Pub Date : 2016-11-30DOI: 10.12697/BJAH.2016.11.08
Amar Annus
Recent advances in cognitive neurosciences compellingly suggest that the human brain does not have a single cognitive system, but two parallel cognitive systems. These two systems normally blend more or less perfectly in the human mind. Only the failure of one reveals the existence of the other in a way that would otherwise be difficult to discern. This research has established that “human beings have evolved two parallel ways of thinking. One, which you might call people-thinking , mentalistic cognition – or more simply mentalism – is wholly concerned with understanding human beings, their minds, motives, and emotions; the other, which by contrast you could call t hings-thinking or mechanistic cognition , is concerned with understanding and interacting with the physical, non-human universe of inert objects“. In other words, the social brain works entirely differently from mechanistic thinking, using altogether different neural pathways. The current view in the cognitive sciences supports the dual process theory that distinguishes between analytical and intuitive styles of information processing. These two styles – analytical and intuitive – broadly correspond to mechanistic and mentalistic cognition modes. Analytical processing involves abstract, rule-based, logical and deliberate thought, whereas the intuitive style is implicit and contextualized, taking advantage of associations.These two styles can be viewed as the polar ends of a single continuum, best understood as processing modes which individuals move in and out of in a continuous manner, depending on the situational dynamics.However, these two cognitive styles can become the preferences for cognition and learning if one prevails over the other. The general discussions on higher cognitive processes usually do not cite evidence from the studies of clinical population groups. In my view, such discussions are necessary. In a clinical condition, the cognitive preference inevitably becomes a bias, even a strong bias for thinking and behaviour. The clinical conditions have genetic and epigenetic causes, even if these are only partly known. According to the Extreme Male Brai n theory explaining autism, the continuum of cognitive capabilities extends between the natural faculties of empathizing and systemizing in the human brain.In neuroscience studies, the term anti-correlated networks of the brain has been coined to describe the phenomenon of alternating activation, in which mechanical tasks were able to deactivate the regions associated with social reasoning, and social tasks deactivated the regions associated with mechanical reasoning.The first mode of thinking is mechanistic and operates in a more bottom-up manner, being highly sensitive to the type of stimulus. However, the mentalizing system is more top-down, and is influenced by the cognitive context and much less by the surface characteristics of stimuli. The Imprinted Brain Theory describes the diametrical model of the social brain con
{"title":"Mehhanistlikust ja mentalistlikust andekusest","authors":"Amar Annus","doi":"10.12697/BJAH.2016.11.08","DOIUrl":"https://doi.org/10.12697/BJAH.2016.11.08","url":null,"abstract":"Recent advances in cognitive neurosciences compellingly suggest that the human brain does not have a single cognitive system, but two parallel cognitive systems. These two systems normally blend more or less perfectly in the human mind. Only the failure of one reveals the existence of the other in a way that would otherwise be difficult to discern. This research has established that “human beings have evolved two parallel ways of thinking. One, which you might call people-thinking , mentalistic cognition – or more simply mentalism – is wholly concerned with understanding human beings, their minds, motives, and emotions; the other, which by contrast you could call t hings-thinking or mechanistic cognition , is concerned with understanding and interacting with the physical, non-human universe of inert objects“. In other words, the social brain works entirely differently from mechanistic thinking, using altogether different neural pathways. The current view in the cognitive sciences supports the dual process theory that distinguishes between analytical and intuitive styles of information processing. These two styles – analytical and intuitive – broadly correspond to mechanistic and mentalistic cognition modes. Analytical processing involves abstract, rule-based, logical and deliberate thought, whereas the intuitive style is implicit and contextualized, taking advantage of associations.These two styles can be viewed as the polar ends of a single continuum, best understood as processing modes which individuals move in and out of in a continuous manner, depending on the situational dynamics.However, these two cognitive styles can become the preferences for cognition and learning if one prevails over the other. The general discussions on higher cognitive processes usually do not cite evidence from the studies of clinical population groups. In my view, such discussions are necessary. In a clinical condition, the cognitive preference inevitably becomes a bias, even a strong bias for thinking and behaviour. The clinical conditions have genetic and epigenetic causes, even if these are only partly known. According to the Extreme Male Brai n theory explaining autism, the continuum of cognitive capabilities extends between the natural faculties of empathizing and systemizing in the human brain.In neuroscience studies, the term anti-correlated networks of the brain has been coined to describe the phenomenon of alternating activation, in which mechanical tasks were able to deactivate the regions associated with social reasoning, and social tasks deactivated the regions associated with mechanical reasoning.The first mode of thinking is mechanistic and operates in a more bottom-up manner, being highly sensitive to the type of stimulus. However, the mentalizing system is more top-down, and is influenced by the cognitive context and much less by the surface characteristics of stimuli. The Imprinted Brain Theory describes the diametrical model of the social brain con","PeriodicalId":52089,"journal":{"name":"Baltic Journal of Art History","volume":"11 1","pages":"145-152"},"PeriodicalIF":0.1,"publicationDate":"2016-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.12697/BJAH.2016.11.08","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66669357","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 : 2016-11-30DOI: 10.12697/BJAH.2016.11.02
Juhan Maiste
In this article, the author focuses on the work called Laocoon , which was one of the most popular subjects for 18th century art writers. The first description of the work was provided by Pliny the Elder who, in the 36th volume of his Naturalis historia , calls it the best work of the art in the world – be it painting or sculpture. Pliny identifies three artists from Rhodes – Hagesandros, Polydoros and Athenedorus – as the authors of the Laocoon Group . After the sculpture was found in the vicinity of the Basilica of Santa Maria Maggiore, the Laocoon has repeatedly aroused the interest of art historians. Johann Joachim Winckelmann raised the sculptural group into focus during the Age of Enlightenment. And his positions, and sometimes opposition to them, form the basis of Gotthold Ephraim Lessing’s, Johann Gottfried Herder’s and Johann Wolfgang Goethe’s writings on the Laocoon . I am sure that their thoughts deserve also attention today, when we speak about the fundamental change in philosophy, philology, and partially also in art history. In seeking an answer to Lessing’s question, “Why does Laocoon not cry in marble but in poetry?” Can art speak? And if it can, how? The first stage of the article explores the contradictory nature