Vol. 1

Contents

  • Author: The Editors
  • Year of publication: 2012
  • Source: Show
  • Pages: 3-4
  • DOI Address: -
  • PDF: aoto/1/aoto1toc.pdf

SPIS TREŚCI

TABLE OF CONTENTS

Introduction

  • Author: Jerzy Malinowski
  • Author: Dorota Kamińska-Jones
  • Year of publication: 2012
  • Source: Show
  • Pages: 7-10
  • DOI Address: -
  • PDF: aoto/1/aoto100.pdf

Problem wpływu – jak badać podobieństwa wizualne między sztuką Zachodu i Wschodu? .

  • Author: Katarzyna Kleiber
  • Institution: Uniwersytet Adama Mickiewicza w Poznaniu; Polski Instytut Studiów nad Sztuką Świata
  • Year of publication: 2012
  • Source: Show
  • Pages: 11-18
  • DOI Address: https://doi.org/10.15804/aoto201201
  • PDF: aoto/1/aoto101.pdf

The Problem of Influence – How to Assess the Visual Similarities Between the Art of the West and East? (Summary)

Each year the set of texts dealing with Western influences on Eastern art becomes bigger and bigger, owing to the contributions of both European and Asian scholars. Unfortunately, the considerable outgrowth of these writings is rarely accompanied by methodological considerations of how to research into the visual similarities between Western and non-Western artworks. In an attempt to fill this gap, this paper examines the main theoretical aspects and challenges of studying Asian art which seem to be based on European architecture, sculpture and painting. The first part of this paper examines how contemporary art historians determine the very existence of ‘influences’ between artworks. Later on, it is explained how intertextual and post-colonial studies have changed the way art history views the impact of one artwork on another. Having discussed these revisions to our discipline, I ask the question how to pinpoint references of Asian artworks to Western ones, if there is no data about their authors (their education, travels, personal contacts with foreign artists etc.) or the reproductions and replicas of European pictures. Additionally, I raise the issue of the artist’s intention (i.e. if quotations from, and allusions to Western artworks are always conscious and intended). Another issue, which recurs throughout the whole paper, is whether conceptual schemata from Western academia allow art historians to understand and explain Asian art better or whether they just lead to interpretive abuse. The final paragraphs offer some concluding remarks.

The Origins of Collecting in China. Underground Jade Treasures as a Reflection of Ancient Collecting.

  • Author: Bogna Łakomska
  • Institution: Akademia Sztuk Pięknych w Gdańsku; Państwowe Muzeum Etnograficzne w Warszawie; Polski Instytut Studiów nad Sztuką Świata
  • Year of publication: 2012
  • Source: Show
  • Pages: 19-56
  • DOI Address: https://doi.org/10.15804/aoto201202
  • PDF: aoto/1/aoto102.pdf

Początki kolekcjonerstwa w Chinach. Zgromadzone pod ziemią żady jako odzwierciedlenie starożytnego kolekcjonerstwa (streszczenie)

