Summary Interaction with heritage objects, which represent the transition between the past and present, is part of people’s daily lives in historical cities. However, even though heritage is a cultural asset, it is also the outcome of the social and political conditions regarding the selection, protection, and management of heritage objects. After the Second World War, different European countries developed diverse approaches regarding the rebuilding process of their cities, which were heavily destroyed due to air raids. While some followed the strategy of constructing a modern city from scratch, some decided to reconstruct the prior structures before the cities were demolished. Furthermore, there are examples where the authorities have selectively chosen what they wanted to remember and build. When these strategies are analysed in today’s conditions, they raise the question of how these different approaches affected the appreciation of these cities in the contemporary world, concerning their perceived authenticity and integrity, since perception can vary regarding the issues related to heritage objects. In most cases, while experts emphasise the protection of the environment and safeguard the authenticity of the historical objects, for the general public, the visual integrity and the impact of the changes to their daily lives might be more critical, which establishes a difference towards the social value of the authenticity. Therefore, this paper aims to demonstrate the possible diversity of ethical and aesthetic approaches to restoration and reconstruction, from the perspective of authenticity and integrity, by comparing three cities from different parts of Europe with similar demographics. The selected cities in this research are Coventry (United Kingdom), Dresden (Germany), and Gdańsk (Poland), which were all damaged by air raids during the Second World War and implemented different reconstruction approaches to their cities after the war.
{"title":"A Critique on Authenticity and Integrity in Reconstruction: Perception of Architectural Heritage and Cities of Postwar Era from Europe","authors":"H. Doğan","doi":"10.2478/mik-2022-0010","DOIUrl":"https://doi.org/10.2478/mik-2022-0010","url":null,"abstract":"Summary Interaction with heritage objects, which represent the transition between the past and present, is part of people’s daily lives in historical cities. However, even though heritage is a cultural asset, it is also the outcome of the social and political conditions regarding the selection, protection, and management of heritage objects. After the Second World War, different European countries developed diverse approaches regarding the rebuilding process of their cities, which were heavily destroyed due to air raids. While some followed the strategy of constructing a modern city from scratch, some decided to reconstruct the prior structures before the cities were demolished. Furthermore, there are examples where the authorities have selectively chosen what they wanted to remember and build. When these strategies are analysed in today’s conditions, they raise the question of how these different approaches affected the appreciation of these cities in the contemporary world, concerning their perceived authenticity and integrity, since perception can vary regarding the issues related to heritage objects. In most cases, while experts emphasise the protection of the environment and safeguard the authenticity of the historical objects, for the general public, the visual integrity and the impact of the changes to their daily lives might be more critical, which establishes a difference towards the social value of the authenticity. Therefore, this paper aims to demonstrate the possible diversity of ethical and aesthetic approaches to restoration and reconstruction, from the perspective of authenticity and integrity, by comparing three cities from different parts of Europe with similar demographics. The selected cities in this research are Coventry (United Kingdom), Dresden (Germany), and Gdańsk (Poland), which were all damaged by air raids during the Second World War and implemented different reconstruction approaches to their cities after the war.","PeriodicalId":36225,"journal":{"name":"Art History and Criticism","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87066452","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}
Summary The goal of this article is to analyse and evaluate from an art-historical perspective the artistic legacy of Count Konstanty Tyzenhauz (1786–1853) in view of his multifaceted activities and in the context of his time, by applying formal and iconographic methods of art criticism. The Count’s work is a captivating and noteworthy legacy, a testimony to the amateur creativity of aristocracy. Various publications have published or mentioned only single works by Tyzenhauz; no attempt, however, has been made to study them as a whole with regard to the art-historical approach, moreover, some of the works had not yet been published. The analysis revealed that a number of sparsely preserved works, be it drawings or watercolours, are at variance with the stylistic rendering and artistic expression, thus disclosing the Count’s creative experiments and a notable influence of his teachers Orłowski and Norblin. The views representing historical heritage objects (the Koknese, the Vilnius Gediminas, and the Trakai castles) reflect in the main the Romantic tendencies and constitute the group of the most mature Count’s artworks. However, taking account of his unique style and individual manner, images of Rokiškis and the surrounding areas, as well as drawings of birds, stand out for the distinctive interpretation and comprise the most original group. They are romanticised, authentic visual fragments of his time and familiar environment. Art was not the Count’s main and professional endeavour, likewise for a number of noblemen of the epoch, but his artistic inclination let him adapt his talent for scientific purposes. No doubt, Tyzenhauz’s works that feature birds and various architectural objects are of important scientific, historical and iconographic value.
