The Study of the Early Byzantine Architecture of Chersonesos in the Crimea: Progress Or Dead End?* Liudmila G
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Center for Open Access in Science Open Journal for Studies in History 2020 ● Volume 3 ● Number 1 https://doi.org/10.32591/coas.ojsh.0301 ISSN (Online) 2620-066X OPEN JOURNAL FOR STUDIES IN HISTORY (OJSH) ISSN (Online) 2620-066X www.centerprode.com/ojsh.html [email protected] Publisher: Center for Open Access in Science (COAS) Belgrade, SERBIA www.centerprode.com [email protected] Editorial Board: Spyridon Sfetas (PhD) Aristotle University of Thessaloniki, Faculty of Letters, GREECE Ilya Evgenyevich Andronov (PhD) Moscow State Lomonosov University, Faculty of History, RUSSIAN FEDERATION Mirela-Luminita Murgescu (PhD) University of Bucharest, Faculty of History, ROMANIA Kostadin Rabadjiev (PhD) Sofia University “St. Kliment Ohridski”, Faculty of History, BULGARIA Snezhana Dimitrova (PhD) South-West University “Neofit Rilski”, Department of History, Blagoevgrad, BULGARIA Nikola Zhezhov (PhD) Ss. Cyril and Methodius University of Skopje, Faculty of Philosophy, NORTH MACEDONIA Vojislav Sarakinski (PhD) Ss. Cyril and Methodius University of Skopje, Faculty of Philosophy, NORTH MACEDONIA Amalia Avramidou (PhD) Democritus University of Thrace, Faculty of Classics and Humanities Studies, Komotini, GREECE Eleftheria Zei (PhD) University of Crete, Department of History and Archeology, Rethymno, GREECE Boyan Youliev Dumanov (PhD) New Bulgarian University, School of Graduate Studies, Sofia, BULGARIA Boryana Nikolaeva Miteva (PhD) Sofia University “St. Kliment Ohridski”, Faculty of History, Sofia, BULGARIA Florian Bichir (PhD) University of Piteşti, Faculty of Theology, Literature, History and Arts, ROMANIA Executive Editor: Goran Pešić Center for Open Access in Science, Belgrade Open Journal for Studies in History, 2020, 3(1), 1-24. ISSN (Online) 2620-066X __________________________________________________________________ CONTENTS 1 The Impact of 1918 on Bulgaria George Ungureanu 11 Influences of the East on Early Christian Iconography Maria Chumak Open Journal for Studies in History, 2020, 3(1), 1-24. -
Das Archiv Des Instituts Für Kunstgeschichte Der Universität Wien
Das Archiv des Instituts für Kunstgeschichte der Universität Wien Friedrich Polleroß, Institut für Kunstgeschichte der Universität Wien Das älteste Kunsthistorische Institut Österreichs und der Anteil an politischer Einflussnahme immer größer. eines der bedeutendsten Europas verfügt über ein be- Die Diskriminierung und Verfolgung von jüdischen merkenswertes Archiv. Dieses „Archiv“ bzw. die „Nach- Studierenden und Wissenschaftler*innen manifestierte lass-Sammlung“ setzt sich aus drei Bestandsgruppen zu- sich in eigenen „Studienregelungen für Juden“ sowie einer sammen : „Liste der Bücher im Judenkasten“. Neben Hinweisen auf die Konfiskationen von Kunstwerken (Stift St. Florian, I. Akten des Institutsarchives Stift Melk) sowie den zunehmenden Kriegseinwirkungen gab es auch fachspezifische Schwerpunkte wie die Ein- Dieser Bestand beginnt 1882 und umfasst zunächst Korre- richtung einer „Ostabteilung“, die Konzeption einer „Zeit- spondenzen der Lehrkanzeln Moritz Thaussing und Franz schrift für die Kunstgeschichte Südosteuropas“ oder einer Wickhoff mit dem Dekan, dem Ministerium und der Nie- Schriftenreihe für den „Kriegseinsatz der Geisteswissen- derösterreichischen Statthalterei, wobei es vorwiegend um schaften“. Der „totale Kriegseinsatz“ begann mit Luft- Finanzangelegenheiten und Anschaffungen geht. Hervor- schutzdiensten der Studierenden sowie einer Verordnung gehoben sei eine Bitte um ein Gutachten von Wickhoff zum zu Sitzplätzen für Kriegsversehrte und endete 1944/45 mit Statutenentwurf des geplanten kunsthistorischen Seminars Kriegsbergungen -
“Cathedral-Style” Churches
