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Silks and Stones: Fountains, Painted Kaftans, and Ottomans in Early Modern Moldavia and Wallachia*
SILKS AND STONES: FOUNTAINS, PAINTED KAFTANS, AND OTTOMANS IN EARLY MODERN MOLDAVIA AND WALLACHIA* MICHAŁ WASIUCIONEK** Buildings are arguably the last thing that comes to our mind when we talk about circulation of luxury goods and diffusion of consumption practices. Their sheer size and mass explain their tendency to remain in one place throughout their existence and bestow upon them an aura of immutability. This “spatial fix” of the built environment, both in terms of individual buildings and architectural landscapes, means that while they may change hand, they are unable to move across space. This immobility is by no means absolute, as shown by the well-known relocation of the Pergamon altar from western Anatolia to the Museum Island in Berlin, or shorter distances covered by dozens of churches in Bucharest, displaced from their original sites during the urban reconstruction of the 1980s. However, these instances do not change the fact that while both buildings and smaller luxury items constitute vehicles conveying their owners’ wealth and social status, they seemingly belong to two different realms, with little overlap between them. However, as scholarship produced in recent decades has shown, approaching these two spheres of human activity as a dynamic and interactive whole can produce valuable insights into how architecture and luxury commodities construed and expressed social and political identity. As Alina Payne pointed out, buildings and whole sites could become portable and travel by proxy, in the form of drawings, descriptions, and fragments of buildings.1 At the same time, the architectural environment provides the spatial frame for the social and cultural life of humans and objects alike: the spatial distribution of luxury items within the household allows us to reconstruct the topography of conspicuous display and everyday * This study was supported by the ERC-2014-CoG no. -
Timeline / 1860 to 1900 / ROMANIA
Timeline / 1860 to 1900 / ROMANIA Date Country Theme 1860 Romania Fine And Applied Arts 7 November: on the initiative of painter Gheorghe Panaitescu-Bardasare, a School of Fine Arts and an art gallery are founded in Ia#i. 1863 Romania Reforms And Social Changes December: the National Gathering of the United Principalities adopts the law through which the land owned by monasteries (more than a quarter of Romania’s surface) becomes property of the state. 1863 Romania Music, Literature, Dance And Fashion The literary society Junimea, which had an important role in promoting Romanian literature, is founded in Ia#i. In 1867 it begins publishing a periodical in which the works of Romanian writers appear and also translations from worldwide literature. 1864 Romania Cities And Urban Spaces 19 August: establishment of Bucharest’s city hall. Bucharest had been the United Principalities’ capital since 1861. 1864 Romania Economy And Trade 27 October: foundation of the Romanian Chamber of Commerce and Industry. 1864 Romania Political Context 14 May: coup d’état of Alexandru Ioan Cuza, who dissolves parliament and proposes a new constitutional project, which is voted the same month and ratified by the Ottoman Empire and the guaranteeing Powers in June 1864. The Statute Expanding the Paris Convention assigned greater power to the prince and the government. 1864 Romania Fine And Applied Arts Dimitrie Bolintineanu, the Minister of Religion and Public Instruction, organises in Bucharest an exhibition displaying works of contemporary Romanian artists, the most important of the time being painters Theodor Aman, Gheorghe Tattarescu and Carol Popp de Szathmari. 1864 Romania Reforms And Social Changes December: the law of public instruction establishes free, compulsory primary education. -
The 2Nd EVVF European Vovinam Children and Junior Championship Iasi
