Informacja

Drogi użytkowniku, aplikacja do prawidłowego działania wymaga obsługi JavaScript. Proszę włącz obsługę JavaScript w Twojej przeglądarce.

English (EN)·Polski (PL)·Yкраїнський (UK)
Przejdź do strony domowej biblioteki Centralna Biblioteka Wojskowa Link otwiera się w nowym oknie Logo biblioteki Prolib Integro - strona głównaCentralna Biblioteka Wojskowa

Wyszukujesz frazę "Ancient art" wg kryterium: Temat

  Lista filtrów
Wyrównaj
Wyświetlanie 1-15 z 25
Tytuł:
Sur l’image qui manque à nos jours, Pascal Quignard et l’imaginaire de l’absence
Sur l’image qui manque à nos jours, Pascal Quignard and the imaginary of the absence
Autorzy:
Concetta La Rocca, Maria
Powiązania:
https://bibliotekanauki.pl/articles/483752.pdf
Data publikacji:
2015
Wydawca:
Katolicki Uniwersytet Lubelski Jana Pawła II. Wydawnictwo Werset
Tematy:
ancient art
contemporary writing
missing images
dream
philosophy
Opis:
This article aims to investigate the role of the image in Quignard’s writing. Image is always present in his works, either directly, with the use of images taken from ancient art, or indirectly, thanks to the images that arise from his use of certain metaphors and expressions. In particular, here we take into consideration his Sur l’image qui manque à nos jours, in order to show how his discourse on the image takes the shape of a philosophical speculation on the missing images in our life. Indeed, for Quignard, we always live with the presence of the missing images, that is all we cannot see but we can imagine, for instance that of our conception. Moreover, the author analyses in this work four ancient images and four ancient texts. In so doing he confirms – even if partially – the Horatian formula ut pictura poesis, i.e. the link between these two forms of art. For him, the writing has the purpose of explaining the sense and the discourse that images represent. His way to present this to the readers is original and it does not belong to any other literary or artistic tradition of the past.
Źródło:
Quêtes littéraires; 2015, 5; 201-211
2084-8099
2657-487X
Pojawia się w:
Quêtes littéraires
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
The bow as an insignia of power in the art of ancient Iran
Autorzy:
Skupniewicz, Patryk
Powiązania:
https://bibliotekanauki.pl/articles/2073412.pdf
Data publikacji:
2021-10-22
Wydawca:
Uniwersytet Przyrodniczo-Humanistyczny w Siedlcach
Tematy:
Ancient Iranian art
Iranian royal insignia
Bows
Mesopotamian iconography
Iranian kingship
Opis:
This article presents the iconographic concept of the bow as an insignia in ancient Iran of the imperial era. The primary source of the bow’s association with the depiction of royal power is Mesopotamian iconography, where the bow is shown in the hands of kings without any connection to the act of shooting itself. The model of depicting a ruler with a bow resting on his foot, developed in the Neo-Assyrian period, was entirely adopted by imperial Achaemenid iconography. Another aspect expressing the association of the bow with royal power is the habit of depicting, in the Mesopotamian tradition, shooting kings without quivers. Iranian art of the Parthian and Sasanid periods, on the other hand, adopted the quiver as a sign of status from the nomadic steppe tradition, but one can nevertheless see in Sasanid iconography relics of the functioning of the bow as an insignia in the Mesopotamian sense.
Źródło:
Historia i Świat; 2021, 10; 153-170
2299-2464
Pojawia się w:
Historia i Świat
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Orszak Dionizosa: Waza Townleya i jej poznańskie kopie
Autorzy:
Rosół, Rafał
Powiązania:
https://bibliotekanauki.pl/articles/2028238.pdf
Data publikacji:
2021-12-28
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
sztuka starożytna
starożytne wazy marmurowe
mitologia grecka
religia grecka
recepcja tradycji starożytnej
Ancient art
Ancient marble vases
Greek mythology
Greek religion
Reception of the Ancient tradition
Opis:
At the main entrance to the Adam Mickiewicz Park in Poznań, there are two identical stone vases with ancient motives. The author indicates that they are not merely neoclassical works from the beginning of the 20th century, but copies of the famous Townley Vase dating back to the Roman times. Then, he focuses on the retinue of Dionysus on the main frieze of the vase and discusses all ten figures occurring in it.