of word and picture, in which regard both Lessing and Herder preferred the former. The second question that arises in the article is: What are the framework and boundaries of art writing as a method of art history for ascertaining and describing the internal nature of a work of art? And further, do words enable one to arrive at the deeper layers of a work and the reason for the act of creation? And if so, to what extent? The third and most important issue examined in the article is the two possible approaches to a work of art, and visual images more generally – the analytical and phenomenological. By relying on history, and the broadly accepted methods of the narrative, sociological, biographical, and other sciences contingent on it, the epistemological nature of art has remained outside the conceivable limits of scientific language. And as such, it has reduced the possibility of understanding pictures and finding them a place in today’s scale of assessments; of speaking not only about the external and measurable parameters, but also about works of art as unique phenomena, in which an invisible and metaphysical content exists in addition to that which is inherent to the visible and the describable. Just as much as our rudiments of rationality and logical analysis help us to understand works of art, their impact relies on a subjective readiness to receive artistic experiences, which according to Goethe, transform the Laocoon into something affectively animated in the torchlight. Art is usually revealed by in-depth sources via the contemplative reflection that follows sensory experiences. Since Longinus’s time, this has been described as sublimity, and it garnered supporters in the form of the Neo-Platonic authors of the
在这篇文章中，作者关注的是一幅名为《拉奥孔》的作品，这是18世纪艺术作家最受欢迎的主题之一。老普林尼(Pliny The Elder)在他的《自然史》(Naturalis historia)第36卷中首次描述了这幅画，称它是世界上最好的艺术作品——无论是绘画还是雕塑。普林尼确定了三位来自罗德岛的艺术家——哈格森德罗斯、波吕多罗斯和雅典娜多罗斯——作为拉奥孔组的作者。这座雕塑在马焦雷圣母大教堂附近被发现后，拉奥孔多次引起艺术史学家的兴趣。约翰·约阿希姆·温克尔曼(Johann Joachim Winckelmann)在启蒙时代将雕塑团体提升为焦点。他的立场，有时是反对他们的立场，构成了戈特霍尔德·以法莲·莱辛，约翰·戈特弗里德·赫尔德和约翰·沃尔夫冈·歌德关于拉奥孔的著作的基础。我相信，当我们今天谈论哲学、文献学以及部分艺术史的根本变化时，他们的思想也值得关注。在寻找莱辛问题的答案时，“为什么拉奥孔不是在大理石中哭泣，而是在诗歌中哭泣?”艺术能说话吗?如果可以，怎么做呢?文章的第一阶段探讨了文字与图像的矛盾性，在这一点上，莱辛和赫尔德都倾向于前者。文章中出现的第二个问题是:作为确定和描述艺术作品内在本质的艺术史方法，艺术写作的框架和边界是什么?更进一步说，文字能让人到达作品的更深层次和创造行为的原因吗?如果是这样，是在什么程度上?本文所探讨的第三个也是最重要的问题是研究艺术作品和视觉图像的两种可能方法——分析和现象学。由于依赖于历史，以及被广泛接受的叙事、社会学、传记和其他科学方法，艺术的认识论本质一直在科学语言的可想象范围之外。因此，它降低了理解图片并在今天的评估量表中找到一席之地的可能性;不仅谈论外在的和可测量的参数，而且谈论艺术作品作为一种独特的现象，在这种现象中，除了可见的和可描述的固有内容之外，还存在着一种不可见的和形而上学的内容。正如我们的理性和逻辑分析的基本原理帮助我们理解艺术作品一样，它们的影响依赖于接受艺术体验的主观准备，根据歌德的说法，这将拉奥孔变成了在火炬下生动活泼的东西。艺术通常是通过感官体验之后的沉思反思，通过深入的来源揭示出来的。自朗吉努斯的时代以来，这被描述为崇高，并以文艺复兴时期新柏拉图主义作家的形式获得了支持者，他们在18世纪美学中的作用与基于古典考古研究的艺术史传统一样重要。在温克尔曼及其后继者的作品中，这种艺术方法的两极紧密融合在一起。作者的目的是提请人们注意，除了描述性的方法和与历史有关的方法之外，对艺术的理解和写作方式;对于那些关注与灵知学方面和潜意识创造相关的过程，并为文字及其创造更新和更具表现力的隐喻的力量提供了一个地方的人。将视觉图像转化为语言形式的一种可能性是采用诗歌及其语言的广度，诗歌和语言实际上就像艺术一样模棱两可和无法解释，使我们能够将不可描述的描述出来;通过一件艺术作品作为最初的想法，并通过一系列形成的图像告诉我们这个想法，这些图像可以被评估为描述精神形象的图片(或希腊语中的eidolon)。
{"title":"Miks kõneleb Laokoon kirjasõnas ja ei kõnele marmoris","authors":"Juhan Maiste","doi":"10.12697/BJAH.2016.11.02","DOIUrl":"https://doi.org/10.12697/BJAH.2016.11.02","url":null,"abstract":"In this article, the author focuses on the work called Laocoon , which was one of the most popular subjects for 18th century art writers. The first description of the work was provided by Pliny the Elder who, in the 36th volume of his Naturalis historia , calls it the best work of the art in the world – be it painting or sculpture. Pliny identifies three artists from Rhodes – Hagesandros, Polydoros and Athenedorus – as the authors of the Laocoon Group . After the sculpture was found in the vicinity of the Basilica of Santa Maria Maggiore, the Laocoon has repeatedly aroused the interest of art historians. Johann Joachim Winckelmann raised the sculptural group into focus during the Age of Enlightenment. And his positions, and sometimes opposition to them, form the basis of Gotthold Ephraim Lessing’s, Johann Gottfried Herder’s and Johann Wolfgang Goethe’s writings on the Laocoon . I am sure that their thoughts deserve also attention today, when we speak about the fundamental change in philosophy, philology, and partially also in art history. In seeking an answer to Lessing’s question, “Why does Laocoon not cry in marble but in poetry?” Can art speak? And if it can, how? The first stage of the article explores the contradictory nature of word and picture, in which regard both Lessing and Herder preferred the former. The second question that arises in the article is: What are the framework and boundaries of art writing as a method of art history for ascertaining and describing the internal nature of a work of art? And further, do words enable one to arrive at the deeper layers of a work and the reason for the act of creation? And if so, to what extent? The third and most important issue examined in the article is the two possible approaches to a work of art, and visual images more generally – the analytical and phenomenological. By relying on history, and the broadly accepted methods of the narrative, sociological, biographical, and other sciences contingent on it, the epistemological nature of art has remained outside the conceivable limits of scientific language. And as such, it has reduced the possibility of understanding pictures and finding them a place in today’s scale of assessments; of speaking not only about the external and measurable parameters, but also about works of art as unique phenomena, in which an invisible and metaphysical content exists in addition to that which is inherent to the visible and the describable. Just as much as our rudiments of rationality and logical analysis help us to understand works of art, their impact relies on a subjective readiness to receive artistic experiences, which according to Goethe, transform the Laocoon into something affectively animated in the torchlight. Art is usually revealed by in-depth sources via the contemplative reflection that follows sensory experiences. Since Longinus’s time, this has been described as sublimity, and it garnered supporters in the form of the Neo-Platonic authors of the ","PeriodicalId":52089,"journal":{"name":"Baltic Journal of Art History","volume":"11 1","pages":"9-36"},"PeriodicalIF":0.1,"publicationDate":"2016-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66669220","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 : 2016-11-30DOI: 10.12697/BJAH.2016.11.04
Holger Rajavee
The goal of the article is to examine the theoretical and aesthetical views related to art and concerning painters, mainly in the French tradition, from the early 17th to the mid-18th century, starting with works by Gian Paolo Lomazzo and ending with the viewpoints of Denis Diderot. Using different examples from the texts of the key authors of their day, the article’s aim is to show how, starting in the early 17th century, the type of painter who can be described as a “learned genius” starts to develop; and from the beginning of the next, 18th century, this type gradually starts to transform into the subject that can be called a “mad genius” with all the main features of a modern artist. With the introduction of the neo-Platonic Mannerist doctrine of Lomazzo and Federico Zuccari the “learned genius” is now in its embryonic stage of development, differing greatly from the Renaissance painters of an earlier era. The “painter-mystic” is a self-centred person, whose “inner eye” is directly connected through contemplation with the Divine. In the middle of the 17th century, Charles Alphonse du Fresnoy, and especially Giovanni Pietro Bellori, by synthesizing Platonic and Aristotelian ideas, introduce us to the painter who possesses genius. He is freed from Mannerist mysticism and his main goal is to improve the imperfect Nature created by God through mind and reason. And to