本文的目的是从艺术史的角度分析和评估康斯坦蒂·泰兹豪兹伯爵(1786-1853)的艺术遗产，鉴于他的多方面活动，并在他的时代背景下，通过应用艺术批评的形式和图像方法。伯爵的作品是一个迷人的和值得注意的遗产，证明了贵族的业余创造力。各种出版物只发表或提到过泰曾豪斯的个别作品;然而，没有人试图从艺术史的角度对它们进行整体研究，而且，其中一些作品尚未发表。分析显示，一些保存稀疏的作品，无论是绘画还是水彩画，都与风格渲染和艺术表达不一致，从而揭示了伯爵的创作实验和他的老师Orłowski和诺布林的显著影响。代表历史遗产的景观(Koknese, Vilnius Gediminas和Trakai城堡)主要反映了浪漫主义倾向，构成了伯爵最成熟的艺术作品。然而，考虑到他独特的风格和个人风格，Rokiškis和周围地区的图像，以及鸟类的绘画，以独特的诠释脱颖而出，构成了最原始的群体。他们是浪漫的，真实的视觉片段，他的时间和熟悉的环境。艺术并不是伯爵的主要职业，对那个时代的许多贵族来说也是如此，但他的艺术倾向使他能够将他的才能用于科学目的。毫无疑问，Tyzenhauz以鸟类和各种建筑为主题的作品具有重要的科学、历史和图像价值。
{"title":"Watercolours and Drawings of Count Konstanty Tyzenhauz – the Romanticised Testimony of the Time","authors":"Aušra Vasiliauskienė","doi":"10.2478/mik-2022-0004","DOIUrl":"https://doi.org/10.2478/mik-2022-0004","url":null,"abstract":"Summary The goal of this article is to analyse and evaluate from an art-historical perspective the artistic legacy of Count Konstanty Tyzenhauz (1786–1853) in view of his multifaceted activities and in the context of his time, by applying formal and iconographic methods of art criticism. The Count’s work is a captivating and noteworthy legacy, a testimony to the amateur creativity of aristocracy. Various publications have published or mentioned only single works by Tyzenhauz; no attempt, however, has been made to study them as a whole with regard to the art-historical approach, moreover, some of the works had not yet been published. The analysis revealed that a number of sparsely preserved works, be it drawings or watercolours, are at variance with the stylistic rendering and artistic expression, thus disclosing the Count’s creative experiments and a notable influence of his teachers Orłowski and Norblin. The views representing historical heritage objects (the Koknese, the Vilnius Gediminas, and the Trakai castles) reflect in the main the Romantic tendencies and constitute the group of the most mature Count’s artworks. However, taking account of his unique style and individual manner, images of Rokiškis and the surrounding areas, as well as drawings of birds, stand out for the distinctive interpretation and comprise the most original group. They are romanticised, authentic visual fragments of his time and familiar environment. Art was not the Count’s main and professional endeavour, likewise for a number of noblemen of the epoch, but his artistic inclination let him adapt his talent for scientific purposes. No doubt, Tyzenhauz’s works that feature birds and various architectural objects are of important scientific, historical and iconographic value.","PeriodicalId":36225,"journal":{"name":"Art History and Criticism","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74854275","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}
Summary The text analyzes the discourse on modernist genius functioning within the critical reception of the works of an American abstract painter Georgia O’Keeffe in the 1910s and 1920s. The aim is to reflect on how the understanding of O’Keeffe as an atypical artist in the masculinized reality of her time influenced the views on the ideal of genius articulated by art critics during the discussed period. The text also aims to revise some concepts regarding the painter’s presence in the artistic world and the position of her artwork therein.