The 2nd EVVF European Vovinam Children and Junior 1 Iasi - ROMANIA 2017 Championship The 2nd EVVF European Vovinam Children and Junior 2 Iasi - ROMANIA 2017 Championship TABLE OF CONTENTS A.Welcome Speeches 4 B. Host Country 7 B1. About Romania 7 B2. About Iasi 9 B3. Romanian Vovinam Viet Vo Dao Federation 14 Staff of the Host Country 15 C. The Organizer 16 D. The Sport Center 17 E. The Transportation 18 F. The Accommodation 19 G. Meals 22 H. Competition Regulation 23 I. General Program 28 J. Competition Registration 29 K. Hotel Registration 29 L. Payment Details 29 M. Special Events 29 The 2nd EVVF European Vovinam Children and Junior 3 Iasi - ROMANIA 2017 Championship A. Welcome Speeches A1. Speech of the EVVF General Secretary Dear all, Romanian Vovinam Viet sponsors, especially to Mr. Vo Dao Federation, will Gabriel Nechita and Mrs. let me start by expressing be happy to welcome Roxana Nechita for their my thanks to all those you and provide you with contribution, involvement involved last year in the any assistance you might and help. EVVF European Vovinam need. We hope to set the Children and Junior best possible conditions This event is specially Championship in Belgium for the competition. targeted to the future and who contributed to generation of võ sinh in making it such a great On behalf of the European Europe. I hope every one success. Vovinam Viet Vo Dao of them, especially the Federation, I would like young athletes taking part The European Vovinam to thank our host - the in the competition, will Viet Vo Dao Federation is city of Iasi, the Romanian come back home with now proud to invite you Vovinam Viet Vo Dao a feeling of pride and to take part in the second Federation, Master Florin accomplishment. -
Timeline / 1860 to 1880 / ROMANIA / ALL THEMES
Timeline / 1860 to 1880 / ROMANIA / ALL THEMES Date Country Theme 1860 Romania Fine And Applied Arts 7 November: on the initiative of painter Gheorghe Panaitescu-Bardasare, a School of Fine Arts and an art gallery are founded in Ia#i. 1863 Romania Music, Literature, Dance And Fashion The literary society Junimea, which had an important role in promoting Romanian literature, is founded in Ia#i. In 1867 it begins publishing a periodical in which the works of Romanian writers appear and also translations from worldwide literature. 1863 Romania Reforms And Social Changes December: the National Gathering of the United Principalities adopts the law through which the land owned by monasteries (more than a quarter of Romania’s surface) becomes property of the state. 1864 Romania Economy And Trade 27 October: foundation of the Romanian Chamber of Commerce and Industry. 1864 Romania Political Context 14 May: coup d’état of Alexandru Ioan Cuza, who dissolves parliament and proposes a new constitutional project, which is voted the same month and ratified by the Ottoman Empire and the guaranteeing Powers in June 1864. The Statute Expanding the Paris Convention assigned greater power to the prince and the government. 1864 Romania Cities And Urban Spaces 19 August: establishment of Bucharest’s city hall. Bucharest had been the United Principalities’ capital since 1861. 1864 Romania Cities And Urban Spaces 14 April: the Commune Law is adopted by which cities and towns become urban communes, led by a mayor and a council. All urban communes must have a fire department and a hospital. 1864 Romania Great Inventions Of The 19th Century 4 August: establishment of the General Directorate of the Post and the Telegraph in the United Principalities. -
Timeline / Before 1800 to 1880 / ROMANIA / FINE and APPLIED ARTS
Timeline / Before 1800 to 1880 / ROMANIA / FINE AND APPLIED ARTS Date Country Theme 1813 Romania Fine And Applied Arts Gheorghe Asachi teaches a class of drawing and history of art at the School for Surveying Engineers (Moldavia). 1832 Romania Fine And Applied Arts Gheorghe Asachi founds in Ia#i a lithographic printing press called Institutul Albinei (The Bee Institute). 1843 Romania Fine And Applied Arts Carol Popp de Szathmari, the most important Romanian photographer of the 19th century (born in Cluj, Transylvania), moves to Bucharest, where he opens a photo studio. 1860 Romania Fine And Applied Arts 7 November: on the initiative of painter Gheorghe Panaitescu-Bardasare, a School of Fine Arts and an art gallery are founded in Ia#i. 1864 Romania Fine And Applied Arts Dimitrie Bolintineanu, the Minister of Religion and Public Instruction, organises in Bucharest an exhibition displaying works of contemporary Romanian artists, the most important of the time being painters Theodor Aman, Gheorghe Tattarescu and Carol Popp de Szathmari. 1864 Romania Fine And Applied Arts 14 November: a School of Fine Arts (which today is the National University of Art) is founded in Bucharest by painters Gheorghe Tattarescu and Theodor Aman. 1865 Romania Fine And Applied Arts The first showing of the “Living Artists Exhibition” (for painters and sculptors), organised by painter Theodor Aman, takes place in Ia#i. The annual organisation of such an exhibition is established by a decree issued in December 1864. 1876 Romania Fine And Applied Arts 19 February: birth of the great Romanian sculptor Constantin Brâncu#i, author of sculptures such as Mademoiselle Pogany, The Kiss, Bird in Space, and The Endless Column. -
