Pub Date : 2023-08-22DOI: 10.12697/bjah.2022.24.04
Maryan Besaha, Yuliya Babunych, Orest Holubets
The research aims to define the dialogical nature of culturaland artistic processes in the historical environment of late 20thcentury Galicia, and to determine a list of significant events, artistassociations, and personalities. The Research methodology is basedon the principles of combining the system approach with historicalprinciples, comparison, and synthesis. Historical and cultural, andformal-analytical, approaches with elements of comparative anddescriptive analysis are used.The mutual impact of policy and authorities on the artisticenvironment and education processes is analysed for the first time.The movement of individual artistic practices and artist unions asthe main factors shaping the artistic environment in Galicia in thesecond half of the 20th century is highlighted.We conclude that pressure from the communist totalitarianauthorities on the artistic community in Galicia, deportations,bullying, and isolation failed to destroy the structure of artisticdialogue. With changes in leadership and control vectors, cultural andartistic life searched for a unique form of expression, and Lviv (beinga centre of culture and education) played an important role in shapingmany new names that would later influence the environment. Afterthe collapse of the Soviet Union and the appearance of independentUkraine, the processes to rehabilitate artistic values, based onnational form and the dialogical form of the first third of the 20thcentury, took place. Artist unions and new galleries that appearedto cater to the needs of cultural and artistic life in Galicia becameinstrumental in developing new artistic ideas both in Ukraine andbeyond. Consideration of views and the importance of the creativityof individual artists and artist associations in cultural and artisticprocesses in late 20th century Galicia created the preconditions bywhich to determine the importance and patterns of social and politicalinfluences on the development of Ukrainian art in the 20th and 21stcenturies.
{"title":"Cultural and Artistic Dialogues in Galicia in the Second Half of the 20th Century","authors":"Maryan Besaha, Yuliya Babunych, Orest Holubets","doi":"10.12697/bjah.2022.24.04","DOIUrl":"https://doi.org/10.12697/bjah.2022.24.04","url":null,"abstract":"The research aims to define the dialogical nature of culturaland artistic processes in the historical environment of late 20thcentury Galicia, and to determine a list of significant events, artistassociations, and personalities. The Research methodology is basedon the principles of combining the system approach with historicalprinciples, comparison, and synthesis. Historical and cultural, andformal-analytical, approaches with elements of comparative anddescriptive analysis are used.The mutual impact of policy and authorities on the artisticenvironment and education processes is analysed for the first time.The movement of individual artistic practices and artist unions asthe main factors shaping the artistic environment in Galicia in thesecond half of the 20th century is highlighted.We conclude that pressure from the communist totalitarianauthorities on the artistic community in Galicia, deportations,bullying, and isolation failed to destroy the structure of artisticdialogue. With changes in leadership and control vectors, cultural andartistic life searched for a unique form of expression, and Lviv (beinga centre of culture and education) played an important role in shapingmany new names that would later influence the environment. Afterthe collapse of the Soviet Union and the appearance of independentUkraine, the processes to rehabilitate artistic values, based onnational form and the dialogical form of the first third of the 20thcentury, took place. Artist unions and new galleries that appearedto cater to the needs of cultural and artistic life in Galicia becameinstrumental in developing new artistic ideas both in Ukraine andbeyond. Consideration of views and the importance of the creativityof individual artists and artist associations in cultural and artisticprocesses in late 20th century Galicia created the preconditions bywhich to determine the importance and patterns of social and politicalinfluences on the development of Ukrainian art in the 20th and 21stcenturies.","PeriodicalId":52089,"journal":{"name":"Baltic Journal of Art History","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135717951","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 : 2023-08-22DOI: 10.12697/bjah.2022.24.07
Margit Sutrop
