in tangible form (which is why so many books are destroyed when their texts supposedly become available in another form). Such people do not realize that texts have connections with their physical embodiments. (For example, books, whether manuscript or printed, often contain clues revealing how their texts were affected by the production process; and readers’ attitudes toward texts can be influenced by their presentation.) Cooke, however, with his deep understanding of the way objects function and his impressive knowledge of the scholarship, cannot be one of these uninformed people. He would obviously be aware of the vast literature devoted to leather and cloth bookbindings and their decoration, as well as to the myriad styles of letters and the varieties of paper and parchment; he would also know how letterforms and binding designs reflect a complex interplay of social, political, and artistic forces. Bibliographers have long studied books as Cooke advocates studying other objects: “working from the inside out,” beginning with the evidence in books themselves for reconstructing the routines that were followed in their creation. And book historians are recognizing the necessity for an international approach like Cooke's, since many of the books circulating in one country originated in other countries. Books would have been a prolific additional source for illustrating Cooke's analyses.My admiration for Cooke's book is not altered by these few disappointments. Even without discussions of paintings, sculptures, and books, it is still exhilarating in its scope and depth. One hopes that art and material-culture historians will pay attention to it. But it ought to have a wider audience, for the daily lives of all of us would be enriched by a greater appreciation of the objects that make up a significant part of our environment. (shrink)

St Joachim and St Anne Meeting at the Golden Gate, painted by Eugenio Cajés between 1604 and 1605, is the sole remnant of a major commission for the Cercito chapel in the church of San Felipe el Real in Madrid. The painting has been praised by modern critics, who have drawn attention to the painter’s emulation of Italian artistic precedents. Illuminating as this appraisal may be, such an approach does not explain why the patrons chose an iconographic subject that (...) had become increasingly rare, especially since the traditional association of the Meeting with the Immaculate Conception of the Virgin had been questioned in the late sixteenth century. Above all, focussing on the painting’s style fails to take into account the specific context for which this painting was conceived. As it happens, the Cercito family chapel was dedicated to a very particular cult, that of the Holy Child of La Guardia, the purported victim of one of the most notorious blood libels in late medieval Spain. The purpose of the present study is to redress the previous art-historical oversight with regard to this painting, through an in-depth study of the artistic, devotional and socio-cultural significance of the Meeting at the Golden Gate in seventeenth-century Madrid. An analysis of the extensive and to date unpublished archival documentation for the commission makes it possible to reconstruct key elements of the lost chapel. These sources, when read together with devotional texts that circulated at the time, reveal the personal motives that underpinned the foundation and decoration of the Cercito chapel. The reconstruction of the Cercito chapel proposed in this article offers a new perspective on the way in which religious art engaged with the tensions prompted by the issue of the purity of blood, as well as with anxieties related to family and procreation. (shrink)

Landscape painting flourished in the late Tang dynasty and reached its peak during the Song dynasty. It means that the artistry of landscapes no longer serves as decoration for portraits, nor is it merely a backdrop for unfolding stories. Instead, it is a simple pursuit of the aesthetic pleasure derived from landscapes themselves. In this pursuit, the landscape painting of the Song dynasty had a profound impact on the subsequent development of landscape art, both in terms of form (...) and the spiritual content expressed. It is not an exaggeration to say that Song dynasty landscape painting laid the foundation for the tradition of literati landscape painting. Guo Xi, a master of landscape painting and a painter-theorist in the mid-Northern Song period, actively explored his artistic practice. He also reflected on and summarized his methods. From the overall conception of the meaning of landscapes to the self-pursuit of brushwork style, Guo Xi endeavored to narrow the gap between abstract ideas and concrete execution. His efforts resonated with the Daoist philosophy of Neo-Confucianism in the Northern Song, transcending the dimensions of transcendental “essence” and personal “effort” to establish a connected path of nature, body, and destiny. From a different perspective, this also represents the interplay of cosmology and ontology through generative time. (shrink)

Observations on Two Mural Paintings from Early Medieval Rome. Fresco of St Agatha and an Unknown Painting with a Bust of the Saint Little is known about the two fragments of early medieval Roman paintings with female saints considered here. One was first exhibited in 2016; the other remained totally obscure until it came onto the antiquarian art market 2019. The goal of this study is to provide context for these two pieces by attempting to reconstruct their original (...) art historical environment. The study also aims, through archival and documentary research, to offer plausible dates by means of stylistic comparisons (e.g., frescoes in Santa Maria Antiqua, in the Catacombs of Generosa, in the narthex of Santa Sabina etc.) and to explore the fragments’ possible original provenance. For the painting with the bust of St Agatha, the study proposes a date around the late seventh-early eighth centuries; for the other, the first half of the eighth century. For both paintings, a Roman context is assumed. (shrink)

The Romanian communist cinematography has been analysed from the point of view of its value to the regime’s ideology or propaganda. The aim of this article is to examine Romanian cinema for its use of cultural heritage from the perspective of an art historian and museum curator. Using the current taxonomy of cultural heritage in Romania: movable cultural heritage—meaning paintings, drawings, decorative art—and immovable cultural heritage—build­ings, houses, inns, cultural monuments, the article follows these categories in the filmmaking industry. They were (...) both used in Romanian cinematography with the approval of the State and Party authorities. The main objective of this article is to „cut” the frames of selected films and see how and which cultural heritage objects were used in cinematography. (shrink)