“Cathedral-Style” Churches After the turn of the century, Ukrainian congregations often grew to a size where their small church buildings were impractical. The years from about 1920 to 1940 thus witnessed the construction of many large Ukrainian churches in Manitoba. These were no longer simple log or light wood frame structures like those built by the early settlers. The new churches were more elaborate structures, larger in scale and often more sophisticated in ornamentation; similar in conception to the large Ukrainian Baroque churches like the restored St. Sophia in Kiev, the Church of the Holy Trinity and the Chapel of the Three Saints. Although not technically cathedrals – which are the seats of bishops – these churches are so extraordinary, especially in a rural landscape, that they are frequently called “prairie cathedrals.” Considering the modest nature of the log or wood frame churches examined previously in this study, the large churches designed for Ukrainian Catholic and Ukrainian Orthodox congregations in Manitoba during the 1920s, 30s, 40, and 50s are remarkable. Foremost among these are the Ukrainian Catholic churches designed by Father Philip Ruh. His designs for “cathedral‐style” churches adorn the countryside outside Manitoba from Edmonton, Alberta to St. Catharineʹs, Ontario. Research to date attributes 33 structures to this amazing man. Ruh’s influence also spread to other communities in less direct ways. He was often called upon by various congregations to discuss the designs for new churches and the two main contractors working for Ruh relied on his designs for the churches they built without his supervision. Ruh was prolific and his designs influential. -
Byzantine Art and Architecture
Byzantine Art and Architecture Thesis The development of early Christian religion had a significant impact on western art after the fall of the Roman Empire in the 4th century (AD). Through examining various works of art and architecture, it becomes evident that the period of Byzantium marked a significant transition in aesthetic conventions which had a previous focus on Roman elements. As this research entails, the period of Byzantium acted as a link between the periods of Antiquity and the Middle Ages and thus provides insight on the impact of Christianity and its prevalence in art and architecture during this vast historical period. Sources/Limitations of Study Primary Sources: Adams, Laurie Schneider. Art Across Time. McGrawHill: New York, 2007. Figures: 8.4 Early Christian sarcophagus, Santa Maria Antiqua, Rome, 4th century. Marble. 8.5 Plan of Old Saint Peter’s basilica, Rome, 333390. 8.6 Reconstruction diagram of the nave of Old Saint Peter’s Basilica. 8.12 Exterior of the mausoleum of Galla Placidia, Ravenna, c. 425426. 8.13 Interior of the mausoleum of Galla Placidia showing niche with two apostles (above) and the Saint Lawrence mosaic (below), Ravenna, c. 425426. 8.14 Christ as the Good Shepherd, the mausoleum of Galla Placidia, Ravenna, c. 425 426. Mosaic. 8.28 Hagia Sophia, Constantinople (now Instanbul), illuminated at night, completed 537. 8.29 Plan, section, and axonometric projection of Hagia Sophia. 8.30 View of the interior of Hagia Sophia after its conversion to a mosque. Colour lithograph by Louis Haghe, from an original drawing by Chevalier Caspar Fussati. -
Art History and the Founding of the Modern Turkish State
ART HISTORY AND THE FOUNDING OF THE MODERN TURKISH STATE Burcu Dogramaci Translated by Charlotte Schoell-Glass The Origins of Art History in Turkey “The true leader in life is knowledge”: with this sentence the founder of modern Turkey, Mustafa Kemal Atatürk, defined one of the principles of his reformist politics. The building of a landscape of universities was one of the political leadership’s main concerns after the proclamation of the Turkish Republic in 1923. Its aim was the modernization of a country that had been dominated for centuries in all areas of society, its culture and the sciences, by Islam. Religious schooling institutions (‘Darülfünun’) were secularized immediately, and institutes and universities after the Western European model were founded in quick succession. The establishment of art history as a discipline in Turkey was achieved in the 1940s. At that time, Turkish ministries tried to bring foreign scholars to the country to press ahead with the establishment of art history. The foundations for the development of the field had been laid early on by the Vienna art historian Josef Strzygowski (1862–1941). He had been in close contact with Istanbul already in the 1920s and 1930s.1 In search of their own Turkish identity outside of the Ottoman culture, republican schol- ars in Turkey were fascinated by Strzygowski’s ideas and ideologies. In his writings and lectures the art historian emphasized the importance of nation and ‘race’ for the production of culture. These arguments, founded on ethnicity, were in accordance with the Kemalists’ sense of nationhood and their concern with superseding Islamic cultural history.2 Strzygowski also emphasized the necessity of re-evaluating those cultures in Asia that 1 Strzygowski was invited in 1932 to speak at the First Turkish History Conference under Atatürk’s patronage. -