produce the perfect version of it in art – la belle nature – to achieve the result the artist has constantly developed himself – to learn and observe. The neo-classicist doctrine gradually burdens the genius with certain strict rules to follow; a process that is referred to here as “taming the genius”. So by the end of the 17th century, it is possible to talk about the “learned (but tamed) genius” – a noble, well-taught, reasonable and aesthetically high-minded artist. At the beginning of 18th century changes start occurring in the theoretical art paradigm, starting with Jean-Baptiste Du Bos and his Reflexions critiques sur la poesie et sur la peinture , written in 1719. This marks a new beginning in the development of the painter-genius figure and undoubtedly has significant influence on the writings that will follow on same subject. Du Bos starts to depart from the “reason-centred” painter, emphasizing the moment of sensory perception as the main criteria in the art of painting. There are two main differences from earlier times. Firstly, the author is now talking about a person who already is genius rather than possessing genius, as was the understanding earlier. Secondly, the person is already born a genius, which means that this quality is no longer taught. There aren’t any strict rules to harass the individual inventiveness and creativity of the artist. In the middle of 18th century many theoreticians, such as Jean le Rond d’Alembert, Etienne de Condillac, Voltaire etc, emphasized such important and very individualistic qualities of the painter as inventiveness, imagination, ori
本文的目的是研究与艺术和有关画家的理论和美学观点，主要是在法国传统，从17世纪初到18世纪中期，从Gian Paolo Lomazzo的作品开始，以Denis Diderot的观点结束。这篇文章的目的是展示，从17世纪早期开始，可以被描述为“博学的天才”的画家是如何开始发展的;从接下来的18世纪开始，这种类型逐渐开始转变为可以被称为“疯狂天才”的主题，具有现代艺术家的所有主要特征。随着Lomazzo和Federico Zuccari的新柏拉图主义风格主义的引入，“博学的天才”现在处于发展的萌芽阶段，与早期文艺复兴时期的画家有很大的不同。“画家-神秘主义者”是一个以自我为中心的人，他的“内心之眼”通过沉思与神直接相连。在17世纪中叶，Charles Alphonse du Fresnoy，特别是Giovanni Pietro Bellori，通过综合柏拉图和亚里士多德的思想，向我们介绍了拥有天才的画家。他从矫饰主义的神秘主义中解脱出来，他的主要目标是通过思想和理性来改善上帝创造的不完美的自然。为了在艺术中创造出完美的自然——美丽的自然——为了达到这个结果，艺术家不断地发展自己——学习和观察。新古典主义学说逐渐加重了天才必须遵守的严格规则的负担;这个过程在这里被称为“驯服天才”。因此，到17世纪末，可以谈论“博学(但驯服)的天才”——一位高贵、受过良好教育、理性、审美高尚的艺术家。18世纪初，理论艺术范式开始发生变化，始于让-巴蒂斯特·杜·博斯和他在1719年写的《关于诗歌和绘画的反思》。这标志着天才画家形象发展的一个新开端，毫无疑问，这对随后的同类作品产生了重大影响。杜博斯开始脱离“以理性为中心”的画家，强调将感官知觉的瞬间作为绘画艺术的主要标准。与早期相比，现在有两个主要区别。首先，作者现在谈论的是一个已经是天才的人，而不是像之前的理解那样拥有天才。其次，这个人天生就是天才，这意味着这种品质不再是教出来的。没有任何严格的规则来干扰艺术家的个人创造力和创造力。在18世纪中期，许多理论家，如让·勒朗德·达朗贝尔、艾蒂安·德·孔迪亚克、伏尔泰等，都强调了画家的创造性、想象力、独创性和热情等重要的和非常个人主义的品质。他们开始将这些与几个世纪以来柏拉图式的诗意愤怒(furor poeticus)联系起来，这是一种精神状态，艺术家在创作艺术时几乎是疯狂的，疯狂的，完全自发的。丹尼斯·狄德罗(Denis Diderot)是第一个直截了当地说天才画家“疯了”(quil est four)的作家，他这样做唤起了他前辈的思想。可以说，上述不同的品质引导了理论艺术叙事，我们可以谈论“疯狂的天才”，他被认为是艺术的创造者，这是我们今天所知道的现代画家天才的生活。
{"title":"Kaks geeniust. Lomazzost Diderot'ni","authors":"Holger Rajavee","doi":"10.12697/BJAH.2016.11.04","DOIUrl":"https://doi.org/10.12697/BJAH.2016.11.04","url":null,"abstract":"The goal of the article is to examine the theoretical and aesthetical views related to art and concerning painters, mainly in the French tradition, from the early 17th to the mid-18th century, starting with works by Gian Paolo Lomazzo and ending with the viewpoints of Denis Diderot. Using different examples from the texts of the key authors of their day, the article’s aim is to show how, starting in the early 17th century, the type of painter who can be described as a “learned genius” starts to develop; and from the beginning of the next, 18th century, this type gradually starts to transform into the subject that can be called a “mad genius” with all the main features of a modern artist. With the introduction of the neo-Platonic Mannerist doctrine of Lomazzo and Federico Zuccari the “learned genius” is now in its embryonic stage of development, differing greatly from the Renaissance painters of an earlier era. The “painter-mystic” is a self-centred person, whose “inner eye” is directly connected through contemplation with the Divine. In the middle of the 17th century, Charles Alphonse du Fresnoy, and especially Giovanni Pietro Bellori, by synthesizing Platonic and Aristotelian ideas, introduce us to the painter who possesses genius. He is freed from Mannerist mysticism and his main goal is to improve the imperfect Nature created by God through mind and reason. And to produce the perfect version of it in art – la belle nature – to achieve the result the artist has constantly developed himself – to learn and observe. The neo-classicist doctrine gradually burdens the genius with certain strict rules to follow; a process that is referred to here as “taming the genius”. So by the end of the 17th century, it is possible to talk about the “learned (but tamed) genius” – a noble, well-taught, reasonable and aesthetically high-minded artist. At the beginning of 18th century changes start occurring in the theoretical art paradigm, starting with Jean-Baptiste Du Bos and his Reflexions critiques sur la poesie et sur la peinture , written in 1719. This marks a new beginning in the development of the painter-genius figure and undoubtedly has significant influence on the writings that will follow on same subject. Du Bos starts to depart from the “reason-centred” painter, emphasizing the moment of sensory perception as the main criteria in the art of painting. There are two main differences from earlier times. Firstly, the author is now talking about a person who already is genius rather than possessing genius, as was the understanding earlier. Secondly, the person is already born a genius, which means that this quality is no longer taught. There aren’t any strict rules to harass the individual inventiveness and creativity of the artist. In the middle of 18th century many theoreticians, such as Jean le Rond d’Alembert, Etienne de Condillac, Voltaire etc, emphasized such important and very individualistic qualities of the painter as inventiveness, imagination, ori","PeriodicalId":52089,"journal":{"name":"Baltic Journal of Art History","volume":"9 1","pages":"67-88"},"PeriodicalIF":0.1,"publicationDate":"2016-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.12697/BJAH.2016.11.04","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66669117","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 : 2016-11-30DOI: 10.12697/BJAH.2016.11.03
Janika Päll
The article begins by explaining the background of sea motifs, which can be understood as sublime in the classical theory of arts, beginning with Pseudo-Longinus and continuing with Boileau and Burke, and the re-visitation of Aristotelian theory by the latter. This part of the article focuses on the observations of grandeur, dramatic change and danger in nature, which were defined as sublime in antiquity (based on examples from Homer and Genesis in Longinus or the Gigantomachy motifs in ancient art), as well as on the role of emotion ( pathos ) in the Sublime. The Renaissance and Early Modern Sublime reveal the continuation of these trends in Burke’s theories and the landscape descriptions of Radcliffe in the Mysteries of Udolpho . In the latter, we also see a quotation from Beattie’s Minstrel , whose motif of a sea-wrecked mariner represents the same type of sublime as Wordsworth’s Peele Castle (which, in its turn, was inspired by a painting by Sir George Beaumont). This sublimity is felt by human beings before mortal danger and nature’s untamed and excessive forces. In German poetry and art such sublimity can be seen in the works of Holderlin or Caspar David Friedrich. However, 16th and 17th century poetry and painting rarely focused on such sublimity and preferred the more classical harmonia discors , in which ruins or the sea were just a slight accent underlining general harmony. The article continues, focusing on the sea motifs in Estonian art and poetry. In Estonian art (initially created by Baltic Germans), the reflections of the magnificent