{"title":"Visual Rhetoric in the English Renaissance Portrait. Contexts and Interpretations","authors":"Anna Troitskaya","doi":"10.18688/aa2111-06-51","DOIUrl":"https://doi.org/10.18688/aa2111-06-51","url":null,"abstract":"","PeriodicalId":37578,"journal":{"name":"Actual Problems of Theory and History of Art","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67764438","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":"Monumental Painting of Prilep (North Macedonia): A View on Provincial Byzantine Art of the Second Half of the 13th Century","authors":"E. S. Dyatlova","doi":"10.18688/aa2111-04-35","DOIUrl":"https://doi.org/10.18688/aa2111-04-35","url":null,"abstract":"","PeriodicalId":37578,"journal":{"name":"Actual Problems of Theory and History of Art","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67763284","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":"New Results of Visualization of the Lost Miniatures of the Khludov Psalter of the Middle of the 9th Century by Natural Science Methods","authors":"Elena V. Ukhanova, M. Zhizhin, A. Andreev","doi":"10.18688/aa2111-02-20","DOIUrl":"https://doi.org/10.18688/aa2111-02-20","url":null,"abstract":"","PeriodicalId":37578,"journal":{"name":"Actual Problems of Theory and History of Art","volume":"9 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67763315","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":"Floral Design of the Liv Oval Brooches of the 12th–13th Centuries in the Context of the Medieval Christian Art","authors":"Roberts Spirģis","doi":"10.18688/aa2111-05-39","DOIUrl":"https://doi.org/10.18688/aa2111-05-39","url":null,"abstract":"","PeriodicalId":37578,"journal":{"name":"Actual Problems of Theory and History of Art","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67763351","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":"Embroidered Fittings — “Middle Class” Jewelry of the Old Russian Time?","authors":"V. Sobolev","doi":"10.18688/aa2111-03-25","DOIUrl":"https://doi.org/10.18688/aa2111-03-25","url":null,"abstract":"","PeriodicalId":37578,"journal":{"name":"Actual Problems of Theory and History of Art","volume":"32 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67763570","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":"On Meaning and Function of the Painting Apparition of the Sibyl to Emperor Augustus by Paris Bordone","authors":"O. Nazarova, Regina R. Gaynullina","doi":"10.18688/aa2111-06-50","DOIUrl":"https://doi.org/10.18688/aa2111-06-50","url":null,"abstract":"","PeriodicalId":37578,"journal":{"name":"Actual Problems of Theory and History of Art","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67763628","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":"Ornamental Motifs in the Original Decoration of the ‘Vladychnaya’ Chamber in Novgorod","authors":"T. Tsarevskaya","doi":"10.18688/aa2111-03-28","DOIUrl":"https://doi.org/10.18688/aa2111-03-28","url":null,"abstract":"","PeriodicalId":37578,"journal":{"name":"Actual Problems of Theory and History of Art","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67763658","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":"Interpretation of the Engravings in Early 16th-century Parisian Liturgy Books: From Alfred W. Pollard to Contemporary Conceptions of Visual Narrative","authors":"O. Subbotina","doi":"10.18688/aa2111-06-53","DOIUrl":"https://doi.org/10.18688/aa2111-06-53","url":null,"abstract":"","PeriodicalId":37578,"journal":{"name":"Actual Problems of Theory and History of Art","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67764558","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}
Rock-cut monuments in Anatolia are represented by a wide variety of artificially modified rocky outcrops and stone surfaces. These peculiar places, especially the figurative reliefs and the rock-cut architecture, have attracted plenty of attention — both now and in the past. This is, after all, one of the key aspects of rock-cut monuments: that they are integrated into the landscape, which leads to a continuous interaction with all inhabitants of the territory, even after the loss of their original function, meaning and connotations. Rock-cut features could serve several functions: domestic (foundations for buildings or installations like presses), funerary (cistor chamber tombs), cultic (platforms, altars, monuments for the focus or framing of religious activities). It is this last subset that I would like to examine in my article, in particular the group of monuments which can be called “thrones”. It has to be pointed out, though, that “thrones” are not a strictly defined category of landscape monuments, but rather an intuitive descriptor applied to a range of modified natural stones. At first glance, this is a self-evident category: a natural outcrop cut to resemble a seat; with armrests and a higher back. But this design and seemingly self-explanatory identification shouldn’t be automatically correlated with function. In the existing classification systems, “thrones” are usually included as a variation or symbolic reference point of stepped altars. For example, in Phrygia, where the variety of rock-cut “installations” is the highest, a number of classification systems exist, developed by scholars such as Emily Haspels, Géza de Francovich, Taciser Tüfekçi Sivas, Susanne Berndt-Ersöz and Rahşan Tamsü Polat. Tamsü Polat’s system is based on the formal characteristics of rock-cut altars with important distinctions made according to the placement of the semi-circular “idol” on the top step. The “throne” designation is relegated to “Type II c”, which features “two protrusions on the sides, similar to arm-rests” [25, pp. 207–208]. In Susanne Berndt-Ersöz’s monograph “Phrygian Rock-cut Shrines” (2006), it is stressed that “throne” is not a systemic category, but an interpretative framework [4, pp. 194–196]. However, she agrees that “step monuments recall divine thrones” [4, pp. 174–175, 194]. The interpretation of these monuments as “thrones” has an allure: it allows scholars to include the Anatolian monuments in the broader context of Near Eastern and ancient Greek cultic practices. For these areas we have more sources, so a comparative approach can be pursued1.
