Summary Persian and Arabo-Persian texts frequently referred to Silla as a highlighted toponym. Obviously, descriptions used for Silla in Persian texts cannot be comparable with other toponyms. Ajayeb-al-Makhlughat is the name of a manuscript which deals with marvellous lands, islands, seas, animals, birds, people or customs etc. in Persian literature. Qazvini’s versions have no designs/paintings on toponyms. Haji Mohammad Nasir Khansari published the lithographical version of the manuscript in Tehran in 1283 Hegira (1904 AD) for the first time. His copyist and graphic designer was Abas-Ali Tafreshi. He, in the lithographical version, described the lands and islands of South and Southeast Asia (India to Silla) along with paintings. Most of the people of those islands appeared naked, were uncivilized and had a strange lifestyle. As an exceptional case, Silla is described very positively, civilized, attractive and charming. This paper focuses on the significant difference between Silla and the others, based on the paintings. Nevertheless, this painting is very different from the unpublished painting from Kush-nama, the most important book on Iran’s connection with Silla. The first painting of the people of Silla dates back to a unique manuscript of this book copied by Muhammad ibn Saeed ibn Abdullah. Herat School of Art, by extending towards Shiraz School, has formed the structure of this unique painting from the eighth century AH. However, the painting of the Kush-nama version is not very far from the time of writing of the original text; but the book Ajayeb-al-Makhlughat (AJ) is dedicated to 865 AH and the painting to 1904 AD. At this time, Western art (Europe) had a great impact on Iran.
波斯语和阿拉伯-波斯语文本经常提到新罗作为一个突出的地名。显然，波斯语文献中对新罗的描述不能与其他地名相提并论。Ajayeb-al-Makhlughat是一份手稿的名字，它涉及波斯文学中奇妙的土地、岛屿、海洋、动物、鸟类、人或习俗等。Qazvini的版本没有地名的设计/绘画。Haji Mohammad Nasir Khansari于1283 Hegira(公元1904年)在德黑兰首次出版了该手稿的平版。他的文案和平面设计师是阿巴斯·阿里·塔夫雷希。在平版版画中，他描述了南亚和东南亚(从印度到新罗)的土地和岛屿以及绘画。这些岛屿上的大多数人看起来都是裸体的，不文明的，生活方式很奇怪。作为一个特例，新罗被描述得非常积极、文明、迷人、迷人。本文以绘画为基础，着重分析新罗与其他国家的显著差异。然而，这幅画与关于伊朗与新罗关系的最重要的书籍《库什纳玛》(Kush-nama)的未发表的画作有很大的不同。第一幅新罗人的画像可以追溯到穆罕默德·伊本·赛义德·伊本·阿卜杜拉抄写的这本书的一份独特的手稿。赫拉特艺术学院向设拉子艺术学院延伸，形成了这幅公元8世纪独特画作的结构。然而，库什纳玛版本的绘画与原始文本的写作时间并不远;但是Ajayeb-al-Makhlughat (AJ)这本书是献给公元865年的，而这幅画是献给公元1904年的。此时，西方艺术(欧洲)对伊朗产生了很大的影响。
{"title":"Portrait of the People of Silla According to the Persian Texts","authors":"D. Akbarzadeh","doi":"10.2478/mik-2022-0009","DOIUrl":"https://doi.org/10.2478/mik-2022-0009","url":null,"abstract":"Summary Persian and Arabo-Persian texts frequently referred to Silla as a highlighted toponym. Obviously, descriptions used for Silla in Persian texts cannot be comparable with other toponyms. Ajayeb-al-Makhlughat is the name of a manuscript which deals with marvellous lands, islands, seas, animals, birds, people or customs etc. in Persian literature. Qazvini’s versions have no designs/paintings on toponyms. Haji Mohammad Nasir Khansari published the lithographical version of the manuscript in Tehran in 1283 Hegira (1904 AD) for the first time. His copyist and graphic designer was Abas-Ali Tafreshi. He, in the lithographical version, described the lands and islands of South and Southeast Asia (India to Silla) along with paintings. Most of the people of those islands appeared naked, were uncivilized and had a strange lifestyle. As an exceptional case, Silla is described very positively, civilized, attractive and charming. This paper focuses on the significant difference between Silla and the others, based on the paintings. Nevertheless, this painting is very different from the unpublished painting from Kush-nama, the most important book on Iran’s connection with Silla. The first painting of the people of Silla dates back to a unique manuscript of this book copied by Muhammad ibn Saeed ibn Abdullah. Herat School of Art, by extending towards Shiraz School, has formed the structure of this unique painting from the eighth century AH. However, the