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Tytuł:
О теории регулятиъности художестьенного текста
On the Theory of Art Texts Regulativity
Autorzy:
Болотнова, Нина C.
Powiązania:
https://bibliotekanauki.pl/articles/1923913.pdf
Data publikacji:
1998-12-31
Wydawca:
Uniwersytet Opolski
Opis:
The theory of regulativity is regarded as one of prospective directions of communicative stylistics of text. Regulativity is defined as the ability of directing the readers’ cognitive activity using text means. Here is revealed the specific character of regulativity in art texts, are desribed ways of regulativity and different types of regulative means. Regulative structures of text (regulatives) are correlated with the hierarchy of aims within the borders of the whole purpose programme of text. The examples given here are poetic text by Marina Tsvetayeva, Boris Pasternak and others.
Źródło:
Stylistyka; 1998, 7; 179-188
1230-2287
2545-1669
Pojawia się w:
Stylistyka
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Realistyczna koncepcja sztuki
The Realistic Conception of Art
Autorzy:
Kiereś, Henryk
Powiązania:
https://bibliotekanauki.pl/articles/2013206.pdf
Data publikacji:
2008
Wydawca:
Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
Tematy:
realizm – idealizm
prywatywna teoria sztuki
ejdetyczna teoria sztuki
maniczno-ekspresyjna teoria sztuki
realism – idealism
privative theory of art
eidetic theory of art
manic and expressive theory of art
Opis:
This paper shows some key aspects and main theses of the so-called “privative” theory of art founded on philosophical realism. For the sake of contrast, idealism is discussed and its theories of art: “eidetic” (rationalism) and “manic”-expressive (irrationalism). The presentation of the two traditions is crowned with a thesis according to which the realistic theory of art is universal and cognitively neutral. The tradition of idealism, for that matter, does not explain art, but projects its vision and is entangled in a debate between so-called essentialism and anti-essentialism, the debate that cannot be solved.
Źródło:
Roczniki Filozoficzne; 2008, 56, 1; 141-151
0035-7685
Pojawia się w:
Roczniki Filozoficzne
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Le rôle créateur de la memoria rhétorique dans la théorie des arts à l’époque des Lumières
Autorzy:
Sebastian, Zacharow,
Powiązania:
https://bibliotekanauki.pl/articles/897085.pdf
Data publikacji:
2020-01-13
Wydawca:
Uniwersytet Warszawski. Wydawnictwa Uniwersytetu Warszawskiego
Tematy:
Rhetoric
Theory of art
Diderot
French literature
Opis:
The article addresses the issue of one of the parts of rhetoric – memory (memoria) in relation to fine arts (beaux-arts), a term invented by Charles Batteux. In the classical understanding of the rhetorical discourse, memoria is a set of rules allowing the speaker to remember his speech and then to deliver it in the best possible way. In terms of aesthetics and art, the mentioned term takes on many new meanings, to the extent that Diderot’s Encyclopedia does not use it at all. In order to explain the role of memory as a creative process, the French theoreticians of the Age of Enlightenment (Batteux, Dubos, Voltaire) use many other terms, which only shows the complexity of the term memoria. The aim of the article is to show the adaptation of the rhetorical term to the area of poetics and theory of art, and to present how this rhetorical concept becomes one of the foundations of the fine arts.
Źródło:
Przegląd Humanistyczny; 2019, 63(4 (467)); 7-14
0033-2194
Pojawia się w:
Przegląd Humanistyczny
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
"De prospectiva pingendi" Piera della Francesca - perspektywa dla "opornych"
Piero della Francescas "De prospectiva pingendi" - perspective for "dummies"
Autorzy:
Salwa, Mateusz
Powiązania:
https://bibliotekanauki.pl/articles/707110.pdf
Data publikacji:
2014
Wydawca:
Polska Akademia Nauk. Czytelnia Czasopism PAN
Tematy:
Francesca
perspective
theory of art
perspektywa
teoria sztuki
Opis:
This article is an introduction to the accompanying translation of selected fragments of Piero della Francesca’s (1412?-1492) treatise De Prospectiva Pingendi (mid-1470s). Although Piero was rediscovered as a mathematician in the nineteenth century (his dissertation on perspective was first published in 1899), it was only in the second half of the twentieth century that his theories were systematically examined. As a result, Piero is now regarded as one of the greatest mathematicians of his time, who contributed to the development of studies on ancient geometry. From the point of view of art history, his most important treatise is De Prospectiva Pingendi, but this is only one part of Piero’s theoretical achievements, which also include Trattato d’Abaco (mid-1460s) and Libellus de Quinque Corporibus Regularibus (first half of the 1480s). All three works grew out of the same tradition of applied mathematics taught in schools for merchants and craftsmen (scuole d’abaco). At the same time, however, Piero was innovative in the way he greatly emphasised geometry. De Prospectiva Pingendi is a dissertation, which on the one hand shows painting as a craft, but on the other, offers a theory based on geometry, which according to Piero, was essential to painters. For this reason, the treatise is a unique example of a meeting point between art and science, craft and theory. Although not published during the Renaissance, it was well known as evidenced by the fact that later dissertations on perspective (eg. by A. Dürer) adopt definitions and issues introduced by Piero. Furthermore, some of his processes herald solutions that came to be known from more advanced and later-developed geometry (G. del Monte, G. Monge).
