reating collections of painting and calligraphy was an activity already practiced in the Han 漢 dynasty period (206 BC-220 AD). Nevertheless, neither then nor during the next centuries preceding Ouyang Xiu’s 歐陽脩 (1007 – 1072 AD) collecting pursuits was a of writing on art hadn’t been developed on such a scale as it was the case in the second half of the 11th century. Although, Ouyang Xiu himself showed rather little interest in painting, his writings might have been a trigger for future generations of collectors who started making records about their art collections or writing critique papers an unprecedented scale. With the advent of a new generation we can observe not only an increasing number of texts but also new ways of perceiving art. “Interest in calligraphy became part of hao gu 好古, loving antiquity”, 1) as Ronald Egan remarked. The same author also noticed that Ouyang Xiu was somewhat torn between aesthetic and didactical principals, whereas collectors from the new generation such as Mi Fu 米黻 (1051 – 1107 AD) and Wang Shen 王詵 (c. 1037 – 1093 AD) did not have such perplexities at all; on the contrary – they valued art for itself and focused on its meaning in their lives.2) Increased interest in collecting paintings coincided with a general flowering of painting during the tenth and eleventh century, which in turn was connected with some historical situation.3) After a period of political disunion the Five Dynasties (907 – 960 AD) and foundation of the Song 宋 dynasty (960 – 1279
{"title":"Su Shi 蘇軾 (1037 – 1101 AD) as an Amateur of Art Collecting","authors":"Bogna Łakomska","doi":"10.15804/aoto201503","DOIUrl":"https://doi.org/10.15804/aoto201503","url":null,"abstract":"reating collections of painting and calligraphy was an activity already practiced in the Han 漢 dynasty period (206 BC-220 AD). Nevertheless, neither then nor during the next centuries preceding Ouyang Xiu’s 歐陽脩 (1007 – 1072 AD) collecting pursuits was a of writing on art hadn’t been developed on such a scale as it was the case in the second half of the 11th century. Although, Ouyang Xiu himself showed rather little interest in painting, his writings might have been a trigger for future generations of collectors who started making records about their art collections or writing critique papers an unprecedented scale. With the advent of a new generation we can observe not only an increasing number of texts but also new ways of perceiving art. “Interest in calligraphy became part of hao gu 好古, loving antiquity”, 1) as Ronald Egan remarked. The same author also noticed that Ouyang Xiu was somewhat torn between aesthetic and didactical principals, whereas collectors from the new generation such as Mi Fu 米黻 (1051 – 1107 AD) and Wang Shen 王詵 (c. 1037 – 1093 AD) did not have such perplexities at all; on the contrary – they valued art for itself and focused on its meaning in their lives.2) Increased interest in collecting paintings coincided with a general flowering of painting during the tenth and eleventh century, which in turn was connected with some historical situation.3) After a period of political disunion the Five Dynasties (907 – 960 AD) and foundation of the Song 宋 dynasty (960 – 1279","PeriodicalId":240161,"journal":{"name":"Art of the Orient","volume":"14 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133249525","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This large-scale oil paintings work embodies the inner heart that was deeply touched when faced with such a big natural disaster; our love was inspired and human glory and moral power were amplified in artis tic expression. As a painter I was nurtured by this society which then encountered such a mega disaster, so it is an excellent opportunity for me to show my gratitude by participating in this compassion with my brush. 7)
{"title":"Chinese contemporary realism oil painting","authors":"Mu Ruifeng","doi":"10.15804/aoto201310","DOIUrl":"https://doi.org/10.15804/aoto201310","url":null,"abstract":"This large-scale oil paintings work embodies the inner heart that was deeply touched when faced with such a big natural disaster; our love was inspired and human glory and moral power were amplified in artis tic expression. As a painter I was nurtured by this society which then encountered such a mega disaster, so it is an excellent opportunity for me to show my gratitude by participating in this compassion with my brush. 7)","PeriodicalId":240161,"journal":{"name":"Art of the Orient","volume":"112 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117270831","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
