Summary This article presents the heritage of the Dominican Order, which underwent the biggest transformation and destruction in Lithuania during the occupation by tsarist Russia. After the uprisings against the tsarist Russian government in the region in 1831 and 1863–1864, a Russification policy began, primarily targeted against the Catholic Church organization. The Dominican Order, which renewed its activities and had been purposefully operating in the Grand Duchy of Lithuania since the beginning of the 16th century, was liquidated during the occupation by tsarist Russia. This article studies the original appearances of Aukštadvaris, Kaunas, Merkinė and Paparčiai monasteries, which were most affected by reconstruction and demolition works during the Russian occupation, and reconstructions of their original appearance are presented. The architectural expression of all the monasteries in question suffered the most after the uprising in 1863–1864. In Aukštadvaris and Kaunas old convent churches were reconstructed into Orthodox churches by changing their old architecture, destroying individual elements of the building volume and decoration. Russian-Neo-Byzantine style promoted in the Russian Empire emerged in this context. The buildings of Merkinė and Paparčiai monasteries were completely demolished. Based on the iconographic material, especially the drawings and plans of the buildings made before the reconstruction or demolition works as well as visitations of the monasteries and material of other historical sources, the visualizations of the Aukštadvaris, Kaunas and Merkinė monastery complexes were prepared using modern means.
{"title":"Transformation of Dominican Architectural Heritage in the Years of Tsarist Russian Occupation","authors":"Žygimantas Buržinskas, Vytautas Levandauskas","doi":"10.2478/mik-2020-0002","DOIUrl":"https://doi.org/10.2478/mik-2020-0002","url":null,"abstract":"Summary This article presents the heritage of the Dominican Order, which underwent the biggest transformation and destruction in Lithuania during the occupation by tsarist Russia. After the uprisings against the tsarist Russian government in the region in 1831 and 1863–1864, a Russification policy began, primarily targeted against the Catholic Church organization. The Dominican Order, which renewed its activities and had been purposefully operating in the Grand Duchy of Lithuania since the beginning of the 16th century, was liquidated during the occupation by tsarist Russia. This article studies the original appearances of Aukštadvaris, Kaunas, Merkinė and Paparčiai monasteries, which were most affected by reconstruction and demolition works during the Russian occupation, and reconstructions of their original appearance are presented. The architectural expression of all the monasteries in question suffered the most after the uprising in 1863–1864. In Aukštadvaris and Kaunas old convent churches were reconstructed into Orthodox churches by changing their old architecture, destroying individual elements of the building volume and decoration. Russian-Neo-Byzantine style promoted in the Russian Empire emerged in this context. The buildings of Merkinė and Paparčiai monasteries were completely demolished. Based on the iconographic material, especially the drawings and plans of the buildings made before the reconstruction or demolition works as well as visitations of the monasteries and material of other historical sources, the visualizations of the Aukštadvaris, Kaunas and Merkinė monastery complexes were prepared using modern means.","PeriodicalId":36225,"journal":{"name":"Art History and Criticism","volume":"165 1","pages":"19 - 34"},"PeriodicalIF":0.0,"publicationDate":"2020-11-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74567650","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 Visibility is a capacity to be seen by others directly or through images and can be defined as a total social fact, which includes different domains of collective life. As Italian sociologist Andrea Mubi Brighenti argues, visibility is a form of “visuality at large” and the visible entails more than the visual, more than the sensorially perceptible, which becomes clear when we consider the fact that the visual itself needs to be visibilised, and examine the ways in which this happens. In the last decades visibility in a social sphere and media was largely “capitalised”. According to French sociologist Nathalie Heinich, the visibility capitalis firmly entrenched within Western society, culture and media. Non-material capital of visibility differs from other non-material symbolical or cultural capitals in Bourdieusian sense. This new phenomenon includes all features of classical material capital. The capital of visibility is measurable, accumulated, transmissible, earning interest and convertible. It can be measured by number of fans, showing results in Google search, number of views in YouTube, number of followers in social media Instagram, Facebook or number of images in other mass media. The cult of celebrity, the aspiration for visibility, and widespread practices of seeing within contemporary visual culture touched on many important social, political, cultural and intellectual spheres. Celebrity culture that arose out of the cinema industry underwent significant transformations, penetrated into existing social structures, fields and institutions. Visibility deeply changes cultural and intellectual life, influences our values and attitudes. The regime of visibility transforms social stratification by creating celebrities as a new social category called media elite. These persons are isolated from their original environment and placed in a context with its own logic and rules. These issues will be analysed using examples from the sphere of creative and cultural industries.
