Pub Date : 2023-02-13DOI: 10.54503/2579-2830-2022.2(8)-245
Гоар Карагезян, Ануш Тер-Минасян
Волею судьбы множество исторических памятников армянской архитектуры на-ходятся вне нынешних границ Республики Армения. Естественно, в течение веков они ветшают, частично разрушаются и нуждаются в реставрации. Реставрация памятников, находящихся на территории других стран – крайне важный, но и трудный процесс. Хорошая традиция в этом вопросе наметилась у нас с Исламской Республикой Иран. Находящийся примерно в 15 км от города Джуга (Джульфа), на правом берегу реки Аракс, монастырь Сурб Степанос Нахавка (Св. Стефана Первомученика или Предтечи) Дарашамба (восточный Атрпатакан) принадлежит к числу армянских памятников на территории Ирана, реставрационные работы над которыми были проведены организацией «Исследования по армянской архитектуре» по инициативе властей Ирана и под не-посредственным руководством Армена Ахназаряна. Слава монастыря, как важного религиозно-культурного центра и в художественном отношении прекрасно решённого комплекса с давних пор привлекала не только местное население, но и всех, кто бывал в этих краях. Крайне интересно «увидеть» монастырь также глазами французского путешественника XVII века Жана-Батиста Тавернье. В книге “Les six voyages de Jean–Baptiste Tavernier” путешественником дается подробное описание монастыря и своего пребывания там во время первого посещения. Ему был оказан теплый прием, присутствовал он и на праздновании армянской Масленицы – Барекендана (Сarnaval). Благодаря своей художественной и исторической ценности монастырь в 2008 году был включён в Список всемирного культурного наследия ЮНЕСКО под наименованием «Армянские церкви Ирана» – вместе с другими армянскими монастырями. By fate, many historical monuments of Armenian architecture are outside the current borders of the Republic of Armenia. Naturally, over the centuries, they got destroyed, and partly collapsed, needing restoration. Restoration of the monuments located on the territory of other countries is an important, but also a difficult process. We have a good tradition in this matter with the Islamic Republic of Iran. Located about 15 km from the city of Jugha (Julfa), on the right bank of the Araks river, the monastery of Surb Stepanos Nakhavka (Protomartyr) of Darashamb (eastern Atrpatakan) is one of the Armenian monuments in Iran, the restoration work of which was carried out by the organization “Research on Armenian Architecture” on the initiative of the Iranian authorities and under the direct supervision of Armen Hakhnazaryan. The reputation of the monastery as an important religious-cultural centre, and an artistically well-designed complex, attracted not only the locals, but also all the foreigners visiting these places. It is interesting to “see” the monastery also through the eyes of the 17th century French traveller Jean-Baptiste Tavernier. In the book “Les six voyages de Jean-Baptiste Tavernier”, the traveller gives a detailed description of the monastery and his stay there during his first visit. He was given a warm welcome, and he was
由于命运的安排，许多亚美尼亚建筑的历史遗迹都在今天的亚美尼亚共和国边界之外。当然，几个世纪以来，它们一直在腐烂，部分退化，需要修复。修复其他国家的纪念碑既重要又困难。伊朗伊斯兰共和国和我在这个问题上建立了一个很好的传统。它位于距朱加市约15公里(julifa)，位于阿拉克斯河右岸的萨布斯特帕诺斯纳瓦卡修道院。darashama(东阿特拉帕塔甘)是伊朗境内亚美尼亚遗址之一，该遗址是由伊朗当局和非普通领导人armen ahnazar发起的亚美尼亚建筑研究的修复工作。修道院作为一个重要的宗教文化中心和艺术中心的名声，长期以来，不仅吸引了当地居民，而且吸引了所有来过这里的人。通过17世纪法国探险家jean - batista tavernier的眼睛“看到”修道院也很有趣。在《Les six voyages de Jean - Baptiste Tavernier》一书中，旅行者详细描述了他第一次访问时的修道院和停留情况。他受到了热烈欢迎，并参加了亚美尼亚狂欢节的庆祝活动。由于其艺术和历史价值，该修道院于2008年被联合国教科文组织列为世界文化遗产，被称为“伊朗亚美尼亚教堂”，以及其他亚美尼亚修道院。在《命运》中，《亚美尼亚建筑的历史纪念碑》与《亚美尼亚共和国》的旧约不同。自然，超越centuries，他们有毁灭，他们有合作，他们需要修复。在另一个国家的土地上发现了纪念碑，但这是一个不同的职业。我们有一个很好的交易与伊朗的Islamic Republic。Located about 15 km from the city of Jugha (Julfa) on the right bank of the Araks river, the monastery of Surb Stepanos Nakhavka (Protomartyr) of Darashamb (eastern Atrpatakan) is one of the亚美尼亚组织in Iran, the restoration work of主演was carried out by the组织Research on亚美尼亚Architecture on the initiative of the伊朗authorities and under the direct supervision of Armen Hakhnazaryan。蒙太奇作为一个不受影响的宗教中心的重新设计，和艺术设计的精美，并不是唯一的焦点，但比所有的力量都更强大。这是17世纪法国探险家让-巴普提斯特·塔弗尼尔的《眼睛》。在书《第六卷》中，《让我们看看》中的《让我们看看》，《让我们看看》中的《让我们看看》。它不是吉文·威尔科姆，也不是阿纳瓦尔斯特·巴肯丹的主教。这是17世纪法国探险家塔夫尼拉斯的《眼睛》。在书《第六卷》中，《让我们看看》中的《让我们看看》，《让我们看看》中的《让我们看看》。它不是“人类的力量”，而是“Armenian feast Barekendan的救世主”。2008年，monastery和另一个Armenian monasteries一起出现在了“亚美尼亚教会”的名单上。
