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.
{"title":"Artistic Genius versus the Hanse Canon from the Late Middle Ages to the Early Modern Age in Tallinn","authors":"Juhan Maiste","doi":"10.12697/BJAH.2020.20.02","DOIUrl":"https://doi.org/10.12697/BJAH.2020.20.02","url":null,"abstract":"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 \u0000the 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.","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":"47230248","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.2020.20.01
I. Khrustaleva, A. Kriiska
The Jägala Jõesuu V settlement site (further in the text Jägala) situated in the lower course of the Jägala River in northern Estonia (Fig. 1B, 9A) was discovered in 2011. It was investigated during rescue excavations under the leadership of Raido Roog and Aivar Kriiska. The remains of one pit-house with a series of different pits on the floor level, as well as a few possible fireplaces were revealed on the Stone Age site, which was covered by dune sand and tillage layers. The Stone Age cultural layer was about 15–20 cm thick. The settlement site is associated with the Comb Ware culture and originates from 3200–3100 years calBC (4438±29, UBA-29062; 4460±35, Poz-115983 and 4400±35, Poz-115982)1 based on AMS dates. Thus, the cultural layer of the site, which was formed during a
{"title":"Inside the Dwelling: Clay Figurines of the Jägala Jõesuu V Stone Age Settlement Site (Estonia)","authors":"I. Khrustaleva, A. Kriiska","doi":"10.12697/BJAH.2020.20.01","DOIUrl":"https://doi.org/10.12697/BJAH.2020.20.01","url":null,"abstract":"The Jägala Jõesuu V settlement site (further in the text Jägala) situated in the lower course of the Jägala River in northern Estonia (Fig. 1B, 9A) was discovered in 2011. It was investigated during rescue excavations under the leadership of Raido Roog and Aivar Kriiska. The remains of one pit-house with a series of different pits on the floor level, as well as a few possible fireplaces were revealed on the Stone Age site, which was covered by dune sand and tillage layers. The Stone Age cultural layer was about 15–20 cm thick. The settlement site is associated with the Comb Ware culture and originates from 3200–3100 years calBC (4438±29, UBA-29062; 4460±35, Poz-115983 and 4400±35, Poz-115982)1 based on AMS dates. Thus, the cultural layer of the site, which was formed during a","PeriodicalId":52089,"journal":{"name":"Baltic Journal of Art History","volume":"20 1","pages":"11-57"},"PeriodicalIF":0.1,"publicationDate":"2020-12-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47413770","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.2020.20.07
Kaur Alttoa
{"title":"Heavenly Jerusalem – the Start or the Finish?","authors":"Kaur Alttoa","doi":"10.12697/BJAH.2020.20.07","DOIUrl":"https://doi.org/10.12697/BJAH.2020.20.07","url":null,"abstract":"","PeriodicalId":52089,"journal":{"name":"Baltic Journal of Art History","volume":"20 1","pages":"191-196"},"PeriodicalIF":0.1,"publicationDate":"2020-12-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44513978","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 : 2020-08-17DOI: 10.12697/bjah.2020.19.02
T. Tatar
The paper provides an analysis of changes in depiction of Soviet leaders by Estonian artistsduring the period of Soviet occupation of Estonia. More specifically, changes in theiconography of Lenin and Stalin are viewed in light of Alexei Yurchak’s concept ofperformative shift of the Soviet authoritative discourse. During the over 40-year period of Soviet occupation conventions of depicting Leninand Stalin underwent several notable changes that more or less reflected shifts in the Sovietpolitics as well as the developments in Estonian arts. The paper argues that changes in thedepiction of the leaders amounted to the fundamental meaning and message of these works ofart. Especially from the end of the 1960s, an increasingly playful and ironic undertoneprevailed. In using the depictions of the Soviet leaders in Estonian art to test the aforementionedtheoretical constructions, the paper however concludes that changes in the official discoursein Estonian arts did not wholly conform to the performative shift as described by Yurchak.
