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Wyświetlanie 1-10 z 12
Tytuł:
Podział świata sztuki i jego zniesienie
Autorzy:
Grzegorz, Dziamski,
Powiązania:
https://bibliotekanauki.pl/articles/487878.pdf
Data publikacji:
2019-08-04
Wydawca:
Akademia Sztuk Pięknych im. Eugeniusza Gepperta we Wrocławiu
Tematy:
WESTERN ART
EASTERN ART
THIRD GENERATION OF AVANT-GARDE
ART MARKET
SZTUKA ZACHODNIA
SZTUKA WSCHODNIA
TRZECIA GENERACJA AWANGARDY
RYNEK SZTUKI
Opis:
A starting point is the division of the world of art onto Western and East- ern, and the question whether this division is still relevant after 1989? The Western world of art was equated with the market, the Eastern with ideol- ogy. Does the Eastern art have to join the Western world of art? Will the term avant-garde of third generation allow to better describe the transi- tion of art in real socialism countries? Does avant-garde in the times of post-modernist’s pluralism exist?
Źródło:
DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu; 2019, 27; 68-87
1733-1528
Pojawia się w:
DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Bezpieczeństwo wschodniej granicy
Autorzy:
Elak, Leszek.
Współwytwórcy:
Akademia Sztuki Wojennej. Instytucja sprawcza Wydawca
Data publikacji:
2019
Wydawca:
Warszawa : Akademia Sztuki Wojennej
Tematy:
Straż Graniczna (1991- )
Wojsko Polskie (1944- )
Granice
Sztuka wojenna
Wojna hybrydowa
Wojska lądowe
Wojska obrony terytorialnej
Współdziałanie wojsk
Monografia
Opis:
Bibliografia, netografia na stronach 215-226.
Dostawca treści:
Bibliografia CBW
Książka
Tytuł:
Piotr Piotrowski, Awangarda w cieniu Jałty. Sztuka w Europie Środkowo-Wschodniej w latach 1945-1989, Dom Wydawniczy Rebis, Poznań 2005, s. 502
Autorzy:
Cześniak-Zielińska, Magdalena
Powiązania:
https://bibliotekanauki.pl/articles/26850749.pdf
Data publikacji:
2009
Wydawca:
Akademia Zamojska
Tematy:
Central and Eastern Europe
art
modernism, avant-garde
Yalta
neo-avant-garde
social realism
Europa Środkowo-Wschodnia
sztuka
modernizm
awangarda
Jałta
neoawangarda
realizm socjalny
Źródło:
Facta Simonidis; 2009, 2, 1; 313-317
1899-3109
Pojawia się w:
Facta Simonidis
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Architektura i sztuka liturgiczna jako antidotum na desakralizację. Studium twórczości artystycznej M.I. Rupnika SI
Architecture and Liturgical Art as an Antidote to Desacralization. A Study of Artistic Creativity by M.I. Rupnik SI
Autorzy:
Kimsza, Radosław
Powiązania:
https://bibliotekanauki.pl/articles/2035074.pdf
Data publikacji:
2020-05-29
Wydawca:
Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
Tematy:
architektura sakralna
sztuka liturgiczna
ikona
chrześcijański Wschód
duchowość wschodnia
sacred architecture
liturgical art
icon
Christian East
Eastern spirituality
Opis:
Współczesna architektura i sztuka sakralna zatraciły swoje pierwotne ukierunkowanie na korzyść nieczytelnych i wieloznacznych form. W ten sposób sztuka sakralna, w pewnym sensie, przesłała być rzeczywistością pomagającą w kontakcie człowieka z Bogiem, albo jak chcieli teoretycy sztuki sakralnej, narzędziem sprowadzającym Boga na ziemię. Tendencjom tym próbuje zaradzić o. Marko I. Rupnik, słoweński jezuita, teolog i ikonograf, założyciel Centrum Aletti – instytutu teologii i sztuki, promującego ideę „chrześcijańskiego oddechu dwóch płuc”, łączenia tradycji wschodniej i zachodniej, jaka tworzyła doktrynę niepodzielonego Kościoła. Efektem myśli teologicznej Rupnika jest sztuka liturgiczna, która – wpisana w architekturę – tworzy przestrzeń spotkania się człowieka z Bogiem.