{"title":"Восстановление армянского архитектурного наследия за рубежом (Монастырь Сурб Степанос Нахавка Дарашамба)","authors":"Гоар Карагезян, Ануш Тер-Минасян","doi":"10.54503/2579-2830-2022.2(8)-245","DOIUrl":"https://doi.org/10.54503/2579-2830-2022.2(8)-245","url":null,"abstract":"Волею судьбы множество исторических памятников армянской архитектуры на-ходятся вне нынешних границ Республики Армения. Естественно, в течение веков они ветшают, частично разрушаются и нуждаются в реставрации. Реставрация памятников, находящихся на территории других стран – крайне важный, но и трудный процесс. Хорошая традиция в этом вопросе наметилась у нас с Исламской Республикой Иран. Находящийся примерно в 15 км от города Джуга (Джульфа), на правом берегу реки Аракс, монастырь Сурб Степанос Нахавка (Св. Стефана Первомученика или Предтечи) Дарашамба (восточный Атрпатакан) принадлежит к числу армянских памятников на территории Ирана, реставрационные работы над которыми были проведены организацией «Исследования по армянской архитектуре» по инициативе властей Ирана и под не-посредственным руководством Армена Ахназаряна. Слава монастыря, как важного религиозно-культурного центра и в художественном отношении прекрасно решённого комплекса с давних пор привлекала не только местное население, но и всех, кто бывал в этих краях. Крайне интересно «увидеть» монастырь также глазами французского путешественника XVII века Жана-Батиста Тавернье. В книге “Les six voyages de Jean–Baptiste Tavernier” путешественником дается подробное описание монастыря и своего пребывания там во время первого посещения. Ему был оказан теплый прием, присутствовал он и на праздновании армянской Масленицы – Барекендана (Сarnaval). Благодаря своей художественной и исторической ценности монастырь в 2008 году был включён в Список всемирного культурного наследия ЮНЕСКО под наименованием «Армянские церкви Ирана» – вместе с другими армянскими монастырями.\u0000By fate, many historical monuments of Armenian architecture are outside the current borders of the Republic of Armenia. Naturally, over the centuries, they got destroyed, and partly collapsed, needing restoration. Restoration of the monuments located on the territory of other countries is an important, but also a difficult process. We have a good tradition in this matter with the Islamic Republic of Iran. Located about 15 km from the city of Jugha (Julfa), on the right bank of the Araks river, the monastery of Surb Stepanos Nakhavka (Protomartyr) of Darashamb (eastern Atrpatakan) is one of the Armenian monuments in Iran, the restoration work of which was carried out by the organization “Research on Armenian Architecture” on the initiative of the Iranian authorities and under the direct supervision of Armen Hakhnazaryan. The reputation of the monastery as an important religious-cultural centre, and an artistically well-designed complex, attracted not only the locals, but also all the foreigners visiting these places. It is interesting to “see” the monastery also through the eyes of the 17th century French traveller Jean-Baptiste Tavernier. In the book “Les six voyages de Jean-Baptiste Tavernier”, the traveller gives a detailed description of the monastery and his stay there during his first visit. He was given a warm welcome, and he was ","PeriodicalId":40461,"journal":{"name":"AM Journal of Art and Media Studies","volume":"18 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-02-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82256167","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 : 2023-02-13DOI: 10.54503/2579-2830-2022.2(8)-152
Назеник Саргсян
Очерк написан около сорока лет назад (не опубликован). Он почти полностью опирается на записи, сделанные в процессе личных бесед с балеринами, танцовщиками и хореографами, стоявшими у истоков формирования и первых двух десятилетий деятельности балетной труппы Ереванского государственного театра оперы и балета им. А. Спендиаряна. Охарактеризованы ведущие балерины и танцовщики 30-40-х гг. и отчасти репертуар. Значительное место уделено основоположнику армянского национального балета Илье Арбатову (Ягубяну). The review was written (not published) almost forty years ago and is almost entirely based on the notes recorded during the personal conversations with those dancers and ballet-masters who contributed greatly to the formation and the first two decades of activities of the ballet group of the Yerevan State Opera and Ballet Theatre. The leading ballerinas, dancers, choreographers, as well as the repertoire of the 1930s-1940s are characterized. A considerable portion is dedicated to Ilya Arbatov (Yaghubian), the founder of the Armenian National Ballet.
