Pub Date : 2022-09-01DOI: 10.52603/arta.2022.31-1.13
C. Spînu
The creation of the painter Maria Coțofan inscribes in the history of decorative arts of the Republic Moldova an original page in which, significant motifs of everyday reality and important iconographic landmarks, typical of popular plastic creation, blend artistically and harmoniously. It contributes to the conception of works where tradition and contemporaneity work aesthetically together. In some works, the traditional motifs of the popular carpet, such as those of anthropomorphic, aviomorphic, arboreal, phytomorphic and geometric origin, being judiciously revalued, endow the image with distinguished aesthetic expressions and valuable messages. In others, the memorable iconographic landmarks of Orthodox Christian and historical defense architecture serve as a starting point in the composition of images and highlight artistically the non-transient essences and local cultural values. In the protagonist’s works, the morphological and syntactic repertoire of plastic realization of image completes a wide range of means and processes, which originate both in the secular tradition of technological weaving of folk carpets, as well as in the various plastic paradigms, whose conceptual and aesthetic coordinates are rooted in the stylistics of European avant-garde movements and in the unique local stylistic strands of tapestry art from the second half of the twentieth century.
{"title":"Peculiarities of plastic image creation in Maria Coțofan’s tapestry","authors":"C. Spînu","doi":"10.52603/arta.2022.31-1.13","DOIUrl":"https://doi.org/10.52603/arta.2022.31-1.13","url":null,"abstract":"The creation of the painter Maria Coțofan inscribes in the history of decorative arts of the Republic Moldova an original page in which, significant motifs of everyday reality and important iconographic landmarks, typical of popular plastic creation, blend artistically and harmoniously. It contributes to the conception of works where tradition and contemporaneity work aesthetically together. In some works, the traditional motifs of the popular carpet, such as those of anthropomorphic, aviomorphic, arboreal, phytomorphic and geometric origin, being judiciously revalued, endow the image with distinguished aesthetic expressions and valuable messages. In others, the memorable iconographic landmarks of Orthodox Christian and historical defense architecture serve as a starting point in the composition of images and highlight artistically the non-transient essences and local cultural values. In the protagonist’s works, the morphological and syntactic repertoire of plastic realization of image completes a wide range of means and processes, which originate both in the secular tradition of technological weaving of folk carpets, as well as in the various plastic paradigms, whose conceptual and aesthetic coordinates are rooted in the stylistics of European avant-garde movements and in the unique local stylistic strands of tapestry art from the second half of the twentieth century.","PeriodicalId":55785,"journal":{"name":"Arta","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45774931","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 : 2022-09-01DOI: 10.52603/arta.2022.31-1.10
L. Adascalita
Until now, satirical graphics, as a genre of visual arts, has not received much attention from our researchers of artistic phenomena. However, this genre undergoing several stages of development, is of great interest in the study of the arts, starting from the fact that several fine arts artists have developed this kind of artistic creation, and some of them have managed to equip the images created with original expressions and messages. The study examines the thematic and artistic guidelines (figures of style, materials, techniques) for image production in the field of Moldavian SSR satirical graphics in the period 1945-1950. This period was marked by plastic experiments conducted in this field by the painters Iurie Rumeantsev, Simion Polinger, and Boris Shirocorad. The satirical graphics becomes promoted and known to the general public thanks to the display of works at exhibitions of fine art, but also through regular editions. The study is complemented by historical and archival references that made it easier to bring up to date aspects that were unknown but important for the knowledge of the specific nature of the satirical graphics evolution during the reference period.