Contemporary architecture and sacred art have lost their original instinct in favor of illegible and ambiguous forms. In this way, sacred art, in a sense, sent the message to be a reality that helps man in contact with God, or, as the theorists of sacred art wanted, a tool that brings God down to earth. These tendencies are being remedied by Fr. Marko I. Rupnik, a Slovenian Jesuit, theologian and iconographer, founder of the Aletti Center – an institute of theology and art, promoting the idea of “the Christian breathing of two lungs”, combining the Eastern and Western traditions, which formed the doctrine of the undivided Church. The effect of Rupnik’s theological thought is liturgical art, which, inscribed in architecture, creates a space for human meeting with God.
Źródło:
Roczniki Teologiczne; 2020, 67, 5; 109-115
2353-7272
Pojawia się w:
Roczniki Teologiczne
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Letnia akademia w Marburgu poświęcona historii badań nad barokiem w okresie zimnej wojny
Marburg Summer Academy dedicated to Cold War Baroque studies
Autorzy:
Kłoda, Emilia
Powiązania:
https://bibliotekanauki.pl/articles/560118.pdf
Data publikacji:
2015
Wydawca:
Uniwersytet Wrocławski. Instytut Historii Sztuki
Tematy:
historiografia historii sztuki
sztuka baroku
Europa Środkowo-Wschodnia
badania na sztuką po II wojnie światowej
letnia akademia
historiography of art history
Baroque art
East-Central Europe
studies on art after WW 2
summer academy
Opis:
The summer academy “Art History in the Cold War. Methods, scope of interests, systems of value” was organised by The Humboldt University of Berlin at The Herder Institute in Marburg on 7–14 September 2014 within the international research project “Asymmetrical art history? Research and mediation of ‘precarious’ monuments in the Cold War” chaired by Prof. Michaela Marek. The project is focused on analyses of art history texts written in East Central Europe in the time of Cold War. There were seven research coordinators and twelve participants from nine countries (The Czech Republic, Germany, Hungary, Italy, Lithuania, Poland, Portugal, Slovakia and Ukraine). The summer academy became a forum for exchange of concepts between representatives of various disciplines – history, art and architecture history, philosophy and cultural studies. The main elements of the summer academy were topic sections that based on the knowledge of the texts which had been sent in earlier (“What is Marxist art history?”, “Programmatic character of art history after the communists’ takeover”, “Sacral buildings. Religion – power – form?”, “Italy as a starting point – significance of Italian roots”, “Histories of artists – strategic personalisation?”). The schedule of the summer academy also appointed time for group work based on archive and library sources accessible within the place. A few visiting lectures were also held in the evenings. During the last day recapitulation an attempt to analysing relations among the researchers and their mutual influence, access at translations of specialist reading, decontextualisation of monuments, and unappreciated role of popular scientific publications and exhibitions in shaping our image of Baroque occurred to be the most important issues.
Źródło:
Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego; 2015, 2(36); 122-127
1896-4133
Pojawia się w:
Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Wielka sztuka niewielkiego narodu: Polska na tle kontaktów literackich Chin z Europą Środkowo-Wschodnią
Great Art of a Tiny Nation: Poland in the Context of China’s Literary Contacts with Central and Eastern Europe
Autorzy:
Galewska, Karolina
Powiązania:
https://bibliotekanauki.pl/articles/1532731.pdf
Data publikacji:
2021-09-14
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
China
Central and Eastern Europe
Chinese literature
Polish literature
literary contacts
literary translation
Opis:
In 2020, Wydawnictwo Akademickie Dialog published the Polish version of Chiny i Europa Środkowo-Wschodnia. Historia kontaktów literackich (China and Central and Eastern Europe. The History of Literary Contacts) by Chinese literary scholars: Ding Chao and Song Binghui. The book is part of the series Historia Kontaktów Literackich między Chinami a Zagranicą (The History of China’s Foreign Literary Contacts) which aims to become a comprehensive description of China’s cultural exchange with other countries. Volume 17 is devoted to China’s relationships with Albania, Bosnia and Herzegovina, Bulgaria, Croatia, Czechia, Estonia, Hungary, Lithuania, Latvia, Montenegro, North Macedonia, Poland, Romania, Serbia, Slovakia and Slovenia. In this group, Poland occupies one of the central positions due to, among other, a high interest in Polish history among Chinese intellectual elite of the early twentieth century and among the reformers of Chinese literature in that period. The article discusses the sources of the popularity of Polish themes in the formative period of modern Chinese literature and the reception of Polish literature in China today. It also attempts to familiarise the readers with the themes studied by the researchers, the goals they set for themselves and the methods they used to achieve them, and presents the benefits of publishing the book in Polish.