Artykuł dotyka kwestii początków kolekcjonerstwa w Chinach, choć nie chodzi tu o kolekcje mające charakter artystyczny. Współczesne kolekcjonerstwo zakłada, że przedmioty tworzące kolekcję powinny być pozbawione swojej użytkowej roli, powinny być wewnętrznie powiązane, sklasyfikowane, subiektywnie ocenione, świadomie wybrane i wystawione. Ktoś mógłby zatem zapytać, jak ma się to do starożytnego chińskiego kolekcjonerstwa? I czy można stosować te same kryteria, a następnie na ich podstawie dokonywać oceny. Otóż, z pewnością znajdziemy pewne wspólne cechy we współczesnym jak i starożytnym podejściu do kolekcjonowania, a będzie to chęć posiadania czegoś ważnego, budowanie grup opartych na wewnętrznie powiązanych i świadomie wybranych obiektach jak również chęć wyeksponowania tych przedmiotów, tym niemniej dla ograniczonej i ekskluzywnej grupy, i to niekoniecznie osób, ale bardziej duchów, czy też innych nieśmiertelnych bytów. W starożytnych Chinach kolekcjonowanie było powiązane zwłaszcza z aktywnością rytualną, która wynikała z religijnych wierzeń, a w szczególnych wypadkach z przyczyn politycznych, bowiem posiadanie uświęconych obiektów zapewniało Mandat Niebios, czyli możliwość roszczeń do władzy. Zatem trzeba wyraźnie powiedzieć, że nie sztuka, ale święte skarby, tudzież magiczne przedmioty o rytualnym znaczeniu odgrywały najbardziej istotną rolę w potrzebach akumulacyjnych starożytnych królestw Chin. Co więcej, w konkretnych przypadkach, to surowy sam w sobie materiał i magiczne właściwości, które mu przypisywano sprawiały, że obiekty stawały się pożądane. Z początku, w okresie Neolitu dotyczyło to głównie przedmiotów wykonanych z twardych krystalicznych skał nefrytowych i jadeitowych ogólnie określanych jako żady, które dziś można jeszcze wydobywać w prowincji Xinjiang albo w Tybecie. później przyszła również kolej na brązy. A najbardziej namacalnym dowodem tych kolekcjonerskich początków są obiekty odkryte w grobach i podziemnych skrytkach. Archeologowie natrafiają na niewielkie zbiory figurek o kształtach smoko-świni, chmur, rzadziej żółwi i ptaków pochodzące z ok. 6 tysięcy lat temu. Nieco później zaczęto gromadzić tajemnicze dyski bi, albo wydrążone sześciany zwane cong. Około 5 tysięcy lat temu wiara w magiczną siłę żadów zaczęła się niezwykle rozprzestrzeniać, a to za sprawą rosnącego statusu szamanów, będących religijnymi i nierzadko politycznymi przywódcami królestw. Posiadanie żadów okazało się być przywilejem a ograniczona możliwość ich nabycia podwyższała niezwykle ich wartość. Żady zaczęto postrzegać nie tylko jako obiekt magiczny, ale również jako symbol bogactwa i władzy. I co ciekawe istotną rolę odgrywały te żady, które miały niejako swoją historię, które należały do przodków, albo do innych podbitych ludów.

Tkanina z Mashanu (Chiny, V–III w. p.n.e.) a celtycki system ornamentalny

  • Author: Ryszarda Maria Bulas
  • Institution: Katolicki Uniwersytet Lubelski
  • Year of publication: 2012
  • Source: Show
  • Pages: 57-72
  • DOI Address: https://doi.org/10.15804/aoto201203
  • PDF: aoto/1/aoto103.pdf

Ireland and China. Textile from Mashan (fifth to third century BC, China) and the Celtic Repertoire of Ornamentation (Summary)

In a short article the author presents the hypothesis that certain aspects of Celtic Art has Chinese origin. She compares the decoration of textiles found in 1982 in Mashan, province of Hubei in China with the Celtic system of ornamentation, known from books illumination, sculptures of Celtic crosses and metal products. Among the motifs known to Celtic art she indicates: skulls, tête coupe, pelts, spirals and triskeles. The author also indicates the similarities in the field of color symbolism, animal symbolism (crane), the special role of women and femininity, and Nature (on the basis of philosophy and poetry) in both cultures.

Architektoniczny eksperyment u podnóża Chińskiego Muru

  • Author: Joanna Kucharzewska
  • Institution: Uniwersytet Mikołaja Kopernika w Toruniu; Polski Instytut Studiów nad Sztuką Świata
  • Year of publication: 2012
  • Source: Show
  • Pages: 73-88
  • DOI Address: https://doi.org/10.15804/aoto201204
  • PDF: aoto/1/aoto104.pdf