{"title":"Краткий очерк истории балетной труппы Ереванского государственного театра оперы и балета им. Ал. Спендиаряна в 30-40-е гг. 20-го века","authors":"Назеник Саргсян","doi":"10.54503/2579-2830-2022.2(8)-152","DOIUrl":"https://doi.org/10.54503/2579-2830-2022.2(8)-152","url":null,"abstract":"Очерк написан около сорока лет назад (не опубликован). Он почти полностью опирается на записи, сделанные в процессе личных бесед с балеринами, танцовщиками и хореографами, стоявшими у истоков формирования и первых двух десятилетий деятельности балетной труппы Ереванского государственного театра оперы и балета им. А. Спендиаряна. Охарактеризованы ведущие балерины и танцовщики 30-40-х гг. и отчасти репертуар. Значительное место уделено основоположнику армянского национального балета Илье Арбатову (Ягубяну).\u0000The review was written (not published) almost forty years ago and is almost entirely based on the notes recorded during the personal conversations with those dancers and ballet-masters who contributed greatly to the formation and the first two decades of activities of the ballet group of the Yerevan State Opera and Ballet Theatre. The leading ballerinas, dancers, choreographers, as well as the repertoire of the 1930s-1940s are characterized. A considerable portion is dedicated to Ilya Arbatov (Yaghubian), the founder of the Armenian National Ballet.","PeriodicalId":40461,"journal":{"name":"AM Journal of Art and Media Studies","volume":"60 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-02-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84794564","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 : 2023-02-13DOI: 10.54503/2579-2830-2022.2(8)-189
Sofi Khachmanyan
This article observed cover-curtains with round central medallions executed in Marash “secret stitch embroidery”. Most iconographic and symbolic details of the ornaments and their manner of execution and expressions are compared and discussed. Close observations related to the fabrics, threads and their color solutions, used to make these cover-curtains, are discussed as well. These covers or rug-like textiles preserved the ancient symbolic decorative elements that had existed in the Armenian Highlands for millennia. With their unique iconography and symbology, these covers developed throughout the Middle Ages and became an inseparable and important part of other art forms known in Armenian culture. As rugs, these covers were displayed in the Armenian home as a blessing and an evil preventing charm for the entire family.
{"title":"Iconographical, Symbolical, and Technical Features of Cover-Curtains with Central Round Medallions Executed in Marash Embroidery","authors":"Sofi Khachmanyan","doi":"10.54503/2579-2830-2022.2(8)-189","DOIUrl":"https://doi.org/10.54503/2579-2830-2022.2(8)-189","url":null,"abstract":"This article observed cover-curtains with round central medallions executed in Marash “secret stitch embroidery”. Most iconographic and symbolic details of the ornaments and their manner of execution and expressions are compared and discussed. Close observations related to the fabrics, threads and their color solutions, used to make these cover-curtains, are discussed as well. These covers or rug-like textiles preserved the ancient symbolic decorative elements that had existed in the Armenian Highlands for millennia. With their unique iconography and symbology, these covers developed throughout the Middle Ages and became an inseparable and important part of other art forms known in Armenian culture. As rugs, these covers were displayed in the Armenian home as a blessing and an evil preventing charm for the entire family.","PeriodicalId":40461,"journal":{"name":"AM Journal of Art and Media Studies","volume":"63 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-02-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81180347","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 : 2023-02-13DOI: 10.54503/2579-2830-2022.2(8)-278
Գայանե Ամիրաղյան
{"title":"Աննա ԱԴԱՄՅԱՆ, Արմինե ԲԱԲԱՅԱՆ, Լուիզա Զեյթաղյան. խմբավարը և մանկավարժը, Երևան, ՀՀ ԳԱԱ «Գիտություն» հրատ., 2022, 64 էջ։","authors":"Գայանե Ամիրաղյան","doi":"10.54503/2579-2830-2022.2(8)-278","DOIUrl":"https://doi.org/10.54503/2579-2830-2022.2(8)-278","url":null,"abstract":"","PeriodicalId":40461,"journal":{"name":"AM Journal of Art and Media Studies","volume":"9 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-02-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90670209","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 : 2023-02-13DOI: 10.54503/2579-2830-2022.2(8)-5
Anna Asatryan