nly very recently – i.e. only a few months ago – occurred a truly historic moment in time: South Africa celebrated the 20t anniversary of the abolition of apartheid. The anniversary of that day, April 27, 1994 is now a public holiday and it is called Freedom Day. President Jacob Zuma presided over the official celebrations organised on Sunday April 27t to commemorate the 20t anniversary of post-apartheid democracy in South Africa, insisting that South Africa today is closer to its dream of a multi-racial nation despite problems of stubborn inequality, poverty and corruption. “Our country has done well,” said Zuma at the ceremony which was held exactly two decades after the first democratic all-race elections that decided that Nelson Mandela would become the country’s first black president. “We all have a good story to tell. (...)We have moved closer to our cherished dream of a united nonracial, non-sexist and democratic South Africa,”1) he said also at the “Freedom Day” ceremony held in the gardens of the Union Buildings, the seat of the South African government in Pretoria. Another important moment of national reconciliation occurred during the burial ceremonies of the first black South African president Nelson Mandela on December 10t, 2013. South Africa is now the most developed country on the African continent and boasts, among other things, a strong constitution and an independent judiciary system. But its enormous democratic success has been sullied by mismanage-
{"title":"South African art – twenty years since the advent of the post-apartheid era","authors":"A. Pawłowska","doi":"10.15804/aoto201416","DOIUrl":"https://doi.org/10.15804/aoto201416","url":null,"abstract":"nly very recently – i.e. only a few months ago – occurred a truly historic moment in time: South Africa celebrated the 20t anniversary of the abolition of apartheid. The anniversary of that day, April 27, 1994 is now a public holiday and it is called Freedom Day. President Jacob Zuma presided over the official celebrations organised on Sunday April 27t to commemorate the 20t anniversary of post-apartheid democracy in South Africa, insisting that South Africa today is closer to its dream of a multi-racial nation despite problems of stubborn inequality, poverty and corruption. “Our country has done well,” said Zuma at the ceremony which was held exactly two decades after the first democratic all-race elections that decided that Nelson Mandela would become the country’s first black president. “We all have a good story to tell. (...)We have moved closer to our cherished dream of a united nonracial, non-sexist and democratic South Africa,”1) he said also at the “Freedom Day” ceremony held in the gardens of the Union Buildings, the seat of the South African government in Pretoria. Another important moment of national reconciliation occurred during the burial ceremonies of the first black South African president Nelson Mandela on December 10t, 2013. South Africa is now the most developed country on the African continent and boasts, among other things, a strong constitution and an independent judiciary system. But its enormous democratic success has been sullied by mismanage-","PeriodicalId":240161,"journal":{"name":"Art of the Orient","volume":"34 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115251078","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Polish-Chinese Art Relations in the 19th and 20th Century","authors":"Jerzy Malinowski","doi":"10.15804/aoto201507","DOIUrl":"https://doi.org/10.15804/aoto201507","url":null,"abstract":"","PeriodicalId":240161,"journal":{"name":"Art of the Orient","volume":"69 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115407859","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Ouyang Xiu 歐陽修 (1007–1072) and his collection of stone inscriptions","authors":"Bogna Łakomska","doi":"10.15804/aoto201302","DOIUrl":"https://doi.org/10.15804/aoto201302","url":null,"abstract":"","PeriodicalId":240161,"journal":{"name":"Art of the Orient","volume":"31 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129583182","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The importance of the body in Indian culture and selected issues regarding its manifestation in art","authors":"Dorota Kamińska-Jones","doi":"10.15804/aoto202202","DOIUrl":"https://doi.org/10.15804/aoto202202","url":null,"abstract":"","PeriodicalId":240161,"journal":{"name":"Art of the Orient","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128907639","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