Architectural Experiment at the Foot of the Great Wall of China

At the foot of the Great Wall of China, near the town of Badaling, SOHO Small Office – Home Office in 2000 started constructing 59 detached guesthouses. Each of them was to be equipped with extensive cultural, entertainment, and business facilities. The creators of the project, the owner of the design office, Mr. Shiyi and his wife Mrs. Zhang Xin, invited 12 renowned architects to their endeavor, and gave them total freedom of creation. Although the project was charged with a high level of risk, and its final shape was difficult to predict, it became an unprecedented success, even though available only for a narrow group of affluent residents of the Middle Kingdom, as well as curious tourists from Western Europe and North America. The edifices, constructed over a period of 10 years, are probably more recognized in the western world than in China; it can be attributed to the exhibition of the design at the Venice Biennale in 2002, during which it was honored with a special prize. Additionally, the names of architects, brands in themselves, attracted the attention of critics and experts in architecture, who were particularly interested in the outcome of the encounter of great architectural individualities while creating Commune by the Great Wall. Three Japanese architects took part in the project. Kengo Kuma called his edifice Great Bamboo Wall (2000-2002), from the type of material employed for creating external-wall cladding as well as internal partitions; Shigeru Ban in his design, Bamboo Furniture House, used bamboo veneer lumber to create furniture to be prefabricated and used as the main component in addition to the exterior and interior walls. Finally, Nobuaki Furuya’s Forest House aimed at carrying out his own concept of architecture as a place of safety (asylum). Kanika R’kul, who carries out her designs mainly in Taiwan, presented Shared House that was its form similar to the practice of American modernism. A significant factor turned out to be the education in architecture that R’kul obtained at one of Californian universities, and her familiarity with American modernism as well as the activities of so-called “New York Five”. The motive behind the activities of another architect, Cui Kai, was primarily to obtain different views from inside the house, which was highlighted by the name of the project, See and Seen House. Antonio Ochoa Piccardo from Venezuela, the only author of non-Asian origin, though connected with Asian world for many years via designing edifices for SOHO office, also tried to provide variety of visual experience for the audiences of another guesthouse, Cantilever House. On the one hand, via employing raw concrete, Béton brut, it was homage to Le Corbusier, on the other hand, it expressed respect to the surrounding nature, articulated with using sienna pigment as wall dye. Rocco Yim from Hong Kong, the author of Distorted Courtyard, in a veiled mode drew from the traditions and practices of a typical house with a courtyard, and Kay Ngee Tan from Singapore subjected his design, The Twins, to surrounding nature, using local stone as his building material. The name of another guesthouse, Split House, contains the original design idea of a Chinese architect, Yung Ho Chang. The building was made with one piece that was cut and its parts were diagonally spaced. Two following projects were born from a desire to experiment in the field of mass solutions or the arrangement of the interior; they became an unique interjection of the local landscape and forced the audiences to change their habits. The first, Airport House by Chien Hsueh-Yi from Taiwan, resembled a section of an airport building. The second, the now famous Suitcase House by Gary Chang from Edge Design Institute, allowed for creating multiple spatial combinations with mobile walls and corners hidden under the floor. The crowning element of Commune by the Great Wall is a multi-functional clubhouse designed in 2001 by a world-renowned South Korean architect, Seung H-Sang of the Iroje Architects & Planners design office. As the concept of Commune by the Great Wall developed and new guesthouses were constructed, the clubrooms also enlarged. In 2005 Seung H-Sang returned to the project. The Commune by the Great Wall project supported by SOHO Studios combines pavilions that are extremely modern with more traditional ones; others constitute a subtle link between local color and a playful functionalism. The eleven edifices presented above constituted prototypical solutions, followed by numerous replicas across the land. Currently, Commune by the Great Wall is an exclusive leisure and entertainment area subject to the Kempinski hotel brand with appropriate promotion and an extensive marketing program, e.g. advertisements on websites and in prestigious journals, such as Business Week. A bold experiment from a Chinese developer has become an alternative for tourists from around the world, looking in China not only examples of centuries-old culture, but also the visual signs of a developing country that follows modern trends.

Shini-e, japońska forma upamiętnienia wybitnych artystów

  • Author: Katarzyna Paczuska
  • Institution: Muzeum Okręgowe w Toruniu
  • Year of publication: 2012
  • Source: Show
  • Pages: 89-100
  • DOI Address: https://doi.org/10.15804/aoto201205
  • PDF: aoto/1/aoto105.pdf

Shini-e, the Japanese Way of Commemorating Great Artists (Summary)

The Regional Museum of Toruń has in its Far East Collection a woodblock print – a portrait of kabuki actor Matsumoto Kōshirō V by Utagawa Kunisada. This print falls into the shini-e (“death print”) category, commemorating the death of an actor, artist, or musician. The vast majority of shini-e depicted actors. Typical shini-e portrayed memorialized persons in blue court robes called shini sōzoku (“death dresses”) or ceremonial attire called mizu kamishimo. Many of these prints included the dates of death, age, posthumous Buddhist name (kaimyō), and temple burial site, while some had death poems (jisei) by the deceased or memorial poems written by family, friends, colleagues, or fans. A term used at least by the 1850s. The first datable single-sheet shini-e were probably issued in the 1790s, although ehon (“picture books”) commemorating the deaths of celebrated actors appeared as early as 1709, and more regularly by the 1770s. The shini-e genre appears to have nearly disappeared by the beginning of the 20th century and with the rise of other media such as photography and lithography, shini-e were no longer viable options for memorializing actors and artists. Only a small handful of examples are known from the 1910s–1920s. Matsumoto Kōshirō V was the one of many kabuki actors, who were display on shini-e. Besides actors, the ukiyo-e artist where also portrayed on commemorate prints.