Progress cannot be reversed; what it has killed, we cannot restore to life. Professionalism, like pollution, is here to stay. However, the fact that professionalism and pollution are facts does not force us to welcome and implement them. Indeed, there are those who would accelerate "progress," their effective definition of which is what is going to happen willwe nillwe. I wonder why progressive thinkers do not, since it is inevitable we shall all die one day, advocate present universal suicide. Preferring (...) to cling to the remains of life rather than renounce it, preferring to strive for light so long as I can see a glimmer, I first recall the qualities ideal in one who is to search and trace the development of science.1 The workshop of the scholar in the history of science is the periods in which his authors lived. He should know those periods' ways of life and belief and education, both the common and the eccentric; their political histories; their variety in aspects; their social and economic structures; their architectures, literatures, and arts. He should feel at home in the houses of those times, sit easily in their chairs, both figurative and wooden, and discern what was then mostly admired or rejected in painting and sculpture and decoration. He should have read not only the books that carried the intellectual products of his period but also those that were then the fare of young minds as they were taught, such books having been commonly of an earlier time. The student who does not command, as a minimum, the main episodes of Holy Scripture, classic mythology, and the corpus of golden Latin is glaucomatose in the modes of thought of Western men educated before 1900. · 1. The text printed here is based on an address delivered at the banquet of the History of Science Society and the Society for the History of Technology, Washington, D.C., December 29, 1972. So as to retain definiteness and immediacy, I have not blurred the original focus upon the history of science and technology, trusting that any reader who can understand me at all will be able to turn the same lens upon his own field of learning or pseudolearning. Clifford Ambrose Truesdell, III, Professor of Rational Mechanics at John Hopkins University, is the author of, among others, Rational Thermodynamics, Six Lectures on Modern Natural Philosophy, and Essays in the History of Mechanics. He has edited or coedited six volumes of the Encyclopedia of Physics; he has founded three international journals of scientific and historical research and continues to edit two of them. Among his many honors, Professor Truesdell is a Foreign Member of seven European National Academies of Science. (shrink)

Anthony van Dyck’s period of service to the Stuart court stretches from 1632, when he was appointed “principalle Paynter in ordinary to their Majesties” and knighted, to his death at the end of 1641. After an earlier visit of a few months, beginning in December 160, van Dyck had gone to Italy to improve himself; there he had defected from the service of James I. On his return to England this was forgiven, and in the early years he was mainly (...) employed in making portraits of the royal family and household. Later he was again absent from England, spending an entire year beginning in July 1634 back in Antwerp. During the last six years van Dyck spent in England, his clientele widened further; it is chiefly the portraits of this latter period that I will consider here.These portraits have been approached and evaluated in two basic ways. First of all, they have been taken to demonstrate the adaptation of van Dyck’s preexisting skills, especially his command of the “grand style,” to the requirements of a court and aristocracy which prized grace and elegance as hallmarks of breeding and quality, and which at the same time welcomed the trappings of grandeur and the subtleties of variation, in costume, post, and gesture, that the artist could build into his presentation for their predilection.1 Second, where critical considerations have come up, these paintings have been evaluated in terms of whether the adoption of mannered and decorative traits now betokens a decline from the artist’s previous work, or whether it represents rather a different kind of achievement which gave rise, at its best, to equally outstanding successes in conveying refined and subtly enhanced distinction.2But both these approaches agree in finding no intellectual content in the works in question, either of van Dyck’s own devising or based on interests and concerns in which his subjects partook. This absence of implication to the portraits is seem as fitting with thea rtist’s tendency to make creative decisions on an ad hoc basis, as evidenced by his preference for rapidly made drawings from the life over the use of oil sketches and by the pentimenti that his finished works reveal.3 It is also seen as fitting with the whole pattern—cultural as well as social and economic—of his relationship to the Stuart aristocrazy, for which these images were fashioned. 1. See esp. Ellis Water house, Painting in Britain, 1530-1790 , pp. 49-50 ; and cf. more recently Christopher Brown, Van Dyck .2. See, for example, Erik Larsen, intro. to L’opera completa di Van Dyck 1626-1641 , p. 8 and Oliver Millar, intro. to exhibition catalog Van Dyck in England , p. 27 and esp. p. 31 .3. See Millar, Van Dyck in England, p. 31, citing the miniaturist Richard Gibson on the “Sketches made from the life,” mainly lost, and cat. no. 12, on the pentimenti found in the 1633 Charles I on Horseback. Mark Roskill is professor of the history of modern art at the University of Massachusetts at Amherst. His most recent book is The Interpretation of Cubism . Previous contributions to Critical Inquiry include “On the Recognition and Identification of Objects in Paintings” and “A Reply to John Reichert and Stanley Fish”. (shrink)

Located in Kleinbasel close to the Rhine, the Kaskadenkondensator is a place of mediation and experimental, research-and process-based art production with a focus on performance and performative expression. The gallery, founded in 1994, and located on the third floor of the former Sudhaus Warteck Brewery (hence cascade condenser), seeks to develop interactions between artists, theorists and audiences. Eight, maybe, nine or ten 40 litre bags of potting compost lie strewn about the floor of a high-ceilinged white washed hall. Dumped, split (...) open, the soil mixed with iridescent specks of green, blue and red glitter. On the walls hang large black and white photographic images—negative and positive prints barely clean, hardly sharp, scavenged from the world and presented half processed. On a third wall, hangs a framed golden and charcoal surface. Finally, a huge stain of black dye runs down a wall that descends into a sunken quarter of the Kaskadenkondensator gallery space. The results of a collaboration between Oliver Minder and Walter Derungs reflect on themes addressed in the recent Aesthetics in the 21st Century conference held by the department of English, University of Basel. In particular, the joint show questions how an aesthetic experience may be other than a human-world interaction, hinting at the withdrawal and veiling that objects perform, while demanding that different works engage with each other and play out this game under the non-supervisory eyes of a human audience. Things here are becoming—sometimes it’s a movement towards a more complete ontic whole in a projection of finality, other times it’s a dispersal, an atrophy to rather disarrayed entities. Yet, in the moment and place in which the objects are, we