Źródło:
Rocznik Historii Sztuki; 2014, 39; 7-20
0080-3472
Pojawia się w:
Rocznik Historii Sztuki
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Leon Chwisteks Theory of the Plurality of Realities in Art - Psychological Foundations
Autorzy:
Bednarz, Gabriel
Powiązania:
https://bibliotekanauki.pl/articles/647114.pdf
Data publikacji:
2018
Wydawca:
Akademia Górniczo-Hutnicza im. Stanisława Staszica w Krakowie
Tematy:
Chwistek
theory of art
theory of manifold reality
logic
axiom
Opis:
In my article, I briefly present the axioms of Leon Chwistek’s theory of manifold reality (TMR). This theory is the basis of his theory of art (TMRA). The aim of my article is to present and discuss psychological foundations of Chwistek’s theory of art. In particular, I present and discuss: (1) two meanings of the notion “work of art” derived on the basis of two relations: work – experience of enthusiasm, and work – aesthetic experience; (2) two meanings of the notion “content of the work of art”; (3) relations between the axioms (beliefs) of TMR and means of every type of art contained in TMRA.
Źródło:
Studia Humanistyczne AGH; 2018, 17, 1
2084-3364
Pojawia się w:
Studia Humanistyczne AGH
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
O dynamizmie obrazów. Podstawowe kategorie estetyczne w koncepcji obrazu Věry Linhartovej
Autorzy:
Palich, Natalia
Powiązania:
https://bibliotekanauki.pl/articles/638651.pdf
Data publikacji:
2013
Wydawca:
Uniwersytet Jagielloński. Wydawnictwo Uniwersytetu Jagiellońskiego
Tematy:
Věra Linhartová, image, movement, poetry, theory of art, theory of literature, exile, Czech literature in exile
Opis:
On Dynamism of Images. Primary Aesthetic Categories in Věra Linhartová’s Concept of Image The aim of this paper is to argue the thesis that the theory of art and literature postulated by Věra Linhartová, a Czech writer, art and literary theorist who has been living in exile in France since 1968, is based on two significant categories – spatiality and movement. While both notions are strictly entwined with each other, it is the movement that plays the role of the key denominator in Linhartová’s theoretical and literary works which is pointed out by the author herself in her essay For an Ontology of Exile (1994). Due to a twofold – expository and comparative – character of the study, it is structured as an open and complementary diptych. First of all, drawing on Linhartová’s interpretative and theoretical essays, the analysis strives to retrace her individual and peculiar vision of image. The exposition of Linhartová’s methodological approach serves as the starting point for the comparison and contrast between her theory and methodological concepts concerning the theory of image – mainly Georges Didi-Huberman’s idea of image. The paper concludes with an opening to further analysis and interpretation of Linhartová’s theoretical and literary texts.