Baśnie i bajki w japońskich komiksach

  • Author: Joanna Zaremba-Penk
  • Institution: Polski Instytut Studiów nad Sztuką Świata
  • Year of publication: 2012
  • Source: Show
  • Pages: 101-118
  • DOI Address: https://doi.org/10.15804/aoto201206
  • PDF: aoto/1/aoto106.pdf

Fables and Fairy Tales in Pop Culture Taken from the Example of Japanese Comics

Manga is a fascinating product of contemporary Japanese culture. Strongly rooted in tradition, inferred from art, associated with literature, it has become an inexhaustible source for researchers who wants to explore the achievement of sequential art. Everything is interesting about manga, starting from the artists themselves, ending with the transition from idea to effect. Japanese artists creating comics draw a lot of inspiration from literature and world art. Much comes from myths, legends, fables and fairy tales, both domestic and from around the world. They can be found in the text layer, but mainly in the iconic layer. Among them three main groups can be distinguished: one dealing with the scenario, the second and third will focus on the image, while the third will provide a single borrowed illustration from a particular theme or in a convention. The aim of this paper is to outline the issues relating to Japanese comic books on selected examples, including: trying to determine the potential audience of manga, which were based or only used themes from fairytales, trying to define the role of the artist as a modern-day equivalent fabulist, and pointing out an indication of the most popular topics and methods of presentation.

Tradycja u progu nowoczesności. Kobiety w malarstwie Kalighat

  • Author: Dorota Kamińska-Jones
  • Institution: Uniwersytet Mikołaja Kopernika w Toruniu; Polski Instytut Studiów nad Sztuką Świata
  • Year of publication: 2012
  • Source: Show
  • Pages: 119-136
  • DOI Address: https://doi.org/10.15804/aoto201207
  • PDF: aoto/1/aoto107.pdf

Tradition at the Threshold of Modernity. Women in Kalighat Painting

The term Kalighat is defined as paintings created in the nineteenth and early twentieth century in Calcutta, produced mainly for pilgrims visiting the local temple dedicated to the goddess Kali. Religious representations were dominant while secular subjects were given a minor role. Given the extent of such topics, however, it is much more interesting. Within this group of works women are unquestionably the dominating force. Given the iconography, these images can be divided into two main groups - traditional and innovative. Traditional depictions might include a mother and child, a woman during her toilet, or with an instrument, a flower, a water pipe or a bird. The second group consists primarily of paintings representing contemporary mores and events (eg the murder of Elokeshi). The first group is dominated by independent representations, while the second – more developed presentations. Sometimes it is hard work but the data clearly falls into one of these types. Often an image showing a woman in a traditional manner at the same time carries with it a new message. These images reflect the social life of Calcutta, which at the time was changing rapidly under the influence of British social mores. Women were divided on the one hand between traditional norms and, on the other, the new European reality. This division is visible in the art of Kalighat. Artists often preceived the changing mores in the lives of women as a threat to traditional law and order. Stylistically, the images of women originate from earlier paintings depicting these goddesses and similarly they are less diversified and undifferentiated.

Rabindranatah Tagore – poeta czy malarz?

  • Author: Elżbieta Walter
  • Institution: Uniwersytet Warszawski
  • Year of publication: 2012
  • Source: Show
  • Pages: 137-152
  • DOI Address: https://doi.org/10.15804/aoto201208
  • PDF: aoto/1/aoto108.pdf

Rabindranatah Tagore – Poet or Painter?

Rabindranath Tagore (1861–1941), a poet, writer, novelist, playwright, composer, philosopher and educator, was the first Asian individual to win the Nobel Prize for literature in 1913 for his book Gitanjali. Although he did not receive any formal training in art, at a late stage of his life, when he was over sixty years old, he took up painting. He started by doodling on the pages of his poetry manuscripts. He left over two thousand paintings and drawing, deeply rooted in fantasy. He did not seem to follow a particular style or school of painting, neither eastern nor western. Tagore’s paintings are unique and his contribution to the art of India remains very important till today.