{"title":"A Philosophical Eulogy for Ülo Matjus Who Knew How to Lead the Way","authors":"Margit Sutrop","doi":"10.12697/bjah.2022.24.07","DOIUrl":"https://doi.org/10.12697/bjah.2022.24.07","url":null,"abstract":"","PeriodicalId":52089,"journal":{"name":"Baltic Journal of Art History","volume":"14 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135717948","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 : 2023-08-22DOI: 10.12697/bjah.2022.24.02
Elis Pärn
Estonian manorial architecture has been a topic of interest toarchitectural and art historians for the last hundred years, buthundreds of wooden manor houses, of which many still exist day,have largely remained unnoticed. The reason for this lack of researchinto wooden architecture are manifold but can most easily beassociated with socially complex relationships and previous researchmethods, resulting in the only monograph to date, Gustav Ränk’s Dieälteren baltischen Herrenhöfe in Estland (1971), which analysed woodenarchitecture in the 17th century, known in Estonia as the Swedishperiod. Since it is generally accepted that previous classificationsof wooden architecture do not allow for great conclusions, the aimof this article is to give an overview of the architectural genesis ofwooden manor houses during the manorial ‘golden era’, asking howmodern ideas made their way into local architecture. In this regard,this paper also deals with architectural treatises and handbooks fromthe 18th and early decades of the 19th centuries and the question ofthe adaptation of architectural theorists’ ideas to local architecture.The genesis of Estonian wooden manorial architecture can bedivided into three distinguished periods that are similar to the overalldevelopment of manorial architecture in the Baltics. Although thevery first wooden noble residences built at the beginning of the 18thcentury were small urbaltisch buildings with a central chimney thatresembled those built in the Swedish era, newer architectural formsmore in touch with the architectural trends of the time appearedon lands that had either escaped the negative consequences of theGreat Northern War and plague or had been donated by the Russianrulers. In other places, manorial architecture continued with thetraditions, which began to change more strongly in the second half ofthe century, reflecting the landlords’ greater need for representativepurposes. This not only brought changes to construction techniquesbut also to the buildings’ overall appearance: most wooden dwellingsdoubled in size and were decorated according to late Baroque orearly Neoclassical elements. More major changes took place in thefirst decades of the 19th century, which gave contemporaries a chanceto describe wooden dwellings as ‘light and summery’, testifying tochanges in building traditions.Since at this stage of research only a handful of building masters,masons and construction carpenters are known to have worked inthe building of wooden manor houses, this article suggests that thelandlords may also have drawn the ground plans themselves, with thehelp of architectural treatises and handbooks of the time. Althoughthe architectural ideas of Nikolaus Goldmann, Friedrich ChristianSchmidt and David Gilly are tangible, it is possible that in manycases the influence was more indirect and depended on the generalstylistic and technical changes of the period. This architecturalconservativism can partly be explained by the fact tha
在过去的一百年里，爱沙尼亚的庄园建筑一直是建筑和艺术史学家感兴趣的话题，但是数百座木制庄园，其中许多仍然存在，基本上没有被注意到。缺乏对木质建筑研究的原因是多方面的，但最容易与复杂的社会关系和以前的研究方法联系起来，导致迄今为止唯一的专著，古斯塔夫Ränk的Dieälteren baltischen Herrenhöfe在爱沙尼亚(1971)，分析了17世纪的木质建筑，在爱沙尼亚被称为瑞典时期。由于人们普遍认为，以前对木制建筑的分类并不能得出伟大的结论，本文的目的是概述在庄园“黄金时代”木制庄园的建筑起源，并询问现代思想是如何进入当地建筑的。在这方面，本文还讨论了18世纪和19世纪初的建筑论文和手册，以及建筑理论家的思想如何适应当地建筑的问题。爱沙尼亚木制庄园建筑的起源可以分为三个不同的时期，与波罗的海诸国庄园建筑的整体发展相似。尽管18世纪初建造的第一批木制贵族住宅是带有中央烟囱的小型城市建筑，类似于瑞典时代的建筑，但更符合当时建筑趋势的新建筑形式出现在那些逃脱了大北方战争和瘟疫的负面影响或由俄罗斯统治者捐赠的土地上。在其他地方，庄园建筑延续了传统，在20世纪下半叶开始发生更强烈的变化，反映了地主对代表性目的的更大需求。这不仅改变了建筑技术，也改变了建筑物的整体外观:大多数木制住宅的面积增加了一倍，并根据巴洛克晚期和早期新古典主义元素进行装饰。19世纪头几十年发生了更大的变化，这让同时代的人有机会将木制住宅描述为“轻便和夏日”，证明了建筑传统的变化。由于在研究的这个阶段，只有少数建筑大师、泥瓦匠和建筑木匠在建造木制庄园房屋时工作过，这篇文章表明，在当时建筑论文和手册的帮助下，房东也可能自己绘制了地面平面图。虽然Nikolaus Goldmann, Friedrich ChristianSchmidt和David Gilly的建筑理念是有形的，但在许多情况下，影响可能更加间接，并且取决于该时期的一般风格和技术变化。这种建筑上的保守主义可以部分地解释为波罗的海庄园在很大程度上依赖于当地工匠和附近村庄的农民，但也可以解释为贵族对所有新事物的普遍厌恶。对于当时的许多贵族来说，一篇更容易理解的论文可能是当地牧师奥古斯特·威廉·胡佩尔(AugustWilhelm Hupel)撰写的经济手册，其中包括对建筑过程的一些想法;然而，由于他没有引入任何新的建筑思想，而是继承了当地的传统，所以他的想法很可能被其他地方的房东所实践，而这些地方的房东并不活跃。同样的结论也适用于标准化的农用地项目，在19世纪早期的几十年里，俄罗斯帝国的一些城市强制要求一定的农用地，但对爱沙尼亚的木屋庄园几乎没有影响。虽然这篇文章使木质庄园建筑的许多方面变得清晰，但对波罗的海庄园建筑历史最重要的贡献是使人们注意到木材作为一种建筑材料不仅广泛而且在建筑实践中占据主导地位。这不仅强调了波罗的海庄园建筑在欧洲艺术地图上的外围角色，而且还创造了新的视角来深入研究与斯堪的纳维亚半岛和其他国家的联系，在那里，材料在社会上层和下层的建筑实践中发挥了作用。