{"title":"Satirical graphics of the Moldavian in the period 1945-1950s","authors":"L. Adascalita","doi":"10.52603/arta.2022.31-1.10","DOIUrl":"https://doi.org/10.52603/arta.2022.31-1.10","url":null,"abstract":"Until now, satirical graphics, as a genre of visual arts, has not received much attention from our researchers of artistic phenomena. However, this genre undergoing several stages of development, is of great interest in the study of the arts, starting from the fact that several fine arts artists have developed this kind of artistic creation, and some of them have managed to equip the images created with original expressions and messages. The study examines the thematic and artistic guidelines (figures of style, materials, techniques) for image production in the field of Moldavian SSR satirical graphics in the period 1945-1950. This period was marked by plastic experiments conducted in this field by the painters Iurie Rumeantsev, Simion Polinger, and Boris Shirocorad. The satirical graphics becomes promoted and known to the general public thanks to the display of works at exhibitions of fine art, but also through regular editions. The study is complemented by historical and archival references that made it easier to bring up to date aspects that were unknown but important for the knowledge of the specific nature of the satirical graphics evolution during the reference period.","PeriodicalId":55785,"journal":{"name":"Arta","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43342363","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 : 2022-09-01DOI: 10.52603/arta.2022.31-1.02
M. Muntean
The present study proposes a research on the iconography of the Last Judgment, starting from the 5th and 6th centuries up to the 14th century, when the compositional structure had already been established. These early scenes correspond to a symbolic vision whose character and perspective are both eschatological. The theological elements set forth demonstrate the fact that the iconographic scenes have a biblical foundation that is both necessary and included in their thematic typology. We have analyzed case studies both from Eastern Europe and from the West; they testify to the fact that certain iconographic details had been embraced until a complex compositional structure was shaped. The proposed examples have been executed in different techniques, throughout different eras, and across different geographical areas. Among these techniques, we note mosaics, bas-reliefs, frescoes, illustrated manuscripts, and icons. Our case studies include the miniature from Paris and the one from the British Library in London, as well as the mosaic from Torcello and the icon from Sinai. The depictions of the Judgment contain significant scenes and registries, such as: Jesus in the Almond Tree, the scene of the Deisis and the Twelve Apostles, the throne of Etimasia, the river of fire, the righteous and the sinners, Heaven and Hell, as well as the weighing of souls.
{"title":"Last Judgment in iconography.Case studies","authors":"M. Muntean","doi":"10.52603/arta.2022.31-1.02","DOIUrl":"https://doi.org/10.52603/arta.2022.31-1.02","url":null,"abstract":"The present study proposes a research on the iconography of the Last Judgment, starting from the 5th and 6th centuries up to the 14th century, when the compositional structure had already been established. These early scenes correspond to a symbolic vision whose character and perspective are both eschatological. The theological elements set forth demonstrate the fact that the iconographic scenes have a biblical foundation that is both necessary and included in their thematic typology. We have analyzed case studies both from Eastern Europe and from the West; they testify to the fact that certain iconographic details had been embraced until a complex compositional structure was shaped. The proposed examples have been executed in different techniques, throughout different eras, and across different geographical areas. Among these techniques, we note mosaics, bas-reliefs, frescoes, illustrated manuscripts, and icons. Our case studies include the miniature from Paris and the one from the British Library in London, as well as the mosaic from Torcello and the icon from Sinai. The depictions of the Judgment contain significant scenes and registries, such as: Jesus in the Almond Tree, the scene of the Deisis and the Twelve Apostles, the throne of Etimasia, the river of fire, the righteous and the sinners, Heaven and Hell, as well as the weighing of souls.","PeriodicalId":55785,"journal":{"name":"Arta","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48769002","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 : 2022-09-01DOI: 10.52603/arta.2022.31-1.01
Mariana Şlapac
Among the constituent elements of the Kilia stone fortress, which guarded the eponymous Danube portcity from the end of the XV century to the end of the XVIII century, there were the entrance gates (First Great Gates, Second Great Gates, Small Gates, Greek Gates, Guild Gates, Water Gates, etc.), the towers (Arsenal Tower, Agha Tower, Armory Tower, Commander Tower, Lighthouse Tower, Bloody Tower, Prison Tower, Tower of Gedik Akhmet Pasha, Maiden Tower, Moor Tower, Elephant Tower, Wool Tower, Mountain Tower, Millet Tower, Red Tower, Flat Tower, Cracked Tower, Biscuit Tower, etc.), courtyards (“civil courtyard”, “middle courtyard”, “garrison courtyard”, “commander courtyard” or “citadel courtyard”), curtains, artillery terraces, defensive ditches, as well as internal auxiliary buildings (residential houses, barracks, a cult object, a bathhouse, etc.). The gates were located in towers or stone curtains. The towers adjoined the walls (corner and intermediate) or advanced towards the enemy. Movable machicoulis or hoardings were used as vertical flanking elements. In the Kilia stone fortress there were hollow towers and “half-towers”. Depending on the shape of the plan, the towers could be square, rectangular, round, polygonal, D-shaped and with a complex plan ones.