Byzantine Town Planning – Does It Exist? (With Plates 8–21)
57 H ANS B UC H WALD Byzantine Town Planning – Does it Exist? (with plates 8–21) For Eduard Sekler There are many equally valid, parallel approaches to the study of Byzantine cities. My approach is that of a practicing town planner and an architectural historian. Town planning today is concerned with physical properties of cities such as their topography, circulation patterns, pedestrian spaces, buildings, and urban accents; however, town planning is, and probably always was, equally concerned with urban functions, with the creation of new urban forms, with urban meanings, and with adjustments, in the course of time, to new requirements. As in all town planning, the results of the present investigation need to be complemented by those of other disciplines, for instance, (in this case) historians, economists, sociologists, and archaeologists. Hundreds of cities that existed in the Byzantine region are known by name, and at times by their ar- chaeological or contemporary remains. Generally, two distinct phases in the history of these Byzantine cities have been determined: the earlier period, which begins with the era of Constantine and, depending upon local circumstances, ends between the 5th and the 8th century, and the later period, which ends with the end of Byzantine occupation at each site. The possibility of continuity between the two phases remains an open, much discussed question, and some observations concerning one phase may also be relevant to the other. For summaries, for instance, D. CLAUDE, Die byzantinische Stadt im 6. Jahrhundert. Munich 969, –; A. H. M. JONES, The Greek City from Alexander to Justinian. Oxford 939, 85–94. -
Building Churches in Armenia: Art at the Borders of Empire and the Edge of the Canon
The Art Bulletin ISSN: 0004-3079 (Print) 1559-6478 (Online) Journal homepage: https://www.tandfonline.com/loi/rcab20 Building Churches in Armenia: Art at the Borders of Empire and the Edge of the Canon Christina Maranci To cite this article: Christina Maranci (2006) Building Churches in Armenia: Art at the Borders of Empire and the Edge of the Canon, The Art Bulletin, 88:4, 656-675, DOI: 10.1080/00043079.2006.10786313 To link to this article: https://doi.org/10.1080/00043079.2006.10786313 Published online: 03 Apr 2014. Submit your article to this journal Article views: 74 Citing articles: 3 View citing articles Full Terms & Conditions of access and use can be found at https://www.tandfonline.com/action/journalInformation?journalCode=rcab20 Building Churches in Armenia: Art at the Borders of Empire and the Edge of the Canon Christina Maranci Between the index entries for “Arles” and “arms and armor” ence of multiple and distinct voices within a single voice or in most general studies of medieval art is a thin rectangle of language) and ambiguity became shrewd diplomatic devices. white space. For those seeking “Armenia,” this interval is as The Armenian structures thus can generate an alternative familiar as it is bleak, for the cultures of the Transcaucasus picture of the early medieval Christian East, one in which typically occupy a marginal position, if any, within the study military conflict activated, rather than dulled, the visual and of the Middle Ages. One might blame realities of geography verbal response. and language: a stony tableland wedged between Byzantium These churches present the additional benefit of furnish- and the Sasanian and Islamic Near East, home to a tongue ing architectural evidence from an era often considered vir- unintelligible to Greek or Latin ears, Armenia could be per- tually bereft of monuments. -
D—Architecture Et Peinture