Articles, Highlighting That “His Solutions for Restoration Have Fluctuated from Reconstructions and Partial Additions, to Tearing Down and Complete Rebuilding
THE GEOMETRIC MUSIC OF “THREE HIERARCHS” CHURCH FROM IAŞI Cristian Ungureanu Abstract: In order to emphasize the links between science and art, we analyse the “Three Hierarchs” Monastery church, Moldavian architecture masterpiece of the 17th century, build by the Voivode Vasile Lupu. The artistic project which reunited in a perfect harmony `quotes`of the geometrical decorations belonging both to the Balcans Christian and the Islamic culture, which were gathered harmoniously in a common body, stable and unitary.The study of the consecutive structures of the “flowers of the numbers” that build up the visual engines of the 61 rosettes carved in stone, that highlight the sculpted decorations of Trei Ierarhi church, has the aim to associated the geometric models with musical/vibrational structures derived from these. Keywords: Baroque, art, geometry, sculpture, scheme, composition, symbol The inscription of “Three Hierarchs” Church records that the sacred place was consecrated on May 6,1639, but the vastness of historical sources demonstrate that the church was far from being completed at that date. Due to the lack of local skilled craftsmen, capable of carrying out the construction work and, especially, the carved stones that would’ve had to dress the exterior of the building entirely in a fascinating geometric and decorative craftsmanship, Voivode Vasile Lupu asked the Boyard Andreiaş, “Mayor and the county of the honourable citadel of Bistriţa”1, to send craftsmen builders to work with limestone. From a different documentary2 source results that in 1642, the Romanian prince thanked Boyard Andreiaş for sending the moulders, asking him to procure a tile craftsman as to teach the secrets of his work to the local craftsmen. -
Guide City Tour Bucharest Hopon-Hopoff Sightseeing Bus Tour : Sightseeing-Bus-Tours.Html
Guide city tour Bucharest Hopon-hopoff sightseeing bus tour : http://romaniatourism.com/romania-maps/bucharest/bucharest-hopon-hopoff- sightseeing-bus-tours.html 1 Guide city tour Bucharest Stopp 1: Piata Presei - Herăstrău Park Sos. Kiseleff 32 Bucharest Romania , Herastrau Anyone who still thinks that Bucharest is a city of concrete and cement has clearly never been to the city’s lung, the incomparable Herastrau Park. Quite simply, this glorious park, spread over 187 hectares around Herastrau lake is one of the jewels in Bucharest’s crown, which might explain why half of the city chooses to spend its summer Sunday afternoons here. Herastrau was laid out from 1930-36 on what had until then been mainly marshland around the (natural) lake. The Village Museum - which occupies a large part of Herastrau and which is one of its most popular attractions was created at the same time. As early as the late 19th century, however, parts of the lakeshore served as a promenade for Bucharest’s wealthy, and the area surrounding the lake had long since become the most fashionable in the city. Indeed, the residence of Romania’s royal family, the Elisabeta Palace, is found inside Herastrau (although it is closed to the public). The name Herastrau has been in general use since the early 1960s. Herastrau was long neglected in the wake of the Romanian revolution of 1989, as the priorities of a country in transition lie elsewhere. In recent times however, the park has enjoyed much investment and has for a couple of years now once again been able to claim the title of the city’s best. -
Ghid EN Web.Pdf