Sublime in the paintings by August Matthias Hagen can be seen as the influence of Caspar David. In poetry, we see sublime grandeur in the ode called Singer by the first Estonian poet, Kristjan Jaak Peterson, who compared the might of the words of future Estonian poets to stormy torrents during a thunderstorm, in contrast to the Estonian poetry of his day, which he compared to a quiet stream under the moonlight. The grandeur, might and yearning for sublimity is reflected in the prose poem Sea (1905) by Friedebert Tuglas, who belonged to the Young Estonia movement. This movement was more interested in modernity and city life than in romantically dangerous or idyllic landscapes. However, the main trends of Estonian poetry seem to dwell on idyllic landscapes and quietly sparkling seas, as for example, in a poem by Villem Ridala or sea landscape by Konrad Magi. We also see this type of sublimity at the end of the 20th and beginning of the 21st centuries in the soundscapes of the sea by Ester Magi or paintings by Aili Vint. After World War II, the influence of the romantic ode genre and sublime can be seen in a translation of Byron’s Stanzas for Music (1815) by Minni Nurme (1950). In Byron’s gentle, sweet and serene picture of a lulled and charmed ocean, the underlying dimension of the divine, and the grandeur and power of the music is not expressed explicitly. Nurme tries to bring the translation into accor
{"title":"Meremotiiv üleva pildikeeles: paari näitega eesti luulest","authors":"Janika Päll","doi":"10.12697/BJAH.2016.11.03","DOIUrl":"https://doi.org/10.12697/BJAH.2016.11.03","url":null,"abstract":"The article begins by explaining the background of sea motifs, which can be understood as sublime in the classical theory of arts, beginning with Pseudo-Longinus and continuing with Boileau and Burke, and the re-visitation of Aristotelian theory by the latter. This part of the article focuses on the observations of grandeur, dramatic change and danger in nature, which were defined as sublime in antiquity (based on examples from Homer and Genesis in Longinus or the Gigantomachy motifs in ancient art), as well as on the role of emotion ( pathos ) in the Sublime. The Renaissance and Early Modern Sublime reveal the continuation of these trends in Burke’s theories and the landscape descriptions of Radcliffe in the Mysteries of Udolpho . In the latter, we also see a quotation from Beattie’s Minstrel , whose motif of a sea-wrecked mariner represents the same type of sublime as Wordsworth’s Peele Castle (which, in its turn, was inspired by a painting by Sir George Beaumont). This sublimity is felt by human beings before mortal danger and nature’s untamed and excessive forces. In German poetry and art such sublimity can be seen in the works of Holderlin or Caspar David Friedrich. However, 16th and 17th century poetry and painting rarely focused on such sublimity and preferred the more classical harmonia discors , in which ruins or the sea were just a slight accent underlining general harmony. The article continues, focusing on the sea motifs in Estonian art and poetry. In Estonian art (initially created by Baltic Germans), the reflections of the magnificent Sublime in the paintings by August Matthias Hagen can be seen as the influence of Caspar David. In poetry, we see sublime grandeur in the ode called Singer by the first Estonian poet, Kristjan Jaak Peterson, who compared the might of the words of future Estonian poets to stormy torrents during a thunderstorm, in contrast to the Estonian poetry of his day, which he compared to a quiet stream under the moonlight. The grandeur, might and yearning for sublimity is reflected in the prose poem Sea (1905) by Friedebert Tuglas, who belonged to the Young Estonia movement. This movement was more interested in modernity and city life than in romantically dangerous or idyllic landscapes. However, the main trends of Estonian poetry seem to dwell on idyllic landscapes and quietly sparkling seas, as for example, in a poem by Villem Ridala or sea landscape by Konrad Magi. We also see this type of sublimity at the end of the 20th and beginning of the 21st centuries in the soundscapes of the sea by Ester Magi or paintings by Aili Vint. After World War II, the influence of the romantic ode genre and sublime can be seen in a translation of Byron’s Stanzas for Music (1815) by Minni Nurme (1950). In Byron’s gentle, sweet and serene picture of a lulled and charmed ocean, the underlying dimension of the divine, and the grandeur and power of the music is not expressed explicitly. Nurme tries to bring the translation into accor","PeriodicalId":52089,"journal":{"name":"Baltic Journal of Art History","volume":"11 1","pages":"37-65"},"PeriodicalIF":0.1,"publicationDate":"2016-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66669280","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 : 2016-11-30DOI: 10.12697/BJAH.2016.11.07
R. Mark
The artist Endel Koks (1912–1983) is a member of the same generation of Estonian art classics as Elmar Kits and Lepo Mikko. After Kits’s and Koks’s debut at the exhibition of the Administration of the Cultural Endowment’s Fine Art Foundation (KKSKV) in Tallinn in 1939, the three of them started to be spoken about as the promising Tartu trio. In 1944, Endel Koks ended up in Germany as a wounded soldier, while Kits and Mikko remained in Estonia. The Koks’s works that have surreptitiously arrived in his homeland are incidental and small in number. Thus, without any proof, an image developed or was developed of him in Soviet-era art history as a mediocre painter and especially as a weak abstractionist, which is somewhat prevalent even today. I would dispute this based on the conclusions that I reached when helping to organise the exhibition of exile Estonian art between 2008 and 201142 and Endel Koks’s solo exhibition between 2011 and 201343; conclusions that I have supplemented with the opinions expressed by exile Estonian art historians and artists. In 1951 Koks moved to Sweden. Paul Reets has highlighted the years between 1952 and 1956, and assumed that these were difficult years due to the contradictions he faced. According to Reets, one obstacle was influence of the Pallas on Koks’s painting style, which was conservative and adhered to the trends of Late Cubism. According to both Eevi End and Paul Reets, Koks painted his first abstract painting in 1956 Rahutus (Restlessness) according to the former and Konflikt (Conflict) according to the latter). A black-and-white photo exists of Restlessness , which is slightly reminiscent of Pollock, and this is not the same work that P. Reets refers to. They both note that this was a convincing and mature abstraction not a searching for form, and as Reets states, Koks had severed himself from the Pallas. The abstract paintings created between 1956 and 1960 – Kompositsioon (Composition) (1958), Roomus silmapilk (Joyful Moment) (1959) and others – are constructed on the impact of a joyfully colourful palette and lines, and demonstrate a kinship with the abstract works of Vassili Kandinsky. There is also a similarity to Arshile Gorky, whose works he may have seen at the exhibition of modern American art in Stockholm in 1953. Koks’s transition into a pure form of abstraction occurred in 1963. Reets has characterised this as a “the most wondrous year that one can expect to see in an artist’s life. Not an unexpected year, but one that was unexpectedly and extremely rich when it came to his works.” The artist started to create series of works, of which the best known is undoubtedly Elektroonika (Electronics) , which was comprised of 36 sheets. According to Koks, he developed the need and idea to create the series while listening to experimental music, watching experimental films and thinking about nuclear physics. Created with a glass printing technique, or vitreography, each work is unique due to the post-printing