{"title":"Modernist Genius in the Light of the Reception of Georgia O’Keeffe’s Work","authors":"K. Rosiejka","doi":"10.2478/mik-2022-0006","DOIUrl":"https://doi.org/10.2478/mik-2022-0006","url":null,"abstract":"Summary The text analyzes the discourse on modernist genius functioning within the critical reception of the works of an American abstract painter Georgia O’Keeffe in the 1910s and 1920s. The aim is to reflect on how the understanding of O’Keeffe as an atypical artist in the masculinized reality of her time influenced the views on the ideal of genius articulated by art critics during the discussed period. The text also aims to revise some concepts regarding the painter’s presence in the artistic world and the position of her artwork therein.","PeriodicalId":36225,"journal":{"name":"Art History and Criticism","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79307083","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}
Summary The article examines the complicated history of the search for Lithuanian identity in the church of the Nativity of the Blessed Virgin Mary in Chicago. After leaving their homeland in the aftermath of World War II, the Lithuanian community struggled to maintain its national identity under difficult conditions of emigration. The search for a Lithuanian architectural character became an important part of this political task. Based on a case study, a church near Chicago’s densely populated Marquette Park in Lithuania, the text analyzes the Lithuanian community’s debate about the cultural and political mission of Lithuanian architecture in exile, and the way to express it. Although the concept of the national style had already emerged at the beginning of the twentieth century, post-war technological progress and the unfamiliar context of emigration brings additional questions to the subject. The article argues that historical reminiscences in the church are more an ethical than an aesthetic choice. This approach embodies the specific cultural expectations of the community and is, at least partially, in line with the critique of modernism from regionalist point of view.
{"title":"The Church of the Nativity of the Blessed Virgin Mary in Chicago: A Complicated Story of the Search for Lithuanian Identity","authors":"Vaidas Petrulis","doi":"10.2478/mik-2022-0002","DOIUrl":"https://doi.org/10.2478/mik-2022-0002","url":null,"abstract":"Summary The article examines the complicated history of the search for Lithuanian identity in the church of the Nativity of the Blessed Virgin Mary in Chicago. After leaving their homeland in the aftermath of World War II, the Lithuanian community struggled to maintain its national identity under difficult conditions of emigration. The search for a Lithuanian architectural character became an important part of this political task. Based on a case study, a church near Chicago’s densely populated Marquette Park in Lithuania, the text analyzes the Lithuanian community’s debate about the cultural and political mission of Lithuanian architecture in exile, and the way to express it. Although the concept of the national style had already emerged at the beginning of the twentieth century, post-war technological progress and the unfamiliar context of emigration brings additional questions to the subject. The article argues that historical reminiscences in the church are more an ethical than an aesthetic choice. This approach embodies the specific cultural expectations of the community and is, at least partially, in line with the critique of modernism from regionalist point of view.","PeriodicalId":36225,"journal":{"name":"Art History and Criticism","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90005739","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}
Summary Adaptation research demonstrates that the narrative of a particular work may be transferred to different media and/or contexts. In the analysis of such adaptations, it is possible to observe that in the context of both cinema and theatre, the often debated discourses around the connection between literature and and its adaptations in another media, are dialogical and conflicting. Although these discussions still dominate many texts, a considerable number of researchers agree that there are significant connections between adaptations of the same work and the original narrative. For example, Regina Schober describes adaptations as the process of emerging relationships.1 Such a definition refers both to the relationship between the literary source and its adaptation to another medium, and the relationships between other adaptations created in the same or different media. The definition also encompasses the possibilities of narrative transformation in different cultural contexts. Prosper Mérimée’s work – the short story “The Bear”, in which 19th century Lithuania is reflected by combining fiction and reality – was selected for detailed investigation. The selected adaptations include, on the Lithuanian theatre stage, the opera “The Bear” (2000) created by composer Bronius Kutavičiuss and director Jonas Jurašas, and Łukasz Twarkowski’s “Lokis” (2017), staged at the drama theatre. The opera includes important additions to the short story. The adaptation by Lukasz Twarkowski and playwright Anka Herbut of the stage performance presents the idea of Mérimée’s work in today’s context, combining it with real stories of artists of our time. Two of the listed adaptations of “The Bear”, representing different genres – opera and contemporary drama theatre, as well as the relationship with the original text – became the objects of further research analysis. These case studies explore the use of media tools in the interpretation of the textual narrative, assess each adaptation within the overall field of previously produced adaptations, and seek to decipher the intertexts, and to notice the connections (as well as the differences).