painting of the Kush-nama version is not very far from the time of writing of the original text; but the book Ajayeb-al-Makhlughat (AJ) is dedicated to 865 AH and the painting to 1904 AD. At this time, Western art (Europe) had a great impact on Iran.","PeriodicalId":36225,"journal":{"name":"Art History and Criticism","volume":"82 9 1","pages":"162 - 173"},"PeriodicalIF":0.0,"publicationDate":"2022-11-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80062404","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 main purpose of this report is to discuss the influence of political power on art studies in Lithuania and the creative work of artists from 1940 to 1953. It will be based on the destruction of the Kaunas Institute of Applied and Decorative Arts, which is little known to art historians. After the Second World War, this institute actually followed the traditions of Kaunas Art School (1922–1940): that was the reason for its closure in 1951. The closure was officially called the reorganisation and continuation of art studies in Vilnius. The post-war ideological content and power of the government acted in the study process. However, in essence, educators were guided by their modernist attitudes and did not accept Soviet directives. The report will try to show how political power has corrected art studies and changed the work of mature artists. This article raises a question about the cost of adaptation and resistance in life and creation. The idea is that the destruction of an art institution is possible, but it is impossible to completely destroy the art school tradition. These and other similar issues will be addressed in the article, based on archival documents and examples of works by several different generations of artists – Vytautas Kairiūkštis (1891–1961), Liudas Truikys (1904–1987), Zenonas Varnauskas (1923–2010).
本报告的主要目的是讨论1940年至1953年政治权力对立陶宛艺术研究和艺术家创作的影响。它将基于对艺术史学家知之甚少的考纳斯应用与装饰艺术研究所的破坏。第二次世界大战后，该学院实际上遵循了考纳斯艺术学院(1922-1940)的传统:这就是1951年关闭的原因。这次关闭被正式称为维尔纽斯艺术研究的重组和延续。战后的意识形态内容和政府权力在研究过程中发挥了作用。然而，从本质上讲，教育工作者受到他们现代主义态度的指导，不接受苏联的指令。该报告将试图展示政治权力如何纠正艺术研究并改变成熟艺术家的作品。这篇文章提出了一个关于生活和创作中适应和抵抗的代价的问题。这一观点认为，摧毁一个艺术机构是可能的，但要彻底摧毁艺术学校的传统是不可能的。这些和其他类似的问题将在文章中讨论，基于档案文件和几代艺术家的作品实例- Vytautas Kairiūkštis (1891-1961)， Liudas Truikys (1904-1987)， Zenonas Varnauskas(1923-2010)。
{"title":"Art Studies in the Context of Power Relations in Lithuania, 1940–1953: The Case of the Activities and Closure of Kaunas Applied and Decorative Art Institute","authors":"R. Žūkienė","doi":"10.2478/mik-2021-0007","DOIUrl":"https://doi.org/10.2478/mik-2021-0007","url":null,"abstract":"Summary The main purpose of this report is to discuss the influence of political power on art studies in Lithuania and the creative work of artists from 1940 to 1953. It will be based on the destruction of the Kaunas Institute of Applied and Decorative Arts, which is little known to art historians. After the Second World War, this institute actually followed the traditions of Kaunas Art School (1922–1940): that was the reason for its closure in 1951. The closure was officially called the reorganisation and continuation of art studies in Vilnius. The post-war ideological content and power of the government acted in the study process. However, in essence, educators were guided by their modernist attitudes and did not accept Soviet directives. The report will try to show how political power has corrected art studies and changed the work of mature artists. This article raises a question about the cost of adaptation and resistance in life and creation. The idea is that the destruction of an art institution is possible, but it is impossible to completely destroy the art school tradition. These and other similar issues will be addressed in the article, based on archival documents and examples of works by several different generations of artists – Vytautas Kairiūkštis (1891–1961), Liudas Truikys (1904–1987), Zenonas Varnauskas (1923–2010).","PeriodicalId":36225,"journal":{"name":"Art History and Criticism","volume":"91 1","pages":"85 - 92"},"PeriodicalIF":0.0,"publicationDate":"2021-11-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79652701","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 Walter Benjamin famously argued that the mass public of the twentieth century would necessarily correlate with a newly politicized art. But the world has changed considerably since Benjamin’s article was written, as Theodor Adorno and Max Horkheimer already were assessing less than a decade later. It is the purpose of this article to examine how the aesthetics of the Frankfurt school, though frequently still invoked, have lost some of their immediate relevance. The anti-establishment phase of the 60s, compounded by a pronounced taste for irony, rendered aura and exhibition outmoded values, while on the other hand, more recently, price escalation in the art market and digitization have made certain of the Frankfurt school arguments more pertinent than ever. Taking as examples Goldsworthy and Kentridge, this essay argues that a deliberate loosening of the artist’s control over both medium and reception displaces the warmed-over religious responses endorsed by Benjamin, positing instead increased intellectual agency on the part of viewers, whose identity as a mass public has become newly complicated.
{"title":"Art, Aura, and Admiration in the Age of Digital Reproduction","authors":"Patricia A. Emison","doi":"10.2478/mik-2021-0001","DOIUrl":"https://doi.org/10.2478/mik-2021-0001","url":null,"abstract":"Summary Walter Benjamin famously argued that the mass public of the twentieth century would necessarily correlate with a newly politicized art. But the world has changed considerably since Benjamin’s article was written, as Theodor Adorno and Max Horkheimer already were assessing less than a decade later. It is the purpose of this article to examine how the aesthetics of the Frankfurt school, though frequently still invoked, have lost some of their immediate relevance. The anti-establishment phase of the 60s, compounded by a pronounced taste for irony, rendered aura and exhibition outmoded values, while on the other hand, more recently, price escalation in the art market and digitization have made certain of the Frankfurt school arguments more pertinent than ever. Taking as examples Goldsworthy and Kentridge, this essay argues that a deliberate loosening of the artist’s control over both medium and reception displaces the warmed-over religious responses endorsed by Benjamin, positing instead increased intellectual agency on the part of viewers, whose identity as a mass public has become newly complicated.","PeriodicalId":36225,"journal":{"name":"Art History and Criticism","volume":"75 1","pages":"5 - 16"},"PeriodicalIF":0.0,"publicationDate":"2021-11-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80517034","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 artist Albert Rappaport was born in Anykščiai in 1898. In 1911, the family emigrated to New York. Rappaport became an American citizen in 1925 and began to travel widely. He studied fine art in New York, Paris, Dresden and Munich. He visited South America, Africa and traveled extensively through Europe (1925–1927, 1933, 1937–1939), returning to the United States now and again. The artist participated in several dozen exhibitions. He showed his work in Paris, Rome, Florence, Barcelona, Palma de Mallorca, Copenhagen, Mexico City, Havana, New York, Calgary and Montreal, in addition to his solo exhibitions in 1937 in Warsaw and Vilnius, and in Kaunas, Riga and Tallinn in 1938. After Rappaport’s death, in March 17, 1969 in Montreal, his collection of artworks disappeared and has thus far not been found. To date, two of his painted portraits are known to exist – one belongs to the private collection of Jonathan C. Rappaport, another is on display at the Jewish Public Library in Montreal.