Źródło:
Collectanea Philologica; 2021, 24; 173-183
1733-0319
2353-0901
Pojawia się w:
Collectanea Philologica
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Sassanian stucco decorations from the Ramavand (Barz Qawaleh) excavations in the Lorestan Province of Iran
Autorzy:
KARAMIAN, Gholamreza
FARROKH, Kaveh
Powiązania:
https://bibliotekanauki.pl/articles/517635.pdf
Data publikacji:
2017-08-08
Wydawca:
Uniwersytet Przyrodniczo-Humanistyczny w Siedlcach
Tematy:
Stucco
Sassanian art
Barz Qawaleh
Lorestan
Bard Qawela
Barz-Q town
ancient Iranian art
Opis:
Barz Qawaleh (also known as Bard Qawela or “Barz-Q” town) is an ancient site located in the vicinity of the village of Ramavand in Iran, in the Kounani region of the Seymareh river basin. The ancient site should be considered as one of the largest and most important Sassanian settlements in Lorestan, Iran. The present paper and accompanying photographs introduce some elements of the stucco decorations discovered at Barz Qawaleh, which constitute remarkable evidence of Sassanian art. Apart from introducing the findings from archeological, this paper offers some interpretations of the motifs and designs represented by the stuccos, some of which may be found also in materials from other Sassanian sites in Iran and Mesopotamia.
Źródło:
Historia i Świat; 2017, 6; 69-88
2299-2464
Pojawia się w:
Historia i Świat
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Spojrzenie na sztukę starożytnych i kategorię piękna w ujęciu Johanna Gottfrieda Herdera (1744-1803) oraz Johanna Joachima Winckelmanna (1717-1768)
Autorzy:
Szmulik, Ada
Powiązania:
https://bibliotekanauki.pl/articles/2139269.pdf
Data publikacji:
2022-10-03
Wydawca:
Uniwersytet Kardynała Stefana Wyszyńskiego w Warszawie
Tematy:
sztuka starożytna
kategoria piękna
sztuki piękne
natura
rzeźba
Johann Gottfried Herder
Johann Joachim Winckelmann
ancient art
category of beauty
fine arts
nature
sculpture
Opis:
Praca skupia się głównej mierze na tematach związanych z ponownym wzrostem zainteresowania sztuką starożytną, a zwłaszcza sztuką starożytnych Greków i próbach sformułowania własnych teorii estetycznych w drugiej połowie wieku osiemnastego na przykładzie rozpraw Johanna Gottfrieda Herdera oraz Johanna Joachima Winckelmanna. Celem artykułu jest wskazanie wartości paralelnych zawartych w twórczości wspomnianych postaci, takich jak: kwestia ujęcia hierarchii sztuk, próby ujęcia kategorii piękna, obecność elementów natury w dziełach sztuki czy spojrzenie na postać Homera.
The work focuses mainly on topics related to the renewed interest in ancient art, especially the art of ancient Greeks and attempts to formulate one’s own aesthetic theories in the second half of the eighteenth century on the example of the dissertations of Johann Gottfried Herder and Johann Joachim Winckelmann. The aim of the article is to indicate the parallel values contained in the works of these authors such as: the issue of presenting the hierarchy of arts, attempts to define the category of beauty, the presence of elements of nature in works of art or a look at the figure of Homer.