{"title":"Adaptations of Prosper Mérimée’s “The Bear” in Different Media and Genres: Correction and Recontextualization","authors":"Miglė Munderzbakaitė","doi":"10.2478/mik-2022-0008","DOIUrl":"https://doi.org/10.2478/mik-2022-0008","url":null,"abstract":"Summary Adaptation research demonstrates that the narrative of a particular work may be transferred to different media and/or contexts. In the analysis of such adaptations, it is possible to observe that in the context of both cinema and theatre, the often debated discourses around the connection between literature and and its adaptations in another media, are dialogical and conflicting. Although these discussions still dominate many texts, a considerable number of researchers agree that there are significant connections between adaptations of the same work and the original narrative. For example, Regina Schober describes adaptations as the process of emerging relationships.1 Such a definition refers both to the relationship between the literary source and its adaptation to another medium, and the relationships between other adaptations created in the same or different media. The definition also encompasses the possibilities of narrative transformation in different cultural contexts. Prosper Mérimée’s work – the short story “The Bear”, in which 19th century Lithuania is reflected by combining fiction and reality – was selected for detailed investigation. The selected adaptations include, on the Lithuanian theatre stage, the opera “The Bear” (2000) created by composer Bronius Kutavičiuss and director Jonas Jurašas, and Łukasz Twarkowski’s “Lokis” (2017), staged at the drama theatre. The opera includes important additions to the short story. The adaptation by Lukasz Twarkowski and playwright Anka Herbut of the stage performance presents the idea of Mérimée’s work in today’s context, combining it with real stories of artists of our time. Two of the listed adaptations of “The Bear”, representing different genres – opera and contemporary drama theatre, as well as the relationship with the original text – became the objects of further research analysis. These case studies explore the use of media tools in the interpretation of the textual narrative, assess each adaptation within the overall field of previously produced adaptations, and seek to decipher the intertexts, and to notice the connections (as well as the differences).","PeriodicalId":36225,"journal":{"name":"Art History and Criticism","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88167661","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}
Summary The Frenkel family was famous in Lithuania not only as major manufacturers but also as generous benefactors. They honourably fulfilled the duty of a wealthy Jew to provide charity and social assistance to those most in need. The Frenkel family was forced to leave Lithuania in 1939: during the Soviet and Nazi occupations, the family lost all their possessions. While some family members had Lithuanian citizenship, the property rights of the descendants of Chaim Frenkel (1857–1920) were not reinstated, and from 17 June 1993 the Chaim Frenkel Villa became a department of the Šiauliai “Aušros” Museum (ŠAM, established in 1923). After the building’s renovation (finished in 2008) the villa’s interior spaces reflect minimally survived aesthetics of high class everyday Lithuanian Jewish private life at the beginning of the 20th century. The aim of the article is to argue how the Art Nouveau style in (territory of nowadays) Lithuania was not pure, but intertwined with retro-styles and internationalism. The case of the Ch. Frenkel Villa enriches the history of Lithuanian Art Nouveau with rich combinations of colours, shapes and compositions typical of Lithuanian Jews. Noticeably in the case of the Ch. Frenkel Villa, the traditionalist way of life and the wisdom of Jewish daily life restrained fashionable European design innovations. This is proof that the living environment of Lithuanian Jews was perceived as an important space for spiritual life and the worship of God. Despite searches – fruitless so far – to discover the building’s architect, we can nonetheless recognise the connection of the Ch. Frenkel Villa with the art history of neighbouring Latvia, Riga in particular. It is known that the creator of the villa’s wall painting – famous Latvian painter Voldemārs Zeltiņš (1879–1909) – came to Šiauliai from Riga especially for this work. While the décor of the Ch. Frenkel family house-villa interior may look very magnificent to today’s generation, in comparison with wealthy European factory owners’ homes it was very modest, though yet of very high artistic value, unique and avoiding the repetition of straightforward cheap fashions of interior design.