d—Architecture et peinture THE HISTORIOGRAPHY OF ARMENIAN ARCHITECTURE: JOSEF STRZYGOWSKI, AUSTRIA, AND ARMENIA1 by CHRISTINA MARANCI University of Wisconsin Milwaukee U.S.A. In 1918, Josef Strzygowski wrote the foundational work on the history of Armenian architecture, Die Baukunst der Armenier und Europa. Draw- ing from the records of Armenian architect T‘oros T‘oramanyan, Strzy- gowski formulated a monumental comparative study in which he defined Armenia's position within the architectural developments of Byzantium, Iran, and Western Europe. As many scholars have noted, Strzygowski's thesis is problematic, mainly because of his inventive attitude towards chronology and his overtly racist interpretation of architecture2. What has received less attention, however, is the reason for Strzy- gowski's particular attraction to Armenia. Why should this prominent scholar, then Chair of the prestigious Kunsthistorisches Institut in 1 The present article is based on a chapter from my doctoral dissertation, Medieval Armenian Architecture in Historiography: Josef Strzygowski and his Legacy (MARANCI, 1998a), now published as Medieval Armenian Architecture: Constructions of Race and Nation (Leuven: Peeters, 2001). Many of the issues addressed here grew out of discus- sions with Professor Thomas DaCosta Kaufmann during a Mellon Dissertation Seminar at Princeton University in 1997. I thank Professor Kaufmann, my supervisor, Professor Slo- bodan Curcic, and Professors Nina Garsoïan, Peter Brown, John Pinto, James Russell, Suzanne Marchand, and Bert Vaux for their suggestions and comments. Much of the data analyzed herein was gathered during a research trip to the major archives of Vienna: the Hof-, Haus-, und Landesarchiv, the Universitätsarchiv, the Archiv der Republik, the Kriegsarchiv, the Archiv der Widerstand, as well as the Mekhi- tarist Monastery of Vienna. -
Introduction: the Vienna School Beyond Vienna. Art History in Central Europe
Introduction: The Vienna School beyond Vienna. Art history in Central Europe Matthew Rampley In his study Inventing Eastern Europe the historian Larry Wolff examines the way that the idea of ‘Eastern Europe’ was constructed in Enlightenment France as part of a process of cultural mapping in which the position of Paris as the centre of civilisation was confirmed and strengthened by virtue of its opposition to the backward semi-barbaric eastern ‘fringes’ of Europe.1 This division, which has long impressed itself on the political and cultural imaginary in Europe, shaped the course of art history. As recently as 1998 Steven Mansbach’s award-winning book Modern Art in Eastern Europe uncritically employed the notion of an ‘eastern’ European art, which he analysed in terms of its relation to the modernism of ‘western’ Europe.2 Nowhere has this divide between ‘east’ and ‘west’ had a more distorting effect than in the study of Austria-Hungary. A complex political, social and cultural space that occupied both eastern and western Europe, the Habsburg Empire has not fared well at the hands of commentators, who have frequently produced limited studies of individual parts, in particular, its capital city, at the expense of considering that complex network of relations that bound the imperial possessions together. The Vienna School of Art History has been no exception to this pattern. Studies of the work of its leading representatives, most notably Alois Riegl and Max Dvořák, have tended to place them the firmly within the tradition of German language scholarship. In one sense this is entirely appropriate and correct, but it risks producing a partial picture of the Vienna School. -
Journal of Art Historiography, No. 1 (December 2009)
Journal of Art Historiography, No. 1 (December 2009) Richard Woodfield ToC: Journal of Art Historiography Number 1 December 2009 Editor's introduction Vienna School: Agnes Blaha, 'Fritz Novotny and the new Vienna school of art history - an ambiguous relation' Abstract: Fritz Novotny was repeatedly described as a member of the New Vienna School. In my paper I argue that Novotny's relation to this group is rather ambiguous because Novotny, in spite of all similarities in the descriptions of formal qualities, had a very different attitude towards the role of the individual artwork than Sedlmayr and Pächt. Instead of aiming at a definite decision whether or not to include Novotny in the New Vienna School, the article demonstrates that opinions on this question can be interpreted as the result of different academic traditions in the Anglo-American and the German-speaking scientific communities. Jonathan Blower, 'Max Dvorak and Austrian Denkmalpflege at War' Abstract: As was often the case with Vienna School art historians, Max Dvo?