Źródło:
Saeculum Christianum. Pismo Historyczne; 2022, 29, 1; 184-195
1232-1575
Pojawia się w:
Saeculum Christianum. Pismo Historyczne
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Sposoby czytania rzymskich portretów starców z okresu republiki
How to Read Roman Republican Portraits of the Old Men
Autorzy:
Bugaj, Ewa
Powiązania:
https://bibliotekanauki.pl/articles/1046766.pdf
Data publikacji:
2014-01-01
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
ancient art
ancient portraiture
Roman Republican portraiture
veristic portraiture
Roman funerary reliefs and monuments
Roman portraits in a public and private context
political uses of images in Rome
Opis:
The portrait sculpture from the Republican era, better recognisable since the second century BC, although gaining in popularity particularly in the first century, constitutes one of the most unique portrait collections ever created. Variability of the portraits reveals combination of abstract features, expressed in an appropriate visual language, with definite physiognomic features and characteristics of persons being portrayed. A new type of portraiture was created at the time, different from the traditional Hellenistic one. Although it was the latter that was a source of the idea itself, and a provider of formal tools used to implement the idea. With this new concept the portraiture obtained an unprecedented capacity to articulate and project the interior processes of human experience. The Roman concept of portraying was most distinctive in so called veristic portraits, usually assumed to represent the essence of what was socially Roman. The collection consists mainly of the portraits of old men, frequently bold and toothless, with wry faces, full of wrinkles and scars – depicted in a stern manner, the manner that was not limited only to a persistent portraying of irregularities in physiognomies. Also emotional states were shown – almost with no exception these emaciated faces were gloomy and graceless. Looking at them might mislead viewers into assumption that they represented uncompromising images of their models. However, according to some studies, they were often just conventional types of representations, with features resulting from ideological motivation. And manipulating particular elements of physiognomy and character, these portrayed people – public images – were supposed to carry a particular message, to play desired and expected political and propaganda roles. What the role was remains a disputable issue, depending on various interpreting approaches. The papers dealing with the history of ancient art have been revealing, for the several years, various attempts made to extend interpretative interest beyond formal and stylistic interpretations of antique pieces of art and to look at these visual representations in a wider cultural and political context of their times. The study of the Republican portrait – traditionally explaining the origin of so called verism of these images in terms of the influence of the preceding realistic Hellenistic or Egyptian portraiture and images of ancestors – has been replaced by the approach promoting interpretation of these portraits as the signs existing in particular historical and political context which helps to explain their special visual expression. Such new interpretative perspectives significantly improved our understanding of forms and meanings of the portraits, although there are still several unclear issues, such as the social functioning of art. What is more, various researchers represent significantly different approaches. Thus, the portraits of the old men, especially popular towards the end of the republican era, on the one hand were interpreted as signs of protest against the contemporary reality, with which they argued, not allowing for what was approaching. While emphasising their age, the portrayed persons were supposed to emphasise their long-lasting service for the Republic, as well as the values they were devoted to, which were virtues, such as gravitas, dignitas, fides. On the other hand, these Republican portraits of old men are sometimes interpreted as efficient medium of social and cultural activities, and more precisely, as a result of relationships with authorities, and even as a tool used to build these relationships, especially if there was a patronage system functioning. In my paper, I confront various attitudes towards the portraits of old men and present the most convincing, in my opinion, interpretations, also trying to extend them.
Źródło:
Symbolae Philologorum Posnaniensium Graecae et Latinae; 2014, 24, 1; 33-60
0302-7384
Pojawia się w:
Symbolae Philologorum Posnaniensium Graecae et Latinae
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Mistress of the poet’s heart : On reading Lesbia’s iconography
Autorzy:
Łajkosz, Roksana Maria
Powiązania:
https://bibliotekanauki.pl/articles/2138825.pdf
Data publikacji:
2022-09-27
Wydawca:
Uniwersytet Wrocławski. Instytut Historii Sztuki
Tematy:
Catullus
Lesbia
Lesbia’s sparrow
Lesbia’s iconography
antique reception
ancient poetry in art
Opis:
This paper takes an issue of iconography of Catullus character – Lesbia. It discusses examples of artworks from the 18th and 19th centuries. The study of art pieces’ formal aspects and their comparing analysis with the poetic background are essential to determine and characterise the reception of Lesbia’s motive in art. The discussed theme is also related to the way of her representation. It is seen not only in the context of visual interpretation of poetry but also as referencing to ancient art. The problem with Lesbia’s images is considered on two levels. On the one side, it is connected with Catullus’s poems, especially Carmina 2 and 3. Two types of her images appear – “playing with pet sparrows” and “weeping over sparrow death”. On the other side of the artwork two ways of her depiction are visible. These are with Catullus’ companion and as single portrayed. They include her images as a child, young girl, and adult woman. Among them Lesbia is presented as indifferent towards lovers’ courting, flirting, or struggling with loss and death. In that context, her iconography is not only a reference to the poetic background but also it is read as an interpretation of her character by Classicism and Neoclassicism artist.