{"title":"Multicultural Art Nouveau Décor and Polychromy in the Interior of the Chaim Frenkel Villa in Šiauliai","authors":"Lina Preišegalavičienė","doi":"10.2478/mik-2022-0005","DOIUrl":"https://doi.org/10.2478/mik-2022-0005","url":null,"abstract":"Summary The Frenkel family was famous in Lithuania not only as major manufacturers but also as generous benefactors. They honourably fulfilled the duty of a wealthy Jew to provide charity and social assistance to those most in need. The Frenkel family was forced to leave Lithuania in 1939: during the Soviet and Nazi occupations, the family lost all their possessions. While some family members had Lithuanian citizenship, the property rights of the descendants of Chaim Frenkel (1857–1920) were not reinstated, and from 17 June 1993 the Chaim Frenkel Villa became a department of the Šiauliai “Aušros” Museum (ŠAM, established in 1923). After the building’s renovation (finished in 2008) the villa’s interior spaces reflect minimally survived aesthetics of high class everyday Lithuanian Jewish private life at the beginning of the 20th century. The aim of the article is to argue how the Art Nouveau style in (territory of nowadays) Lithuania was not pure, but intertwined with retro-styles and internationalism. The case of the Ch. Frenkel Villa enriches the history of Lithuanian Art Nouveau with rich combinations of colours, shapes and compositions typical of Lithuanian Jews. Noticeably in the case of the Ch. Frenkel Villa, the traditionalist way of life and the wisdom of Jewish daily life restrained fashionable European design innovations. This is proof that the living environment of Lithuanian Jews was perceived as an important space for spiritual life and the worship of God. Despite searches – fruitless so far – to discover the building’s architect, we can nonetheless recognise the connection of the Ch. Frenkel Villa with the art history of neighbouring Latvia, Riga in particular. It is known that the creator of the villa’s wall painting – famous Latvian painter Voldemārs Zeltiņš (1879–1909) – came to Šiauliai from Riga especially for this work. While the décor of the Ch. Frenkel family house-villa interior may look very magnificent to today’s generation, in comparison with wealthy European factory owners’ homes it was very modest, though yet of very high artistic value, unique and avoiding the repetition of straightforward cheap fashions of interior design.","PeriodicalId":36225,"journal":{"name":"Art History and Criticism","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-11-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79713784","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}
Summary The present study takes issue with the accepted view (cf. Vikipedija) that the Chapel of St. Casimir in the Cathedral of Vilnius (1623–1636) resembles the Pauline and the Sistine Chapels in the Basilica of Santa Maria Maggiore in Rome. A closer look and comparison of the dimensions, geometry, materials, and internal décor, however, reveals significant differences. The defining architectural features of the Chapel of St. Casimir do not derive from these Baroque chapels but from multiple Biblical and Early Christian sources. (This study focused on the Chapel’s interior features that survived the 1655–1661 occupation of Vilnius.) Its cubic core recalls the twenty-cubit amplitude of the Holy of Holies in the Temple of Solomon in Jerusalem. The black marble walls (noir de Namur) allude to the blackening acacia wood of the Ark of the Covenant holding the Ten Commandment stone tablets that Moses received from the Lord on Mt. Sinai. The ox-blood colored pilasters (vieux rouge de Rance) recall the porphyry columns of the Aedicule that sheltered the Tomb of Christ in the Church of the Holy Sepulcher, Jerusalem. The Chapel’s reduced Greek cross plan derives from Vitruvius and recalls Early Christian mausoleums. The Ionic column capitals in the Chapel duplicate the ones in the entrance portals of St. Peter’s Basilica in Rome and in the Confessio above the tomb of St. Peter the Apostle in the Roman necropolis underneath the Basilica. The Council of Trent upheld Early Christian customs, precedents, and traditions. Materializing the Council’s values, the Chapel became a landmark of the Counter-Reformation. The study at hand relied heavily on the indispensable archival documents gleaned by Povilas Reklaitis, Paulius Rabikauskas, SJ, Zenonas Ivinskis, Mintautas Čiurinskas, Birutė Rūta Vitkauskienė, and Piotr Jacek Jamski.