{"title":"Depiction of Lenin and Stalin in Estonian Art as an Indicator of Shifts in the Soviet Authoritative Discourse","authors":"T. Tatar","doi":"10.12697/bjah.2020.19.02","DOIUrl":"https://doi.org/10.12697/bjah.2020.19.02","url":null,"abstract":"The paper provides an analysis of changes in depiction of Soviet leaders by Estonian artistsduring the period of Soviet occupation of Estonia. More specifically, changes in theiconography of Lenin and Stalin are viewed in light of Alexei Yurchak’s concept ofperformative shift of the Soviet authoritative discourse. \u0000During the over 40-year period of Soviet occupation conventions of depicting Leninand Stalin underwent several notable changes that more or less reflected shifts in the Sovietpolitics as well as the developments in Estonian arts. The paper argues that changes in thedepiction of the leaders amounted to the fundamental meaning and message of these works ofart. Especially from the end of the 1960s, an increasingly playful and ironic undertoneprevailed. \u0000In using the depictions of the Soviet leaders in Estonian art to test the aforementionedtheoretical constructions, the paper however concludes that changes in the official discoursein Estonian arts did not wholly conform to the performative shift as described by Yurchak.","PeriodicalId":52089,"journal":{"name":"Baltic Journal of Art History","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2020-08-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44815677","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 : 2020-08-17DOI: 10.12697/bjah.2020.19.06
Siim Sultson
The central Stalinist urban ensembles in East Estonian oil-shale mining and industrial townsKohtla-Järve, Ahtme, Sompa, Jõhvi, Kukruse, Kiviõli, Kohtla-Nõmme and Sillamäe areprotected by comprehensive plans and regarded as built-up areas of cultural andenvironmental value; Viivikonna, although similar to these towns, does not boast suchpatronage. Compared to other oil-shale mining and industrial towns, Viivikonna has becomea brownfield nearly completely. What could be the reason for such a difference?Someanswers may be found in history (1946–1980). Viivikonna is the only East Estonian oil-shalemining and industrial town that follows urban planning principles and a pattern, establishedby the Department of Architecture of the Estonian SSR, led by Harald Arman, to this day.However, it is necessary to decide the purpose of Viivikonna in the near future: whether partsor whole of the town are worthy of preservation–both in the economic and aesthetic sense.
{"title":"Viivikonna – Formation of a Ghost Town Amongst Other East Estonian Oil-Shale Mining and Industrial Town","authors":"Siim Sultson","doi":"10.12697/bjah.2020.19.06","DOIUrl":"https://doi.org/10.12697/bjah.2020.19.06","url":null,"abstract":"The central Stalinist urban ensembles in East Estonian oil-shale mining and industrial townsKohtla-Järve, Ahtme, Sompa, Jõhvi, Kukruse, Kiviõli, Kohtla-Nõmme and Sillamäe areprotected by comprehensive plans and regarded as built-up areas of cultural andenvironmental value; Viivikonna, although similar to these towns, does not boast suchpatronage. Compared to other oil-shale mining and industrial towns, Viivikonna has becomea brownfield nearly completely. What could be the reason for such a difference?Someanswers may be found in history (1946–1980). Viivikonna is the only East Estonian oil-shalemining and industrial town that follows urban planning principles and a pattern, establishedby the Department of Architecture of the Estonian SSR, led by Harald Arman, to this day.However, it is necessary to decide the purpose of Viivikonna in the near future: whether partsor whole of the town are worthy of preservation–both in the economic and aesthetic sense.","PeriodicalId":52089,"journal":{"name":"Baltic Journal of Art History","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2020-08-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43193992","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 : 2020-08-17DOI: 10.12697/bjah.2020.19.07
T. Portnova
The study of Russian culture at the beginning of the 20th century is instructive in the search for and finding of new expressive means of the artistic language, a new imagery in various forms of art. One of the essential features of this historical and cultural process is that it is carried out in close interweaving of stylistic innovations. Impressionism attracts the attention of researchers in the motley picture of the development of artistic trends in the late 19th century and the first decades of the 20th century. Now it appears to us as a stylistic trend, with clearly expressed historical premises, an ideological and aesthetic programme.1 Impressionism avoids indirect ways of approaching reality, conventionality, stylization, and metaphoricity. An attempt of theoretical interpretation of the relationship between dance and fine art in the context of Impressionism undertaken in this paper is not accidental. The manifestation of not only certain