On December 9, 1872, Dikran Tchouhadjian’s Arif’s Ruse, the first Armenian comic opera, was staged at the Getik Pasha Theatre in Constantinople, simultaneously marking the beginning of the Turkish musical theatre. The author of the opera libretto was an Armenian opera singer, the first Western Armenian singer who received his professional education in Europe, tenor Hovhannes Achemian (1838-1905), who performed the title role of Arif. The Ottoman stage primadonna Shazik Keuyluyian (born Sevadjian, Lusnak Sargsi Keuyluyian, 1854- 1905) played the main character, Meriem. The performance of Arif was the first occasion in the Armenian musical reality when an Armenian composer’s opera was on stage, performed by Armenian artists. This was not only the birthday of the Armenian comic opera, but also it marked the beginning of the Armenian musical theatre. In the present study on Tchouhadjian’s music, presented to the English-speaking readers for the first time, the results of the opera’s comprehensive research are substantiated, defining the genre of Arif as a comic opera, revealing its musical language and dramaturgical features, and putting forward the necessity of staging it in Armenia, as well as publishing an academic edition of the opera score and claviers. The clavier of the opera prelude has been introduced into scientific circulation for the first time, the computer composition of which was carried out by assistant professor Anna Tamiroghlyan, Doctor of Arts.
{"title":"Dikran Tchouhadjian’s Opera Arif՚s Ruse (dedicated to the 150th anniversary of creating the first Armenian comic opera)","authors":"Anna Asatryan","doi":"10.54503/2579-2830-2022.2(8)-5","DOIUrl":"https://doi.org/10.54503/2579-2830-2022.2(8)-5","url":null,"abstract":"On December 9, 1872, Dikran Tchouhadjian’s Arif’s Ruse, the first Armenian comic opera, was staged at the Getik Pasha Theatre in Constantinople, simultaneously marking the beginning of the Turkish musical theatre. The author of the opera libretto was an Armenian opera singer, the first Western Armenian singer who received his professional education in Europe, tenor Hovhannes Achemian (1838-1905), who performed the title role of Arif. The Ottoman stage primadonna Shazik Keuyluyian (born Sevadjian, Lusnak Sargsi Keuyluyian, 1854- 1905) played the main character, Meriem. The performance of Arif was the first occasion in the Armenian musical reality when an Armenian composer’s opera was on stage, performed by Armenian artists. This was not only the birthday of the Armenian comic opera, but also it marked the beginning of the Armenian musical theatre. In the present study on Tchouhadjian’s music, presented to the English-speaking readers for the first time, the results of the opera’s comprehensive research are substantiated, defining the genre of Arif as a comic opera, revealing its musical language and dramaturgical features, and putting forward the necessity of staging it in Armenia, as well as publishing an academic edition of the opera score and claviers. The clavier of the opera prelude has been introduced into scientific circulation for the first time, the computer composition of which was carried out by assistant professor Anna Tamiroghlyan, Doctor of Arts.","PeriodicalId":40461,"journal":{"name":"AM Journal of Art and Media Studies","volume":"70 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-02-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74547607","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 : 2023-02-13DOI: 10.54503/2579-2830-2022.2(8)-28
Ա. Ս. Արևշատյան
Միջնադարյան Հայաստանի վանքերին կից գործող վարդապետարաններում դասավանդվող բազմապիսի նյութը ամփոփվում էր միջնադարյան ուսուցողական գրականությանը բնորոշ հարց ու պատասխանի ձևով շարադրված դասագրքերում: Մեզ հասած առաջին նմանատիպ համառոտ հարցարանը Հովհաննես Տավուշեցու կամ Վանական վարդապետի (1181-1251) կազմած «Հարցմունք եւ պատասխանիք»-ն է: Այն լայնորեն գործածվել է Հայաստանի միջնադարյան համալսարաններում և առաջին հերթին իր իսկ հիմնադրած Խորանաշատի հռչակավոր վարդապետարանում: Ի թիվս այլ գիտությունների, Հովհաննես Վանականի դասագրքում տեղ են գտել երաժշտական արվեստին վերաբերող հարցեր և պատասխաններ, ինչը վկայում է այն մասին, որ Խորանաշատի դպրոցի ուսումնական ծրագրում հոգևոր երգարվեստի գործնական ուսուցմանը, եկեղեցական երաժշտության պատմության, տեսության և գեղագիտության հարցերին լուրջ ուշադրություն էր հատկացվում: Հովհաննես Վանականի «Հարցմունք եւ պատասխանիք» երկը XIII դարի հայ միջնադարյան վարդապետարան-համալսարաններում շրջանառվող հանրագիտարանային բնույթի կարևոր ձեռնարկներից էր: Այդ աշխատության օրինակով են ստեղծվել հետագայի նմանատիպ երկերը, որոնց թվում` Վարդան Արևելցու «Ժղլանքը» և Գրիգոր Տաթևացու «Գիրք հարցմանց»-ը: Diverse material, taught in the seminaries at the monasteries of medieval Armenia, was summarized in textbooks written as questions and answers, typical of medieval didactic literature. The first such work that has come down to us is the textbook Questions and Answers, compiled by Hovhannes Tavushetsi, better known as Vanakan Vardapet (1181-1251). This work was widely used in the medieval universities of Armenia and, above all, in the famous Khoranashat seminary founded by him. In addition to information about other sciences, Hovhannes Vanakan’s textbook contains questions and answers related to the art of music, which indicates that in the curriculum of the Khoranashat School, serious attention was paid to the practical study of spiritual singing, history, theory, and aesthetics of church music. The book Questions and Answers by Hovhannes Vanakan is one of the important works of encyclopedic nature that circulated in the Armenian medieval seminaries-universities of the 13th century. Following the model of this work, subsequent similar works were created, including Conversations by Vardan Areveltsi and The Book of Questions by Grigor Tatevatsi.