本研究对公认的观点(参见维基百科)提出了质疑，该观点认为维尔纽斯大教堂的圣卡西米尔教堂(1623-1636)类似于罗马圣玛丽亚马giore大教堂的保罗教堂和西斯廷教堂。然而，仔细观察和比较尺寸、几何形状、材料和内部结构，就会发现显著的差异。圣卡西米尔教堂的建筑特征并不是来源于这些巴洛克风格的教堂，而是来源于圣经和早期基督教。(这项研究的重点是教堂的内部特征，它在1655年至1661年维尔纽斯被占领期间幸存下来。)它的立方核心让人想起耶路撒冷所罗门神庙中至圣所的二十肘振幅。黑色的大理石墙壁(noir de Namur)暗指约柜的黑皂角木，约柜上有摩西在西奈山从上帝那里得到的十诫石版。牛血色的壁柱让人想起了耶路撒冷圣墓教堂里基督墓的斑岩柱。教堂的希腊十字架设计源自维特鲁威，让人想起早期的基督教陵墓。礼拜堂里的爱奥尼亚柱顶与罗马圣彼得大教堂入口的柱顶和圣彼得大教堂下面罗马墓地里使徒圣彼得墓上方的忏悔录上的柱顶如出一辙。特伦特会议坚持早期基督教的习俗、先例和传统。这座教堂体现了议会的价值观，成为反宗教改革运动的一个里程碑。手头的研究在很大程度上依赖于由Povilas Reklaitis, Paulius Rabikauskas, SJ, Zenonas Ivinskis, Mintautas Čiurinskas, birutkv Rūta vitkauskienkv和Piotr Jacek Jamski收集的不可或缺的档案文件。
{"title":"The Chapel of St. Casimir in Vilnius – A Counter-Reformation Landmark","authors":"Kęstutis Paulius Žygas","doi":"10.2478/mik-2022-0001","DOIUrl":"https://doi.org/10.2478/mik-2022-0001","url":null,"abstract":"Summary The present study takes issue with the accepted view (cf. Vikipedija) that the Chapel of St. Casimir in the Cathedral of Vilnius (1623–1636) resembles the Pauline and the Sistine Chapels in the Basilica of Santa Maria Maggiore in Rome. A closer look and comparison of the dimensions, geometry, materials, and internal décor, however, reveals significant differences. The defining architectural features of the Chapel of St. Casimir do not derive from these Baroque chapels but from multiple Biblical and Early Christian sources. (This study focused on the Chapel’s interior features that survived the 1655–1661 occupation of Vilnius.) Its cubic core recalls the twenty-cubit amplitude of the Holy of Holies in the Temple of Solomon in Jerusalem. The black marble walls (noir de Namur) allude to the blackening acacia wood of the Ark of the Covenant holding the Ten Commandment stone tablets that Moses received from the Lord on Mt. Sinai. The ox-blood colored pilasters (vieux rouge de Rance) recall the porphyry columns of the Aedicule that sheltered the Tomb of Christ in the Church of the Holy Sepulcher, Jerusalem. The Chapel’s reduced Greek cross plan derives from Vitruvius and recalls Early Christian mausoleums. The Ionic column capitals in the Chapel duplicate the ones in the entrance portals of St. Peter’s Basilica in Rome and in the Confessio above the tomb of St. Peter the Apostle in the Roman necropolis underneath the Basilica. The Council of Trent upheld Early Christian customs, precedents, and traditions. Materializing the Council’s values, the Chapel became a landmark of the Counter-Reformation. The study at hand relied heavily on the indispensable archival documents gleaned by Povilas Reklaitis, Paulius Rabikauskas, SJ, Zenonas Ivinskis, Mintautas Čiurinskas, Birutė Rūta Vitkauskienė, and Piotr Jacek Jamski.","PeriodicalId":36225,"journal":{"name":"Art History and Criticism","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-11-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86502116","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}
Summary Leaning on the notions of transnationalism of cinema or Cinema of Small States, this article sets out to evaluate early cinema in the Northwestern Krai of the late 1800s–early 1900s Russian Empire and the region’s largest city, Vilnius, thematically, rather than chronologically, through the layers of the formation of film culture and the transformation of cinema into an aesthetic object. Such an approach presents a culturally new possibility of finding commonalities, allowing one to see early cinema in the provinces not necessarily as an always-late phenomenon that highlights the provinciality of the provinces, but on the contrary, as part of the overall European film tradition. This is argued from several aspects. Firstly, by showing how the perception of cinema has changed (and how this change coincided with Western trends) from cinema of attractions to narrative cinema; and secondly, by identifying changes in the repertoire of cinemas and in the established preferences of the early cinema audiences.