{"title":"From Visuality to Visibility: Regime, Capital, Media","authors":"Žilvinė Gaižutytė-Filipavičienė","doi":"10.2478/mik-2020-0009","DOIUrl":"https://doi.org/10.2478/mik-2020-0009","url":null,"abstract":"Summary Visibility is a capacity to be seen by others directly or through images and can be defined as a total social fact, which includes different domains of collective life. As Italian sociologist Andrea Mubi Brighenti argues, visibility is a form of “visuality at large” and the visible entails more than the visual, more than the sensorially perceptible, which becomes clear when we consider the fact that the visual itself needs to be visibilised, and examine the ways in which this happens. In the last decades visibility in a social sphere and media was largely “capitalised”. According to French sociologist Nathalie Heinich, the visibility capitalis firmly entrenched within Western society, culture and media. Non-material capital of visibility differs from other non-material symbolical or cultural capitals in Bourdieusian sense. This new phenomenon includes all features of classical material capital. The capital of visibility is measurable, accumulated, transmissible, earning interest and convertible. It can be measured by number of fans, showing results in Google search, number of views in YouTube, number of followers in social media Instagram, Facebook or number of images in other mass media. The cult of celebrity, the aspiration for visibility, and widespread practices of seeing within contemporary visual culture touched on many important social, political, cultural and intellectual spheres. Celebrity culture that arose out of the cinema industry underwent significant transformations, penetrated into existing social structures, fields and institutions. Visibility deeply changes cultural and intellectual life, influences our values and attitudes. The regime of visibility transforms social stratification by creating celebrities as a new social category called media elite. These persons are isolated from their original environment and placed in a context with its own logic and rules. These issues will be analysed using examples from the sphere of creative and cultural industries.","PeriodicalId":36225,"journal":{"name":"Art History and Criticism","volume":"98 1","pages":"125 - 131"},"PeriodicalIF":0.0,"publicationDate":"2020-11-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81035623","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}
Pub Date : 2019-12-31DOI: 10.7591/9781501727443-005
{"title":"4. Writing the History of Criticism Now?","authors":"","doi":"10.7591/9781501727443-005","DOIUrl":"https://doi.org/10.7591/9781501727443-005","url":null,"abstract":"","PeriodicalId":36225,"journal":{"name":"Art History and Criticism","volume":"17 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84984398","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}
Pub Date : 2019-12-31DOI: 10.7591/9781501727443-003
{"title":"2. The Cheese and the Worms: The Cosmos of a Twentieth-Century Historian","authors":"","doi":"10.7591/9781501727443-003","DOIUrl":"https://doi.org/10.7591/9781501727443-003","url":null,"abstract":"","PeriodicalId":36225,"journal":{"name":"Art History and Criticism","volume":"349 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85805068","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}
Pub Date : 2019-12-31DOI: 10.7591/9781501727443-fm
{"title":"Frontmatter","authors":"","doi":"10.7591/9781501727443-fm","DOIUrl":"https://doi.org/10.7591/9781501727443-fm","url":null,"abstract":"","PeriodicalId":36225,"journal":{"name":"Art History and Criticism","volume":"76 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83857043","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}
Pub Date : 2019-12-31DOI: 10.7591/9781501727443-008
{"title":"Index","authors":"","doi":"10.7591/9781501727443-008","DOIUrl":"https://doi.org/10.7591/9781501727443-008","url":null,"abstract":"","PeriodicalId":36225,"journal":{"name":"Art History and Criticism","volume":"4 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87360772","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}
Pub Date : 2019-12-31DOI: 10.7591/9781501727443-002