At the foot of the Great Wall of China, near the town of Badaling, SOHO Small Office – Home Office in 2000 started constructing 59 detached guesthouses. Each of them was to be equipped with extensive cultural, entertainment, and business facilities. The creators of the project, the owner of the design office, Mr. Shiyi and his wife Mrs. Zhang Xin, invited 12 renowned architects to their endeavor, and gave them total freedom of creation. Although the project was charged with a high level of risk, and its final shape was difficult to predict, it became an unprecedented success, even though available only for a narrow group of affluent residents of the Middle Kingdom, as well as curious tourists from Western Europe and North America. The edifices, constructed over a period of 10 years, are probably more recognized in the western world than in China; it can be attributed to the exhibition of the design at the Venice Biennale in 2002, during which it was honored with a special prize. Additionally, the names of architects, brands in themselves, attracted the attention of critics and experts in architecture, who were particularly interested in the outcome of the encounter of great architectural individualities while creating Commune by the Great Wall. Three Japanese architects took part in the project. Kengo Kuma called his edifice Great Bamboo Wall (2000-2002), from the type of material employed for creating external-wall cladding as well as internal partitions; Shigeru Ban in his design, Bamboo Furniture House, used bamboo veneer lumber to create furniture to be prefabricated and used as the main component in addition to the exterior and interior walls. Finally, Nobuaki Furuya’s Forest House aimed at carrying out his own concept of architecture as a place of safety (asylum). Kanika R’kul, who carries out her designs mainly in Taiwan, presented Shared House that was its form similar to the practice of American modernism. A significant factor turned out to be the education in architecture that R’kul obtained at one of Californian universities, and her familiarity with American modernism as well as the activities of so-called “New York Five”. The motive behind the activities of another architect, Cui Kai, was primarily to obtain different views from inside the house, which was highlighted by the name of the project, See and Seen House. Antonio Ochoa Piccardo from Venezuela, the only author of non-Asian origin, though connected with Asian world for many years via designing edifices for SOHO office, also tried to provide variety of visual experience for the audiences of another guesthouse, Cantilever House. On the one hand, via employing raw concrete, Béton brut, it was homage to Le Corbusier, on the other hand, it expressed respect to the surrounding nature, articulated with using sienna pigment as wall dye. Rocco Yim from Hong Kong, the author of Distorted Courtyard, in a veiled mode drew from the traditions and practices of a typical house with a courty
在中国长城脚下，八达岭镇附近，SOHO小办公室-家庭办公室于2000年开始建造59间独立的宾馆。每一个都将配备广泛的文化、娱乐和商业设施。项目的主创人，设计办公室的老板石毅先生和他的妻子张欣女士，邀请了12位知名建筑师参与其中，并给予他们完全的创作自由。尽管这个项目风险很高，最终的形状也很难预测，但它取得了前所未有的成功，尽管只有一小部分富裕的中国居民，以及来自西欧和北美的好奇游客才能使用。这些建筑历时10年才建成，在西方世界可能比在中国更受认可;这要归功于2002年在威尼斯双年展上的展览，并在展览中获得了特别奖。此外，建筑师的名字，本身就是品牌，吸引了建筑评论家和专家的注意，他们特别感兴趣的是，在创造“长城公社”时，伟大的建筑个性相遇的结果。三位日本建筑师参与了这个项目。隈研吾称他的建筑为竹墙(2000-2002)，从用于创建外墙覆层和内部分区的材料类型;坂茂在他的设计竹家具屋中，使用竹单板木材制作预制家具，除了外墙和内墙外，还用作主要组成部分。最后，古屋信明(Nobuaki Furuya)的森林之家旨在实现他自己的建筑概念，作为一个安全(庇护)的地方。Kanika R’kul主要在台湾进行设计，她提出了一种类似于美国现代主义实践的形式。一个重要的因素是R 'kul在加州一所大学接受的建筑教育，以及她对美国现代主义的熟悉，以及所谓的“纽约五人组”的活动。另一位建筑师崔凯的活动背后的动机主要是从房子内部获得不同的观点，项目的名称“See and See house”突出了这一点。来自委内瑞拉的Antonio Ochoa Piccardo是唯一一位非亚洲裔的作家，虽然他多年来通过为SOHO办公室设计大厦而与亚洲世界联系在一起，但他也试图为另一家宾馆悬臂住宅的观众提供多样化的视觉体验。一方面，通过使用原混凝土b<s:1> brut，这是对勒·柯布西耶的致敬，另一方面，它表达了对周围自然的尊重，使用sienna颜料作为墙壁染料。来自香港的Rocco Yim，《扭曲的庭院》的作者，以一种隐藏的模式借鉴了典型的庭院住宅的传统和实践，来自新加坡的Kay Ngee Tan将他的设计“双胞胎”融入了周围的自然环境，使用当地的石头作为建筑材料。另一家宾馆的名字“Split House”包含了中国建筑师张永和(Yung Ho Chang)的原始设计理念。这座建筑是用一块切割而成的，它的各个部分是对角线间隔的。下面的两个项目源于对质量解决方案或室内布置领域的实验;它们成为当地独特的景观感叹词，迫使观众改变他们的习惯。第一个是来自台湾的简学艺(Chien Hsueh-Yi)设计的“机场之家”(Airport House)，类似于机场建筑的一部分。第二个是由Edge Design Institute的Gary Chang设计的著名的手提箱屋，它通过隐藏在地板下的移动墙壁和角落创造了多种空间组合。“长城公社”的核心元素是一个多功能会所，由世界知名的韩国建筑师Seung H-Sang (Iroje Architects & Planners设计事务所)于2001年设计。随着“长城公社”概念的发展和新宾馆的建设，会所也随之扩大。2005年，Seung H-Sang回到了这个项目。由SOHO工作室支持的“长城公社”项目结合了非常现代的亭子和更传统的亭子;其他的则构成了当地色彩和俏皮的功能主义之间的微妙联系。上面展示的11座大厦构成了原型解决方案，随后在整个土地上有许多复制品。目前，长城畔公社是凯宾斯基酒店品牌的专属休闲娱乐区，有适当的推广和广泛的营销计划，如在网站和知名杂志上刊登广告，如商业周刊。 中国开发商的一项大胆尝试，已经成为世界各地游客的另一种选择，在中国不仅可以看到数百年历史的文化，还可以看到一个紧跟现代潮流的发展中国家的视觉标志。 中国开发商的一项大胆尝试，已经成为世界各地游客的另一种选择，在中国不仅可以看到数百年历史的文化，还可以看到一个紧跟现代潮流的发展中国家的视觉标志。