Źródło:
Poznańskie Studia Polonistyczne. Seria Literacka; 2021, 40; 255-272
1233-8680
2450-4947
Pojawia się w:
Poznańskie Studia Polonistyczne. Seria Literacka
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Konserwacja obiektów sztuki sakralnej Kresów Wschodnich Rzeczypospolitej
Conservation of objects of sacred art in the eastern borderlands
Autorzy:
Smaza, Janusz
Powiązania:
https://bibliotekanauki.pl/articles/539302.pdf
Data publikacji:
2010
Wydawca:
Narodowy Instytut Dziedzictwa
Tematy:
sztuka sakralna
budowle sakralne
kresy
kresy wschodnie
wschodnia Rzeczypospolita
niewłaściwa adaptacja
dzieje powojenne
profesjonalne prace konserwatorskie
prace restauratorskie
światowej klasy wartości artystyczne
kolegiata żółkiewska
Żółkiew
Dziedzictwo Kulturowe
Ochrona Dziedzictwa Narodowego poza Granicami Kraju
materialne dziedzictwo Kresów
Opis:
The tumultuous history of World War II along with its political outcomes have not only lead to moving borders of the Republic of Poland, but also to losing a considerable part of its territory. The lands which were the source and the breeding ground for multicultural tangible and intangible values remained beyond the eastern border. While direct military activities did not lead to the destruction of many temples, the period of fratricidal combat, particularly in Volhynia, fuelled chiefly with hatred and anger, caused vast destruction. Another period was the rule of the Soviet authorities, whose main goals included fighting religion, as well as its entire tangible heritage. The forms and the intensity of fighting varied: temples were being closed, blown up or transformed into factories, power stations, prisons, bakeries, warehouses (usually for artificial fertilizers, oftentimes stored loose), mills, stables, department stores, gymnasiums, offices, apartments, concert halls, or museums of atheism and religion; this was connected with the removal of crosses, towers and domes. Frequently, reconstructions were so extensive that today it is very difficult to recognise that they were once sacred buildings. The furnishing of temples, which often was at the highest artistic level in the world, suffered the cruellest fate. Usually, it was barbarically removed and burnt. Immense geopolitical changes in East-Central Europe in the early 1990’s brought independence to many countries, which undertook a number of regulations enabling the return of temples to their rightful owners. This process, very vigorous in the first period, has almost ceased in recent years. Restoring fairly original appearance to the recovered temples required a huge sacrifice, and oftentimes heroism. First of all, protective, repair, and construction works had to be conducted, in many instances without adequate knowledge. The restoration of the sacred interior designs of the temples was done on a random basis. While the way of proceeding with the restorations was somewhat justified at the time, the activities in recent years, including among others, the inappropriate reconstruction of furnishing, have resulted in a loss of the last remaining values. They have been replaced with mediocrity and tackiness. Professional restoration works have been carried out only in few cases. The reasons for this are varied, on the one hand, among others, the lack of funds, the lack of adequate identification and the preparation of objects in such a vast territory, and on the other hand, the lack of partners. Presently, works on the appropriate professional level are being conducted almost in every scope and discipline at several dozen temples. They are carried out by highly experienced specialists from Polish schools. The works which have been conducted for the last 22 years in the 17th century collegiate church in Zhovkva, Ukraine, constitute one of such exceptions. They have been carried out by students and graduates of Polish schools: the Academy of Fine Arts in Warsaw and the Academy of Fine Arts in Kraków, as well as the Nicolaus Copernicus University in Toruń at the faculty of conservation and restoration of sculpture and architectural structure, and occasionally conservation and restoration of painting, or historic textiles. The works have been conducted in various forms: as holiday internships (month long) or MA theses (in case of the Academy in Warsaw), and