ՄիջնադարյանՀայաստանիվանքերինկիցգործողվարդապետարաններումդասավանդվողբազմապիսինյութըամփոփվումէրմիջնադարյանուսուցողականգրականությանըբնորոշհարցուպատասխանիձևովշարադրվածդասագրքերում:ՄեզհասածառաջիննմանատիպհամառոտհարցարանըՀովհաննեսՏավուշեցուկամՎանականվարդապետի(1181 - 1251)կազմած“Հարցմունքեւպատասխանիք”——նէ:ԱյնլայնորենգործածվելէՀայաստանիմիջնադարյանհամալսարաններումևառաջինհերթինիրիսկհիմնադրածԽորանաշատիհռչակավորվարդապետարանում:Իթիվսայլգիտությունների,ՀովհաննեսՎանականիդասագրքումտեղենգտելերաժշտականարվեստինվերաբերողհարցերևպատասխաններ,ինչըվկայումէայնմասին,որԽորանաշատիդպրոցիուսումնականծրագրումհոգևորերգարվեստիգործնականուսուցմանը,եկեղեցականերաժշտությանպատմության,տեսությանևգեղագիտությանհարցերինլուրջուշադրությունէրհատկացվում:ՀովհաննեսՎանականի“Հարցմունքեւպատասխանիք”երկըXIIIդարիհայմիջնադարյանվարդապետարան-համալսարաններումշրջանառվողհանրագիտարանայինբնույթիկարևորձեռնարկներիցէր:Այդաշխատությանօրինակովենստեղծվելհետագայինմանատիպերկերը,որոնցթվում‘ՎարդանԱրևելցու“Ժղլանքը”ևԳրիգորՏաթևացու“Գիրքհարցմանց”材料,教ը:Diverse in the seminaries at the monasteries of medieval亚美尼亚,was summarized in textbooks = = as questions and answers,典型of medieval didactic literature。第一个伟大的作品是关于我们的textbook Questions和Answers，由Hovhannes Tavushetsi指挥，better known作为Vanakan Vardapet(1181-1251)。这首歌被阿曼尼亚医学院录取，并在他的名下获得了荣誉。在学习其他科学的过程中，Hovhannes Vanakan的技术研究和对艺术的研究，在Khoranashat学校的研究中，一系列的诱导是对精神独唱的研究，历史，理论和教会的研究。《霍弗南斯·瓦肯斯》是《亚美尼亚媒体文学界》13世纪大学的创始作品之一。这首作品的灵感来自于Vardan Areveltsi的作品，以及Grigor Tatevatsi的《探险书》。
{"title":"Հոգևոր երաժշտության խնդիրները Վանական վարդապետի «Հարցմունք և պատասխանիք» երկում","authors":"Ա. Ս. Արևշատյան","doi":"10.54503/2579-2830-2022.2(8)-28","DOIUrl":"https://doi.org/10.54503/2579-2830-2022.2(8)-28","url":null,"abstract":"Միջնադարյան Հայաստանի վանքերին կից գործող վարդապետարաններում դասավանդվող բազմապիսի նյութը ամփոփվում էր միջնադարյան ուսուցողական գրականությանը բնորոշ հարց ու պատասխանի ձևով շարադրված դասագրքերում: Մեզ հասած առաջին նմանատիպ համառոտ հարցարանը Հովհաննես Տավուշեցու կամ Վանական վարդապետի (1181-1251) կազմած «Հարցմունք եւ պատասխանիք»-ն է: Այն լայնորեն գործածվել է Հայաստանի միջնադարյան համալսարաններում և առաջին հերթին իր իսկ հիմնադրած Խորանաշատի հռչակավոր վարդապետարանում: Ի թիվս այլ գիտությունների, Հովհաննես Վանականի դասագրքում տեղ են գտել երաժշտական արվեստին վերաբերող հարցեր և պատասխաններ, ինչը վկայում է այն մասին, որ Խորանաշատի դպրոցի ուսումնական ծրագրում հոգևոր երգարվեստի գործնական ուսուցմանը, եկեղեցական երաժշտության պատմության, տեսության և գեղագիտության հարցերին լուրջ ուշադրություն էր հատկացվում: Հովհաննես Վանականի «Հարցմունք եւ պատասխանիք» երկը XIII դարի հայ միջնադարյան վարդապետարան-համալսարաններում շրջանառվող հանրագիտարանային բնույթի կարևոր ձեռնարկներից էր: Այդ աշխատության օրինակով են ստեղծվել հետագայի նմանատիպ երկերը, որոնց թվում` Վարդան Արևելցու «Ժղլանքը» և Գրիգոր Տաթևացու «Գիրք հարցմանց»-ը:\u0000Diverse material, taught in the seminaries at the monasteries of medieval Armenia, was summarized in textbooks written as questions and answers, typical of medieval didactic literature. The first such work that has come down to us is the textbook Questions and Answers, compiled by Hovhannes Tavushetsi, better known as Vanakan Vardapet (1181-1251). This work was widely used in the medieval universities of Armenia and, above all, in the famous Khoranashat seminary founded by him. In addition to information about other sciences, Hovhannes Vanakan’s textbook contains questions and answers related to the art of music, which indicates that in the curriculum of the Khoranashat School, serious attention was paid to the practical study of spiritual singing, history, theory, and aesthetics of church music. The book Questions and Answers by Hovhannes Vanakan is one of the important works of encyclopedic nature that circulated in the Armenian medieval seminaries-universities of the 13th century. Following the model of this work, subsequent similar works were created, including Conversations by Vardan Areveltsi and The Book of Questions by Grigor Tatevatsi.","PeriodicalId":40461,"journal":{"name":"AM Journal of Art and Media Studies","volume":"2015 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-02-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87845355","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 aims at hypothesizing that the issue of technology could never be considered separate from