take them as here and now. Let’s get to the material of the stuff that Minder and Derungs have assembled. Oliver Minder employs organic materials—potting earth, cuttlefish ink secretion, rice, and insects; yet his works hardly seem natural in the sense of a harmonic relation between material and the form they are constrained into, the objects they are compelled to occupy. For the substrates on, through, or within which these natural materials are mediated are harshly inorganic substances—Plexiglas, safety glass, acrylic resin, boat varnish, spray paint. Minder, thus, generates a conflict within the materiality of his work between two polar opposites—from the human perspective—in the contiguity of materials engaging with each other in a thrown together formation that nonetheless appears to keep the materials and the objects they make in happy accidental relation to each other. Let me expand a little: on the one hand, the things Minder makes query our belief in substance as belonging in a particular domain, an environment suited to precisely that stuff. We are focused on thinking categorically where things belong, both in terms of natural place and natural relations they might extend to each other. Hence, we are driven to think of environment and order. On the other hand, while extracting things from their conventional place and arranging them within awkward constellations that we as observers feel isn’t quite right, Minder manages to persuade the viewer that the materials are nonetheless “doing alright.” So, simultaneous to our awareness of the appropriateness of the world according to our global notions of accord and uniformity, we are forced to accept the local discrepancies of disassociation, inappropriateness and misplacement. The tension between these two vectors generates a vacillation that intensifies Minder’s work. In the Kaskadenkondensator works, then, it is vital to first consider the material of Minder’s works: potting compost—what is it doing here in the first place?—seems to enjoy being “polluted” by sparkly glitter. Glitter has a long history, used in cosmetics by the Egyptians, and in cave paintings, too, earlier made of beetle shells and mica, nowadays glitter is made of plastic cut to minute sizes down to 50 microns. So what’s the point here? Well shiny bits of dust-like material are actually generated from ultra-thin plastic sheets and are normally cut into shapes that fit contiguously on a two-dimensional surface: squares, triangles, hexagons etc. What then appears to be totally random, chaotic decoration, is actually an array of extremely regular identifiable objects. 1 Of course scale has a role to play here. The minuteness of the dimensions means the regularity is beyond our recognition—all we see are the twinkling surfaces of the multi-coloured grains of plastic. In contrast, potting compost, which appears to be unary in its dull unresponsive lumpen disposition, is in fact an amalgam of a variety of organic and inorganic materials: peat, bark, mushroom compost, and sand and perlite, and should perhaps be more proactively exciting to the viewer because of this complexity. Yes; we can (if we care to) identify different textures, different sizes in the mixture of the medium, but I claim that we tend to treat this organic/inorganic assemblage as just a simple substance. Further and crucially important to our consideration here is that the medium is partially contained, but also partially spilling from the split plastic bags in which it is sold in garden centres. That the compost spills out gives it a movement suggesting life; that the bags are cast here and there in a random fashion by Oliver Minder, lying like discarded carcasses, hacked torsos, dismembered bodies, suggests a horrific murder scene, a Tatort. 2 The glitter flourishes in the medium, lies happy and decorative; that is simply what it does, how it is—always already broken, made-for-scattering, designed to be incomplete; the taken-to-be-natural compost, in contrast, cannot rest content but is forced to speak to us metaphorically in its abject overflowing of violence and rupture. While Oliver Minder’s elements in the installation direct our attention to material, Walter Derungs’ works raise questions around seeing and making in photography. There is a simultaneous flicker between the materials and their use in the production of a sense making representation, on the one hand, and on the other the very notion of what is worthy of picturing, framing, representing on the other. Derungs' images are of non-places. Ranging from archaic decaying monster buildings, buildings that have gone far beyond the ravages of a time that we can safely associate with the genteel preservation of a Bernd and Hill Belcher post-industrial decline, to the background “noise” of an urban world that is falling apart, and to which we most of the time seem to pay little attention, and habitually just pass by. In this respect, their non-ness differs somewhat from the conventional association of the term with Marc Augé 3 , where emphasis is on the specifics (if we do care to examine them for their non-placedness) of the spatial or place containment in which movement between multimodal coordinates occurs in supermodern late capitalist post-urban spaces. In other words, we might be in an Augéian non-place and (not) experience—be impervious to—that environment, or we might in Derungs’ manner look out from such a position at the “scenery” around us. I claim scenery, as this is what Derungs seems to do with his partial photography—construct a very purposefully articulated, symmetric, flat world of image. Mostly depopulated, his images construct a space in which the direction of time is uncertain: are these partial structures falling apart, or perhaps terminated in a never-to-be-completed state, or are they a few steps from final completion? Temporal and spatial dimensions figure large in Derungs’ image-making: his world, and perhaps this is in fact the only way for it to be registered photographically, is already image before it is photographed. A key combination of images in this show is a matrix of six black and white negative prints measuring 300 x 215 cm that form the image of a semi-derelict (or is it yet incomplete) church, and adjacent on a perpendicular wall, a single black and white positive print 150 x 250 cm of two bricked-up windows of a late-Victorian industrial building. What are we led to believe that we see here? In the negative print, the conditions of perception 4 are sufficiently reproduced for us to recognise the structure of the building, to distinguish ground and form, to relate some partial elements of narrative, and to recognize symbols such as the alter cross and figure of Christ, a looming crane, a traffic cone, and banks of tiered seating. We piece the image together both from the individual forms which we recognize despite the tonal reversal, and we piece the six prints together as a whole, the matrix of lines between them emphasizing our purview onto the world. While we recognise the forms at work in the image and might possibly relate the negative reversals to other figurations such as Vera Lutter’s camera obscura exposures, we cannot but avoid seeing the partialness of the image in the sponge marks of the developer that was spread by hand across the prints. 