{"title":"Architektoniczny eksperyment u podnóża Chińskiego Muru","authors":"J. Kucharzewska","doi":"10.15804/aoto201204","DOIUrl":"https://doi.org/10.15804/aoto201204","url":null,"abstract":"At the foot of the Great Wall of China, near the town of Badaling, SOHO Small Office – Home Office in 2000 started constructing 59 detached guesthouses. Each of them was to be equipped with extensive cultural, entertainment, and business facilities. The creators of the project, the owner of the design office, Mr. Shiyi and his wife Mrs. Zhang Xin, invited 12 renowned architects to their endeavor, and gave them total freedom of creation. Although the project was charged with a high level of risk, and its final shape was difficult to predict, it became an unprecedented success, even though available only for a narrow group of affluent residents of the Middle Kingdom, as well as curious tourists from Western Europe and North America. The edifices, constructed over a period of 10 years, are probably more recognized in the western world than in China; it can be attributed to the exhibition of the design at the Venice Biennale in 2002, during which it was honored with a special prize. Additionally, the names of architects, brands in themselves, attracted the attention of critics and experts in architecture, who were particularly interested in the outcome of the encounter of great architectural individualities while creating Commune by the Great Wall. Three Japanese architects took part in the project. Kengo Kuma called his edifice Great Bamboo Wall (2000-2002), from the type of material employed for creating external-wall cladding as well as internal partitions; Shigeru Ban in his design, Bamboo Furniture House, used bamboo veneer lumber to create furniture to be prefabricated and used as the main component in addition to the exterior and interior walls. Finally, Nobuaki Furuya’s Forest House aimed at carrying out his own concept of architecture as a place of safety (asylum). Kanika R’kul, who carries out her designs mainly in Taiwan, presented Shared House that was its form similar to the practice of American modernism. A significant factor turned out to be the education in architecture that R’kul obtained at one of Californian universities, and her familiarity with American modernism as well as the activities of so-called “New York Five”. The motive behind the activities of another architect, Cui Kai, was primarily to obtain different views from inside the house, which was highlighted by the name of the project, See and Seen House. Antonio Ochoa Piccardo from Venezuela, the only author of non-Asian origin, though connected with Asian world for many years via designing edifices for SOHO office, also tried to provide variety of visual experience for the audiences of another guesthouse, Cantilever House. On the one hand, via employing raw concrete, Béton brut, it was homage to Le Corbusier, on the other hand, it expressed respect to the surrounding nature, articulated with using sienna pigment as wall dye. Rocco Yim from Hong Kong, the author of Distorted Courtyard, in a veiled mode drew from the traditions and practices of a typical house with a courty","PeriodicalId":240161,"journal":{"name":"Art of the Orient","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122342260","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