Źródło:
Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego; 2022, 64, 2; 32-51
1896-4133
Pojawia się w:
Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Kolos rodyjski: gdzie stał i jak był wykonany
Autorzy:
Wujewski, Tomasz
Powiązania:
https://bibliotekanauki.pl/articles/909481.pdf
Data publikacji:
2019-05-07
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
art of ancient Greece
Hellenistic period
Colossus of Rhodes
problems of location and construction technique
Opis:
Colossus of Rhodes: Where It Stood and How It Was Made The author, just as Ursula Vedder, who has expressed the same opinion recently, has been long sure that the place where the Colossus of Rhodes was located was the acropolis of the town of Rhodes. The paper includes also some arguments that have not been presented by the German scholar. At first, some source information concerning the Colossus has been briefly summarized. For instance, the expression in APV, 171 (Overbeck 1543), ou gar hyper pelagos monon anthesan alla kai en ga, may be understood as confirming its location in the acropolis: “it stood not only close to the sea, but also on the earth.” In fact, there it would have loomed over the land and the sea, and, as big as it was, it could be seen from a distance. The text by Philo of Byzantium is not credible, as it was written quite late. Then the problem has been analyzed critically. As regards the legend of Colossus bestriding the entrance to the harbor, one may add to the already listed counterarguments that for static reasons a piece of sculpture shaped that way would have needed a third footing attached to the sea bottom at the harbor entrance, which would have made the ships’ access to the harbor difficult. Besides, such a pose of a god would have seemed a little indecent. A hypothesis that situates the Colossus at the end of a pier in the Mandraki Bay, preferred by many scholars, also has its weak points. Placed there, the construction site would have been too small, particularly that construction took at least twelve years, and it would have been difficult to move building materials along the narrow and long pier which under such circumstances could not be used as part of the harbor. According to Strabo (XIV, 2, 5) the harbor was accessible only to authorized personnel. Was it then a good location for a work of art intended to glorify the people of Rhodes? Even if the Colossus had been accessible there, it would have been visible only in a shortened perspective, in frog’s eye view. Still, the most important was the problem of proper display of the statue. Placed on the pier, it would have to turn its back either to the town, or to the sea, and in both cases connotations would have been unwelcome. Such details were essential for ancient Greeks. For static and constructional reasons, one must also reject a hypothesis that the Colossus put his palm over the eyes, as if examining the horizon. If it is true that the relics of the statue remained for several hundred years intact, they would have blocked access to the harbor since most probably they would have fallen into the sea. Besides, would the iron elements have resisted corrosion well enough to be recognizable? Placed on the pier, the Colossus would have been invisible to the crews of ships approaching the town from the west and the same would have been true had it been situated at the present location of the palace of the Great Masters of the Knights Hospitaller. The placement of the statue in the sanctuary of Helios at the present corner of Sofouli and Khimaras streets is also improbable, since the area is really small and the Colossus would not have made a prominent component of the town skyline. Hence, the acropolis must have been the most convenient place, just as in other Greek towns, particularly in Athens where it was the site of the city patron’s worship. Some scholars argue that the temple in the acropolis was dedicated to Apollo, but when the Colossus was constructed Apollo was commonly identified with Helios who was the most important patron of the island. The statue, with his face turned to the east – the town and the sea – might have stood near that temple (ill. 1-2), towering over it. From the west, the steep rock of the acropolis practically made it impossible to watch the Colossus from the western shore, while from the sea it was visible only as a silhouette, an orientation point for the approaching ships (ill. 3), particularly if it was gilded like the statue of Athena Promachos in Athens. This can actually be the origin of the legend that the Colossus of Rhodes was also a lighthouse. Situated in the acropolis, the statue would have been visible both from the town and