安纳托利亚的岩石切割纪念碑由各种各样的人工修改的岩石露头和石头表面代表。这些奇特的地方，尤其是象征性的浮雕和岩石雕刻的建筑，现在和过去都吸引了大量的关注。毕竟，这是岩石雕刻纪念碑的关键方面之一:它们与景观融为一体，即使在失去了原始功能、意义和内涵之后，也能与该地区的所有居民持续互动。岩石切割的特征可以有几种功能:家庭(建筑物或印刷机等设施的基础)，葬礼(池室坟墓)，邪教(平台，祭坛，纪念碑，宗教活动的焦点或框架)。我想在我的文章中研究的是最后一个子集，特别是一组可以被称为“王座”的纪念碑。然而，必须指出的是，“王座”并不是一个严格定义的景观纪念碑类别，而是一个直观的描述，适用于一系列经过修饰的天然石头。乍一看，这是一个不言自明的类别:自然露头切割成类似座位;有扶手和高靠背。但这种设计和看似不言自明的标识不应该自动与功能联系起来。在现有的分类系统中，“宝座”通常被包括作为阶梯式祭坛的变体或象征性参考点。例如，在弗里西亚，岩石切割“装置”的种类是最多的，存在许多分类系统，由Emily haaspels, g de Francovich, Taciser t feki Sivas, Susanne Berndt-Ersöz和rah Tamsü Polat等学者开发。Tamsü Polat的系统基于岩石切割祭坛的形式特征，根据半圆形“偶像”在顶部台阶上的位置做出重要区分。“宝座”的称号被降级为“II型c”，其特征是“两侧有两个突出物，类似于扶手”[25，第207-208页]。在Susanne Berndt-Ersöz的专著《弗里吉亚石刻神殿》(2006)中，强调“王座”不是一个系统范畴，而是一个解释框架[4,pp. 194-196]。然而，她同意“台阶纪念碑让人想起神圣的宝座”[4，第174 - 175,194页]。将这些纪念碑解释为“王座”具有一定的吸引力:它使学者们能够将安纳托利亚纪念碑纳入近东和古希腊崇拜习俗的更广泛背景中。对于这些领域，我们有更多的资料来源，因此可以采用比较的方法。
{"title":"Ancient and New Interpretations of Anatolian Rock-cut “Thrones”","authors":"T. P. Kisbali","doi":"10.18688/aa2111-01-06","DOIUrl":"https://doi.org/10.18688/aa2111-01-06","url":null,"abstract":"Rock-cut monuments in Anatolia are represented by a wide variety of artificially modified rocky outcrops and stone surfaces. These peculiar places, especially the figurative reliefs and the rock-cut architecture, have attracted plenty of attention — both now and in the past. This is, after all, one of the key aspects of rock-cut monuments: that they are integrated into the landscape, which leads to a continuous interaction with all inhabitants of the territory, even after the loss of their original function, meaning and connotations. Rock-cut features could serve several functions: domestic (foundations for buildings or installations like presses), funerary (cistor chamber tombs), cultic (platforms, altars, monuments for the focus or framing of religious activities). It is this last subset that I would like to examine in my article, in particular the group of monuments which can be called “thrones”. It has to be pointed out, though, that “thrones” are not a strictly defined category of landscape monuments, but rather an intuitive descriptor applied to a range of modified natural stones. At first glance, this is a self-evident category: a natural outcrop cut to resemble a seat; with armrests and a higher back. But this design and seemingly self-explanatory identification shouldn’t be automatically correlated with function. In the existing classification systems, “thrones” are usually included as a variation or symbolic reference point of stepped altars. For example, in Phrygia, where the variety of rock-cut “installations” is the highest, a number of classification systems exist, developed by scholars such as Emily Haspels, Géza de Francovich, Taciser Tüfekçi Sivas, Susanne Berndt-Ersöz and Rahşan Tamsü Polat. Tamsü Polat’s system is based on the formal characteristics of rock-cut altars with important distinctions made according to the placement of the semi-circular “idol” on the top step. The “throne” designation is relegated to “Type II c”, which features “two protrusions on the sides, similar to arm-rests” [25, pp. 207–208]. In Susanne Berndt-Ersöz’s monograph “Phrygian Rock-cut Shrines” (2006), it is stressed that “throne” is not a systemic category, but an interpretative framework [4, pp. 194–196]. However, she agrees that “step monuments recall divine thrones” [4, pp. 174–175, 194]. The interpretation of these monuments as “thrones” has an allure: it allows scholars to include the Anatolian monuments in the broader context of Near Eastern and ancient Greek cultic practices. For these areas we have more sources, so a comparative approach can be pursued1.","PeriodicalId":37578,"journal":{"name":"Actual Problems of Theory and History of Art","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67762369","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 paper is the result of a collective research1, a project mixing archaeology, epigraphy, and “digital humanities”2 dedicated to Xanthos one of the major Unesco sites of Asia Minor3. The city of Xanthos was rediscovered by the English explorer Charles Fellows in 1838. The first “official” excavations