5 Derungs’ thus intervenes with our usual conception of photography as the mimetic realist vehicle sine qua non , by exposing the viewer to tonal reversal and incomplete or over developed areas of the print. We thus confront both the idiom of such image making and its raw (chemical) materiality at once in the simultaneity of the recognition of what the image pictures and the recognition that it is in the act of picturing. The church image, taken from the series “BW Negativs 2011,” thus orients us towards how we see things in the world via photographs. The single image of the bricked-up wall presents us with a completely different visuality that relates to a faciality 6 which we cannot easily escape from. We look, or rather try to look with no success, through the face of the windows, through the classic Albertian screen 7 which has already been given to us in the church matrix beside. Yet although we should be able to make more of these concealed windows because they are a positive print, because they are complete, because they approach us on a more realistic scale, reproduced at life size, we cannot. The objects pictured here withdraw from us; furthermore, they merely mock our blindness at not seeing how we look. Blocked up with quite a hint of paned glass behind, one window is blanked out with a white blind, the other simply blankly dark. The apertures look like eyes with teeth in them, or a Dogon mask, or even Man Ray’s Noire et Blanche (1926) if we want to get really perverse. The height of elegant modernist chauvinist beauty thrown against the vacuity of post-industrial decline. Derungs thus catapults us consciously into a world enfolded with and through images, but in such a way that the images themselves become objects that stand resistant to us, impervious to our gaze, indifferent. We—and indeed they—do not attempt to reach out to a real that is beyond, rather the images play in a world that is just theirs, and we can only enter that world if we too submit to their regime: tonal reversal, segmented, partial, inadequate, still, wrenched out of time. In contemplation, in the flood of the image “falling” off the wall, we too become image-object. Perhaps enough has now been said about the works, yet enough can never really be said, we know the image will always exceed the word—let’s accelerate the critique: Derungs’ work continues in a second space partially partitioned from this first room. Opposing three more “BW Negativs” which figure yet more quotidian aspects of the world is Minder’s gold spray paint and cuttlefish secretion mix: things that just shouldn’t work together do in the dialogue between stuff that Derungs and Minder have constructed. Minder makes things; Derungs makes images; together they make objects which inhabit their own world which we can approach and sensually engage with and come to grips with only on those objects’ own terms. This is best summarised by a final work made by Oliver Minder which on a third wall faces these two semi-partitioned spaces. A deep black stain about 100 X 200 cm with streak marks running down a further 2 metres hovers positioned to observe the whole work, and also to be part of this installation, too. This liminal flat suzerain lies in/out of the whole work. The stain of cuttlefish secretion resonates with Derungs’ sponge strokes on the church image; it mirrors the iris of an all-seeing eye; it combines material in situ with the situation itself. Where Minder’s other works have material and medium or substrate upon which the material is exercised, this single black hole is image which sucks everything up into itself. It draws the viewer, who must otherwise look away attentively at the floor work, and imagine horror, or smile at the ironic play of glitter. Look away at the image constructions that suggest how it is we too look to our world. See the play of thing and image in a third area. Or, finally return to the base of the pyramid that triangulates, to realise the stuff-image that unlocks it all for us. Black on white, organic on inorganic, material to substrate, that which in the falling out of one on the other, in its running down the wall simply gives form to both content and expression in one direction, and content and expression to form in another. NOTES In fact, glitter is used as associative forensic evidence: the 20,000 or so varieties are all uniquely identifiable. Joel Sternfeld, Tatorte: Bilder gegen das Vergessen (München: Schirmer/Mosel, 1996). Marc Augé, Non­places: Introduction to an Anthropology of Supermodernity trans. John Howe (London: Verso, 2006). An echo of the uneven paint strokes of light­sensitive chemicals in the paper preparations made by Henry Talbot some 170 years ago in the first sun drawings that also often pictured architectural forms. It was Talbot’s surprising discovery that where a weaker chemical solution was more thinly spread, greater light sensitivity was actualized, yet this virtual image had then to be chemically developed in a second step. Thus, Derungs unevenly finished spongings suggestively trace back to this originary technology (although his sweeps are the stains of uneven development and not those of the initial preparation of light–sensitive material). Umberto Eco, “Critique of the Image” in “Articulations of Cinematic Code” Cinematics 1, 1970. Gilles Deleuze and Felix Guattari, A Thousand Plateaus: Capitalism and Schizophrenia trans. Brian Massumi (Minneapolis: University of Minnesota Press, 2007). Geoffrey Batchen, Burning With Desire: the Conception of Photography (Cambridge, Mass: MIT Press, 1999). (shrink)

continent. 1.4 (2011): 242—252. Introduction The following two works were produced by visual artist Jonas Staal and writer Vincent W.J. van Gerven Oei during a visit as artists in residence at The Bag Factory, Johannesburg, South Africa during the summer of 2010. Both works were produced in situ and comprised in both cases a public intervention conceived by Staal and a textual work conceived by Van Gerven Oei. It was their aim, in both cases, to produce complementary works that could (...) be read “through each other,” in which the movement of artistic construction would be imitated by textual deconstruction and vice versa. Both works deal with the way in which capital, apartheid, and monumentality are interwoven in South-African society. The Missing Link addresses a monument for democracy, erected on the premises of a private corporation running both an amusement park and the Apartheid Museum franchise. The textual intervention accompanying this public intervention investigates the limits of the inclusiveness of the anti-discrimination section in the South-African constitution, itself a monumental work of democracy. The Monument for the Distribution of Wealth deals with the history and eventual dissolution of a monumental square, commemorating the Soweto Uprising, in one of the poorest townships of Johannesburg. The history accompanying this public dismemberment of memory is equally fragmented, which is expressed by the many voices recounting uncertain and perhaps even irrelevant “facts” about the genius loci, the way in which the memorial space has actually entered into the memory of the inhabitants surrounding it. Next to their