Księga Papugi Nechszebiego ze zbiorów Biblioteki Uniwersytetu Wrocławskiego

  • Author: Magdalena Ginter-Frołow
  • Institution: Muzeum Azji i Pacyfiku w Warszawie; Polski Instytut Studiów nad Sztuką Świata
  • Year of publication: 2012
  • Source: Show
  • Pages: 153-170
  • DOI Address: https://doi.org/10.15804/aoto201209
  • PDF: aoto/1/aoto109.pdf

Tuti-Nameh – Tales of a Parrot by Nahsabi from the Collection of the University Library in Wrocław

Tuti-Nameh (Tales of a Parrot) by Nahsabi (Ms. or I 56) from University Library in Wrocław is one of fourteen Persian manuscripts with miniatures, existing in Polish collections. This poem is modelled on The Thousand and One Nights. In this popular work the parrot tells tales to his mistress in order to prevent her from being unfaithful to her absent husband. Tales are recited by the parrot over 52 nights. This copy includes 97 miniatures illustrating these stories. This copy of “Tales of a Parrot” comes from the library of Count Oppersdorf from Oberglogau (now Głogówek). The history of this library reaches back to the 16th century and the times of Hans Oppersdorff. Successive owners continued to purchase new books and thus at the end of 19th century the collection consisted of dozens of thousands of examples. One of the most important trustees was Count Hans Georg von Oppersdorff, who inherited the library in 1889. He was well-educated and interested in oriental languages. He knew Hebrew, and supposedly spoke seven other languages fluently. The fulfilment of his scholarly interests was possible thanks to growing up amidst one of the largest libraries in Upper Silesia. In 1927 Hans Georg donated TutiNameh, and a few other oriental manuscripts, to the University Library in Wrocław (Staats – und Universitätsbibliothek in Breslau). The miniatures in this manuscript bear a close resemblance to miniatures from Divan of Mirza Khan Kabuli from The State Hermitage in Saint Petersburg. This copy of Divan was made in 1813, probably in Kashmir. The invention, composition, colour scheme, subject matter and details are practically identical in both these books. This proves that Tutiname from Wrocław was also made in Kashmir in the end of the 18th, or beginning of 19th century. Although nowadays many miniatures from Kashmir are in European collections, this school of painting is still almost unrecognised. Tuti-Nameh from University Library in Wrocław can play an important role in research of this field.

Przedmioty kultu lamaiskiego stosowane w obrzędzie Dugżuuba

  • Author: Aleksandra Wiktoria Martines
  • Institution: Uniwersytet Marii Skłodowskiej-Curie w Lublinie
  • Year of publication: 2012
  • Source: Show
  • Pages: 171-180
  • DOI Address: https://doi.org/10.15804/aoto201210
  • PDF: aoto/1/aoto110.pdf

Ritual Lamaist Items Used in the Dugzhuuba Rite by the Buddhists of Buryatia

The article presents the analysis of the Lamaist ritual Dugzhuuba. It is a great purification service – hural that takes place the day before the New Year according to the lunar calendar. Buddhists believe that participation in this rite purifies them from 64 sins as well as repelling all evil spirits. The most important items of Lamaist cult applied during this ritual are described in the article. Some of them are the balin – figures made of dough that are used as symbolic offerings to Dokshits (the severe deities), soor – a triangle pyramid, and others. In the article it is shown how the pragmatic side of the Buddhist cult, namely the rite Dugzhuuba, reflects and emphasizes the bases of Buddhist philosophy. The specifics of the Lamaist cult among the Buryat is also discussed.