Źródło:
Studia Litteraria Universitatis Iagellonicae Cracoviensis; 2013, 8, 3
2084-3933
Pojawia się w:
Studia Litteraria Universitatis Iagellonicae Cracoviensis
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
O twórczym przekraczaniu granic. Przetworzenia i reprezentacje w przestrzeni sztuki
On creative border crossing. Transformations and representations in art
Autorzy:
Szczęsna, Ewa
Powiązania:
https://bibliotekanauki.pl/articles/1039381.pdf
Data publikacji:
2019-12-06
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
adaptation
representation
transformation
digital art
theory of literature
theory of art
Opis:
The paper analyzes the thesis that constantly transgressing boundaries in art is a fundamental principle and essential condition for artistic progress. Crossing external (the art – other discourses) and internal (between various art genres) boundaries is analyzed on the basis of transformations (especially adaptation) and representations. Dialogue relations initialized by art crossing the boundaries are analyzed as well: reinterpretations, polemics, extensions and supplementations. There is also a discussion of the ways in which semiotic and media boundaries are trangressed, especially the semiotic and media borders that are essential for the semiotic sphere of one artistic genre for the semiotic and media sphere of the other. The article refers to examples taken from literature, film, sculpture and painting.
Źródło:
Przestrzenie Teorii; 2019, 31; 209-226
2450-5765
Pojawia się w:
Przestrzenie Teorii
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
The Key to M. K. Ciurlioniss Synthesis of the Arts
Klucz do syntezy sztuki M. K. Ciurlionisa
Autorzy:
Siechowicz, Paweł
Powiązania:
https://bibliotekanauki.pl/articles/707103.pdf
Data publikacji:
2013
Wydawca:
Polska Akademia Nauk. Czytelnia Czasopism PAN
Tematy:
Ciurlionis
music
painting
theory of art
muzyka
malarstwo
teoria sztuki
Opis:
Muzyczny tytuł jednego z najsłynniejszych obrazów litewskiego malarza i kompozytora Mikołaja Konstantego Ciurlionisa (1875–1911) – Fugi – przyczynił sie do wielu jego interpretacji, których autorzy starali sie odniesc muzyczna idee fugi do wykreowanej przez Ciurlionisa malarskiej rzeczywistosci. Interpretacje te czesto rónia sie od siebie jedynie w szczegółach, czasem jednak dotycza kwestii podstawowych. adna z rozwaanych przez badaczy interpretacji nie jest jednak satysfakcjonujaca. Autor przedstawia róne moliwosci patrzenia na obraz Ciurlionisa: przez spojrzenia Dorothee Eberlein, Vladmira Fedotova, Jacka Szerszenowicza, Petera Vergo, Genovaitë Kazokas i Eero Tarastiego, by na koniec zaproponowac własne, róniace sie od poprzednich. Wykazuje te zwiazek malarskiej Fugi z Fuga op. 34 skomponowana przez Ciurlionisa w pół roku po ukonczeniu obrazu. Zwiazek ten opiera sie na pokrewienstwie tematycznym (w sensie formalnym) – oba dzieła osnute sa wokół tej samej idei, scislej – wokół tego samego uprzywilejowanego punktu ciekosci kompozycji, a w utworze muzycznym zostaje wykorzystany jako kształt melodii tematu. Ciurlionis tworzy wiec dwa całkowicie autonomiczne dzieła, wychodzac od tej samej idei. W tym spostrzeeniu kryje sie klucz do zrozumienia sposobu, w jaki artysta starał sie rozwiazac problem syntezy sztuk. Rozpoczynał od linii, która jawiac sie raz jako malarski kontur, raz jako dzwieczna melodia, stanowiła wspólny mianownik dla obu sztuk. Opierajac sie na tej linii kształtował forme dzieła jako skonczonej całosci, nadajac obrazom rygor klasycznych form muzycznych, jednoczesnie respektujac własciwe tylko dla malarstwa prawa percepcji wzrokowej. Nie układał malarskich kompozycji na wzór muzyki, ale tworzył je tak, jakby komponował – na sposób podobny do muzycznego. Dlatego te element przedstawieniowy w malarstwie Ciurlionisa zostaje podporzadkowany wzajemnym zalenosciom miedzy barwami a konturami płaszczyzn wypełniajacych przestrzen jego obrazów.
Źródło:
Rocznik Historii Sztuki; 2013, 38; 59-70
0080-3472
Pojawia się w:
Rocznik Historii Sztuki
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Problematyka kształtowania (w rozumieniu Augusta Zamoyskiego) odniesiona do multimedialności
The problem of shaping (in August Zamoyski’s definition) related to multimedia
Autorzy:
Graf, Paweł
Powiązania:
https://bibliotekanauki.pl/articles/28409282.pdf
Data publikacji:
2018
Wydawca:
Associazione Italiana Polonisti (AIP)
Tematy:
August Zamoyski
Theory of Art
Philosophy of Art
Formism
Avant-Garde
Opis:
The author of the article presents the project of August Zamojski, a Polish artist and theoretician of art, who created his own, very modern idea of artistic experience. This project was discussed in the context of mediumistics and in the confrontation with new tendencies within the theory of literature. It is the first so spacious interpretation of this project.