individual practices, Staal and Van Gerven Oei have worked together on a number of projects ever since 2007, including several art residencies. Their work involves an investigation of the different interfaces between art, politics, and public space in media ranging from theater and public interventions, to video installations and (co-authored) textual works. The Missing Link Missing Link (1) Missing Link (2) Missing Link (3) Intervention on the monument entitled The Seven Pillars of the Constitution , part of the Apartheid Museum in Johannesburg, South Africa. The Seven Pillars represent the constitutional values propagated in South Africa since the abolition of the apartheid regime. The monument and museum were built by the Gold Reef Resorts corporation, which is also responsible for the theme park and casino next to it. By placing the word “capitalism” on the wall surrounding the museum, the capitalist system and the constant social divisions that it implies are interpreted as sophistic continuations of apartheid politics. Through the capitalist system, apartheid is still operational within South African society. Whereas during the apartheid regime, the separation clearly ran along race divisions, in the current, “democratic” system, the same actual separation is sustained without it being an explicit element of the foundations of the country, i.e. the constitution. This intervention foregrounds the constant role of capitalism is both periods. At the same time the intervention acknowledges that contemporary Western artisthood is a mirror of the privileges that are offered by the capitalist system, and the type of artist that it produces. The intervention initiates a critical discourse concerning the capitalist system situated within the disaster of capitalism itself, in other words: through the desire to break with the presumption that art would be able to operate outside the capitalist system and to confirm that art—and the artist himself—is in fact modeled on this system. The public intervention by Staal was supplemented by a textual intervention by Van Gerven Oei: a proposition to alter the seventeenth amendment of the South African constitution. Even though the anti-discrimination legislation in South-Africa is one of the most stringent and inclusive in the world, one factor—wealth—remains outside its scope, thus continuing the schisms along racial lines produced during the apartheid regime: §9.3. The state may not unfairly discriminate directly or indirectly against anyone on one or more grounds, including race, gender, sex, pregnancy, marital status, ethnic or social origin, colour, sexual orientation, age, disability, religion, conscience, belief, culture, language, birth, and wealth. Monument for the Distribution of Wealth Intervention concerning the June 16 Memorial Acre in Central Western Jabavu, one of the poorest townships of Johannesburg. The monument comprises a park on which different are placed recalling an important protest the black population against the former apartheid regime. In 1976, from a school adjacent to the park, they started a massive protest against the introduction of Afrikaans in the school curriculum. The police reacted violently, and shot several hundreds of students. The construction of the June 16 Memorial Acre was started in 2005, and from the start was the paragon of corruption. Coordinated by local politicians, some family members of the protest leader from 1976 gained control of the realization of the monument, outside the regulation through external institutions. The available budget of 41 million rand (at that time well over 5 million euro) was largely embezzled. In the meantime, the monument has become fully dilapidated and defaced. The park has become overgrown with weeds and covered in a layer of dirt, and the local population is slowly plundering the square to use the material for the construction and decoration of their own houses. The Monument for the Distribution of Wealth develops the dynamics already existent around the June 16 Memorial Acre. Without obtaining official permission in advance, several local inhabitants were hired to break down the monument, sort the materials, and offer it to the neighborhood. Thus, the redistribution of wealth after the fall of the apartheid regime is finally taking place, albeit from the mere remains of the capital that was once invested in the community. The words “monument” and “for free” are spray-painted on the stacks of material, both in English and Zulu, as these are locally the most common languages. Van Gerven Oei supplemented Staal’s public intervention with an account of the history of the monument based on a series of interviews. The account clarifies how the different interests within the protest 1976 are reflected in the exceeding decay of the park, and how in the end those interests were represented by the June 16 Memorial Acre. Monument for the Distribution of Wealth 1: Removing stones Monument for the Distribution of Wealth 3: Pulling down statues Monument for the Distribution of Wealth 4: Offering the material Monument for the Distribution of Wealth 5: Offering the material Monument for the Distribution of Wealth 6 The next day A Fragmentary History of the Monument for the Distribution of Wealth, Formerly Known as the June 16 Memorial Acre in Central Western Jabavu, Soweto Vincent W.J. van Gerven Oei The following text, based on interviews and online research aims to provide parts of a history of the park in front of Morris Isaacson High School in Central Western Jabavu, Soweto. The idea for the transformation of the park into a memorial site has its source in the events of June 16, 1976: the start of the the student uprising in Soweto. The development of the park was started in the early 1980s, and the actual transformation into a memorial site, the June 16 Memorial Acre, was initiated in 2005. Over the last few years, several monumental additions have been made to the park: A marble monument with three pillars was revealed on June 16, 2006. A sculpture of a book and several billboards on June 16, 2008. A sculpture of student leader Tsietsi Mashinini on June 16, 2010. The park was transformed into the Monument for the Distribution of Wealth on August 3, 2010. According to the entry “Youth Struggle” on the website South African History Online, the Bantu Education Act was introduced in 1953 . In 1954 , Dr Verwoerd, Minister of Native Affairs, stated: “What is the use of teaching the Bantu child mathematics when it cannot use it in practice? That is quite absurd.” According to the entry “Soweto uprising” on Wikipedia, the Afrikaans Medium Decree was issued in 1974 , forcing all black schools to use Afrikaans and English in a 50-50 mix as languages of instruction. The Regional Director of Bantu Education (Northern Transvaal Region), J.G. Erasmus, told Circuit Inspectors and Principals of Schools that from January 1, 1975 , Afrikaans had to be used for mathematics, arithmetic, and social studies from standard five (7th grade). English would be the medium for general science and practical subjects. Indigenous languages would be used for religion instruction, music, and physical culture. According the entry “Soweto uprising” on Wikipedia, on April 30, 1976 , students from the Orlando West Junior School in Soweto went on strike, refusing to go to school. Their example was followed by other schools in Soweto. A student from Morris Isaacson High School, Toboho “Tsietsi” Mashinini, proposed a meeting on June 13, 1976 to discuss further action. According to Weizmann Hamilton’s article “The Soweto Uprising 1976,” which appeared in the September 1986 edition of Inqaba Ya Basebenzi (Fortress of the Revolution), on June 13, 1976 , the South African Students’ Movement called a meeting at the Donaldson Community Center in Orlando. 