{"title":"Endel Kõksi abstraktsetest maalidest","authors":"R. Mark","doi":"10.12697/BJAH.2016.11.07","DOIUrl":"https://doi.org/10.12697/BJAH.2016.11.07","url":null,"abstract":"The artist Endel Koks (1912–1983) is a member of the same generation of Estonian art classics as Elmar Kits and Lepo Mikko. After Kits’s and Koks’s debut at the exhibition of the Administration of the Cultural Endowment’s Fine Art Foundation (KKSKV) in Tallinn in 1939, the three of them started to be spoken about as the promising Tartu trio. In 1944, Endel Koks ended up in Germany as a wounded soldier, while Kits and Mikko remained in Estonia. The Koks’s works that have surreptitiously arrived in his homeland are incidental and small in number. Thus, without any proof, an image developed or was developed of him in Soviet-era art history as a mediocre painter and especially as a weak abstractionist, which is somewhat prevalent even today. I would dispute this based on the conclusions that I reached when helping to organise the exhibition of exile Estonian art between 2008 and 201142 and Endel Koks’s solo exhibition between 2011 and 201343; conclusions that I have supplemented with the opinions expressed by exile Estonian art historians and artists. In 1951 Koks moved to Sweden. Paul Reets has highlighted the years between 1952 and 1956, and assumed that these were difficult years due to the contradictions he faced. According to Reets, one obstacle was influence of the Pallas on Koks’s painting style, which was conservative and adhered to the trends of Late Cubism. According to both Eevi End and Paul Reets, Koks painted his first abstract painting in 1956 Rahutus (Restlessness) according to the former and Konflikt (Conflict) according to the latter). A black-and-white photo exists of Restlessness , which is slightly reminiscent of Pollock, and this is not the same work that P. Reets refers to. They both note that this was a convincing and mature abstraction not a searching for form, and as Reets states, Koks had severed himself from the Pallas. The abstract paintings created between 1956 and 1960 – Kompositsioon (Composition) (1958), Roomus silmapilk (Joyful Moment) (1959) and others – are constructed on the impact of a joyfully colourful palette and lines, and demonstrate a kinship with the abstract works of Vassili Kandinsky. There is also a similarity to Arshile Gorky, whose works he may have seen at the exhibition of modern American art in Stockholm in 1953. Koks’s transition into a pure form of abstraction occurred in 1963. Reets has characterised this as a “the most wondrous year that one can expect to see in an artist’s life. Not an unexpected year, but one that was unexpectedly and extremely rich when it came to his works.” The artist started to create series of works, of which the best known is undoubtedly Elektroonika (Electronics) , which was comprised of 36 sheets. According to Koks, he developed the need and idea to create the series while listening to experimental music, watching experimental films and thinking about nuclear physics. Created with a glass printing technique, or vitreography, each work is unique due to the post-printing","PeriodicalId":52089,"journal":{"name":"Baltic Journal of Art History","volume":"11 1","pages":"125-144"},"PeriodicalIF":0.1,"publicationDate":"2016-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.12697/BJAH.2016.11.07","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66669305","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 : 2016-11-30DOI: 10.12697/BJAH.2016.11.05
Mirjam Lepikult
In examining Michel Foucault’s philosophical vision I have used Gilles Deleuze’s definition: “A seer is someone who sees something not seen.” Being situated on the border between the discursive and the non-discursive, images offer an opportunity to get out of the discursivity; this rupture enables one to see and say something new. The images carry in themselves “an uncertainty essential for creativity”. This property relates images to Foucault’s philosophical vision, aimed at destroying the evidence characteristic of a historical formation in the sphere of what is seen and what is said. In addition, one can notice three different directions in Foucault’s understanding of art, which correspond to different periods in his thinking. In his first work Folie et deraison. Histoire de la folie a l’âge classique (1961) there is a vertical view. Influenced by Martin Heidegger’s ontological conception of art, Foucalt sees images as “growing out of the Earth”, as a specific truth which he valued highly during this period.” Archeologie du savoir (1969) reveals a different vision of art. In this work, Foucault stressed that, at least in one of its dimensions, art is a discursive practice “at the most superficial (discursive) level”. In this “superficial” phase, his account of art may be compared to George Dickie’s institutional theory of art. I call the gaze moving along the surface the horizontal . However, as early as the 1970s, Foucault’s understanding of art becomes spherical : art lacks an ontological dimension; instead, images emerge in a historical fabric, within a network of power, as a result of complex interaction between various forces. Foucault participates in this “fight” mainly at the discursive level, but he does not suffocate images with text; instead, he revitalizes them, making them visible again in a novel way. Eventually the question arises whether the direction of the view has an effect on the interpretation of art. Firstly, there is the problem of value. In a broader wider perspective, the vertical is inherently tied to this. It touches on hierarchy, on looking up from below and the awe this invokes. A connotation is assigned to divine structures and the symbolic significance of such things. Growing from the artist’s hand via forces unknown, self-made artworks thus evoke a different kind of reverence than those produced merely on a flat surface. Foucault’s earlier works in his vertical period reference visual art notably more than his later works. Pictures made in the vertical seem to offer him more inspiration. It is only during this period that pictures speak to him, later it would be reversed – he would speak of the image. Admittedly he never finished his horizontal interpretation, producing only a barebones sketch. Such an approach does not demand viewing or listening to the art itself, but rather offers a possible way to hold a discussion on it. Maybe Foucault just did not have the time to write on the horizontal or maybe it simply
在考察米歇尔·福柯的哲学视野时，我使用了吉尔·德勒兹的定义:“先知是看到未被看到的东西的人。”图像处在话语与非话语的边界上，提供了一个脱离话语的机会;这种决裂使人能够看到和说出新的东西。这些图像本身带有“创造力必不可少的不确定性”。这一属性将图像与福柯的哲学视野联系起来，旨在摧毁在所见所言领域中历史形成的证据特征。此外，我们可以注意到福柯对艺术的理解有三个不同的方向，这三个方向对应于他思想的不同时期。在他的第一部作品中，Folie et derison。1961年出版的《istire de la folie al ' 经典》有一个垂直视图。受海德格尔艺术本体论观念的影响，福柯将图像视为“从地球中生长出来”，是他在这一时期非常重视的一种特定的真理。《考古学家》(Archeologie du savoir, 1969)揭示了一种不同的艺术视角。在这部作品中，福柯强调，至少在它的一个维度上，艺术是一种“在最肤浅的(话语)层面上”的话语实践。在这个“肤浅”的阶段，他对艺术的描述可以与乔治·迪基的艺术制度理论相提并论。我把沿着表面移动的凝视称为水平凝视。然而，早在20世纪70年代，福柯对艺术的理解就变成了球形:艺术缺乏本体论维度;相反，图像出现在历史结构中，在权力网络中，作为各种力量之间复杂相互作用的结果。福柯主要在话语层面参与这种“斗争”，但他没有用文本来窒息图像;相反，他使它们重新焕发活力，以一种新颖的方式让它们再次出现。最后的问题是，观察的方向是否对艺术的解释有影响。首先是价值问题。从更广泛的角度来看，垂直方向与此密切相关。它涉及到等级制度，从下往上看，以及由此引发的敬畏。一种内涵被赋予神圣的结构和这些东西的象征意义。通过未知的力量从艺术家的手中生长出来，自制的艺术品因此引起了一种不同于那些仅仅在平面上生产的艺术品的崇敬。福柯在他的垂直时期的早期作品比他的后期作品更多地参考了视觉艺术。垂直拍摄的照片似乎给了他更多的灵感。只有在这段时间里，图画才会对他说话，后来情况会逆转——他会谈论图画。诚然，他从来没有完成他的横向解释，只产生了一个基本的草图。这种方法不需要观看或聆听艺术本身，而是提供了一种可能的方式来进行讨论。也许福柯只是没有时间在横向上写作，或者只是没有让他足够投入。横向方法，特别是Dickie提出的版本是一种以消费者为中心的愿景。艺术意味着一个纯粹基于供求关系的市场。通过这种方式，艺术品倾向于收缩商品的一次性使用和一次性使用。其次是视觉艺术的物质性或虚拟性的问题。像垂直和地球这样的词提醒我们，艺术一直是物质的(直到现在)，因此字面上起源于地面。人们可以很容易地争辩说，作品来自地球，并在艺术家的帮助下出现，就像海德格尔所说的那样。如果我们说艺术品到现在为止都是物质的，我们就会把人们的注意力吸引到艺术作为电脑屏幕上发光像素的配置的演变上。屏幕可能是物质的，但光是如何以及以什么方式从光材料的微小点发射出来的呢?无论你如何对待它，虚拟图像都是以一种不同于传统艺术作品的方式成为物质的。也许福柯的球形视角很适合分析这种虚拟艺术?