{"title":"In Search of Missing Collection: The Case of Artist Albert Rappaport","authors":"Vilma Gradinskaite","doi":"10.2478/mik-2021-0003","DOIUrl":"https://doi.org/10.2478/mik-2021-0003","url":null,"abstract":"Summary The artist Albert Rappaport was born in Anykščiai in 1898. In 1911, the family emigrated to New York. Rappaport became an American citizen in 1925 and began to travel widely. He studied fine art in New York, Paris, Dresden and Munich. He visited South America, Africa and traveled extensively through Europe (1925–1927, 1933, 1937–1939), returning to the United States now and again. The artist participated in several dozen exhibitions. He showed his work in Paris, Rome, Florence, Barcelona, Palma de Mallorca, Copenhagen, Mexico City, Havana, New York, Calgary and Montreal, in addition to his solo exhibitions in 1937 in Warsaw and Vilnius, and in Kaunas, Riga and Tallinn in 1938. After Rappaport’s death, in March 17, 1969 in Montreal, his collection of artworks disappeared and has thus far not been found. To date, two of his painted portraits are known to exist – one belongs to the private collection of Jonathan C. Rappaport, another is on display at the Jewish Public Library in Montreal.","PeriodicalId":36225,"journal":{"name":"Art History and Criticism","volume":"11 1","pages":"31 - 42"},"PeriodicalIF":0.0,"publicationDate":"2021-11-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88185861","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 explores the reflection of Lithuanian theatrical activities in the local press during the World War II. As the number of articles shows, theatre was an important part of the dailies’ content. The articles reveal that theatre activities were very important for the expansion of the Nazi culture. One can distinguish three general themes that the articles cover: promotion of Western theatre, especially German, promotion of Lithuanian repertoire and presentation of entertainment theatre. The latter can still be divided into entertainment for German soldiers and administration, and entertainment for Lithuanian audiences. The content of the articles reveals that journalists writing about theatre avoided Nazi propaganda clichés, such as hatred for Bolsheviks and Jews, but these clichés were nevertheless used by the representatives of theatre administrators.
{"title":"Reflections of Theatrical Activities in Lithuanian Local Periodical Press Under German Occupation 1941–1944","authors":"Ina Pukelytė","doi":"10.2478/mik-2021-0006","DOIUrl":"https://doi.org/10.2478/mik-2021-0006","url":null,"abstract":"Summary The article explores the reflection of Lithuanian theatrical activities in the local press during the World War II. As the number of articles shows, theatre was an important part of the dailies’ content. The articles reveal that theatre activities were very important for the expansion of the Nazi culture. One can distinguish three general themes that the articles cover: promotion of Western theatre, especially German, promotion of Lithuanian repertoire and presentation of entertainment theatre. The latter can still be divided into entertainment for German soldiers and administration, and entertainment for Lithuanian audiences. The content of the articles reveals that journalists writing about theatre avoided Nazi propaganda clichés, such as hatred for Bolsheviks and Jews, but these clichés were nevertheless used by the representatives of theatre administrators.","PeriodicalId":36225,"journal":{"name":"Art History and Criticism","volume":"40 1","pages":"71 - 84"},"PeriodicalIF":0.0,"publicationDate":"2021-11-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73997923","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 architectural legacy of the Unitarians in the former Grand Duchy of Lithuania has received little attention from researchers to this day. This article presents an architectural synthesis of the Uniate and Order of Basilians that reflected the old succession of Orthodox architectural heritage, but at the same time was increasingly influenced by the architectural traditions formed in Catholic churches. This article presents the tendencies of the development of Uniate architecture, paying attention to the brick and wooden sacral buildings belonging to the Uniate and Order of Basilians in the territory of the Grand Duchy of Lithuania. The early Uniate sacral examples reflected the still striking features of the synthesis, which were particularly marked in the formation of the Greek cross plan and apses in the different axes of the building. All this marked the architectural influences of Ukraine, Moldova and other areas of Central and South-Eastern Europe, which were also clearly visible in Orthodox architecture. Wooden Uniate architecture, as in the case of masonry buildings, had distinctly inherited features of Orthodox architecture, and in the late period, as early as the 18th century, there was a tendency to adopt the principles of Catholic church architecture, which resulted in complete convergence of most Uniate buildings with examples of Catholic church buildings. Vilnius Baroque School, formed in the late Baroque era, formed general tendencies in the construction of Uniate and Catholic sacral buildings, among which the clearer divisions of the larger structural and artistic principles are no longer noticeable in the second half of 18th century. The article also presents the image of baroque St. Nicholas Church, the only Uniate parish church in Vilnius city, which was lost after the reconstruction in the second half of the 19th century.