the sea on both sides of the island. If the damaged Colossus remained intact for centuries, it was because removing it from the acropolis was much more difficult than removing from the wharf. The noun “colossus” originally meant “something towering” (cf. Colossae and Colophon, towns upon hills). The other part of the paper focuses on the technology of construction. Some scholars were too eager to draw from Philo’s description conclusions about the Colossus’ structure and the building methods applied. If the statue had stood at the end of the pier, most likely it would not have been hilled up since the area was too small. Due to the pressure of dirt, boarding such an embankment (A. Gabriel’s claim) would have required 40-45 meter long struts for which there was no room. Moreover, with each subsequent raising of the embankment the struts would have to be multiplied and made much longer, which would have been both costly and technologically challenging. With each new layer of dirt, founding furnaces would have to be removed (as, according to Gabriel, they were located on the embankment) and then put back. A high embankment would have required the use of gigantic ladders, unstable and dangerous. What is more, it would have made it impossible to control the form of the work in progress. All that would have been irrational, while ancient Greeks do not really deserve such a charge. In the author’s opinion, the Colossus was erected within a wooden scaffolding. Founding particular elements of the statue on site was rather unlikely. An external dirt coat would not have helped since there was no clay core inside it, which would have made the alloy’s cooling speed radically unequal. Partial casting is also unlikely as it would have required a 1:1 model (30-35 meters high). Had the model been smaller, errors in calculating detailed measurements would have been inevitable. The author believes that the Colossus of Rhodes was made of hammered bronze sheets riveted to the inner metal skeleton. Such a technique made vertical transportation easier and allowed the constructors to correct the process of montage by bending the sheets whenever necessary. It cannot be excluded that the heads of the rivets and lines of contact between the sheets were masked with solders that did not require much alloy, although in higher sections of the statue the wind would have cooled it quite rapidly. The noun “colossus” did not originally imply a gigantic size but only a slightly archaic look of the sculpture so that the Colossus of Rhodes might have been somewhat similar to very ancient and artistically primitive stiff statues of Helios. On the other hand, it might have alluded to the mythic Telchins who were the first to make statues of gods. (For static reasons, contrapposto was out of the question in the statues of that size, besides it would have been impossible to fill its interior with stones.) Another aspect of making the Colossus look archaic was the use of a modified technique of sphyrelaton. In the author’s opinion, the base of the statue and maybe its higher parts as well, up to the level of ankles, contained carefully sized and braced blocks of stone. They were drilled through to hold the lower ends of the metal internal skeleton made according to the schema of a spatial grid, perhaps used on that occasion for the first time in history. Such a fixture protected the Colossus from the wind pressure so effectively that it remained standing for dozens of years, being vulnerable to earthquakes. The fallen Colossus must have looked like a debris of rods and tin, while the stones from the fixture could be seen in the “abyss” (Plinius), below the level of the ankles, where the structure was actually bent (it must have been bent there rather than at the level of the knees, since looking inside the ruin was easy: the ankles were situated about two meters above the base.) The third footing point might have been camouflaged with some attribute (a spear or a torch). It cannot be excluded that originally Chares had been planning a statue half the final size, similar to the previously known colossal pieces of sculpture, but the pride of the people of Rhodes, emulating Athenians, made them want a Colossus twice as big (Sextus Empiricus, pros mathem., VII, 107 n.). Making the statue look archaic and using an old technology plus some innovations allowed Chares to make their extravagant wish come true. The archaic look might have been achieved thanks to a reference to some old statue of Helios, which perhaps could be found in the neighboring temple. The torso might have been topped with the head, cast separately, although the trouble with placing it so high makes one doubt it. 