{"title":"Wooden Manor Houses In Estonia 1700–1850: From Archaic Traditions to Modern Ideas","authors":"Elis Pärn","doi":"10.12697/bjah.2022.24.02","DOIUrl":"https://doi.org/10.12697/bjah.2022.24.02","url":null,"abstract":"Estonian manorial architecture has been a topic of interest toarchitectural and art historians for the last hundred years, buthundreds of wooden manor houses, of which many still exist day,have largely remained unnoticed. The reason for this lack of researchinto wooden architecture are manifold but can most easily beassociated with socially complex relationships and previous researchmethods, resulting in the only monograph to date, Gustav Ränk’s Dieälteren baltischen Herrenhöfe in Estland (1971), which analysed woodenarchitecture in the 17th century, known in Estonia as the Swedishperiod. Since it is generally accepted that previous classificationsof wooden architecture do not allow for great conclusions, the aimof this article is to give an overview of the architectural genesis ofwooden manor houses during the manorial ‘golden era’, asking howmodern ideas made their way into local architecture. In this regard,this paper also deals with architectural treatises and handbooks fromthe 18th and early decades of the 19th centuries and the question ofthe adaptation of architectural theorists’ ideas to local architecture.The genesis of Estonian wooden manorial architecture can bedivided into three distinguished periods that are similar to the overalldevelopment of manorial architecture in the Baltics. Although thevery first wooden noble residences built at the beginning of the 18thcentury were small urbaltisch buildings with a central chimney thatresembled those built in the Swedish era, newer architectural formsmore in touch with the architectural trends of the time appearedon lands that had either escaped the negative consequences of theGreat Northern War and plague or had been donated by the Russianrulers. In other places, manorial architecture continued with thetraditions, which began to change more strongly in the second half ofthe century, reflecting the landlords’ greater need for representativepurposes. This not only brought changes to construction techniquesbut also to the buildings’ overall appearance: most wooden dwellingsdoubled in size and were decorated according to late Baroque orearly Neoclassical elements. More major changes took place in thefirst decades of the 19th century, which gave contemporaries a chanceto describe wooden dwellings as ‘light and summery’, testifying tochanges in building traditions.Since at this stage of research only a handful of building masters,masons and construction carpenters are known to have worked inthe building of wooden manor houses, this article suggests that thelandlords may also have drawn the ground plans themselves, with thehelp of architectural treatises and handbooks of the time. Althoughthe architectural ideas of Nikolaus Goldmann, Friedrich ChristianSchmidt and David Gilly are tangible, it is possible that in manycases the influence was more indirect and depended on the generalstylistic and technical changes of the period. This architecturalconservativism can partly be explained by the fact tha","PeriodicalId":52089,"journal":{"name":"Baltic Journal of Art History","volume":"38 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135717952","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 : 2023-08-22DOI: 10.12697/bjah.2022.24.05
Hilkka Hiiop, Reet Pius
{"title":"The Story of the Altarpiece of St Peter’s Church in Kõpu","authors":"Hilkka Hiiop, Reet Pius","doi":"10.12697/bjah.2022.24.05","DOIUrl":"https://doi.org/10.12697/bjah.2022.24.05","url":null,"abstract":"","PeriodicalId":52089,"journal":{"name":"Baltic Journal of Art History","volume":"178 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135718098","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 : 2020-12-27DOI: 10.12697/BJAH.2020.20.03
L. O. Larsson
The paper discusses a set of etchings depicting different buildingsin Gdansk (Danzig) and different parts of the city, first publishedin 1617. The artist was the little known Ægidius Dickman, active inGdánsk and probably also in the Netherlands in the first quarter ofthe 17th century. In the same year that these etchings were published,Dickman also finished a large birds-eye view of Gdánsk. The setof town views and the panorama were both republished by ClaesJanszoon Visscher in 1625.The author of the article discusses the relationship betweenDickman and Visscher and their collaboration on this project, aswell as their wider artistic relationship. Dickman seems to have beentrained in the Netherlands, the etchings proving his familiarity withVisscher´s topographical prints.