the creative act. We develop the hypothesis starting from Heidegger’s opposition of technology and the poietic, which we interpret through the dialectic between the performative and constative function of the hand. To overcome the Heideggerian problem of Enframing, we introduce the question of singularity inherent in every poietic activity which, however, does not result in conceiving technology as an instrument. When defining the nature of such poietic singularization we employ Spinoza’s concept of an inadequate idea – an idea that involves its cause but does not explain it. The inherent negativity of the inadequate idea generates the sphere in which the new appears as radical otherness. But in order to produce the new, that is, to perform it, technology has to be conceptualized and thus made an instrument – a singular instrument of the creative act. Article received: May 23, 2022; Article accepted: July 15, 2022; Published online: October 31, 2022; Original scholarly paper
{"title":"The Conceptual Act of (Non)Instrumentality","authors":"M. Ristic, Snežana Vesnić","doi":"10.25038/am.v0i29.536","DOIUrl":"https://doi.org/10.25038/am.v0i29.536","url":null,"abstract":"This paper aims at hypothesizing that the issue of technology could never be considered separate from the creative act. We develop the hypothesis starting from Heidegger’s opposition of technology and the poietic, which we interpret through the dialectic between the performative and constative function of the hand. To overcome the Heideggerian problem of Enframing, we introduce the question of singularity inherent in every poietic activity which, however, does not result in conceiving technology as an instrument. When defining the nature of such poietic singularization we employ Spinoza’s concept of an inadequate idea – an idea that involves its cause but does not explain it. The inherent negativity of the inadequate idea generates the sphere in which the new appears as radical otherness. But in order to produce the new, that is, to perform it, technology has to be conceptualized and thus made an instrument – a singular instrument of the creative act. \u0000Article received: May 23, 2022; Article accepted: July 15, 2022; Published online: October 31, 2022; Original scholarly paper","PeriodicalId":40461,"journal":{"name":"AM Journal of Art and Media Studies","volume":"34 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-10-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88159279","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 explores the contemporary aesthetics of one of the latest forms of digital art known as non-fungible tokens, aka NFTs, and how and why they are affecting and shaping today’s society. Using Manovich’s theory of metamedium, Lanza’s theory of biocentrism, blockchain technology, and NFTs can be theorized as a form of medium which represents many other media while augmenting them with many new properties. The main theoretical problem with NFTs in the domain of art theory is the question of their originality. When put to use through various digital art collections and online tech platforms, the backend section of the blockchain smart contract code also becomes part of art, hence it can sometimes be difficult to define NFTs’ originality of the art itself. Due to the repetitive nature of NFTs, it can be argued that the most unique component of the NFT metamedium is not art, or blockchain smart contract, but the owner of the digital art piece. With the collection of 10,000 similar pieces of art, the originality of art is evolving through the ideology of cultural groups associated with desired collections. It is shifting from the art itself to the owner. Throughout the unification of technology, software, and art, artists have a new way to extend their creations, while actively participating in the shaping of the cultural landscape. This gives both creators and collectors of the NFT metamedium a brand-new transcending meta experience beyond the art itself that gives a unique point to the originality of the art piece. Article received: May 8, 2022; Article accepted: July 15, 2022; Published online: October 15, 2022; Original scholarly paper