300-400 Students representing 55 schools decided to hold a mass demonstration on June 16. According to Brian Mokhele, member of the Joint Community Safety Forum, Dr Edelstein was the first victim of the Soweto uprising and killed the day before the march on June 15, 1976 . Edelstein was an administrator at the pass office in Jabavu and gave golf courses to the local community. Edelstein was put in a garbage bin and pierced by pickaxes. The garbage bin was left at the very spot of the murder for many years. A few years ago, a child was beheaded at the same spot, and the basketball court next to it has been abandoned since. According to Marcus Neustetter, founder of the Trinity Session, this story is untrue. According the entry “Soweto uprising” on Wikipedia, on June 16 , Tsietsi Mashinini led students from Morris Isaacson High School to join up with others who walked from Naledi High School. A crowd of between 3,000 and 10,000 eventually ended up near Orlando High School. According to Raymond Marlowe, a local photographer, Tsietsi Mashinini was heading the march. According to the entry “Hector Pieterson” on Wikipedia, Dr Edelstein died on June 16, 1976 , stoned to death by mob and left with a sign around his neck proclaiming “Beware Afrikaaners.” The first child to die that day was called Hastings Ndlovu. According to Pat Motsiri, Orlando West is claiming struggle heritage through the Hector Pieterson Museum, while Hector Pieterson was from Jabavu. According to Pat Motsiri, his generation effectively struggled between 1980 and 1991, forcing the release of Nelson Mandela and negotiations with the apartheid regime while the 1976-generation was safely in exile. Nevertheless, this has not been recognized in any monument. After the abolition of apartheid, the generation from 1976 returned from exile, occupied important government and ANC positions, creating an abundance of 1976 memorials and refusing to acknowledge that this was only possible because of the younger generation’s struggle. He calls this a generational conflict. According to Archibald Dlamini, the park officer responsible for the Memorial Acre, he started working for the municipality in 1978. In 1981/82 , Isaac Makhele from Pimville, who used to work in the cemetery business, was the first developer of the park. It used to be just a normal park until City Parks decided to develop the Memorial Acre in 2006. In 2007 the work was stopped by the community. According to Brian Mokhele, he left the country in 1989 after he participated in the riots of 1986. But when he returned in 1999 he found that nothing had changed. He says that they were promised to be protected by the Constitution, but that reality is different. The police uses fear to suppress them so that they don’t come out to talk openly. He has been arrested twice, both times harassed and tortured by the police, but in the end always released without indictment. He says that this is their way to threaten communities to back off from politics. According to Moses, who is sitting outside rolling a joint, Brian knows everything. He tells Brian to tell me everything he knows. According to Brian Mokhele, Tsietsi Mashinini was possibly murdered in 1990 during his exile in New York. Two weeks before he was supposed to return to South Africa, his papers in order, he was found dead under mysterious circumstances. His coffin was sealed when he was buried. According to Pat Motsiri, he came up with the idea for the Memorial Acre in 2003 . He submitted the documents for the proposal to the council, which sidelined him as soon as the budget came out in 2005 . According to Brian Mokhele, there was on estimation R 41,000,000 spent to redesign the park and turn it into the Memorial Acre. The millions were divided by Amos Masondo, the mayor of Soweto, the local councilor Bongani D. Zondi, and the director of the city of Johannesburg, Pat Lephunya. They were dividing the money between several contractors: Tsietsi Mashinini’s brothers were involved in the development of the park, they got the tender to do the green areas, the landscaping. Construction was done by other companies, some did the paving, the toilets, etc. EMBA, a private company appointed by the municipality was in control of the money flow, but the money was quickly gone. According to Raymond Marlowe, the contractor bought a BMW with the money. According to Archibald Dlamini, the Mashinini brothers got the tender, so the space would look more like the other places around in Soweto. It was agreed that after they were done, they would return the property to the municipality. They did whatever they could do. According to Mafaisa, a member of the Jabavu business community, he was one of the contractors for the landscaping and the pavement under Mpho Mashinini, one of the brothers. He says that I should contact Mavi for information on Mpho. According to Poi Stuurman, a local youth worker, Mafaisa is one of the guys who ran away with the money. According to Mavi, Mpho Mashinini was never a contractor. The contracts were organized by Sbu Butelezi, the former head of the Gauteng Department for Public Works. The June 16 Foundation and the Mashinini brothers will be the beneficiaries of the park when it is finished. According to Brian Mokhele, City Parks did not accept the Memorial Acre because it was not finished. The rest of the year, the unfinished park is not maintained, as should have happened. This was done deliberately so that in the end they can just clean the whole thing up and have a reason to redo the whole park. According to Brian Mokhele, the Mashinini brothers now work for the government. People that manipulate for money purposes always come from the government’s side. Because the park was left unfinished, the people from the neighborhood are taking away the stones to decorate their own homes with. According to Archibald Dlamini, because City Parks doesn’t accept responsibility of the park, he officially has nothing the guard, except for his cottage, which is municipal property. The thieves come at night and destroy the park, but he cannot do anything because he is sleeping. According to the website of the Thanda Foundation on June 16, 2006 a bronze statue of Hector Pieterson, the first child to die in the 1976 protests, made by Kobus Hattingh and Jacob Maponyane was unveiled in the Maponya Mall in Soweto. The statue is sculpted after the famous image shot by Sam Nzima of Mbuyisa Makhubo carrying the dead body of the boy. The sculpture was sponsored by the Thanda Foundation, founded by the Swedish entrepreneur Dan Olofsson and South-African entrepreneur Matthews Phosa. According to the official website of the City of Johannesburg, the Memorial Acre and Artwork were unveiled in 2006. According to a