{"title":"„Die vornehmsten Plätze und Gebäude, die in Danzig zu sehen sind“. Aegidius Dickmans Ansichten von Danzig 1617","authors":"L. O. Larsson","doi":"10.12697/BJAH.2020.20.03","DOIUrl":"https://doi.org/10.12697/BJAH.2020.20.03","url":null,"abstract":"The paper discusses a set of etchings depicting different buildingsin Gdansk (Danzig) and different parts of the city, first publishedin 1617. The artist was the little known Ægidius Dickman, active inGdánsk and probably also in the Netherlands in the first quarter ofthe 17th century. In the same year that these etchings were published,Dickman also finished a large birds-eye view of Gdánsk. The setof town views and the panorama were both republished by ClaesJanszoon Visscher in 1625.The author of the article discusses the relationship betweenDickman and Visscher and their collaboration on this project, aswell as their wider artistic relationship. Dickman seems to have beentrained in the Netherlands, the etchings proving his familiarity withVisscher´s topographical prints.","PeriodicalId":52089,"journal":{"name":"Baltic Journal of Art History","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2020-12-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47812398","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 : 2020-12-27DOI: 10.12697/BJAH.2020.20.04
Ojārs Spārītis
History permits us to trace so-called Polish Inflanty, in the territoryof the former Kingdom of Poland and Lithuania, to the contemporaryRepublic of Latvia. In this case we are particularly interested in theestate of Warkland (Warklany, Varakļāni). The ensemble of manorand park is typical for large estates in Eastern Europe, including avillage and its infrastructure and a separate manor and park as aspatial, architectural, botanical and social entity.Originating from Baltic-German nobility, ‘Polonised’ countMichael Johann von der Borch-Lubeschitz und Borchhoff (1753–1810) was the son of a Chancellor of Poland and Lithuania. He wasa member of several academies of science, in Siena, Dijon and Lion,and penfriend of Voltaire and academicians in Russia and France.After researching the mineralogy of Italy, Sicily, France, Germany,England, the Netherlands and Switzerland M. J. von der Borch leftfor his estate in Varakļāni, the Polonised part of eastern Livonia,called Polish Inflanty. At this time he also composed literary worksand poems, among which is one remarkable piece of didactic andemblematic content “The Sentimental Park of Varakļāni Palace” (Jardinsentimental du château de Warkland dans le Comté de Borch en RussieBlanche, 1795). This poem illustrates in a passionate and classicalway an emblematic approach to contemporary political structures,and the goals of education in general. In Jardin sentimental, whichis a theoretical and didactic manual, Borsch describes, through themetaphor of the estate park of Warkland, the route of an imaginativehero, full of expectation and temptation.The main subject of the report is an analysis of the text of thepoem contextualised by history and contrasted with evidence fromcontemporary Warkland.