Źródło:
Artium Quaestiones; 2018, 29; 289-320
0239-202X
Pojawia się w:
Artium Quaestiones
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Ценные предметы в памятниках белорусской литературы XVI–XVII веков
Valuable objects in ancient Belarusian literature
Autorzy:
Kazanina, Viola
Powiązania:
https://bibliotekanauki.pl/articles/2118249.pdf
Data publikacji:
2019
Wydawca:
Uniwersytet w Białymstoku. Wydawnictwo Uniwersytetu w Białymstoku
Tematy:
valuable objects
art studies
antiquarian practice
ancient Belarusian literature
Renaissance
early Baroque
Opis:
The article describes and analyzes an artistic context of valuable objects in famous texts of ancient Belarusian literature (16th century – the first half of the 17th century) from the perspective of art studies and antiquarian practice. According to the author valuable objects in famous books of ancient Belarusian literature comprise gold and silver coins, pearl and precious stones, inlaid cult objects and weapons, exotic plants and animals, antiquarian books, coats of arms, musical instruments, imported fabrics and luxurious interiors. In the artistic context all above-mentioned objects are symbols of beauty ideals and diversity of the Renaissance and early Baroque in Europe.
Źródło:
Białorutenistyka Białostocka; 2019; 239-249
2081-2515
Pojawia się w:
Białorutenistyka Białostocka
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Recepcja motywów antycznych we współczesnej sztuce na przykładzie twórczości artystów: Léo Caillarda i Ayali Serfaty
Reception Ancient Motives in Contemporary Art by the Example of Creativity of Artists: Léo Caillard and Ayala Serfaty
Autorzy:
Michalska, Adriana
Powiązania:
https://bibliotekanauki.pl/articles/648710.pdf
Data publikacji:
2018
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
reception
ancient motives
contemporary art.
Léo Caillard
Ayala Serfaty
antique motives
design
designer
modern art.
classic art.
sculptural art.
antique tradition
modern culture
Opis:
The objective of this article is to define place and role of antique motives in modern art and design. Due to variety of creativness in XX/XXI century, created in different trends and beyond them, considerations were limited to sculptural art and design, based on creativness of French artist Léo Caillard and Israeli designer Ayala Serfaty. Interpretation of information, which was collected based on study of artists’ works of art, lead to conclusion that, despite different approach to antique tradition, both artists strive to similar targets and their intention is not imitation, but concept based on creation of surprising or even shocking links and juxtapositions. Research of contrasts between tradition and modernity is intended to provoke and encourage viewer to deeper and conscious interpretation of works of art and reflection about position of art in modern culture. It is essential to study esthetic contexts, circumstances of creation of works of art and motivation. The most important feature of this art is to induce strong impressions. Relations between viewer and work of art have crucial meaning. Approximation and logic of thinking, which are characteristic for each research orientations in history of classic and modern art, represents theoretical background of this article. In this context, there are references to Joachim Winckelmann, recognized as creator of methodological basics for researchment on ancient art. There are references to Franz Wickhoff, Aby Warburg and Erwin Panofsky who dealt with iconographical and iconographical-iconological methods.
Źródło:
Collectanea Philologica; 2018, 21; 143-151
1733-0319
2353-0901
Pojawia się w:
Collectanea Philologica
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
The Beginnings of Art History and Connoisseurship Studies in Ancient China
Początki naukowej myśli o sztuce i zabytkoznawstwa w starożytnych Chinach
Autorzy:
Łakomska, Bogna
Powiązania:
https://bibliotekanauki.pl/articles/1887208.pdf
Data publikacji:
2014
Wydawca:
Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
Tematy:
starożytne Chiny
historia sztuki
teoria sztuki
zabytkoznawstwo
kaligrafia
ancient China
art history
theory of art
connoisseurship studies
calligraphy
Opis:
Artykuł przedstawia historię kształtowania się myśli o sztuce i antykach w dawnych Chinach, począwszy od czasów dynastii Wei i Jin po wczesny okres dynastii Song. Celem niniejszego tekstu jest prezentacja zarówno teoretycznych koncepcji na temat malarstwa i kaligrafii pisanych przez artystów i uczonych-urzędników w różnych okresach, jak również przedstawienie rodzącego się zainteresowania zabytkoznawstwem. Artykuł pokazuje, w jaki sposób studia nad teorią sztuki ulegały zmianie, osiągając większy stopień dojrzałości w połowie IX wieku n.e., tj. w momencie, kiedy Zhang Yanyuan napisał „Rejestr Słynnych Malarzy wszystkich Dynastii”, dając tym samym asumpt do kolejnych studiów nad sztuką.