urrent realities have promoted a migration of charismatic artists. Wojciech Kosinski notes that, in a way, it has created a global colonisation – “an export in the creation of skyscrapers from the West to the East”1) – which results in the shift of the leading centres of the skyscrapers construction to the Middle and Far East.”2) In the aftermath of the rapid development and urbanisation of Asia, the demand for tall architecture has significantly increased. One of the most striking examples of this phenomenon is the city of Dubai, where the newly erected buildings have changed the city’s skyline. The same has happened in other cities, where modern, tall buildings exist either alongside traditional buildings, or have replaced them completely. High-rise buildings first appeared on a large scale in the United States. Although they had also started to appear in Latin America (Sao Paulo, Santiago, Caracas, Bogota and Mexico City) since the early 1930s, it is Asia that has dominated this area: for instance the cities of Tokyo, Shanghai, Hong Kong, Taipei, as well as the city in question – Bangkok. Bangkok, the capital of Thailand, is a rapidly growing metropolis, and the 22nd most populous city in the world. It is also an extremely diverse city where traditional, multi-storey buildings neighbour closely with districts dominated by contemporary architecture. Even taller buildings are rising along the main public transport lines, which has made huge cranes a new landmark of the city’s landscape. High edifices seem to grow out of surprising places, out of context, and cause even more
{"title":"The Central Embassy in Bangkok. A new icon of the West in the East?","authors":"Lidia Gerc","doi":"10.15804/aoto201409","DOIUrl":"https://doi.org/10.15804/aoto201409","url":null,"abstract":"urrent realities have promoted a migration of charismatic artists. Wojciech Kosinski notes that, in a way, it has created a global colonisation – “an export in the creation of skyscrapers from the West to the East”1) – which results in the shift of the leading centres of the skyscrapers construction to the Middle and Far East.”2) In the aftermath of the rapid development and urbanisation of Asia, the demand for tall architecture has significantly increased. One of the most striking examples of this phenomenon is the city of Dubai, where the newly erected buildings have changed the city’s skyline. The same has happened in other cities, where modern, tall buildings exist either alongside traditional buildings, or have replaced them completely. High-rise buildings first appeared on a large scale in the United States. Although they had also started to appear in Latin America (Sao Paulo, Santiago, Caracas, Bogota and Mexico City) since the early 1930s, it is Asia that has dominated this area: for instance the cities of Tokyo, Shanghai, Hong Kong, Taipei, as well as the city in question – Bangkok. Bangkok, the capital of Thailand, is a rapidly growing metropolis, and the 22nd most populous city in the world. It is also an extremely diverse city where traditional, multi-storey buildings neighbour closely with districts dominated by contemporary architecture. Even taller buildings are rising along the main public transport lines, which has made huge cranes a new landmark of the city’s landscape. High edifices seem to grow out of surprising places, out of context, and cause even more","PeriodicalId":240161,"journal":{"name":"Art of the Orient","volume":"43 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127106746","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Ornitomorficzne miniatury marginesowe ormiańskich Ewangeliarzy przechowywanych w Bibliotece Narodowej w Warszawie / Ornithomorphic marginal miniatures of the Armenian Gospels from the Polish National Library in Warsaw The text analyzes the functions of the ornithomorphic system of marginal illuminations of three Armenian Gospel Books from the Polish National Library in Warsaw: the so called Skevra Gospel (III 8101, 1198, 1199), the Gospel from Zamość (I 12670, 1603) and the Gospel from Lwów (III 12677, 1639). The elaborate and variously depicted birds on the pages of the Gospels serve as an example of the longue durée of ornithomorphic motifs in the Armenian art of illumination and its special role within the illuminated Gospels. In the Skevra Gospel, the birds in the margins are depicted with great accuracy and in a naturalistic style whereas in the Gospel books from the 17th century they are rather conventional and decorative motifs. In both cases however, they serve as a good example of the evocative function of marginal miniatures. The semantic significance of the bird figure was exploited by the miniaturists, who by executing marginal images simultaneously built a visual narrative parallel to the sacred text. Thus, the marginal ornithomorphic decoration functions as notices which are to be activated by the intellectual participation of the reader. Furthermore, they establish a visual and semantic framework for the text that determines its interpretation.