{"title":"Contemporary Aesthetics of NFTs: The Biocentric Experience of Origin and Originality of an NFT","authors":"V. Popov","doi":"10.25038/am.v0i29.537","DOIUrl":"https://doi.org/10.25038/am.v0i29.537","url":null,"abstract":"This paper explores the contemporary aesthetics of one of the latest forms of digital art known as non-fungible tokens, aka NFTs, and how and why they are affecting and shaping today’s society. Using Manovich’s theory of metamedium, Lanza’s theory of biocentrism, blockchain technology, and NFTs can be theorized as a form of medium which represents many other media while augmenting them with many new properties. The main theoretical problem with NFTs in the domain of art theory is the question of their originality. When put to use through various digital art collections and online tech platforms, the backend section of the blockchain smart contract code also becomes part of art, hence it can sometimes be difficult to define NFTs’ originality of the art itself. Due to the repetitive nature of NFTs, it can be argued that the most unique component of the NFT metamedium is not art, or blockchain smart contract, but the owner of the digital art piece. With the collection of 10,000 similar pieces of art, the originality of art is evolving through the ideology of cultural groups associated with desired collections. It is shifting from the art itself to the owner. Throughout the unification of technology, software, and art, artists have a new way to extend their creations, while actively participating in the shaping of the cultural landscape. This gives both creators and collectors of the NFT metamedium a brand-new transcending meta experience beyond the art itself that gives a unique point to the originality of the art piece.\u0000Article received: May 8, 2022; Article accepted: July 15, 2022; Published online: October 15, 2022; Original scholarly paper","PeriodicalId":40461,"journal":{"name":"AM Journal of Art and Media Studies","volume":"30 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-10-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86537337","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}
Through art examples, I would like to show how real exhibiting space enters the dialogue with the visitor and his movement while using Virtual Reality and Artificial Intelligence. The analysis of the technological aspect is important, as well as the recognition of social and material conditions in the creation of new artistic practices, the production and later recognition of what happens to art. I would move within the paradigm shift of image, photography, film, installation, and Internet use, as well as within the emergence of artificial intelligence. The audience is seen as a participant in the creation and evaluation of artistic experience, they are invited to reveal their action views. Today, the exchange of experiences as well as the study of common experience in the context of artistic research is made easier through art systems. Artists incorporate evaluation into their practice, thus, establishing a new program of research in art and technology. The interactive experience in the digital age explores different ways of creating and evaluating interactive art. While the visitor of contemporary art exhibitions explores and examines what is happening, how fast contemporary art is changing, (s)he still does not understand what is happening in front of her/him. Various art examples presented in this paper show a new phenomenon that places science, technology, and art on the same side. This opens a new chapter in artistic practice and makes the contemporary scene livelier and more diverse. At this point, we come to the possible sequence of events in art, which brings a new way of expression and provides an interesting space for further research. Article received: May 20, 2022; Article accepted: July 15, 2022; Published online: October 15, 2022; Original scholarly paper
{"title":"Processes of Our Mediated Spaces","authors":"P. Terzić","doi":"10.25038/am.v0i29.533","DOIUrl":"https://doi.org/10.25038/am.v0i29.533","url":null,"abstract":"Through art examples, I would like to show how real exhibiting space enters the dialogue with the visitor and his movement while using Virtual Reality and Artificial Intelligence. The analysis of the technological aspect is important, as well as the recognition of social and material conditions in the creation of new artistic practices, the production and later recognition of what happens to art. I would move within the paradigm shift of image, photography, film, installation, and Internet use, as well as within the emergence of artificial intelligence.\u0000The audience is seen as a participant in the creation and evaluation of artistic experience, they are invited to reveal their action views. Today, the exchange of experiences as well as the study of common experience in the context of artistic research is made easier through art systems. Artists incorporate evaluation into their practice, thus, establishing a new program of research in art and technology.\u0000The interactive experience in the digital age explores different ways of creating and evaluating interactive art. While the visitor of contemporary art exhibitions explores and examines what is happening, how fast contemporary art is changing, (s)he still does not understand what is happening in front of her/him. Various art examples presented in this paper show a new phenomenon that places science, technology, and art on the same side. This opens a new chapter in artistic practice and makes the contemporary scene livelier and more diverse. At this point, we come to the possible sequence of events in art, which brings a new way of expression and provides an interesting space for further research.\u0000Article received: May 20, 2022; Article accepted: July 15, 2022; Published online: October 15, 2022; Original scholarly paper","PeriodicalId":40461,"journal":{"name":"AM Journal of Art and Media Studies","volume":"10 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-10-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81499693","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}