the most difficult conservation issues are solved by international committees of specialists and are rendered by certified conservators and restorers of works of art based on the contract for specific task (it has only been several years that this form has contributed to a significant acceleration of the state of completing the restoration of the temple), and also as a form of volunteer work. This last form of activity (increasingly popular) requires highly qualified specialists who undertake full responsibility for the conducted works. Moreover, specific regulations exist which pertain to carrying out restoration works on historical monuments. The assistance, especially financial, of the Department of National Heritage, existing as a part of the Ministry of Culture and National Heritage, or the Centre of Polish Cultural Heritage Abroad at the Association “Polish Community”, as well as the Senate of the Republic of Poland and various foundations, has decidedly increased the number of works rendered on the highest professional level in the world serving the preservation of heritage of the eastern borderlands. It is, regrettably, still “a drop in the ocean”.
Źródło:
Ochrona Zabytków; 2010, 1-4; 85-94
0029-8247
Pojawia się w:
Ochrona Zabytków
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
W poszukiwaniu sztuki rodzimej. Dyskusja wokół recepcji ruskiego malarstwa sakralnego końca XIX i początku XX wieku w Galicji Wschodniej
Looking for native art. A discussion on the reception of the Ruthenian church painting of the end of the 19th century and the beginning of the 20th century in Eastern Galicia
Autorzy:
Rudenko, Ołech
Powiązania:
https://bibliotekanauki.pl/articles/1954060.pdf
Data publikacji:
2004
Wydawca:
Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
Tematy:
sztuka ruska
Galicja Wschodnia
kultura
dyskusja
bizantyński
rodzimość
ikona halicka
Ruthenian art
Eastern Galicia
culture
discussion
Byzantine
nativeness
Halicz icon
Opis:
The article shows research for the sources of the Ruthenian art at the break of the 19th century that became the basis for formation of the Ukrainian art. To form one's own art it was necessary to use the models from the past epochs, i.e. to refer to history. Native art needed not only contents, but also formal iconographic types and motifs that could be followed by Ukrainian painters. Historiographic reception of Ruthenian art, and first of all reaching for the art of the 15th-17th centuries, provided responses to those needs and shaped the vision of native painting with national values, based on religious tradition. In the discussion we are dealing, when we take under consideration literature in two languages, Polish and Ukrainian, with works written on “two different sides” with respect to national interests of the authors who fought for ideas confirming their national identity in the press, in reviews of exhibitions and in monographic works, in which thinking about particular works often led to very interesting general considerations of religious and national art; with the texts written by native art lovers expressing their admiration of its originality, as well as by works written by professional researchers, like M. Sokołowski or W. Podlacha. The Polish side begins this intensive discussion in connection with staging the Archeological Exhibition in 1885. Then the Ukrainian side, especially after the Archeological-Bibliographical Exhibition put on by the Stauropigial Institute in Lvov in 1888, speaks more frequently about this issue and looks for an explanation that would be proper for its own culture. The discussion resulted in distinguishing the native old-Ruthenian art that formed the foundations for the national art. It also showed that the Ruthenian painting had overcome the Byzantine canon, and under the influence of the West it started to develop in an original way. This was appreciated and it discovered possibilities for an artistic creative individuality, and using the achievements of the icon and the Halicz painting it also paved the way towards a revival of the Ukrainian art.
Źródło:
Roczniki Humanistyczne; 2004, 52, 4; 419-450
0035-7707
Pojawia się w:
Roczniki Humanistyczne
Dostawca treści:
Biblioteka Nauki
Artykuł
Wyświetlanie 1-10 z 12

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