Ornitomorficzne miniature marginesowe ormiańskich eangeliarzy przechowywanych w Bibliotece Narodowej w Warszawie /来自华沙波兰国家图书馆的亚美尼亚福音书的orniomorphic marginal miniatures本文分析了来自华沙波兰国家图书馆的三本亚美尼亚福音书的orniomorphic系统的边缘插图的功能:所谓的斯凯夫拉福音(III 8101, 1198, 1199)， Zamość的福音(I 12670, 1603)和Lwów的福音(III 12677, 1639)。福音书中精心绘制的各种各样的鸟类是亚美尼亚装饰艺术中鸟形图案的长期演变的一个例子，它在装饰福音书中起着特殊的作用。在《斯基夫拉福音书》中，页边空白处的鸟以一种自然主义的风格被描绘得非常准确，而在17世纪的福音书中，它们是相当传统的装饰性图案。然而，在这两种情况下，它们都是边缘微缩模型唤起功能的一个很好的例子。微型画家利用了鸟类形象的语义意义，他们通过执行边缘图像同时建立了与神圣文本平行的视觉叙事。因此，边缘的鸟形装饰的功能是通知，它将被读者的智力参与激活。此外，他们还为文本建立了一个视觉和语义框架，决定了文本的解释。
{"title":"Ornitomorficzne miniatury marginesowe ormiańskich Ewangeliarzy przechowywanych w Bibliotece Narodowej w Warszawie","authors":"K. Mroziewicz","doi":"10.15804/aoto201213","DOIUrl":"https://doi.org/10.15804/aoto201213","url":null,"abstract":"Ornitomorficzne miniatury marginesowe ormiańskich Ewangeliarzy przechowywanych w Bibliotece Narodowej w Warszawie / Ornithomorphic marginal miniatures of the Armenian Gospels from the Polish National Library in Warsaw The text analyzes the functions of the ornithomorphic system of marginal illuminations of three Armenian Gospel Books from the Polish National Library in Warsaw: the so called Skevra Gospel (III 8101, 1198, 1199), the Gospel from Zamość (I 12670, 1603) and the Gospel from Lwów (III 12677, 1639). The elaborate and variously depicted birds on the pages of the Gospels serve as an example of the longue durée of ornithomorphic motifs in the Armenian art of illumination and its special role within the illuminated Gospels. In the Skevra Gospel, the birds in the margins are depicted with great accuracy and in a naturalistic style whereas in the Gospel books from the 17th century they are rather conventional and decorative motifs. In both cases however, they serve as a good example of the evocative function of marginal miniatures. The semantic significance of the bird figure was exploited by the miniaturists, who by executing marginal images simultaneously built a visual narrative parallel to the sacred text. Thus, the marginal ornithomorphic decoration functions as notices which are to be activated by the intellectual participation of the reader. Furthermore, they establish a visual and semantic framework for the text that determines its interpretation.","PeriodicalId":240161,"journal":{"name":"Art of the Orient","volume":"20 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129234889","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
very time one thinks about contemporary Beijing, one begins with Tiananmen Square, the witness of some breakthrough events in the recent history of China. The urban planning project of the square was carried out by Zhang Kaiji in 1954.1) The architect was born in Shanghai in 1912 and he graduated in architecture from the University of Nanjing. He was the principal architectural consultant in Beijing after Mao Zedong rose to power. The square he created was located at the very heart of the former inner city, and constituted – through specific grandiosity – a competition to the imperial city, stretching out to the north of the Gate of the Heavenly Peace. In the times of the People’s Republic of China, the gate, despite having been an integral part of the imperial past, was symbolically incorporated and inscribed into the landscape of the new urban planning. The first instance of adopting the Tiananmen Gate to the purposes of communist China’s nomenclature was its inclusion in the official national coat of arms in 1950. Such associations with the new rather than imperial times, were enhanced by putting the image of the leader on the facade of the gate, between the two inscriptions: “Long live the People’s Republic of China” and “Long live the united nations of the Earth”, as well as by his regular speeches from the box, also designed by Zhang Kaiji. The development plan of Tiananmen Square was thought over in every detail, as was its opening, planned for the 10t anniversary of the People’s Republic of
{"title":"Icons of contemporary architecture in Beijing","authors":"Joanna Kucharzewska","doi":"10.15804/aoto201408","DOIUrl":"https://doi.org/10.15804/aoto201408","url":null,"abstract":"very time one thinks about contemporary Beijing, one begins with Tiananmen Square, the witness of some breakthrough events in the recent history of China. The urban planning project of the square was carried out by Zhang Kaiji in 1954.1) The architect was born in Shanghai in 1912 and he graduated in architecture from the University of Nanjing. He was the principal architectural consultant in Beijing after Mao Zedong rose to power. The square he created was located at the very heart of the former inner city, and constituted – through specific grandiosity – a competition to the imperial city, stretching out to the north of the Gate of the Heavenly Peace. In the times of the People’s Republic of China, the gate, despite having been an integral part of the imperial past, was symbolically incorporated and inscribed into the landscape of the new urban planning. The first instance of adopting the Tiananmen Gate to the purposes of communist China’s nomenclature was its inclusion in the official national coat of arms in 1950. Such associations with the new rather than imperial times, were enhanced by putting the image of the leader on the facade of the gate, between the two inscriptions: “Long live the People’s Republic of China” and “Long live the united nations of the Earth”, as well as by his regular speeches from the box, also designed by Zhang Kaiji. The development plan of Tiananmen Square was thought over in every detail, as was its opening, planned for the 10t anniversary of the People’s Republic of","PeriodicalId":240161,"journal":{"name":"Art of the Orient","volume":"52 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130209398","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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