The article presents a history of creating thoughts on art and antiquities in ancient China starting from the Wei and Jin dynasties and ending at the early Song dynasty. The goal of this paper is to present theoretical concepts on painting and calligraphy written by artists and literati scholars in different times, as well as the beginnings of interests in connoisseurship. The article presents, how studies on art theory have changed, achieving higher level of maturity in half of the 9th century, i.e. when Zhang Yanyuan wrote “A Record of the Famous Painters of All Dynasties” giving the same a rise to further studies on art.
Źródło:
Roczniki Humanistyczne; 2014, 62, 9; 103-124
0035-7707
Pojawia się w:
Roczniki Humanistyczne
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Motyw syreny w sztuce sepulkralnej starożytnej Grecji
The motif of the siren in the sepulchral art of Ancient Greece
Autorzy:
Tatara, Magda
Powiązania:
https://bibliotekanauki.pl/articles/27312188.pdf
Data publikacji:
2023
Wydawca:
Uniwersytet Komisji Edukacji Narodowej w Krakowie
Tematy:
siren
psychopomp
funerary art
ancient Greece
sculpture
stele
syrena
sztuka nagrobna
starożytna Grecja
rzeźba
stela
Opis:
Syreny znane były w starożytnej Grecji jako pół-ludzie, pół-ptaki. Wzmianki o nich odnaleźć można w źródłach pisanych o tematyce dotyczącej bogów i bohaterów. W sztuce syreny pojawiają się w różnorodnych formach. Liczne zabytki pochodzą ze sztuki sepulkralnej starożytnej Grecji, dlatego celem niniejszej pracy jest analiza motywu syreny właśnie w tym kontekście. Korzystając ze źródeł pisanych oraz opracowań w tekście przedstawiono informacje na temat: pochodzenia syren, ich wyglądu i atrybutów, historii w których pojawiają się syreny (przykładowo: w podróży Odyseusza czy wyprawie Argonautów). Następnie krótko zarysowany został rozwój ikonografii syren w sztuce starożytnej Grecji w różnych epokach. Zasadnicza część dotyczyła analizy oraz interpretacji wizerunków syren z konkretnych zabytków, związanych z tematyką śmierci.
Sirens were known in ancient Greece as half‐human, half‐bird. Mentions of them can be found in written sources with themes concerning gods and heroes. In art, sirens appear in a variety of forms. Since numerous monuments derive from the sepulchral art of ancient Greece, the purpose of this article is to analyse the motif of the siren in this very context. Using written sources and studies, the article presents information on the origin of sirens, their appearance and attributes, and stories in which sirens appear (for example, in the voyage of Odysseus or the expedition of the Argonauts). Then, the development of the iconography of sirens in ancient Greek art during different eras is briefly outlined. The central part of the text is concerned with the analysis and interpretation of images of sirens from specific monuments related to the theme of death.  
Źródło:
Res Gestae. Czasopismo Historyczne; 2023, 16; 15-34
2450-4475
Pojawia się w:
Res Gestae. Czasopismo Historyczne
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Wybrane aspekty filozofii w coachingu: refleksje nad wiedzą humanistyczną a coachingowa praktyka
Selected aspects of philosophy in coaching: Reflexions on humanistic knowledge and the practice of coaching
Autorzy:
Musioł, Anna Agnieszka
Powiązania:
https://bibliotekanauki.pl/articles/1070481.pdf
Data publikacji:
2021-01-29
Wydawca:
Wydawnictwo Uniwersytetu Śląskiego
Tematy:
ancient philosophy
philosophy of dialogue
ethics
axiology
art of living
coaching
Socrates
Hartmann
Buber
Tischner
Opis:
W artykule podejmuję próbę wskazania zależności wiążących filozofię z coachingiem. Wokół tematyki coachingu narosło wiele mitów. Dlatego w tekście przedstawiam coaching jako współczesną, pomocową formę pracy (helping professions) z drugim człowiekiem (klientem/coachee); profesję, której metody i narzędzia sięgają myśli filozoficznej różnych epok, stanowiąc trwałą podbudowę pod humanistykę. Podbudowę tę stanowi dotychczas wypracowana przez myślicieli wiedza o człowieku, jego kondycji i miejscu w świecie. Refleksję nad filozoficznymi aspektami w coachingu rozpoczynam od opisu wybranych myśli epoki starożytnej, w której filozofia – akcentując swój praktyczny charakter – jawi się jako sztuka życia; poprzez analizę znaczenia etyki aksjologicznej Maxa Schelera i Nicolaia Hartmanna; kończąc na XX-wiecznej filozofii dialogu.