O roli krisów w kulturze Indonezji i teoriach dotyczących ich powstania

  • Author: Krzysztof Morawski
  • Institution: Muzeum Azji i Pacyfiku w Warszawie; Polski Instytut Studiów nad Sztuką Świata
  • Year of publication: 2012
  • Source: Show
  • Pages: 181-200
  • DOI Address: https://doi.org/10.15804/aoto201211
  • PDF: aoto/1/aoto111.pdf

On the Role of Krises in Indonesian Culture and Theories of Their Beginnings

As the dagger kris is bound with many beliefs, myths, rituals and customs that are typical of Nusantara (Indonesia, Malaysia and the Philippines), it belongs to the symbols of the region. The kris is present on the majority of bigger islands of the Malay Archipelago and has many regional versions. It has a double-edged blade, straight or wavy, and dissymmetrical in the upper part. On both flats of the blade there is a bright, decorative pattern called the pamor (it contains some nickel), which is produced in a process similar to damascening. The hilt is figural or geometrical or sometimes of plant form and is often decorated with a relief. The hilts and sheaths are made of lacquered wood, and now and then of other materials (e.g. ivory or bone). Additionally, there are covers and rings of precious metals or alloys that are often set with precious stones or glass. It was believed that magical forces (ascribed to the kris) are sealed within in it during the ceremony of consecration by the smith empu. Also, the process of making the kris is treated as a sacred act. Believing in the magical powers of the kris originates from animism, i.e. from the epoch former to the Indic influence (from about the 4th century AD), which brought Buddhism and Hinduism to Indonesia. Elements of the animistic belief has remained there despite the coming of Islam to Java by the 16th century. The kris used to be transferred from father to son and it has belonged to the pusaka (Javanese: “heritage”) along with other weaponry, instruments of the traditional orchestra gamelan (gongs included), jewelry, textiles, old sculptures and porcelain. Apart from its role as a weapon (this role disappeared first), the kris has been a symbol of social status, an element of a man’s ceremonial costume, a talisman, and a ritual subject. It has existed in its fully developed form at least since the 14th century, and in the 2nd half of that century it spread to nearly all the Malaya Archipelago. It was supposed that the kris came from Java, or - according to other versions - China, Southeast Asia or India. There were theories that it had developed from a ray’s sting or from a spearhead. Nowadays one accepts the G.C. Woolley theory from 1947 that the kris traces its origin back to the small kris-talisman called sajen or Majapahit kris. Next, according to the new theory by A. Maisey (from the 1990ies), it was a big war-kris called buda that gave rise to the contemporary kris. Nevertheless, there is an idea that the kris may have originated as a fusion of both types, because it unites their features within itself.

Tradycyjna ceramika uzbecka i tadżycka ze zbiorów Muzeum Azji i Pacyfiku w Warszawie

  • Author: Karolina Krzywicka
  • Institution: Muzeum Azji i Pacyfiku w Warszawie; Polski Instytut Studiów nad Sztuką Świata
  • Year of publication: 2012
  • Source: Show
  • Pages: 201-224
  • DOI Address: https://doi.org/10.15804/aoto201212
  • PDF: aoto/1/aoto112.pdf

Traditional Uzbek and Tajik Ceramics from the Collection of the Asia and Pacific Museum in Warsaw

The Asia and Pacific Museum in Warsaw holds a significant collection of traditional Uzbek and Tajik ceramics representing the main centers of its production: Khorezm, Ferghana Valley, Bukhara and Samarkand. It was amassed by an outstanding Russian ethnologist Grigoriy Derwiz and the museum’s friend, artist and collector Andrzej Strumiłło during the years 1985–1990. The collection numbering nearly 250 objects consists mainly if decorative polychrome and enamel utensils i.e. large bowls badia, pilav plates lagan, bowls kosa and small goblets kosacha. The separate part includes earthenware toys – ocarinas khushtak in the form of fantastic animals, which were created particularly in workshops of famous masters: Hamro Rahimova from Uba in Uzbekistan and Gafur Khalilov from Ura-Tiube in Tajikistan. The dominant part, polychrome and enamel ceramics can be divided into two groups depending mainly on glaze color and style. The most numerous part of the collection is the characteristic, blue and white ceramics created since hundreds of years in famous production centers in Khorezm in central Uzbekistan and in Ferghana Valley in northeastern Uzbekistan and northern Tajikistan. Ceramics from Ferghana and Khorezm are characterized by their color based on shades of blue, turquoise and cobalt on a white background. The common feature for those products are intensive and bright colors which are obtained by a potassium enamel which also gives a specific blue shade. Objects from Khorezm have an orderly composition with symmetrical and rhythmical ornaments. These are the works of an outstanding artists: R. Matchanov from Khanki village near (Uzbekistan), S. Atajanov from Khiva (Uzbekistan) and Y. Sapayev from Kunya Urgench (Turkmenistan). The group of objects with varied ornaments and colors originates from several production centers in Ferghana Valley. They were created among others by Sohibov brothers from Chorku (Tajikistan), Y. Meliyev and B. Mavlanov from Kalibadam (Tajikistan), M. Rahimov from Gurumsay (Uzbekistan) and I. Kamilov from Rishtan (Uzbekistan). The other part of the collection is rather modest and consists of brown, green and yellowish ceramics, which has engraved decoration made of graphite originating from regions of Samarkand, Bukhara and Tashkent. That group is dominated by massive lagan plates from the workshops of Z. Muzafarow from Shahrisabz (Uzbekistan), M. Ablakulov from Urgut (Uzbekistan) and B. Khalilov from Denan (Uzbekistan).