started in 1842 and resulted the same year in the shipment to London of numerous sculpted fragments, architectural blocks, and statues belonging to the major funerary monuments of the site, most of them from the Nereid Monument. More fragments were shipped in 1843 to the British Museum to be exhibited in the “Lycian room” of the Museum. At the end of the 19th century, between 1892 and 1894, the Austrian scholars Niemann and Benndorf carried out an epigraphic survey in Lycia and brought back to Vienna the squeezes of the inscriptions on stone they discovered and that were to be published in the Tituli Asiae Minoris. From 1950 (Xanthos) and 1962 (Létôon) on, French archaeologists explored the sites and published several monographs in the series Fouilles de Xanthos as well as hundreds of articles in different reviews. The collaboration with Quebec epigraphists started in 2000 and lasted until 2010 when the Turkish authorities decided to withdraw the excavation permission from France. We then had to decide how to deal with the large volume of more than 160 years of archives and research data, taking into account their dispersion (London, Liverpool, Vienna, Paris, Bordeaux, Quebec) and the variety of knowledge they contain. In 2016, we answered to a call of proposal (French ANR-FRSCQ Quebec) in the field of Digital Humanities and obtained a funding for the ArchXant project labeled “Archaeological and epigraphic research in the era of digital humanities: a Franco-Quebec project in archiving, exploiting, and disseminating knowledge”. ArchXant is at the heart of new problems which faces today the world of archaeologists and epigraphists: for the sake of future research how
{"title":"ArchXant: Archaeological and Epigraphic Research in Digital Humanities Era","authors":"L. Cavalier","doi":"10.18688/aa2111-01-08","DOIUrl":"https://doi.org/10.18688/aa2111-01-08","url":null,"abstract":"This paper is the result of a collective research1, a project mixing archaeology, epigraphy, and “digital humanities”2 dedicated to Xanthos one of the major Unesco sites of Asia Minor3. The city of Xanthos was rediscovered by the English explorer Charles Fellows in 1838. The first “official” excavations started in 1842 and resulted the same year in the shipment to London of numerous sculpted fragments, architectural blocks, and statues belonging to the major funerary monuments of the site, most of them from the Nereid Monument. More fragments were shipped in 1843 to the British Museum to be exhibited in the “Lycian room” of the Museum. At the end of the 19th century, between 1892 and 1894, the Austrian scholars Niemann and Benndorf carried out an epigraphic survey in Lycia and brought back to Vienna the squeezes of the inscriptions on stone they discovered and that were to be published in the Tituli Asiae Minoris. From 1950 (Xanthos) and 1962 (Létôon) on, French archaeologists explored the sites and published several monographs in the series Fouilles de Xanthos as well as hundreds of articles in different reviews. The collaboration with Quebec epigraphists started in 2000 and lasted until 2010 when the Turkish authorities decided to withdraw the excavation permission from France. We then had to decide how to deal with the large volume of more than 160 years of archives and research data, taking into account their dispersion (London, Liverpool, Vienna, Paris, Bordeaux, Quebec) and the variety of knowledge they contain. In 2016, we answered to a call of proposal (French ANR-FRSCQ Quebec) in the field of Digital Humanities and obtained a funding for the ArchXant project labeled “Archaeological and epigraphic research in the era of digital humanities: a Franco-Quebec project in archiving, exploiting, and disseminating knowledge”. ArchXant is at the heart of new problems which faces today the world of archaeologists and epigraphists: for the sake of future research how","PeriodicalId":37578,"journal":{"name":"Actual Problems of Theory and History of Art","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67762626","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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