{"title":"Early Cinema in Lithuania: The Emergence of a Cultural Tradition","authors":"Juozapas Paškauskas","doi":"10.2478/mik-2022-0007","DOIUrl":"https://doi.org/10.2478/mik-2022-0007","url":null,"abstract":"Summary Leaning on the notions of transnationalism of cinema or Cinema of Small States, this article sets out to evaluate early cinema in the Northwestern Krai of the late 1800s–early 1900s Russian Empire and the region’s largest city, Vilnius, thematically, rather than chronologically, through the layers of the formation of film culture and the transformation of cinema into an aesthetic object. Such an approach presents a culturally new possibility of finding commonalities, allowing one to see early cinema in the provinces not necessarily as an always-late phenomenon that highlights the provinciality of the provinces, but on the contrary, as part of the overall European film tradition. This is argued from several aspects. Firstly, by showing how the perception of cinema has changed (and how this change coincided with Western trends) from cinema of attractions to narrative cinema; and secondly, by identifying changes in the repertoire of cinemas and in the established preferences of the early cinema audiences.","PeriodicalId":36225,"journal":{"name":"Art History and Criticism","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-11-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86019252","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}
Summary The article analyses for the first time the décor motifs of the bronze chandeliers from Lithuania and Latvia in the 16th–18th century. More abundant objects in Latvia are used to reconstruct the lost heritage of chandeliers in Lithuania, and the variety, origin, and symbolism of décor motifs are analysed. The study revealed two groups of décor elements: some of them came from the Gothic and were still used during the Renaissance, while other motifs were started to use altogether with the beginning of the promotion of antiquity culture in the 16th century. The tops of the chandeliers were not decorated with random but rather relevant and important elements of the symbolic meaning of that period. These could be allegorical motifs of décor symbolising fire/Heavenly light, motifs symbolising Divine order on earth or Divine patronage, as well as heraldic décor elements denoting political relationships or friendliness.
{"title":"Décor Motifs of the Bronze Chandeliers in Lithuania and Latvia in the 16th to the 18th Century: Typology, Prevalence, Symbolism","authors":"Alantė Valtaitė-Gagač","doi":"10.2478/mik-2022-0003","DOIUrl":"https://doi.org/10.2478/mik-2022-0003","url":null,"abstract":"Summary The article analyses for the first time the décor motifs of the bronze chandeliers from Lithuania and Latvia in the 16th–18th century. More abundant objects in Latvia are used to reconstruct the lost heritage of chandeliers in Lithuania, and the variety, origin, and symbolism of décor motifs are analysed. The study revealed two groups of décor elements: some of them came from the Gothic and were still used during the Renaissance, while other motifs were started to use altogether with the beginning of the promotion of antiquity culture in the 16th century. The tops of the chandeliers were not decorated with random but rather relevant and important elements of the symbolic meaning of that period. These could be allegorical motifs of décor symbolising fire/Heavenly light, motifs symbolising Divine order on earth or Divine patronage, as well as heraldic décor elements denoting political relationships or friendliness.","PeriodicalId":36225,"journal":{"name":"Art History and Criticism","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-11-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83460189","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":"Review of Mussolini’s Theatre: Fascist Experiments in Politics and Theatre by Patricia Gaborik Published by Cambridge University Press, 2021","authors":"Ina Pukelytė","doi":"10.2478/mik-2022-0011","DOIUrl":"https://doi.org/10.2478/mik-2022-0011","url":null,"abstract":"","PeriodicalId":36225,"journal":{"name":"Art History and Criticism","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-11-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72550175","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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