Ornitomorficzne miniatury marginesowe ormiańskich Ewangeliarzy przechowywanych w Bibliotece Narodowej w Warszawie

  • Author: Karolina Mroziewicz
  • Institution: Uniwersytet Warszawski; Polski Instytut Studiów nad Sztuką Świata
  • Year of publication: 2012
  • Source: Show
  • Pages: 225-240
  • DOI Address: https://doi.org/10.15804/aoto201213
  • PDF: aoto/1/aoto113.pdf

The Ornithomorphic System of Marginal Illuminations of Armenian Gospel Books from the Polish National Library in Warsaw

Ornitomorficzne miniatury marginesowe ormiańskich Ewangeliarzy przechowywanych w Bibliotece Narodowej w Warszawie / Ornithomorphic marginal miniatures of the Armenian Gospels from the Polish National Library in Warsaw The text analyzes the functions of the ornithomorphic system of marginal illuminations of three Armenian Gospel Books from the Polish National Library in Warsaw: the so called Skevra Gospel (III 8101, 1198, 1199), the Gospel from Zamość (I 12670, 1603) and the Gospel from Lwów (III 12677, 1639). The elaborate and variously depicted birds on the pages of the Gospels serve as an example of the longue durée of ornithomorphic motifs in the Armenian art of illumination and its special role within the illuminated Gospels. In the Skevra Gospel, the birds in the margins are depicted with great accuracy and in a naturalistic style whereas in the Gospel books from the 17th century they are rather conventional and decorative motifs. In both cases however, they serve as a good example of the evocative function of marginal miniatures. The semantic significance of the bird figure was exploited by the miniaturists, who by executing marginal images simultaneously built a visual narrative parallel to the sacred text. Thus, the marginal ornithomorphic decoration functions as notices which are to be activated by the intellectual participation of the reader. Furthermore, they establish a visual and semantic framework for the text that determines its interpretation.

Świadectwa obecności artystycznej Imperium Osmańskiego na Węgrzech

  • Author: Ewa Marcinkowska
  • Institution: Uniwersytet Łódzki; Polski Instytut Studiów nad Sztuką Świata
  • Year of publication: 2012
  • Source: Show
  • Pages: 241-258
  • DOI Address: https://doi.org/10.15804/aoto201214
  • PDF: aoto/1/aoto114.pdf

Evidence of the Artistic Presence of the Ottoman Empire in Hungary

Taking Ottoman art into consideration, attention has been being paid to the greatest cultural centres and the most noteworthy Turkish constructions, which were built on the territory of the present Republic of Turkey. Although it has been forgotten that during the Middle Ages and the Modern Period the influence of the Ottoman Empire reached much farther, artistic evidence can be found even in Central Europe. On the continent of Europe, the Ottoman borders covered the whole of the Balkans, the northern cost of The Black Sea, most of Hungary and a part of Poland. These areas constituted merely buildings in these territories, it is necessary to narrow one’s area of interests. In the face of innovativeness and the lack of sufficient references providing essential information about Ottoman works of art located in the territory of Europe, I had to choose the country which, in 2008, was going to be my research journey destination. Owing to its geographical and cultural proximity, I limited my choice to the territory of Catholic Central Europe. Specifically, I visited Hungary which was occupied for 158 years and the region of Podolia (27 years). During the Ottoman reign over these areas, the era of the greatest development of might and art of the Ottoman Empire took place (16th and 17th century). In addition to this, the subject of this article is not only connected with showing works of art resulting from the Osmanian Empire’s activities but also to try to investigate their artistic value against the constructions created in the territory of the “actual” Empire.

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