Źródło:
pl.it / rassegna italiana di argomenti polacchi; 2018, 9; 28-46
2384-9266
Pojawia się w:
pl.it / rassegna italiana di argomenti polacchi
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Teoria tworzenia anamorfoz stożkowych według Jana Ziarnki
The Theory of creation of conical anomorphoses according to Jan Ziarnko
Autorzy:
Biłozór-Salwa, Małgorzata
Powiązania:
https://bibliotekanauki.pl/articles/706976.pdf
Data publikacji:
2014
Wydawca:
Polska Akademia Nauk. Czytelnia Czasopism PAN
Tematy:
Ziarnko
Le Grain
anamorphosis
geometry
theory of art
anamorfoza
geometria
teoria sztuki
Opis:
Hailing from Lvov, the artist Jan Ziarnko is widely known as one of the first Polish engravers active abroad. Among the works executed by him in Paris and acknowledged in literature, there is a most interesting etching showing a Pair of Lovers. To create it, the artist skilfully used perspective deformation. A thorough discussion of this work prompts the introduction of a so far completely unknown Latin treatise written by Ziarnko in 1619. Perspectivae stereo graphice pars specialis is a short essay dedicated entirely to the technical problems of creating conical anamorphoses. This text, fitting perfectly into the tradition of seventeenth-century European literature dedicated to the question of perspective, is perhaps the first essay to explain how to create conical anamorphoses. Not recorded in the literature on anamorphosis, it seems well worth discussing, the more so that it precedes by almost two decades the most important treatise by Jean-François Niceron La Perspective curieuse ... dated 1638. The present text discussing Ziarnko’s interest in the problems of perspective, particularly those that are anamorphic, is accompanied by a Polish translation of the whole dissertation. It consists of an elaborate dedication, the proper treatise written in the form of thirteen statements, and the epilogue. The translation bears comments relating only to the content of the work itself. Thus, the present article can be considered as an introduction to the Polish edition of the treatise.
Źródło:
Rocznik Historii Sztuki; 2014, 39; 43-54
0080-3472
Pojawia się w:
Rocznik Historii Sztuki
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
The notion of nature in modern music theory and history as seen hy Carl Dahlhaus and Karol Berger
Autorzy:
Jarzębska, Alicja
Powiązania:
https://bibliotekanauki.pl/articles/780323.pdf
Data publikacji:
2009
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
music theory
music history
aesthetics of music
theory of art
the notion of nature
Opis:
Modern music theory, ignoring the problems connected with the subject’s auditive experience but referring to the objective laws of nature, was criticised by Carl Dahlhaus, although he accepted - to a certain extent - the hypothesis of historical determinism. Dahlhaus links this turning point in the history of reflection on music with the transition from the ‘ontological contemplation’ of the Tonsystem to the ‘aesthetic contemplation’ of the Tonkunstwerk, the fundamental characteristic of which is the idea of ‘wholeness’ (die Idee der Ganzheit). The new conception of the discourse on the theory and history of modern music proposed by Karol Berger in his book A Theory of Art (2000) bears testimony to crucial changes in the contemporary humanities linked to the so-called ‘cognitive revolution’. According to Berger, the fundamental characteristic distinguishing modern art from premodern art is its autonomy. Berger distances himself from the modern tradition of theoretic- aesthetic discourse treating the work of art, including the work of music, as an axiologically neutral entity independent of ‘human nature’, that is, of the functioning of our memory, imagination and cognitive mechanisms, and also not having a specific social function. At the centre of Berger’s theoretical interests is aesthetics, as broadly understood, coupled with ethics and history, poetics and hermeneutics. He is not interested - like Dahlhaus - in considering ‘what art is’ or ‘what music is’ , but poses the question: ‘What should the function of art be, if art is to have a value for us ?’
Źródło:
Interdisciplinary Studies in Musicology; 2009, 8; 93-108
1734-2406
Pojawia się w:
Interdisciplinary Studies in Musicology
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Między autonomią a epifanią. Art based research, badania jakościowe i teoria sztuki
Between autonomy and epiphany. Art based research, qualitative research and the theory of art.