历史允许我们追溯所谓的波兰高地，在前波兰王国和立陶宛的领土上，直到今天的拉脱维亚共和国。在这种情况下，我们对沃克兰庄园(Warklany, Varakļāni)特别感兴趣。庄园和公园的组合是东欧典型的大型庄园，包括村庄及其基础设施，以及作为空间、建筑、植物和社会实体的独立庄园和公园。“Polonised”伯爵michael Johann von der Borch-Lubeschitz und Borchhoff(1753-1810)来自波罗的海德意志贵族，是波兰和立陶宛总理的儿子。他是锡耶纳、第戎和里昂等几个科学院的成员，是伏尔泰的笔友，也是俄罗斯和法国的院士。在研究了意大利、西西里岛、法国、德国、英国、荷兰和瑞士的矿物学之后，冯·德·博尔奇离开了他在Varakļāni的庄园，这是利沃尼亚东部波兰化的部分，被称为波兰弗兰蒂。在这一时期，他还创作了文学作品和诗歌，其中一篇引人注目的说教和象征内容“Varakļāni宫殿的感伤公园”(Jardinsentimental du ch teau de Warkland dans le comt de Borch en RussieBlanche, 1795)。这首诗以一种充满激情和古典的方式说明了当代政治结构的象征性方法，以及一般教育的目标。在《感怀的花园》这本理论性和说教性的书中，波尔施通过对沃克兰庄园公园的比喻，描述了一个充满期待和诱惑的充满想象力的英雄的路线。该报告的主要主题是分析这首诗的历史背景，并与当代沃克兰的证据进行对比。
{"title":"Three Sources of Michael Johann von der Borch’s Poem “The Sentimental Park of Varakļāni Palace”","authors":"Ojārs Spārītis","doi":"10.12697/BJAH.2020.20.04","DOIUrl":"https://doi.org/10.12697/BJAH.2020.20.04","url":null,"abstract":"History permits us to trace so-called Polish Inflanty, in the territoryof the former Kingdom of Poland and Lithuania, to the contemporaryRepublic of Latvia. In this case we are particularly interested in theestate of Warkland (Warklany, Varakļāni). The ensemble of manorand park is typical for large estates in Eastern Europe, including avillage and its infrastructure and a separate manor and park as aspatial, architectural, botanical and social entity.Originating from Baltic-German nobility, ‘Polonised’ countMichael Johann von der Borch-Lubeschitz und Borchhoff (1753–1810) was the son of a Chancellor of Poland and Lithuania. He wasa member of several academies of science, in Siena, Dijon and Lion,and penfriend of Voltaire and academicians in Russia and France.After researching the mineralogy of Italy, Sicily, France, Germany,England, the Netherlands and Switzerland M. J. von der Borch leftfor his estate in Varakļāni, the Polonised part of eastern Livonia,called Polish Inflanty. At this time he also composed literary worksand poems, among which is one remarkable piece of didactic andemblematic content “The Sentimental Park of Varakļāni Palace” (Jardinsentimental du château de Warkland dans le Comté de Borch en RussieBlanche, 1795). This poem illustrates in a passionate and classicalway an emblematic approach to contemporary political structures,and the goals of education in general. In Jardin sentimental, whichis a theoretical and didactic manual, Borsch describes, through themetaphor of the estate park of Warkland, the route of an imaginativehero, full of expectation and temptation.The main subject of the report is an analysis of the text of thepoem contextualised by history and contrasted with evidence fromcontemporary Warkland.","PeriodicalId":52089,"journal":{"name":"Baltic Journal of Art History","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2020-12-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45593367","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 : 2020-12-27DOI: 10.12697/BJAH.2020.20.00
Juhan Maiste, Kadri Asmer
{"title":"Looking Back at the Roots of University of Tartu’s Department of Art History","authors":"Juhan Maiste, Kadri Asmer","doi":"10.12697/BJAH.2020.20.00","DOIUrl":"https://doi.org/10.12697/BJAH.2020.20.00","url":null,"abstract":"","PeriodicalId":52089,"journal":{"name":"Baltic Journal of Art History","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2020-12-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44680606","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 : 2020-12-27DOI: 10.12697/BJAH.2020.20.06
F. Thompson
The term ‘traditional Japanese architecture’ often causes confusionbecause people want the architecture of a certain period to eithercontinue endlessly, or to be substituted by some kind of facsimile.This paper maintains that the roots of Japanese architecture continueand that these roots make themselves evident at times of upheavaland renewal.Japan consists of a number islands which have had periods ofisolation both internationally, and nationally from ‘political lockdown’within. And yet these periods of isolation have often produceda veritable zenith in the houses of what Bruno Taut called “thepeasants”, and the author has chosen to call ‘commoners (minka)’.One example this is the Japanese tea house, which came about at atime of heightened military dominance. Castles were the strongholdsof power complete with large rooms in which the rituals of statedemanded order by rank. Beside this show of power came the humbletea house, used for the simple tea ceremony, sometimes between as few as two people. The roots of this humble hut, if we can call itsuch, carried with it the same structural principles as the minka, orcommoner’s house. A non-loadbearing structure of post and lintelconstruction for the sole purpose of concentrating on “the sound ofboiling water”. Out of the dream of power came the need for humility.The warrior’s power lay in the control of space; the tea master’s in thecontrol of time. The architecture responds. The building is an event