ák (1874-1921) contributed a significant amount to the theory and practice of monument preservation. This paper considers his reactions to the precarious situation of artistic heritage during and after the first world war, which he conceived as a conflict between spiritual and material values. In writings that betray a less than objective patriotism, Italy emerges as Dvo?ák's principal antagonist, whilst critical voices in Austria - that of Karl Kraus in particular - undermined his position by calling for an end to the so-called monument cult. Ricardo di Mambro Santos, 'The concentric critique. Schlosser's Kunstliteratur and the paradigm of style in Croce and Vossler' Abstract: The essay analyzes the philosophical and methodological premises of Julius von Schlosser's most important contribution in the field of art historiography: Die Kunstliteratur, published in Vienna in 1924. -
York Minster's Chapter House and Its Painted Glass Narratives
York Minster’s Chapter House and its Painted Glass Narratives Volume 1 of 3 Ann Hilary Moxon PhD University of York History of Art December 2017 Abstract This thesis focuses on the late thirteenth-century narrative glazing scheme of the chapter house in York Minster and the political and religious context of its design. Created as an intrinsic and integrated part of one of the most elaborate and important buildings in the period, the glass has suffered interventions affecting both its appearance and the positions of its narrative panels. By examining the glass in the context of contemporary visual and textual material, it has been possible to reconstruct the original order of the panels and to identify the selection of episodes the lives of the saints, some for the first time. The study has demonstrated the extent to which the iconography was rooted in liturgy and theology relevant to the period which, in turn, reflected the priorities of a dominant group among the active members of Chapter for whose use the building was constructed and, by extension, the contemporary Church. Further, the glass shows strong Mariological themes which reflected features in the rest of the decorative scheme and the architecture of the chapter house, indicating that the glazing scheme may have been conceived as part of the architectural whole. The conclusions are supported by parallel research into the prosopography of the contemporary Chapter which additionally suggests that the conception of the programme may have had its roots in the baronial wars of the -
Looking for the Professor and Defining Estonian 166 Academic Art History
Eero KANGOR Estonian Academy of Arts, Tallinn LOOKING FOR THE PROFESSOR AND DEFINING ESTONIAN 166 ACADEMIC ART HISTORY Key words: Estonian art historiography, academic art history, nation-building, Tor Helge Kjellin, Josef Strzygowski, Johnny Roosval, Adolph Goldschmidt, Heinrich Wölfflin. This article revises a passage in the narrative of the established in it, were the important locus for (re) history of Estonian academic art history1 hoping generation of art historical knowledge, as Donald that by introducing archival materials that has not Preziosi has described it.3 It is generally believed ALIJOS, METODOLOGIJOS been used or considered in earlier writings it is pos- that these institutions were established in the 19th sible to deconstruct the narrative. Neglecting of the century, mostly by German scholars.4 The aca- archival material was caused by practical but also demic art history was considered a national acti- discursive reasons due to censorship in Soviet times vity throughout Europe in conjunction with the when the first articles on this topic were published. protection of heritage and art museums.5 On the Based upon archival research I propose an alterna- other hand, the discipline is essentially internatio- tive conceptual viewpoint and suggest that the elec- nal, especially if we consider how much the map of tion process of the Professor of Art History at the Europe has changed (e.g. in the last century). After E: RAIDA, PERSON E: RAIDA, University of Tartu during the years 1919–1921 is the First World War, in the newly established states a way to define Estonian academic art history. The in Europe, art and its history were valuable means word “define” is used here in a broad sense.