Autorzy:
Kosińska, Marta
Powiązania:
https://bibliotekanauki.pl/articles/424497.pdf
Data publikacji:
2016
Wydawca:
Akademia Sztuk Pięknych w Gdańsku
Tematy:
art based research, badania jakościowe, analiza kulturowa, teoria sztuki, epifania, heuretyka, aktywizm, qualitative research, cultural analysis, theory of art, epiphany, heuretics, activism
Opis:
The subject of the article is an analysis of the most important contexts of emergence and the crucial tendencies apparent in the field of contemporary art based research. The author reconstructs the historical coincidence in the humanities and social sciences, which enabled the emergence of art based research. The author analyzes the changes within the field of qualitative research and cultural studies, especially those being conducive to searching the qualities of socio-cultural phenomena through artistic practices. An analysis of the methodological tendencies and the basic aesthetic categories of that field is undertaken and a question about the value of the qualities gained in the course of the artisticly based research is posed. The article inscribes the art based research in the context of the fourth historical phases of qualitative research by the discerned Yvonne S. Lincoln and Norman K. Denzin, and also in the democratic and postmodern flow of cultural studies. It underlines the importance of the reflexive turn in anthropology, but most of all, the role of the cultural analysis of literature and the narrative turn. It punctuates as the most important in the field of art based research – the modern dichotomy between knowledge and emotion. From that dichotomy the basic ways of defining the cognitive possibilities of art has emerged. Artistic practices are treated here as evocative, revealing emphatic experience. Finally, the author undertakes a comparative analysis of the modern theory of art and the activity of symbolization in the conception of Susanne K. Langer with the conception of evocative, epiphanic genres and identifies them as the two crucial tendencies in the field of art based research. They are analyzed as defining differently the cognitive qualities of art, resulting in distinct ethical and political consequences.
Źródło:
Sztuka i Dokumentacja; 2016, 14; 12-27
2080-413X
Pojawia się w:
Sztuka i Dokumentacja
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Malarska narracja w świetle teorii francuskiej sztuki akademickiej. Antecedencje wolności artystycznej
Narrative painting in the light of the theory of French academic art. Antecedents of artistic freedom
Autorzy:
Hryszko, Barbara
Powiązania:
https://bibliotekanauki.pl/articles/707090.pdf
Data publikacji:
2014
Wydawca:
Polska Akademia Nauk. Czytelnia Czasopism PAN
Tematy:
academic painting
theory of art
France
17th century
malarstwo akademickie
teoria sztuki
Francja
XVII w.
Opis:
This article aims to provide an answer to the title based on advice propagated in the writings of French theorists of art, and on artistic practice in the circle of the Royal Academy of Painting and Sculpture in Paris. These reflections are centred on the writings of Nicolas Poussin, Hilaire Padera, Gian Pietro Bellori, and André Félibien, as well as on paintings discussed during lectures at the Paris Academy and treated as model solutions for the education of painters. The foundation for creating a painted version of any story is reading the literary source. As a result of his reflection on the text, the artist forms in his mind an idea of the future work, expressed in the preliminary sketch. During the execution of the planned composition, the history painter had to categorize and schematize the appearances of his protagonists, their poses, gestures and facial expressions, so that the viewer immediately knew what role the depicted character played in the scene. In keeping with the idea of “painterly discourse”, the history painter competed with the writer by using poses, gestures and facial expressions, instead of letters and words. Although theorists of art advocated that painters use natural movements and expressive means in moderation, paintings were dominated by a solemn rhetoric of gestures and facial expressions used to enhance the didactic function of the image. The Academy attempted to reconcile these two approaches to historical painting. The first required that art faithfully reproduce the written story. The second gave the artist a certain degree of freedom in the selection of elements considered appropriate to the depiction of the narrative, provided the choice was correctly made. The latter approach has dominated the academic practice of painting, allowing the painter to abridge the tale and create within the picture a kind of a résumé of the written story.