{"title":"Constituent elements of the Kilia stone fortress","authors":"Mariana Şlapac","doi":"10.52603/arta.2022.31-1.01","DOIUrl":"https://doi.org/10.52603/arta.2022.31-1.01","url":null,"abstract":"Among the constituent elements of the Kilia stone fortress, which guarded the eponymous Danube portcity from the end of the XV century to the end of the XVIII century, there were the entrance gates (First Great Gates, Second Great Gates, Small Gates, Greek Gates, Guild Gates, Water Gates, etc.), the towers (Arsenal Tower, Agha Tower, Armory Tower, Commander Tower, Lighthouse Tower, Bloody Tower, Prison Tower, Tower of Gedik Akhmet Pasha, Maiden Tower, Moor Tower, Elephant Tower, Wool Tower, Mountain Tower, Millet Tower, Red Tower, Flat Tower, Cracked Tower, Biscuit Tower, etc.), courtyards (“civil courtyard”, “middle courtyard”, “garrison courtyard”, “commander courtyard” or “citadel courtyard”), curtains, artillery terraces, defensive ditches, as well as internal auxiliary buildings (residential houses, barracks, a cult object, a bathhouse, etc.). The gates were located in towers or stone curtains. The towers adjoined the walls (corner and intermediate) or advanced towards the enemy. Movable machicoulis or hoardings were used as vertical flanking elements. In the Kilia stone fortress there were hollow towers and “half-towers”. Depending on the shape of the plan, the towers could be square, rectangular, round, polygonal, D-shaped and with a complex plan ones.","PeriodicalId":55785,"journal":{"name":"Arta","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48820608","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 : 2022-09-01DOI: 10.52603/arta.2022.31-1.12
A. Marian
There are many various materials suitable for the creation of sculptural nudes, but they are almost identical to those used to create a sculptural portrait. Among them, there is clay, stone (from limestone and granite to marble and some semi-precious stones), metals (bronze, aluminum, silver, gold), wood (of various types), wax (as a preliminary material), plasticine (which is also used for sketches) and gypsum (intended for casting works). Plastic techniques, as well as modeling ones, expand the range of interpretation of nude with the assistance of sculptural language elements and original compositional solutions. Thus, modeling techniques, in all their diversity, represent the wide scope and freedom of creativity that sculptors use to validate their ideas and artistic concepts. Plastic techniques and anatomical structures are of great importance, which, together, give originality to the works. Regardless of the period, in which the sculptors created, and of their stylistic preferences, they advocated a complex dialogue with the audience, in which the methods of modeling the material, or, in other words, the expression of the external form in the sculptural nude was a very important one.