blog post on sowetouprisings.com, the Memorial Acre was still under development on July 24, 2006. According to Archibald Dlamini, City Parks only cleans up the park once a year just before the June 16 celebrations. Everybody is waiting for the Mashinini brothers to finish their job. The last time he talked with them was in 2007 . According to a sign on the school grounds of the Morris Isaacson High School, the June 16 Trail will be finished in 2008 . According to a blog post on sowetouprisings.com, the Memorial Acre contains another monument erected in Tsietsi’s honor. The monument was created as part of the Sunday Times Heritage Public Art program. Its physical form resembles a giant book which symbolizes the crisis in education experienced in 1976. On the face of the book is the map of the route taken by the students from Morris Isaacson High School in Central Western Jabavu to Phefeni Junior Secondary in Orlando West (currently the site of the Hector Pieterson Museum), while the back cover of the ‘book’ is inscribed with a tribute to Tsietsi Mashinini. The monument was revealed on June 16, 2008 . According to Marcus Neustetter, the billboards on the Memorial Acre were part of a school project realized in 2008. Following several workshops, the students from different high schools along the June 16 Trail were invited to work with artists on the billboards, while the neighborhood community was invited to watch the process during the festivities on June 15 and 16, 2008 . The billboards were supposed to be removed because of construction works on the Memorial Acre, which never ended up happening. According to Brian Mokhele, the former toilet facilities were converted into a house for the park officer. This park officer has been working for city parks for more than 12-15 years, but does nothing here, because the park, including the new toilet buildings, is not finished. The government is now moving around looking for people to take this job because they stopped it. They confronted everybody who was going in and chased them away. According to John, in 2009 , some girls, around 16 or 17 years old, were raped by four men who had been drinking in a local shebeen. When the bar quit they said that they would go home by car, but instead raped the girls on the Memorial Acre nearby. This happened in the unfinished toilets, because the doors couldn’t be closed. According to Brian Mokhele, there used to be some fences around the park because of the construction work that was eventually stopped, but these were also stolen. According to Archibald Dlamini, people from the neighborhood started about two and a half years ago, and the last piece was stolen near the end of 2009 . Sometimes he would catch someone with a roll of fence, and then use it for his own cottage. According to the official website of the City of Johannesburg, a statue of Tsietsi Mashinini by Johannes Pokhela was revealed on June 16, 2010 , “Youth Day.” According to Shirley Makutoane, deputy principal of Isaac Morrison High School, the statue of Tsietsi Mashinini, funded by the June 16 Foundation, has temporarily been placed within the school perimeter. The statue will be moved to the Memorial Acre when it will be finished, in 2011 . According to Brian Mokhele, beside the June 16 Foundation, there is also a June 16 Memorial Acre Foundation. Both foundations are quarreling about the money involved in the Memorial Acre project. Nobody knows who’s involved in them. According to Marcus Neustetter, the June 16 Foundation consists of people that were part of 1976 protest movement, local government officials, representatives of the Hector Pieterson Museum, and the council. According to students from the Isaac Morrison High School, the statue of Tsietsi Mashinini is on the school ground because on the Memorial Acre it would be vandalized by youths from White City, an adjacent neighborhood. Accorcing to Brian Mokhele, the statue of Tsietsi should eventually be mounted on the Memorial Acre. It is wrong that the statue is in the school at the moment, because it is not a public school. He wants the statues to depict the massiveness of the force that was coming into Soweto after the protests. According to Brian Mokhele, City Parks, City of Jo’burg, City Lights, and SAPS are making some sort of plan to take the plan back. They want to remove the trees from the Memorial Acre, and redesign the Memorial Acre into a relaxing park, without political content. They want to depoliticize the square. In doing so,they will have their own employment and not use local workforces. According to Brian Mokhele, the community wants to remove the monuments, amphitheater, and sculptures from the Memorial Acre because they do not resemble anything. The sculptures should be depicting the truth of what happened, because the Memorial Acre is a political heritage site. He wants to involve the people that actually participated in the struggle to make the monument so that everyone can enjoy it and get a better understanding of the struggle heritage. Therefore, he proposes collective ideology in which everyone has a say. This would prevent future vandalization of the monument. According to Pat Motsiri, the sculptures must depict the event around June 16, 1976. Like the story of Dr Edelstein, who was pierced by pickaxes, forced into a garbage bin and burned alive. According to Jonas Staal, the Memorial Acre should be destroyed, its elements stacked on pallets, thus forming the Monument for the Distribution of Wealth . According to Mafaisa, his men can do the work quickly. He has about twenty men working under him. (shrink)

This book begins by considering responses by French artists to the First World War, showing how Purism, Dada, and early Surrealism are related to the ethos of post-war reconstruction. The authors then discuss the language of construction in places as dissimilar as France, Germany, and the Soviet Union; the contrasting demands of the utility and decoration of objects and paintings; and the relationship of surrealism to questions of sexuality and gender and to Freudian theory. The book concludes by addressing the (...) widespread debate over realism in art: whether it represents an alternative to the elitism of the avant-garde or whether avant-garde art should play a role in the development of a modern realism. (shrink)

The ancient Greek word kalon can be translated as beautiful, good, noble, or fine—yet somehow it transcends any one of those concepts. In art and literature, it can apply straightforwardly to figures like Helen or Aphrodite, or enigmatically to the pais kalos: the youthful athlete that decorates so much sympotic pottery. In the philosophy of Plato, Aristotle and Plotinus, meanwhile, it takes on an ethical, even transcendent dimension. And yet, the thread between a beautiful painting and the Platonic form (...) of the beautiful is never completely broken. In the summer of 2018, a group of scholars from varying disciplines gathered in Siracusa, Sicily – a place of not indifferent beauty itself – to discuss the nature of to kalon in ancient Greek culture. We were especially interested in the large part of that heritage that derives from or was influenced by Western Greece – the ancient Hellenic cities of Sicily and Southern Italy. The result is a volume that considers art, literature, rhetoric, and philosophy in exploring the nature of beauty. (shrink)