In this paper I undertake anattemptindication of dependences binding philosophy with coaching. Round the coaching grew many myths. Thereby in the paper I refer coaching as the present form of helping professions with the second man (with the customer/coachee); the profession whose method and the tool reach philosophical thought of different epochs, determining a permanent foundationunder the humanities. This foundation determines till now elaborate by thinkers the knowledge about the man, to his form and the place in the world. The reflection over philosophical aspects in coaching I begin from the description of chosen thoughts the ancient epoch in which the philosophy — accenting its own practical character — appears as art of living; across analysis of the meaning of Max Scheler and Nicolai Hartmann axiological ethics; finishing of the twentieth century eternal philosophy of dialogue.
Źródło:
Folia Philosophica; 2020, 43, 1; 1-14
1231-0913
2353-9445
Pojawia się w:
Folia Philosophica
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Historia kurtyny teatralnej
The History of the Theatrical Curtain
Autorzy:
Kuczyńska, Agnieszka
Powiązania:
https://bibliotekanauki.pl/articles/1945482.pdf
Data publikacji:
2007
Wydawca:
Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
Tematy:
kurtyna teatralna
starożytność
średniowiecze
nowożytność
sztuka nowoczesna
dekoracja
dzieło sztuki
theatrical curtain
ancient times
Middle Ages
modernity
modern art
decoration
work of art
Opis:
This paper outlines the history of the theatrical curtain that reaches back to ancient times. It also attempts to define its function and formulate a definition of this genre of art. In the Roman theatre there were two kinds of curtains: one that separated a part (Lat. siparium) or the whole of the stage from the audience (the so-called auleum). The historical evolution of the basic function of the curtain tended to enrich and elevate its meaning. The curtain should be regarded as an integral element of the theatrical interior, an individualised element and relatively autonomic. It was ornamented with woven, embroidered or painted representations. It also played a symbolic role, i.e. “the border of two worlds”: reality (on the part of the viewer) and illusive fiction (on the part of the theatrical action). The nineteenth and twentieth centuries saw some changes in the way to understand the “theatrical character”. As a result of them, the role of the curtain also changed. It became a part of the conception of stage design for a concrete performance. Eventually, the avant-garde of the twentieth century postulate to make the theatre “come closer to life”, therefore it questioned the division of the two “worlds” in general, and eliminated the curtain.
Źródło:
Roczniki Humanistyczne; 2007, 55, 4; 121-150
0035-7707
Pojawia się w:
Roczniki Humanistyczne
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Outside Prima Porta, and Within - Instances of Biodiversity
Autorzy:
Kneller, Margaret
Powiązania:
https://bibliotekanauki.pl/articles/2171487.pdf
Data publikacji:
2022
Wydawca:
Akademia Sztuk Pięknych w Gdańsku
Tematy:
Villa of Livia
Prima Porta
Museo Nazionale Romano
Palazzo Massimo
ancient Rome
Golden Age
frescos
herbarium
contemporart art
biodiversity
Źródło:
Sztuka i Dokumentacja; 2022, 26; 63-67
2080-413X
Pojawia się w:
Sztuka i Dokumentacja
Dostawca treści:
Biblioteka Nauki
Artykuł
Wyświetlanie 1-15 z 25

Ta witryna wykorzystuje pliki cookies do przechowywania informacji na Twoim komputerze. Pliki cookies stosujemy w celu świadczenia usług na najwyższym poziomie, w tym w sposób dostosowany do indywidualnych potrzeb. Korzystanie z witryny bez zmiany ustawień dotyczących cookies oznacza, że będą one zamieszczane w Twoim komputerze. W każdym momencie możesz dokonać zmiany ustawień dotyczących cookies