{"title":"Impressionistic Search in Artistic Interpretation of Dance at the Turn of the 20th Century","authors":"T. Portnova","doi":"10.12697/bjah.2020.19.07","DOIUrl":"https://doi.org/10.12697/bjah.2020.19.07","url":null,"abstract":"The study of Russian culture at the beginning of the 20th century is instructive in the search for and finding of new expressive means of the artistic language, a new imagery in various forms of art. One of the essential features of this historical and cultural process is that it is carried out in close interweaving of stylistic innovations. Impressionism attracts the attention of researchers in the motley picture of the development of artistic trends in the late 19th century and the first decades of the 20th century. Now it appears to us as a stylistic trend, with clearly expressed historical premises, an ideological and aesthetic programme.1 Impressionism avoids indirect ways of approaching reality, conventionality, stylization, and metaphoricity. An attempt of theoretical interpretation of the relationship between dance and fine art in the context of Impressionism undertaken in this paper is not accidental. The manifestation of not only certain","PeriodicalId":52089,"journal":{"name":"Baltic Journal of Art History","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2020-08-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47574213","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 : 2020-08-17DOI: 10.12697/bjah.2020.19.01
Lola Annabel Kass
The article focuses on Estonian decadent art of the early twentieth century that manifests the topicality of melancholia: visual art that depicts sadness, low spirits, malaise and suicidal behaviour. The article seeks to answer why portrayal of the feeling of malaise and low spirits were so widespread from the beginning of the 20th century, and how Estonian artists imagined and visualised melancholia. I argue, that during the period under examination, increasing attention was paid in Estonia to mental health issues, including melancholia, which was brought about by discussions about breed and the surfacing ideas of eugenics and the study of heredity. At the same time, degeneration theories began to gain ground, according to which contemporary civilisation was bound to degrade, and an increase in mental problems was seen as a sign of that degradation in addition to various social and cultural processes. In addition, Estonian artists were influenced (directly or indirectly) by foreign artworks, literature and poetry that deal with the tragical and horrific side of humanity, such as mental health issues. I argue that artists depicted melancholia in a symbolic manner mainly through body language and body parts, but that the condition was also conveyed through the use of natural imagery and colour.
{"title":"Picturing Melancholia in Estonian Decadent Art","authors":"Lola Annabel Kass","doi":"10.12697/bjah.2020.19.01","DOIUrl":"https://doi.org/10.12697/bjah.2020.19.01","url":null,"abstract":"The article focuses on Estonian decadent art of the early twentieth century that manifests the topicality of melancholia: visual art that depicts sadness, low spirits, malaise and suicidal behaviour. The article seeks to answer why portrayal of the feeling of malaise and low spirits were so widespread from the beginning of the 20th century, and how Estonian artists imagined and visualised melancholia. \u0000I argue, that during the period under examination, increasing attention was paid in Estonia to mental health issues, including melancholia, which was brought about by discussions about breed and the surfacing ideas of eugenics and the study of heredity. At the same time, degeneration theories began to gain ground, according to which contemporary civilisation was bound to degrade, and an increase in mental problems was seen as a sign of that degradation in addition to various social and cultural processes. In addition, Estonian artists were influenced (directly or indirectly) by foreign artworks, literature and poetry that deal with the tragical and horrific side of humanity, such as mental health issues. I argue that artists depicted melancholia in a symbolic manner mainly through body language and body parts, but that the condition was also conveyed through the use of natural imagery and colour.","PeriodicalId":52089,"journal":{"name":"Baltic Journal of Art History","volume":"19 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2020-08-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41757056","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 : 2020-08-17DOI: 10.12697/bjah.2020.19.08
Elena S. Sonina, O. Lysenko
The article presents the under-explored St Petersburg period in the work of Gustav Mootse, famous Estonian artist, founder of Estonian book graphics and ex libris master. Upon a thorough archival research of illustrated periodicals, the authors have revealed unknown images by Mootse. Based on those, they make conclusions on stages in Mootse’s creative evolution, show a progressive growth in his standing in St Petersburg periodicals, show his search for forms and experiments, and comment on specifics of his creative work.