{"title":"Modeling and plastic techniques in creation of Moldovan sculptural nudes","authors":"A. Marian","doi":"10.52603/arta.2022.31-1.12","DOIUrl":"https://doi.org/10.52603/arta.2022.31-1.12","url":null,"abstract":"There are many various materials suitable for the creation of sculptural nudes, but they are almost identical to those used to create a sculptural portrait. Among them, there is clay, stone (from limestone and granite to marble and some semi-precious stones), metals (bronze, aluminum, silver, gold), wood (of various types), wax (as a preliminary material), plasticine (which is also used for sketches) and gypsum (intended for casting works). Plastic techniques, as well as modeling ones, expand the range of interpretation of nude with the assistance of sculptural language elements and original compositional solutions. Thus, modeling techniques, in all their diversity, represent the wide scope and freedom of creativity that sculptors use to validate their ideas and artistic concepts. Plastic techniques and anatomical structures are of great importance, which, together, give originality to the works. Regardless of the period, in which the sculptors created, and of their stylistic preferences, they advocated a complex dialogue with the audience, in which the methods of modeling the material, or, in other words, the expression of the external form in the sculptural nude was a very important one.","PeriodicalId":55785,"journal":{"name":"Arta","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41435329","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 : 2022-09-01DOI: 10.52603/arta.2022.31-1.16
Ludmila Branişte
The problem of the pictorial past in literature and of literary influences in painting has created a whole tradition. The literary experience of the image and the pictorial exercise in literature demonstrated the affinities between them, based on a specific view of the world. From contemporary philosophy, culture and literature, painting chooses its elements, symbols and ideational background, which is the substrate of the pictorial work. Translating them into the language of images, the painter reaches a more personal interpretation of literary works. The article presents a reflection on the prolific artistic career of the artist Cezar Secrieru, whose work creates a unique creative dynamic by transposing the mental and literary image into his canvases. The “Correspondences” of the arts enrich the deep ideational background of his creation, but also the diversification of the pictorial meanings potential.
{"title":"Text et langaje visuel: un proces de mise en abîme","authors":"Ludmila Branişte","doi":"10.52603/arta.2022.31-1.16","DOIUrl":"https://doi.org/10.52603/arta.2022.31-1.16","url":null,"abstract":"The problem of the pictorial past in literature and of literary influences in painting has created a whole tradition. The literary experience of the image and the pictorial exercise in literature demonstrated the affinities between them, based on a specific view of the world. From contemporary philosophy, culture and literature, painting chooses its elements, symbols and ideational background, which is the substrate of the pictorial work. Translating them into the language of images, the painter reaches a more personal interpretation of literary works. The article presents a reflection on the prolific artistic career of the artist Cezar Secrieru, whose work creates a unique creative dynamic by transposing the mental and literary image into his canvases. The “Correspondences” of the arts enrich the deep ideational background of his creation, but also the diversification of the pictorial meanings potential.","PeriodicalId":55785,"journal":{"name":"Arta","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48088358","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 : 2022-09-01DOI: 10.52603/arta.2022.31-1.18
S. Biliaieva, O. Fialko, Olga Kotsubanska, N. Levitska
The significant growth of research in the field of ethnology of the Eurasian societies of the Middle Ages and the accumulation of historical and archaeological information allows us to look at the processes of ethno cultural development of the Old World in the context of globalization. In this aspect, an important role have some regions located in the direction of land and water trade ways and seacoasts, one of which is the North Black Sea area. From ancient times, this region is characterized by the movement of mass populations, various cultures and ethnical groups, the transmission of goods and ideas, the inclusive role in which belongs to the system of land and water trade ways. From the first steps of globalization, the society undergoes through some stages. One of its characteristic signs was the formation in the XIII-XV centuries of the syncretic culture on the vast area of Eurasia, part of which was the North Black Sea area.
{"title":"Syncretism of culture of the North Black Sea area in the XIII-XV centuries in the context of globalization","authors":"S. Biliaieva, O. Fialko, Olga Kotsubanska, N. Levitska","doi":"10.52603/arta.2022.31-1.18","DOIUrl":"https://doi.org/10.52603/arta.2022.31-1.18","url":null,"abstract":"The significant growth of research in the field of ethnology of the Eurasian societies of the Middle Ages and the accumulation of historical and archaeological information allows us to look at the processes of ethno cultural development of the Old World in the context of globalization. In this aspect, an important role have some regions located in the direction of land and water trade ways and seacoasts, one of which is the North Black Sea area. From ancient times, this region is characterized by the movement of mass populations, various cultures and ethnical groups, the transmission of goods and ideas, the inclusive role in which belongs to the system of land and water trade ways. From the first steps of globalization, the society undergoes through some stages. One of its characteristic signs was the formation in the XIII-XV centuries of the syncretic culture on the vast area of Eurasia, part of which was the North Black Sea area.","PeriodicalId":55785,"journal":{"name":"Arta","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45747586","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 : 2022-09-01DOI: 10.52603/arta.2022.31-1.07
Alla Chastina
In the second half of the XIX century provincial traveling circuses were quite common in Bessarabia. The first attempt to build a permanent circus in Chișinău was made on April 22, 1911. In March 1912, the owner of the Bristol hotel, Constantin Kolomandi, wrote to the Construction department of the Bessarabian Provincial Board a new request for the construction of a stone two-story building of the circus theater at the corner of Mikhailovskaya and Schmidt streets (today Mihai Eminescu and Metropolitan Varlaam streets). In May 7, 1912, he received an official building permit. In general, the construction of the building of the circus theater, which was supervised by the city architect Vladimir Țiganco, was completed on October 21, 1913. Later, the “Express” cinema was opened here. In the post-war period, this building was housed by the Moldavian Drama Theater. And in 1954, the premises were transferred to the Moldavian Philharmonic. But on September 24, 2020, the cultural heritage of Moldova was damaged as a result of a fire which seriously damaged most part of the building of the National Philharmonic „S. Lunchevici”. Today the building is in the need of restoration in order to preserve its historical, architectural and artistic value.