{"title":"Uniate Sacral Architecture in the Grand Duchy of Lithuania: A Synthesis of Confessional Architecture","authors":"Žygimantas Buržinskas","doi":"10.2478/mik-2021-0004","DOIUrl":"https://doi.org/10.2478/mik-2021-0004","url":null,"abstract":"Summary The architectural legacy of the Unitarians in the former Grand Duchy of Lithuania has received little attention from researchers to this day. This article presents an architectural synthesis of the Uniate and Order of Basilians that reflected the old succession of Orthodox architectural heritage, but at the same time was increasingly influenced by the architectural traditions formed in Catholic churches. This article presents the tendencies of the development of Uniate architecture, paying attention to the brick and wooden sacral buildings belonging to the Uniate and Order of Basilians in the territory of the Grand Duchy of Lithuania. The early Uniate sacral examples reflected the still striking features of the synthesis, which were particularly marked in the formation of the Greek cross plan and apses in the different axes of the building. All this marked the architectural influences of Ukraine, Moldova and other areas of Central and South-Eastern Europe, which were also clearly visible in Orthodox architecture. Wooden Uniate architecture, as in the case of masonry buildings, had distinctly inherited features of Orthodox architecture, and in the late period, as early as the 18th century, there was a tendency to adopt the principles of Catholic church architecture, which resulted in complete convergence of most Uniate buildings with examples of Catholic church buildings. Vilnius Baroque School, formed in the late Baroque era, formed general tendencies in the construction of Uniate and Catholic sacral buildings, among which the clearer divisions of the larger structural and artistic principles are no longer noticeable in the second half of 18th century. The article also presents the image of baroque St. Nicholas Church, the only Uniate parish church in Vilnius city, which was lost after the reconstruction in the second half of the 19th century.","PeriodicalId":36225,"journal":{"name":"Art History and Criticism","volume":"36 1","pages":"43 - 58"},"PeriodicalIF":0.0,"publicationDate":"2021-11-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81177597","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 main goal of the article is to find out whether a specific genre of architectural criticism was formed in the public discourse of interwar Lithuania (1918–1940), and if so, to define the main tendencies of this phenomenon. After defining the critique of architecture as a public discourse in which, based on theoretical knowledge, reflections on the essence of architecture or evaluations of ongoing urban development and buildings are popularly presented, the article discusses such texts in interwar Lithuania. The publication will acquaint readers with the most creative reviewers of architecture and the thematic variety of publications attributed to architectural critics. The article will also reveal personalised, unexpected assessments of buildings that have already become objects of heritage.