{"title":"Michel Foucault' filosoofiline nägemine kujutava kunsti näite põhjal","authors":"Mirjam Lepikult","doi":"10.12697/BJAH.2016.11.05","DOIUrl":"https://doi.org/10.12697/BJAH.2016.11.05","url":null,"abstract":"In examining Michel Foucault’s philosophical vision I have used Gilles Deleuze’s definition: “A seer is someone who sees something not seen.” Being situated on the border between the discursive and the non-discursive, images offer an opportunity to get out of the discursivity; this rupture enables one to see and say something new. The images carry in themselves “an uncertainty essential for creativity”. This property relates images to Foucault’s philosophical vision, aimed at destroying the evidence characteristic of a historical formation in the sphere of what is seen and what is said. In addition, one can notice three different directions in Foucault’s understanding of art, which correspond to different periods in his thinking. In his first work Folie et deraison. Histoire de la folie a l’âge classique (1961) there is a vertical view. Influenced by Martin Heidegger’s ontological conception of art, Foucalt sees images as “growing out of the Earth”, as a specific truth which he valued highly during this period.” Archeologie du savoir (1969) reveals a different vision of art. In this work, Foucault stressed that, at least in one of its dimensions, art is a discursive practice “at the most superficial (discursive) level”. In this “superficial” phase, his account of art may be compared to George Dickie’s institutional theory of art. I call the gaze moving along the surface the horizontal . However, as early as the 1970s, Foucault’s understanding of art becomes spherical : art lacks an ontological dimension; instead, images emerge in a historical fabric, within a network of power, as a result of complex interaction between various forces. Foucault participates in this “fight” mainly at the discursive level, but he does not suffocate images with text; instead, he revitalizes them, making them visible again in a novel way. Eventually the question arises whether the direction of the view has an effect on the interpretation of art. Firstly, there is the problem of value. In a broader wider perspective, the vertical is inherently tied to this. It touches on hierarchy, on looking up from below and the awe this invokes. A connotation is assigned to divine structures and the symbolic significance of such things. Growing from the artist’s hand via forces unknown, self-made artworks thus evoke a different kind of reverence than those produced merely on a flat surface. Foucault’s earlier works in his vertical period reference visual art notably more than his later works. Pictures made in the vertical seem to offer him more inspiration. It is only during this period that pictures speak to him, later it would be reversed – he would speak of the image. Admittedly he never finished his horizontal interpretation, producing only a barebones sketch. Such an approach does not demand viewing or listening to the art itself, but rather offers a possible way to hold a discussion on it. Maybe Foucault just did not have the time to write on the horizontal or maybe it simply ","PeriodicalId":52089,"journal":{"name":"Baltic Journal of Art History","volume":"11 1","pages":"89-108"},"PeriodicalIF":0.1,"publicationDate":"2016-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66669175","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 : 2016-11-30DOI: 10.12697/BJAH.2016.11.06
Ülo Matjus
The author based his article on a fragment from a manuscript by Martin Heidegger Mindfullness ( Besinnung , 1938/1939), to which he assigned the title – Die Kunst im Zeitalter der Vollendung der Neuzeit . The work was not published until 1997, but, in summary, it can project us forward from the origins of a work of art to reflection on the art of our era and that which surrounds it. We should emphasise and remember the fact that both Mindfullness ( Besinnung , 1938/1939) as well as the C ontributions to Philosophy (From Enowning) ; ( Beitrage zur Philosophie (Vom Ereignis) , 1936) that preceded it were not intended for immediate publication after they were written in Nazi Germany and remained manuscripts for 50 years, until M. Heidegger’s 100th anniversary in 1989. In the title, all the words, in both English and German, are familiar, but when considered together, questions start to arise. The author explains the meaning of the following German words: die Neuzeit [modernity], das Zeitalter [epoch] and die Vollendung [completion]. The initial sentence of the fragment that provides an introduction as well as summary is: “During this era, art will complete its hitherto metaphysical nature.” If, according to the thinker, metaphysics is all actual Occidental history, then the history of art, as part of this history, is metaphysical, i.e. art has a metaphysical nature, which it will be completed during the completion era of modern times. First off, metaphysics means t h e f o r g o t t e nn e s s o f b e i ng , because instead of being itself, hereinafter inquiry is made of the “logical” existing being as well as being as such ; since forgottenness of being is itself forgotten. The forgottenness also fades. This means that philosophy becomes metaphysical and slowly but surely assumes power, so that today metaphysics is considered to be one of the synonyms of philosophy . Secondly, post-Aristotelian metaphysical thinking is characterised by the development of its spirituality, which later labels being-historical thinking as h u m a n i sm , i.e. as humankind assuming the position of subiectum in its relationship with the “world”. Martin Heidegger even considers it possible to speak about the “rule of the modern metaphysics of subjectivity” ( die Herrschaft der neuzeitlichen Metaphysik der Subjektivitat ). However, in this sense metaphysics by nature characterises everything that has been created in Europe, including art. Martin Heidegger says that art will realise its current metaphysical being in this era. Surprisingly this is characterised by three moments: (1) art works disappear, but (2) art does not disappear, and instead (3) becomes something else. In this case, Heidegger is speaking of the German-language Machenschaft , or machination in English. Art becomes one of the ways – along with others – of realising Machenschaft or machination; and upon the reconstruction of what exists, a means of making that which has been established, i.e. achieved