Źródło:
Rocznik Historii Sztuki; 2014, 39; 61-72
0080-3472
Pojawia się w:
Rocznik Historii Sztuki
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Zakres sztuk wizualnych w Indiach klasycznych
The Field of Visual Art in Classical India
Autorzy:
Banasik, Barbara
Powiązania:
https://bibliotekanauki.pl/articles/914957.pdf
Data publikacji:
2016-06-15
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Classical India
visual arts
field of art
theory of art
theory of taste
theory of the senses
Opis:
The objective of this paper is to identify and define the main differences in modern Western and Classical Indian approaches to the theory of art, and by extension to the work of art itself. It is important in research on the history of art to avoid a cultural bias resulting from different theoretical approaches towards art and the basis of visual culture. Three main areas are examined: the classification of art or art disciplines, the theory of the senses and strategies in the perception of art. The first part analyses concerns about the origin of art, its boundaries and inner divisions. This serves top identify the scope of the Field of Art, connections between disciplines (theatre, music, painting, sculpture, etc.), and their position in the Art World. The following Sanskrit treatises serve as a basis: Nāṭya-śāstra, Kāma-sūtra, Viṣṇu-dharmôttara-purāṇa. A significant distinction can be found in the theory of the senses. Based on Saṃyutta Nikāya, Nyāya-sūtra, Vaiśeṣika- sūtra, etc. classical concepts of sensual perception and their roles are examined, with special emphasis on the position of the mind (manas) as a sixth sense or inner organ linked to senses. With that background, a brief analysis of the theory of taste (rasa), including the roles of emotion (bhāva) and mind (manas), is presented.
Źródło:
Studia Azjatystyczne; 2016, 2; 7-19
2449-5433
Pojawia się w:
Studia Azjatystyczne
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
The Concept of Art and Works of Art in the Theory of Art and in the Restoration Industry
Pojęcie sztuki i działa sztuki w teorii sztuki i konserwacji
Autorzy:
Orlenko, Mykola
Ivashko, Yulia
Powiązania:
https://bibliotekanauki.pl/articles/593899.pdf
Data publikacji:
2019
Wydawca:
Łódzkie Towarzystwo Naukowe
Tematy:
sztuka
dzieło sztuki
restauracja
kryteria określenia
art
work of art
restoration industry
criteria for determination
Opis:
Jawne i ukryte procesy społeczno-polityczne we wszystkich epokach dziejowych miały bezpo¬średni wpływ na działalność artystyczną. Poczynając od pierwszej dekady XX wieku stopniowej transformacji ulega znaczenie terminu «sztuka» oraz «dzieło sztuki». Od tego momentu sztuka nie zawsze jest postrzegana w związku z kategorią piękna. Zaszły także zmiany związane z dobo¬rem artefaktów artystycznych. Proces tworzenia odbywa się stopniowo, poprzez transformację zaobserwowanego zjawiska lub bodźca, a następnie ulega żywiołowej zmianie przy pomocy odpowiednich środków i twórców. Później staje często zjawiskiem społecznym i zajmuje pewną niszę w życiu kulturalnym społeczeństwa. Sztuka zatem jest także środkiem edukacji społeczeń¬stwa, rozwijającym się zgodnie z zasadami estetyki. Przemysł związany z restauracją dzieł sztuki jest dość konserwatywny. Przestrzega kryteriów definiowania dzieła sztuki, jego zachowania i reprodukcji. Rozwinął się w XX i XXI wieku, a renowacja obejmuje dziś nie tylko malarstwo, malowidła ścienne, rzeźbę, a również meble, tkaniny itp.
At all times, art has quickly responded to the evident and concealed socio-political processes in the society. Starting from the first decades of the twentieth century, the semantic meaning of the terms “art” and “work of art” gradually has changed; art does not always refer to the category of beauty, and therefore the criteria for the selection of artefacts to works of art also has changed. The transformation of the phenomenon into art occurs gradually: first it arises spontaneously, then specific genres and professionals appear, then it becomes a social pheno¬menon and holds a particular niche in the cultural life of society. So, art should be a means of educating society, which develops according to the laws of aesthetics and composition, and in this case, the elemental phenomenon becomes an artistic phenomenon. The restoration industry is quite conservative; it adheres to the criteria for defining a work of art and the basics of preserving and reproducing a work of art that developed during the 20th and 21st centuries, in which restoration includes painting, murals, sculpture, carving, iconostasis, furniture, fabrics.
Źródło:
Art Inquiry. Recherches sur les arts; 2019, 21; 171-190
1641-9278
Pojawia się w:
Art Inquiry. Recherches sur les arts
Dostawca treści:
Biblioteka Nauki
Artykuł
Wyświetlanie 1-15 z 121

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