{"title":"The history of one architectural monument in Chisinau: the building of the first stone circus, the “Express” cinema, the Moldovan drama theater and the National Philharmonic (1911-2021)","authors":"Alla Chastina","doi":"10.52603/arta.2022.31-1.07","DOIUrl":"https://doi.org/10.52603/arta.2022.31-1.07","url":null,"abstract":"In the second half of the XIX century provincial traveling circuses were quite common in Bessarabia. The first attempt to build a permanent circus in Chișinău was made on April 22, 1911. In March 1912, the owner of the Bristol hotel, Constantin Kolomandi, wrote to the Construction department of the Bessarabian Provincial Board a new request for the construction of a stone two-story building of the circus theater at the corner of Mikhailovskaya and Schmidt streets (today Mihai Eminescu and Metropolitan Varlaam streets). In May 7, 1912, he received an official building permit. In general, the construction of the building of the circus theater, which was supervised by the city architect Vladimir Țiganco, was completed on October 21, 1913. Later, the “Express” cinema was opened here. In the post-war period, this building was housed by the Moldavian Drama Theater. And in 1954, the premises were transferred to the Moldavian Philharmonic. But on September 24, 2020, the cultural heritage of Moldova was damaged as a result of a fire which seriously damaged most part of the building of the National Philharmonic „S. Lunchevici”. Today the building is in the need of restoration in order to preserve its historical, architectural and artistic value.","PeriodicalId":55785,"journal":{"name":"Arta","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47862898","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 : 2022-09-01DOI: 10.52603/arta.2022.31-1.04
Tamara Nesterov
The article describes a group of churches, made of stone, in the structure of which the specificity of the construction technique of wooden buildings has been preserved. The name of the village Cuhea, where the oldest churches of this type is located, gave the name of the group, having a symbolic meaning, the village being of Bogdan, the first voivode of Moldova.The place of genesis of this churches is located in Maramureș, where the forested natural environment provided the building material, suggesting the construction technique and architectural forms. A specific of this group of churches are the short nave and the elongated apse of the altar, features characteristic of Romanesque basilicas, and the separation of the women’s room that was later. Another specific is the transposition in stone of the crowns from the beams, through an ancient process, which simultaneously offered the thickness and length of the walls of the crowns. The Carpathian Mountains are in the contact area of Eastern Christianity (Orthodoxy) and Western Christianity (Catholicism), where the old local folk methods were enriched with new ones, which the master builders spread far along the eastern and western slopes of the Carpathians. In historical Moldova, churches with similar structural-planimetric characteristics are attested only in the villages: Cotnari, Iași country, and Lipceni, Rezina district.