作者的文章基于马丁·海德格尔《正念》(besinung, 1938/1939)手稿的片段，他将其命名为《Die Kunst im Zeitalter der Vollendung der Neuzeit》。这部作品直到1997年才出版，但总的来说，它可以把我们从一件艺术作品的起源投射到对我们这个时代及其周围艺术的反思。我们应该强调并记住这样一个事实:正念(besunung, 1938/1939)和C对哲学的贡献(来自Enowning);(Beitrage zur Philosophie (Vom Ereignis)， 1936))，在纳粹德国写成之后，并没有打算立即出版，直到1989年海德格尔先生诞辰100周年，它们才被保留了50年的手稿。在标题中，所有的英语和德语单词都很熟悉，但当把它们放在一起考虑时，问题就开始出现了。作者解释了德语单词die Neuzeit(现代性)、das Zeitalter(时代)和die Vollendung(完成)的含义。片段的第一句话既是介绍又是总结:“在这个时代，艺术将完成其迄今为止的形而上学本质。”如果按照思想家的观点，形而上学就是西方的全部现实性的历史，那么艺术史，作为这一历史的一部分，就是形而上学的，也就是说，艺术具有形而上学的性质，它将在现代的完成时代完成。首先，形而上学的意思是说，形而上学是指对存在本身的研究，因为形而上学的研究不是对存在本身的研究，而是对“逻辑的”存在物和存在本身的研究;因为遗忘存在本身就是被遗忘。遗忘也会淡忘。这意味着哲学变得形而上，慢慢地但肯定地占据了权力，所以今天形而上学被认为是哲学的同义词之一。其次，后亚里士多德形而上学思维的特点是其精神性的发展，这种发展后来把存在历史思维贴上了“人是一个人”的标签，即人类在与“世界”的关系中采取了“次主体”的地位。马丁·海德格尔甚至认为有可能谈论“主体性的现代形而上学的规则”(die Herrschaft der neuzeitlichen Metaphysik der subjjetivitat)。然而，从这个意义上说，形而上学的本质特征是在欧洲创造的一切，包括艺术。海德格尔说，艺术将在这个时代实现它目前的形而上的存在。令人惊讶的是，这有三个时刻:(1)艺术作品消失了，但(2)艺术没有消失，相反(3)变成了别的东西。在这种情况下，海德格尔说的是德语的Machenschaft，或英语中的机械。艺术和其他艺术一起成为实现机械或机械的方式之一;在重建现存事物的基础上，一种将已经建立的，即已经实现的东西，变成可以无条件地统治和指挥的东西的手段。思想家自己将此描述为人类作为亚个体与自然之间关系“变化”的一个例子。自然成为被创造的(das Geschaffene)和可创造的，作为统治和指挥人类创造的“自然”。这具有结构(die Anlage)的特征，作为呈现机械加工过程及其“结果”的构成形式:高速公路、机场的飞机机库、巨大的跳台滑雪山、发电站和人工湖、工厂建筑和防御结构。这种特性也延伸到“公共”世界及其精神性。只有通过这些结构，自然才会变得“美丽”。我们面对的自然不再是以前所设想的，即提供审美享受的美丽自然，而是统治和指挥人类的中介“自然”。“对自然的重新设计”正在发生。自然是可见的，只有通过这些“结构”;自然变成了某种中介的东西，即不可接近和不可直接接近的东西。让我们想想“高速公路”(die Autobahnen)，这是纳粹在德国掌权后最重要的“结构”之一;爱沙尼亚最接近的例子- -不是意识形态和政治上的，而是形式上的- -是东部环岛和今天塔尔图的埃马约吉河上的桥。当人们从相应的观景位停在桥上时，人们看到的是“一种中介形式”的自然，而不是从桥上下来进入自然，因为这是“毫无意义的”;大自然以更好、更有效的方式变得“平易近人”、“平易近人”。可以理解的是，艺术强调的是结构的特征。 在这种背景下，可以理解的是，当艺术作品消失时，当人们再也不能问一件艺术作品意味着什么或它的理念是什么时，艺术就变得完全“无意义”了。而不是艺术的“意义”，一种需要经验训练的体验出现了。艺术的类型。类型也会被“溶解”，只存在于名义上，或者作为不相关的、不真实的活动领域出现得太晚了。不能再与艺术作品相提并论的媚俗不是“坏”的艺术，而是一种更伟大的技能，但却是一种空洞的、非构成性的技能。——从存在历史思维的角度来看，现代技术时代的人，通过满足“结构”的本质，现在是框架(das ge - steel)，即被现代技术的本质所设定和要求——不管他们是否知道它，是否想要它。以完全相同的方式，“处理艺术”的人也参与其中。这并不意味着他们有罪，也就是说，他们不是罪犯。他们不是这个“过程”或“状态”的作者，他们也不能阻止它。唯一的区别是，一些演员看到了被创造出来的东西，并思考它。而其他人则没有。然而，不看和不思考是不会受到惩罚的。
{"title":"Kunst uusaja täideviimise ajastul","authors":"Ülo Matjus","doi":"10.12697/BJAH.2016.11.06","DOIUrl":"https://doi.org/10.12697/BJAH.2016.11.06","url":null,"abstract":"The author based his article on a fragment from a manuscript by Martin Heidegger Mindfullness ( Besinnung , 1938/1939), to which he assigned the title – Die Kunst im Zeitalter der Vollendung der Neuzeit . The work was not published until 1997, but, in summary, it can project us forward from the origins of a work of art to reflection on the art of our era and that which surrounds it. We should emphasise and remember the fact that both Mindfullness ( Besinnung , 1938/1939) as well as the C ontributions to Philosophy (From Enowning) ; ( Beitrage zur Philosophie (Vom Ereignis) , 1936) that preceded it were not intended for immediate publication after they were written in Nazi Germany and remained manuscripts for 50 years, until M. Heidegger’s 100th anniversary in 1989. In the title, all the words, in both English and German, are familiar, but when considered together, questions start to arise. The author explains the meaning of the following German words: die Neuzeit [modernity], das Zeitalter [epoch] and die Vollendung [completion]. The initial sentence of the fragment that provides an introduction as well as summary is: “During this era, art will complete its hitherto metaphysical nature.” If, according to the thinker, metaphysics is all actual Occidental history, then the history of art, as part of this history, is metaphysical, i.e. art has a metaphysical nature, which it will be completed during the completion era of modern times. First off, metaphysics means t h e f o r g o t t e nn e s s o f b e i ng , because instead of being itself, hereinafter inquiry is made of the “logical” existing being as well as being as such ; since forgottenness of being is itself forgotten. The forgottenness also fades. This means that philosophy becomes metaphysical and slowly but surely assumes power, so that today metaphysics is considered to be one of the synonyms of philosophy . Secondly, post-Aristotelian metaphysical thinking is characterised by the development of its spirituality, which later labels being-historical thinking as h u m a n i sm , i.e. as humankind assuming the position of subiectum in its relationship with the “world”. Martin Heidegger even considers it possible to speak about the “rule of the modern metaphysics of subjectivity” ( die Herrschaft der neuzeitlichen Metaphysik der Subjektivitat ). However, in this sense metaphysics by nature characterises everything that has been created in Europe, including art. Martin Heidegger says that art will realise its current metaphysical being in this era. Surprisingly this is characterised by three moments: (1) art works disappear, but (2) art does not disappear, and instead (3) becomes something else. In this case, Heidegger is speaking of the German-language Machenschaft , or machination in English. Art becomes one of the ways – along with others – of realising Machenschaft or machination; and upon the reconstruction of what exists, a means of making that which has been established, i.e. achieved","PeriodicalId":52089,"journal":{"name":"Baltic Journal of Art History","volume":"11 1","pages":"109-124"},"PeriodicalIF":0.1,"publicationDate":"2016-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66669256","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 : 2015-12-28DOI: 10.12697/BJAH.2015.10.08
Holger Rajavee
The Autumn School organised by the Department of Art History of the University of Tartu called “Myth. Genius. Art” was held on October 15th and 16th of this year. And as has been the tradition, the fourth Autumn School was conducted in cooperation with the University of Tartu Art Museum. In some respects, this time the event consciously continued the provocative approach of last year’s Autumn School (the title in 2014 was “Art and Beauty”) – with the goal of “revitalizing” concepts and phenomena that have been relegated to the background in art theory during recent decades. Based on the presentations that were heard during the two days, one can say that the choice of topics within the framework of the designated title ended up covering an extremely wide spectrum, which was the other goal of the Autumn School, i.e. to broaden the circle of topics to include as many facets as possible by including presentations by specialists from different fields. Philosopher and man of letters Ulo Matjus, who is the Professor of Estonian Philosophy at the University of Tartu, started the first day off with his presentation, “Art in the Era of Realizing Modern History”. Well-known for having “Estonianized” the works of Martin Heidegger, Matjus dealt with the change in the meaning of art in the present day through the author. Based on Heidegger’s statement that art is a machin-