{"title":"Architectural Criticism in Lithuanian Interwar Press: Preconditions of the Phenomenon","authors":"Vaidas Petrulis","doi":"10.2478/mik-2021-0005","DOIUrl":"https://doi.org/10.2478/mik-2021-0005","url":null,"abstract":"Summary The main goal of the article is to find out whether a specific genre of architectural criticism was formed in the public discourse of interwar Lithuania (1918–1940), and if so, to define the main tendencies of this phenomenon. After defining the critique of architecture as a public discourse in which, based on theoretical knowledge, reflections on the essence of architecture or evaluations of ongoing urban development and buildings are popularly presented, the article discusses such texts in interwar Lithuania. The publication will acquaint readers with the most creative reviewers of architecture and the thematic variety of publications attributed to architectural critics. The article will also reveal personalised, unexpected assessments of buildings that have already become objects of heritage.","PeriodicalId":36225,"journal":{"name":"Art History and Criticism","volume":"39 1","pages":"59 - 70"},"PeriodicalIF":0.0,"publicationDate":"2021-11-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86653248","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 This article deals with the concept of Arctic Drama, which is about how there is a relationship between drama and cultural clashes in the perspective of shared cultures in the northern Scandinavian area, which is defined as arctic in the geographical sense. In this vast area the Sámi people historically and to the present day have been living from reindeer herding in a nomadic lifestyle, giving them a close relationship to nature. Norwegians and Swedes colonised this area historically, especially the coast for fishing.There have been strong cultural clashes since the Viking ages, but colonisation mainly started later by introducing Christianity by force in the 16th century. Since the Romantic age, these ethno-cultural clashes have been reflected in drama and theatre, and some plays by Henrik Ibsen and Knut Hamsun echo these tensions. An independent theatre of the Sámi people as well as of other indigenous people in Greenland and Canada, like the Inuits, would also develop some theatrical strategies based in a dramaturgy that could be described as a “spiral dramaturgy”. Cultural independence has contributed to a decolonisation process, contributing to even out the cultural clashes in theatre and drama, which could be defined as postcolonial towards decolonisation. This article focuses on the area of arctic Scandinavia.
{"title":"Arctic Drama to Sámi Theatre – Cultural Clashes Towards Decolonisation: In Shared Dialogic Spaces","authors":"K. Arntzen","doi":"10.2478/mik-2021-0008","DOIUrl":"https://doi.org/10.2478/mik-2021-0008","url":null,"abstract":"Summary This article deals with the concept of Arctic Drama, which is about how there is a relationship between drama and cultural clashes in the perspective of shared cultures in the northern Scandinavian area, which is defined as arctic in the geographical sense. In this vast area the Sámi people historically and to the present day have been living from reindeer herding in a nomadic lifestyle, giving them a close relationship to nature. Norwegians and Swedes colonised this area historically, especially the coast for fishing.There have been strong cultural clashes since the Viking ages, but colonisation mainly started later by introducing Christianity by force in the 16th century. Since the Romantic age, these ethno-cultural clashes have been reflected in drama and theatre, and some plays by Henrik Ibsen and Knut Hamsun echo these tensions. An independent theatre of the Sámi people as well as of other indigenous people in Greenland and Canada, like the Inuits, would also develop some theatrical strategies based in a dramaturgy that could be described as a “spiral dramaturgy”. Cultural independence has contributed to a decolonisation process, contributing to even out the cultural clashes in theatre and drama, which could be defined as postcolonial towards decolonisation. This article focuses on the area of arctic Scandinavia.","PeriodicalId":36225,"journal":{"name":"Art History and Criticism","volume":"28 1","pages":"93 - 100"},"PeriodicalIF":0.0,"publicationDate":"2021-11-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81034403","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 main subject of this paper is the Jewish artists of interwar Lithuania and their efforts to unite. It analyses the aspirations of Jewish artists to unite into groups, to represent and present their art, and to maintain their national identity. The article introduces the main organisers, participants, circumstances and goals of the artists’ gatherings. It discusses three cases: the cultural policy pursued by National Jewish Council’s Section of Culture at the institutional level; Jewish artists who gathered on a social basis; and the Art Gallery of Neemiya Arbit Blatas as a unique exhibition space in inter-war Lithuania, which mainly exhibited the works of Jewish artists. The paper focuses not on the artistic legacy or its value, but rather on the processes of cultural life of Jewish artists in interwar Lithuania.