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Pub Date : 2020-12-27DOI: 10.12697/BJAH.2020.20.02
Juhan Maiste
In the article, the author examines one of the most outstanding andproblematic periods in the art history of Tallinn as a Hanseatic city,which originated, on the one hand, in the Hanseatic tradition andthe medieval approach to Gothic transcendental realism, and onthe other, in the approach typical of the new art cities of Flanders,i.e. to see a reflection of the new illusory reality in the pictures. Acloser examination is made of two works of art imported to Tallinnin the late 15th century, i.e. the high altar in the Church of the HolySpirit by Bernt Notke and the altarpiece of Holy Mary, whichwas originally commissioned by the Brotherhood of Blackheadsfor the Dominican Monastery and is now in St Nicholas’ Church.Despite the differences in the iconography and style of the twoworks, their links to tradition and artistic geography, which in thisarticle are conditionally defined as the Hanse canon, are apparentin both of them.The methods and rules for classifying the transition from theMiddle Ages to the Modern Era were not critical nor exclusive.Rather they included a wide range of phenomena on the outskirtsof the major art centres starting from the clients and ending with the semantic significance of the picture, and the attributes that wereemployed to the individual experiences of the different masters,who were working together in the large workshops of Lübeck, andsomewhat later, in Bruges and Brussels.When ‘reading’ the Blackheads’ altar, a question arises of threedifferent styles, all of them were united by tradition and the waythat altars were produced in the large workshops for the extensiveart market that stretched from one end of the continent to the other,and even further from Lima to Narva. Under the supervision ofthe leading master and entrepreneur (Hans Memling?) two othermasters were working side by side in Bruges – Michel Sittow, whowas born in Tallinn, and the Master of the Legend of Saint Lucywere responsible for executing the task.In this article, the author has highlighted new points of reference,which on the one hand explain the complex issues of attributionof the Tallinn Blackheads’ altar, and on the other hand, placethe greatest opus in the Baltics in a broader context, where, inaddition to aesthetic ambitions, both the client and the workshopthat completed the order, played an extensive role. In this way,identifying a specific artist from among the others would usuallyremain a matter of discussion. Tallinn was a port and a wealthycommercial city at the foregates of the East where it took decadesfor the spirit of the Renaissance to penetrate and be assimilated.Instead of an unobstructed view we are offered uncertain andoften mixed values based on what we perceive through the veil ofsemantic research.
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Pub Date : 2020-12-27DOI: 10.12697/BJAH.2020.20.05
G. Smirnov, Tatyana Vyatchanina
12 architectural drawings of two prominent palaces in Courland (now Latvia), namely in Mitau (Jelgava) and Ruhental (Rundale) are to be found in the Tessin-Hårleman Collection (THC) of Nationalmuseum in Stockholm, one of the most famous gatherings of architectural drawings in Europe. They are kept in the so called Bergholtz collection which is a part of THC. The drawings of two Courland palaces make this collection of special interest for the art of the Baltic region. Who was the creator of the collection, what was the reason to compile it and what other drawings are stored there – these are the first questions to be answered in this article. Friedrich Wilhelm von Bergholtz (1699–1771) is a well-known person in Russian history of the 18th century. Born in the German Duchy of Holstein, he made three long-term visits to the Russian empire during the first half of the century, spending about 15 years there in total. The first stay (1709–1714) was connected with his father’s military service for Peter the Great, as a general-lieutenant, who took part in the Northern war. In 1721–1727 Friedrich Wilhelm von Bergholtz stayed at the
在斯德哥尔摩国家博物馆的tessin - ha rleman Collection (THC)中，可以找到库尔兰(现为拉脱维亚)两座著名宫殿的12幅建筑图纸，即米塔乌(耶尔加瓦)和鲁恩塔尔(伦代尔)，这是欧洲最著名的建筑图纸聚集之一。它们被保存在所谓的伯格霍兹收藏中，这是THC的一部分。两个库尔兰宫殿的图纸使这个收藏对波罗的海地区的艺术特别感兴趣。谁是这个收藏的创造者，编辑它的原因是什么，还有哪些其他的图纸存储在那里——这些是本文要回答的第一个问题。弗里德里希·威廉·冯·伯格霍尔茨(1699-1771)是18世纪俄罗斯历史上的著名人物。他出生于德国的荷尔斯泰因公国，在20世纪上半叶曾三次长期访问俄罗斯帝国，总共在那里待了大约15年。第一次逗留(1709-1714)与他父亲为彼得大帝服兵役有关，他是一名中将，参加了北方战争。1721年到1727年，弗里德里希·威廉·冯·伯格霍兹住在
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