{"title":"Gustav Mootse’s Works in the Periodicals of St Petersburg in the Early 20th Century","authors":"Elena S. Sonina, O. Lysenko","doi":"10.12697/bjah.2020.19.08","DOIUrl":"https://doi.org/10.12697/bjah.2020.19.08","url":null,"abstract":"The article presents the under-explored St Petersburg period in the work of Gustav Mootse, famous Estonian artist, founder of Estonian book graphics and ex libris master. Upon a thorough archival research of illustrated periodicals, the authors have revealed unknown images by Mootse. Based on those, they make conclusions on stages in Mootse’s creative evolution, show a progressive growth in his standing in St Petersburg periodicals, show his search for forms and experiments, and comment on specifics of his creative work.","PeriodicalId":52089,"journal":{"name":"Baltic Journal of Art History","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2020-08-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48017527","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 : 2020-08-17DOI: 10.12697/bjah.2020.19.03
Kadri Asmer
The 1990s witnessed the total collapse of the political system in Eastern Europe, which directly influenced contemporary cultural structures: from the institutions and financing of the arts to the question of values that art should represent in the new circumstances. The decade in question is one of contradiction, destruction, and construction, and to regard it as a consistent entity is practically impossible. Therefore, social and cultural scientists have also preferred to approach it by stages, observing the democratisation processes step by step. In the second half of the 1980s, the time of perestroika and singing revolution1, mass movements and protest waves started developing in Estonia, led by Estonian intellectuals and cultural elite, and based on ideas of nationalism and political freedom. The events of the singing revolution climaxed on 20 August 1991, as the Supreme Council of the Estonian SSR accepted the declaration of Estonia’s national
{"title":"The Decade of Great Myths: Developments in the Estonian Art Scene of the 1990s","authors":"Kadri Asmer","doi":"10.12697/bjah.2020.19.03","DOIUrl":"https://doi.org/10.12697/bjah.2020.19.03","url":null,"abstract":"The 1990s witnessed the total collapse of the political system in Eastern Europe, which directly influenced contemporary cultural structures: from the institutions and financing of the arts to the question of values that art should represent in the new circumstances. The decade in question is one of contradiction, destruction, and construction, and to regard it as a consistent entity is practically impossible. Therefore, social and cultural scientists have also preferred to approach it by stages, observing the democratisation processes step by step. In the second half of the 1980s, the time of perestroika and singing revolution1, mass movements and protest waves started developing in Estonia, led by Estonian intellectuals and cultural elite, and based on ideas of nationalism and political freedom. The events of the singing revolution climaxed on 20 August 1991, as the Supreme Council of the Estonian SSR accepted the declaration of Estonia’s national","PeriodicalId":52089,"journal":{"name":"Baltic Journal of Art History","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2020-08-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42522844","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 : 2020-08-17DOI: 10.12697/bjah.2020.19.05
Riin Alatalu, M. Mändel, Oliver Orro, Triin Reidla
This article looks at residential architecture during the transition period in Estonia from the late 1980s to the early 1990s through the eyes of hertitage experts. It endeavours to sketch the general tendencies and changes in architecture, as well as highlight typical problems in restoration, which arise today in the evaluation of the architectural heritage from that period. The end of the 1980s and beginning of the 1990s are regarded as a transition period, when Estonia transitioned from a totalitarian state to a democratic nation restoring the pre-II World War Republic of Estonia. The processes during that time affected society as a whole, ushered in important socio-economic changes and also significant cultural changes. Even though culture as a phenomenon is difficult to define, it is generally understood as the common understanding and collection of values shared by a community, and can then be treated as cultural change according to their perceived collective transformation.1 The collapse of the Soviet Union and the social and economic processes that were accompanied by cultural changes immediately before and after the collapse also affected homes and home life. The
{"title":"A Controversial Heritage. Residential Architecture of the Transition Period in Estonia","authors":"Riin Alatalu, M. Mändel, Oliver Orro, Triin Reidla","doi":"10.12697/bjah.2020.19.05","DOIUrl":"https://doi.org/10.12697/bjah.2020.19.05","url":null,"abstract":"This article looks at residential architecture during the transition period in Estonia from the late 1980s to the early 1990s through the eyes of hertitage experts. It endeavours to sketch the general tendencies and changes in architecture, as well as highlight typical problems in restoration, which arise today in the evaluation of the architectural heritage from that period. The end of the 1980s and beginning of the 1990s are regarded as a transition period, when Estonia transitioned from a totalitarian state to a democratic nation restoring the pre-II World War Republic of Estonia. The processes during that time affected society as a whole, ushered in important socio-economic changes and also significant cultural changes. Even though culture as a phenomenon is difficult to define, it is generally understood as the common understanding and collection of values shared by a community, and can then be treated as cultural change according to their perceived collective transformation.1 The collapse of the Soviet Union and the social and economic processes that were accompanied by cultural changes immediately before and after the collapse also affected homes and home life. The","PeriodicalId":52089,"journal":{"name":"Baltic Journal of Art History","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2020-08-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47714341","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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