It will be a wrong judgment to consider grave stones as an ordinary tradition. When it is viewed in terms of history, art and culture, it can be seen that especially Turkish grave stones are record drawings that include many types of arts and artists’ labor, shed our culture and history and that is precious and unique. Grave stones are the documents that transfer not only the national culture but also transfer people’s beliefs, problems, fears, sadness and different feelings, who (...) breathe the same air and live in the same places. Because of this reason, grave stones are the cultural features that are shaped according to the differences in culture and decorated with life styles. Of course, Of course, having been applied plenty of traditional Turkish plastic arts on the tombstones, have all contributed to the diversity of tombstones in terms of composition and motifs. Rich craftsmanship of gravestones and sarcophagus in the second Bayezid graveyard is almost like an open air museum that shows Turkish motifs. While scarping was used for making gravestones are scarping, and painting were used as the main decoration tecnique is seen on foot stone with the painting technique, inscriptions of stones were coloured. Most of the inscriptions and decorations are relieved. Decoration subjects seen on gravestones are phytomorphic, geometric, objective and calligraphic. On the other side, these tombstones include wide knowledge about the socio-economic, cultural and regional headgears. When evaluating the information on the inscriptions, it can be obtained knowledge about the health conditions or epidemics in that period. Adolf Ebeling, article titled “Turkish cemeteries” in the 1882 the year Gartenlaube journal, when talking about the importance given to the graves by Turks, to say that the Turkish burial tomb can be an example to the world is no need to say more about it. The thomstones as the verbal means service to rebuilt the material world where the man has saved so far and the culture developing in accordance with this. The written tombstones which were formed by the individuals’ cherishing and remembering desires that the cultural, religious and traditional ones shaped, are the carrier elements of the values wich will provide to understand the sterotype requirements and ideologies within the cultural structure. Looking at the overall structure of the Turkish tombstones form shows major differences in male and female gravestones. In the Turkish tombstone tradition, women's elegance, finesse and beauty is reflected as a form of artwork. In fact, women in the Ottoman Empire, although excluded from the social life in very marginalized, especially in women flashy decorations tombstones, can be considered as an indication value which is given to women but unspoken. Since the tombstones have dates, they hold the distinction of being a document for ethnographic and art works. Moreover, inscribed tombstones are living evidences in order to prove that Turkish people lived in this land and also they have ethnographic value. Therefore, tombstones are important while the histories of cities, villages or boroughs are preparing. In short, tombstones are the common products of the environment that are built, religious beliefs, traditions, art, natural, social and economic conditions of the century. In this case they hold key for our culture history in addition to our art history. In this study, besides the effects of Turkish grave stones on our beliefs and daily lives, fruit patterns on the stones are also examined. The reflections traditional architectural and handicrafts motifs and the religious believes on the Turkish ornament art are explained by the examples chosen among gravestones in İstanbul II. Beyazıt Cemetery. In the colloquial language what fruit motifs mean in folk songs ang manias and how it is reflected on the ornaments of grave stones are investigated. (shrink)

In Star Wars: Rebels, Sabine Wren's paintings are more than mere decoration that she slaps onto whatever surface happens to be available, and the Syndulla family's Kalikori is hardly some trinket, as it's passed down generations in memory of a long dead ancestor. Sabine's paintings and the Syndulla's Kalikori have a peculiar quality that people only find in works of art, and yet they don't seem to fit traditional accounts of art in terms of representation, expression, or institutional recognition. Neither (...) Sabine's graffiti nor the Kalikori is representational; collaborative works like the Kalikori are difficult to classify as “expressive”; and both works are excluded from the institutions of the Star Wars artworld. So, according to these accounts, Sabine's graffiti and the Kalikoris are not art. Art is a complex social and psychological phenomenon, depending in equal parts on the intentions and talents of the artist and its reception by audiences in the broader social world. (shrink)

Waterfowl--ducks, geese, and swans--are a pervasive, ubiquitous element in Etruscan art, just as they are in well-watered Etruria itself. From the formative Villanovan Period though the terminus of Etruscan culture, waterfowl are regularly depicted in a variety of plastic and glyphic media: pottery, painting, metalwork, and stone. Waterfowl are particularly frequent in funerary contexts. Minimal attention, however, has been accorded this unique branch of avians; waterfowl are generally assumed to have little more than decorative value in the present literature, (...) Nonetheless, it can be shown that ducks, geese, and swans were endowed with social, medicinal, magical, and religious significance in ancient culture and, indeed, in most cultures where waterfowl gather in large numbers. A goodly portion of Etruscan art, as well as comparanda from contemporaneous peoples with whom the Etruscans, directly or indirectly, enjoyed economic and cultural intercourse--the Hellenic lands, Asia Minor and Egypt, central and northern Europe--bears out the preceding statement. This study first examines the natural history of the waterfowl of Etruria, as critical an aspect in their deployment as symbols as are the natural behaviors of the snake and lion in their respective symbolisms. Next, the various roles of waterfowl in medicine, magic and mythology, as well as etymological studies of both Etruscan and Indo-European words for "waterfowl" are investigated and analyzed. Certain aspects of Etruscan conceptions of the afterlife that eventually prove germane are also discussed. Analysis of the combined data helps elucidate the meaning of a number of Etruscan monuments in which waterfowl appear, and simultaneously calls for a reassessment of others, e.g., Villanova and later armor (helmets, pectorals, shield); Orientalizing pieces such as the Regolini-Galassi fibula; Archaic and later bronze mirrors; the Aurora Krater; tomb paintings; and duck askoi. To be sure, there are representations of waterfowl in Etruscan art where the birds serve as decorative elements only -- their beauty is universally admired -- but, as have other cultures, the Etruscans saw considerably more in ducks, geese, and swans than just graceful birds gliding about the waters. (shrink)