{"title":"Cuhea as the example of structural churches în Moldova și Transilvania","authors":"Tamara Nesterov","doi":"10.52603/arta.2022.31-1.04","DOIUrl":"https://doi.org/10.52603/arta.2022.31-1.04","url":null,"abstract":"The article describes a group of churches, made of stone, in the structure of which the specificity of the construction technique of wooden buildings has been preserved. The name of the village Cuhea, where the oldest churches of this type is located, gave the name of the group, having a symbolic meaning, the village being of Bogdan, the first voivode of Moldova.The place of genesis of this churches is located in Maramureș, where the forested natural environment provided the building material, suggesting the construction technique and architectural forms. A specific of this group of churches are the short nave and the elongated apse of the altar, features characteristic of Romanesque basilicas, and the separation of the women’s room that was later. Another specific is the transposition in stone of the crowns from the beams, through an ancient process, which simultaneously offered the thickness and length of the walls of the crowns. The Carpathian Mountains are in the contact area of Eastern Christianity (Orthodoxy) and Western Christianity (Catholicism), where the old local folk methods were enriched with new ones, which the master builders spread far along the eastern and western slopes of the Carpathians. In historical Moldova, churches with similar structural-planimetric characteristics are attested only in the villages: Cotnari, Iași country, and Lipceni, Rezina district.","PeriodicalId":55785,"journal":{"name":"Arta","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43985155","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 : 2022-09-01DOI: 10.52603/arta.2022.31-1.05
Victoria Taras
In the XVI century the Polish-Lithuanian Commonwealth was characterized by two Sarmatian traditions the “knightly” and “landowner”. Starting from the 17th century it was fitting for a Sarmatian to be not only a brave knight with self-respect, but also to be a good homeowner, which ultimately led to the erasure of differences and the unification of these two Sarmatian traditions. Under the influence of the new worldview of the Baroque era and the dominant national ideology of Sarmatism in the territory of Galicia in the XVI-XVII centuries, using as a basis the model of the Italian Renaissance “Palazzo in Fortezza”, new templates of secular residential residences, which included fortifications, housing, and garden and park foundations, were formed, recognizable for the entire aristocratic stratum of the population. New ideas and principles have found their expression in architectural structures and in the methods of laying landscape objects. The palace, surrounded by fortifications, reflected the idea of “knightly” Sarmatism, while the opposite “landowning” ideas of Sarmatism were embodied in an ornamental garden, which reflected the traditional ideas about paradise, in which one could hide from the worries and difficulties of real life. The layout of secular residential residences with landscape gardening objects depended on several factors: place, time, authorship, functional purpose, preferences and financial capabilities of the customer. The article analyzes variants of conjugation of fortifications with garden and park establishments or a menagerie.
{"title":"“Palazzo in Fortezza” with a garden and park foundation – as a compromisse between the Renaissance form and the Sarmatian Baroque ideology in Galicia in the XVI-XVII centuries","authors":"Victoria Taras","doi":"10.52603/arta.2022.31-1.05","DOIUrl":"https://doi.org/10.52603/arta.2022.31-1.05","url":null,"abstract":"In the XVI century the Polish-Lithuanian Commonwealth was characterized by two Sarmatian traditions the “knightly” and “landowner”. Starting from the 17th century it was fitting for a Sarmatian to be not only a brave knight with self-respect, but also to be a good homeowner, which ultimately led to the erasure of differences and the unification of these two Sarmatian traditions. Under the influence of the new worldview of the Baroque era and the dominant national ideology of Sarmatism in the territory of Galicia in the XVI-XVII centuries, using as a basis the model of the Italian Renaissance “Palazzo in Fortezza”, new templates of secular residential residences, which included fortifications, housing, and garden and park foundations, were formed, recognizable for the entire aristocratic stratum of the population. New ideas and principles have found their expression in architectural structures and in the methods of laying landscape objects. The palace, surrounded by fortifications, reflected the idea of “knightly” Sarmatism, while the opposite “landowning” ideas of Sarmatism were embodied in an ornamental garden, which reflected the traditional ideas about paradise, in which one could hide from the worries and difficulties of real life. The layout of secular residential residences with landscape gardening objects depended on several factors: place, time, authorship, functional purpose, preferences and financial capabilities of the customer. The article analyzes variants of conjugation of fortifications with garden and park establishments or a menagerie.","PeriodicalId":55785,"journal":{"name":"Arta","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43809832","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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