{"title":"1. Rhetoric and History","authors":"","doi":"10.7591/9781501727443-002","DOIUrl":"https://doi.org/10.7591/9781501727443-002","url":null,"abstract":"","PeriodicalId":36225,"journal":{"name":"Art History and Criticism","volume":"5 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79573156","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}
Pub Date : 2019-12-31DOI: 10.7591/9781501727443-004
{"title":"3. Is Everyone a Mentalite Case? Transference and the \"Culture\" Concept","authors":"","doi":"10.7591/9781501727443-004","DOIUrl":"https://doi.org/10.7591/9781501727443-004","url":null,"abstract":"","PeriodicalId":36225,"journal":{"name":"Art History and Criticism","volume":"13 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77075515","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}
Pub Date : 2019-12-31DOI: 10.7591/9781501727443-006
{"title":"5. History and the Novel","authors":"","doi":"10.7591/9781501727443-006","DOIUrl":"https://doi.org/10.7591/9781501727443-006","url":null,"abstract":"","PeriodicalId":36225,"journal":{"name":"Art History and Criticism","volume":"180 2","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72438418","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’s aim is to demonstrate the secession décor’s implementation in manor house interiors throughout Lithuania. Secession style is very different from historicist styles and was popular for a short period of time, which is why it did not gain popularity in all Europe. This organic style is usually closely related to urban culture, but, in the past, the main cultural life in Lithuania developed in manors. Nevertheless, secession style décor and interior design was not as popular in manor houses as in city buildings. Because of that, all details and elements of secession style are very important for Lithuania’s cultural heritage. Several examples from Renavas, Rokiškis, Gelgaudiškis, Paežeriai, Burbiškis, and Šešuolėliai manor residences’ interiors show how secession style was created in Lithuanian countryside. The new style brought changes, such as asymmetric facades, new floor plans and perception of private space, and new interior décor. Iconographic material of secession style décor elements in interiors of Lithuania is rare, but, by combining it with historical, art, and polychromic research, it is possible to describe the details of secession style in the interiors of Lithuanian manor houses.
{"title":"Prevalence of Secession Style Décor Elements in Interiors of Lithuanian Manor Residences","authors":"Rimantė Baratinskienė","doi":"10.2478/mik-2019-0002","DOIUrl":"https://doi.org/10.2478/mik-2019-0002","url":null,"abstract":"Summary This article’s aim is to demonstrate the secession décor’s implementation in manor house interiors throughout Lithuania. Secession style is very different from historicist styles and was popular for a short period of time, which is why it did not gain popularity in all Europe. This organic style is usually closely related to urban culture, but, in the past, the main cultural life in Lithuania developed in manors. Nevertheless, secession style décor and interior design was not as popular in manor houses as in city buildings. Because of that, all details and elements of secession style are very important for Lithuania’s cultural heritage. Several examples from Renavas, Rokiškis, Gelgaudiškis, Paežeriai, Burbiškis, and Šešuolėliai manor residences’ interiors show how secession style was created in Lithuanian countryside. The new style brought changes, such as asymmetric facades, new floor plans and perception of private space, and new interior décor. Iconographic material of secession style décor elements in interiors of Lithuania is rare, but, by combining it with historical, art, and polychromic research, it is possible to describe the details of secession style in the interiors of Lithuanian manor houses.","PeriodicalId":36225,"journal":{"name":"Art History and Criticism","volume":"9 1","pages":"21 - 35"},"PeriodicalIF":0.0,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84303293","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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