The aesthetics of artificial intelligence is often viewed in relation to the qualities of their generated expressions. However, aesthetics could have a broader role in developing machine perception. One of the main areas of expertise in aesthetics is the understanding of feature-based information, which involves how the aesthetics of sensory features can cause affective changes in the perceiver, and the other way around – how affective states can give rise to certain kinds of aesthetic features. This two-way link between aesthetic features and affects is not yet well-established in the interdisciplinary discussion; however, according to perceptual psychology, it fundamentally constructs the human experience. Machine attention is an emerging technique in machine learning that is most often used in tasks like object detection, visual question answering, and language translation. Modern use of technology most often focuses on creating object-based attention through linguistic categories, although the models could also be utilized for nonverbal attention. This paper proposes the following perceptual conditions for aesthetic machine attention: 1) acknowledging that something appears (aesthetic detection); 2) suspension of judgment (aesthetic recognition); and 3) making the incident explicit with expression (aesthetic identification and amplification). These aspects are developed through an interdisciplinary reflection of literature from the fields of aesthetics, perceptual psychology, and machine learning. The paper does not aim to give a general account of aesthetic perception but to expand the interdisciplinary theory of aesthetics and specify the role of aesthetics among other disciplines at the heart of the technological development of the human future. Article received: May 10, 2022; Article accepted: July 15, 2022; Published online: October 15, 2022; Original scholarly paper
{"title":"Artificial Aesthetics and Aesthetic Machine Attention","authors":"Jaana Okulov","doi":"10.25038/am.v0i29.534","DOIUrl":"https://doi.org/10.25038/am.v0i29.534","url":null,"abstract":"The aesthetics of artificial intelligence is often viewed in relation to the qualities of their generated expressions. However, aesthetics could have a broader role in developing machine perception. One of the main areas of expertise in aesthetics is the understanding of feature-based information, which involves how the aesthetics of sensory features can cause affective changes in the perceiver, and the other way around – how affective states can give rise to certain kinds of aesthetic features. This two-way link between aesthetic features and affects is not yet well-established in the interdisciplinary discussion; however, according to perceptual psychology, it fundamentally constructs the human experience.\u0000Machine attention is an emerging technique in machine learning that is most often used in tasks like object detection, visual question answering, and language translation. Modern use of technology most often focuses on creating object-based attention through linguistic categories, although the models could also be utilized for nonverbal attention. This paper proposes the following perceptual conditions for aesthetic machine attention: 1) acknowledging that something appears (aesthetic detection); 2) suspension of judgment (aesthetic recognition); and 3) making the incident explicit with expression (aesthetic identification and amplification). These aspects are developed through an interdisciplinary reflection of literature from the fields of aesthetics, perceptual psychology, and machine learning. The paper does not aim to give a general account of aesthetic perception but to expand the interdisciplinary theory of aesthetics and specify the role of aesthetics among other disciplines at the heart of the technological development of the human future.\u0000 \u0000Article received: May 10, 2022; Article accepted: July 15, 2022; Published online: October 15, 2022; Original scholarly paper","PeriodicalId":40461,"journal":{"name":"AM Journal of Art and Media Studies","volume":"22 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-10-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75646106","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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