{"title":"Gatherings of Jewish Artists in Interwar Lithuania","authors":"Evelina Bukauskaitė","doi":"10.2478/mik-2021-0002","DOIUrl":"https://doi.org/10.2478/mik-2021-0002","url":null,"abstract":"Summary The main subject of this paper is the Jewish artists of interwar Lithuania and their efforts to unite. It analyses the aspirations of Jewish artists to unite into groups, to represent and present their art, and to maintain their national identity. The article introduces the main organisers, participants, circumstances and goals of the artists’ gatherings. It discusses three cases: the cultural policy pursued by National Jewish Council’s Section of Culture at the institutional level; Jewish artists who gathered on a social basis; and the Art Gallery of Neemiya Arbit Blatas as a unique exhibition space in inter-war Lithuania, which mainly exhibited the works of Jewish artists. The paper focuses not on the artistic legacy or its value, but rather on the processes of cultural life of Jewish artists in interwar Lithuania.","PeriodicalId":36225,"journal":{"name":"Art History and Criticism","volume":"36 1","pages":"17 - 30"},"PeriodicalIF":0.0,"publicationDate":"2021-11-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73881185","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 This research analyzes performance art that uses biometric data, based on two concept perspectives – inhuman interconnections and transcorporeality – applied to examples of European performance art from Lithuania, Finland, Poland, and Denmark. The term performance art theoretically refers to all art that involves the human body, human biometric data, inhuman interconnections, transcorporeality, and liminal space. This study examines the differences between wide-scope interactive art and design and performance art involving biometric data created through the application of recent developments in consumer technology for live events. This research examined three case projects through the method of autoethnography. The data presented in the article was either collected during the author’s performance art events or at performances the author was attending as a visitor. The cases are analyzed by means of qualitative data analysis, utilizing terms representing human biometric data and interactivity adopted from research within the fields of interactive art and interactive design. The study examines the combination of biometric data and art to explain the phenomenon of humans meeting technology, revealed through data collected from a body and transmitted to an audience during a performance art event. The conclusion revisits the key terms – performance art, biometric data, inhuman interconnections and transcorporeality – as applied to artistic practices, where performance art and biometric data meet.
{"title":"Performance Art Using Biometric Data","authors":"Marija Griniuk","doi":"10.2478/mik-2021-0009","DOIUrl":"https://doi.org/10.2478/mik-2021-0009","url":null,"abstract":"Summary This research analyzes performance art that uses biometric data, based on two concept perspectives – inhuman interconnections and transcorporeality – applied to examples of European performance art from Lithuania, Finland, Poland, and Denmark. The term performance art theoretically refers to all art that involves the human body, human biometric data, inhuman interconnections, transcorporeality, and liminal space. This study examines the differences between wide-scope interactive art and design and performance art involving biometric data created through the application of recent developments in consumer technology for live events. This research examined three case projects through the method of autoethnography. The data presented in the article was either collected during the author’s performance art events or at performances the author was attending as a visitor. The cases are analyzed by means of qualitative data analysis, utilizing terms representing human biometric data and interactivity adopted from research within the fields of interactive art and interactive design. The study examines the combination of biometric data and art to explain the phenomenon of humans meeting technology, revealed through data collected from a body and transmitted to an audience during a performance art event. The conclusion revisits the key terms – performance art, biometric data, inhuman interconnections and transcorporeality – as applied to artistic practices, where performance art and biometric data meet.","PeriodicalId":36225,"journal":{"name":"Art History and Criticism","volume":"33 1","pages":"101 - 112"},"PeriodicalIF":0.0,"publicationDate":"2021-11-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81943718","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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