{"title":"Myth. Genius. Art: The Autumn School of Department of Art History of the University of Tartu","authors":"Holger Rajavee","doi":"10.12697/BJAH.2015.10.08","DOIUrl":"https://doi.org/10.12697/BJAH.2015.10.08","url":null,"abstract":"The Autumn School organised by the Department of Art History of the University of Tartu called “Myth. Genius. Art” was held on October 15th and 16th of this year. And as has been the tradition, the fourth Autumn School was conducted in cooperation with the University of Tartu Art Museum. In some respects, this time the event consciously continued the provocative approach of last year’s Autumn School (the title in 2014 was “Art and Beauty”) – with the goal of “revitalizing” concepts and phenomena that have been relegated to the background in art theory during recent decades. Based on the presentations that were heard during the two days, one can say that the choice of topics within the framework of the designated title ended up covering an extremely wide spectrum, which was the other goal of the Autumn School, i.e. to broaden the circle of topics to include as many facets as possible by including presentations by specialists from different fields. Philosopher and man of letters Ulo Matjus, who is the Professor of Estonian Philosophy at the University of Tartu, started the first day off with his presentation, “Art in the Era of Realizing Modern History”. Well-known for having “Estonianized” the works of Martin Heidegger, Matjus dealt with the change in the meaning of art in the present day through the author. Based on Heidegger’s statement that art is a machin-","PeriodicalId":52089,"journal":{"name":"Baltic Journal of Art History","volume":"44 1","pages":"167-170"},"PeriodicalIF":0.1,"publicationDate":"2015-12-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66668259","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 : 2015-12-28DOI: 10.12697/BJAH.2015.10.06
Kaur Alttoa
Viljandi ‘s St. Catherine’s Chapel During the Middle Ages, St. Catherine’s Chapel in Viljandi (Fellin) was located outside the town walls, and it was demolished in 1558, upon the outbreak of the Livonian War. In 1908, archaeological excavations were conducted in the vicinity of the former chapel under the direction of Karl Lowis of Menar. An octagonal limestone capital (now located in the Viljandi Museum) was found in the course of the excavations. Its facets are decorated with slightly raised fantastical animals and plant motifs. The capitals in the Great Guild Hall (currently the Estonian History Museum) in Tallinn that date from 1410 are very similar to the Viljandi capital. Apparently, they are the work of the same master. Therefore, we can date the Viljandi capital to the early 15th century. However, other sculptural medieval elements, which are not related to St. Catherine’s Chapel, have also been found in its vicinity. Apparently, they have ended up there with the waste from subsequent centuries. So, we cannot say with certainty whether the capital with the relief decorations is from St. Catherine’s Chapel. A large number of brick rib stones have also been found in the vicinity of the chapel. A similar form was in wide use in Livonia (Southern Estonia and also Riga) throughout the 15th century. Apparently, Viljandi’s St. Catherine’s Chapel was also built at that time. With the research that has been conducted to date, it is not possible to be sure about the dating of the chapel.
{"title":"Die St. Katharinen-Kapelle in Fellin (Viljandi)","authors":"Kaur Alttoa","doi":"10.12697/BJAH.2015.10.06","DOIUrl":"https://doi.org/10.12697/BJAH.2015.10.06","url":null,"abstract":"Viljandi ‘s St. Catherine’s Chapel During the Middle Ages, St. Catherine’s Chapel in Viljandi (Fellin) was located outside the town walls, and it was demolished in 1558, upon the outbreak of the Livonian War. In 1908, archaeological excavations were conducted in the vicinity of the former chapel under the direction of Karl Lowis of Menar. An octagonal limestone capital (now located in the Viljandi Museum) was found in the course of the excavations. Its facets are decorated with slightly raised fantastical animals and plant motifs. The capitals in the Great Guild Hall (currently the Estonian History Museum) in Tallinn that date from 1410 are very similar to the Viljandi capital. Apparently, they are the work of the same master. Therefore, we can date the Viljandi capital to the early 15th century. However, other sculptural medieval elements, which are not related to St. Catherine’s Chapel, have also been found in its vicinity. Apparently, they have ended up there with the waste from subsequent centuries. So, we cannot say with certainty whether the capital with the relief decorations is from St. Catherine’s Chapel. A large number of brick rib stones have also been found in the vicinity of the chapel. A similar form was in wide use in Livonia (Southern Estonia and also Riga) throughout the 15th century. Apparently, Viljandi’s St. Catherine’s Chapel was also built at that time. With the research that has been conducted to date, it is not possible to be sure about the dating of the chapel.","PeriodicalId":52089,"journal":{"name":"Baltic Journal of Art History","volume":"10 1","pages":"131-146"},"PeriodicalIF":0.1,"publicationDate":"2015-12-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66668328","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 : 2015-12-28DOI: 10.12697/BJAH.2015.10.07
T. Jonuks, R. Saage
in 1873, a short notice appeared in the Revalsche Zeitung (no. 256, 02.11.1873), in which the Provincial museum, currently the estonian History museum, introduced the new museum exhibits that had arrived in its collection. Among other new objects in the collection of antiquities was a collection of finds, which were supposedly excavated from the central course of the Pechora river, and had been brought to estonia by Paul von Krusenstern, gifted to Karl ernst von Baer and thereafter donated to the Provincial museum. the collection (Am 196) includes iron and lithic points as well as human and animal-shaped plaquettes. this collection, which is rare and foreign for estonia, has received little attention, and during the past 150 years, only a few objects have been mentioned within the framework of some broader analyses.1 However, the collection as a whole has never been introduced. By 1873 Paul von Krusenstern had visited the Pechora river several times. A thorough descriptive book on the first expedition was pub-
{"title":"An Antiquarian Gift – a Collection of Perm Animal-Style Plaquettes in Estonian History Museum","authors":"T. Jonuks, R. Saage","doi":"10.12697/BJAH.2015.10.07","DOIUrl":"https://doi.org/10.12697/BJAH.2015.10.07","url":null,"abstract":"in 1873, a short notice appeared in the Revalsche Zeitung (no. 256, 02.11.1873), in which the Provincial museum, currently the estonian History museum, introduced the new museum exhibits that had arrived in its collection. Among other new objects in the collection of antiquities was a collection of finds, which were supposedly excavated from the central course of the Pechora river, and had been brought to estonia by Paul von Krusenstern, gifted to Karl ernst von Baer and thereafter donated to the Provincial museum. the collection (Am 196) includes iron and lithic points as well as human and animal-shaped plaquettes. this collection, which is rare and foreign for estonia, has received little attention, and during the past 150 years, only a few objects have been mentioned within the framework of some broader analyses.1 However, the collection as a whole has never been introduced. By 1873 Paul von Krusenstern had visited the Pechora river several times. A thorough descriptive book on the first expedition was pub-","PeriodicalId":52089,"journal":{"name":"Baltic Journal of Art History","volume":"10 1","pages":"147-165"},"PeriodicalIF":0.1,"publicationDate":"2015-12-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66668424","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：