Guide financed by Braşov County Council Written and devised: Radu Popica Proof: Simona Tătaru Photos: Nicolae Panaite , Răzvan Precup, Radu Tătaru, Árpád Udvardi DTP: Radu Tătaru English version: Alice Haţegan ISBN 978-606-93303-6-4 Cover: Ştefan Luchian, Anemone The National Gallery 1* comprises a selection of artworks (paintings and sculpture) which are representative for Romanian modern art. The exhibition illustrates the evolution of Transylvanian painting between the 18th and the 19th centuries and Romanian art from the first half of the19th century through to post-war years. Alongside the masterpieces of the Romanian art masters, the exhibition also includes the artworks of the artists active in Braşov, from the Saxon patriciate portraits to the contemporary artist’s creations. The Portrait of Joseph von Drauth (1709-1762), senator of the city of Braşov, painted by Johann Ölhan the Elder (?-1763), opens the exhibition. [ST] The painting is typical for Saxon patriciate portraiture, a provincial variant of portrait d`apparat. The artist insists on the details which indicate that the commissioner boasted a high social status (coat of arms, apparel, as well as on the objects which suggest the official duties he exercised. The City Hall and the buildings surrounding it, depicted in the background of the portrait, are also meant to illustrate his position. But the posture of the model is conventional and artificial. We find the same interest in underlining the social position of the model in the creation of an anonymous artist active in the late 1700s, who painted the Portrait of Oprea Ţârcă, the head of the shepherds’guild of Săcele. -
Dolj County Dolj Originally Meant
Dolj County Dolj originally meant "lower Jiu", as opposed to Gorj (upper Jiu) is a county of Romania on the border with Bulgaria, in Oltenia, with the capital city at Craiova. In 2011, it had a population of 660,544 and a population density of 89/km2 (230/sq mi). • Romanians – over 96% • Romani – 3% • Others almost 1%. Geography This county has a total area of 7,414 km2 (2,863 sq mi). The entire area is a plain with the Danube on the south forming a wide valley crossed by the Jiu River in the middle. Other small rivers flow through the county, each one forming a small valley. There are some lakes across the county and many ponds and channels in the Danube valley. 6% of the county's area is a desert. Neighbours • Olt County to the east. • Mehedinți County to the west. • Gorj County and Vâlcea County to the north. • Bulgaria – Vidin Province to the southwest, Montana and Vratsa provinces to the south. Economy Agriculture is the county's main industry. The county has a land that is ideal for growing cereals, vegetables and wines. Other industries are mainly located in the city of Craiova, the largest city in southwestern Romania. The county's main industries: • Automotive industry – Ford has a factory. • Heavy electrical and transport equipment – Electroputere Craiova is the largest factory plant in Romania. • Aeronautics ; ITC • Chemicals processing ; Foods and beverages • Textiles ; Mechanical parts and components There are two small ports on the shore of the Danube river – Bechet and Calafat. Tourism Major tourist attractions: The city of Craiova; The city of Calafat; Fishing on the Danube; The city of Băilești. -
The Importance of the Byzantine Legacy for the Romanian Sacred Art
European Journal of Science and Theology, June 2006, Vol.2, No.2, 25-35 _______________________________________________________________________ THE IMPORTANCE OF THE BYZANTINE LEGACY FOR THE ROMANIAN SACRED ART Mihaela Palade* University Bucharest, Faculty of Orthodox Theology, Department of Sacred Art, Str. Sf. Ecaterina nr. 2,040155 Bucharest IV, Romania (Received 20 April 2006, revised 22 May 2006) Abstract We currently witness a general pursuit of novelty and modernity, which risks to ignore or destroy a past loaded with artistic testimonies. Throughout the times, the Romanian Principalities benefited from the expressions of a sacred art of Byzantine tradition. This phenomenon lasted until early XIXth century, when realist and naturalist tendencies started to appear, brought about by the new historical era. Today, it should be acknowledged that the Byzantine artistic legacy is not a mere inventory of items but, due to its dynamic aspect, it is perfectly integrated into the Orthodox cult. Since the latter acts as a preserver of the Byzantine liturgical tradition, then church art, too, should remain a keeper of the same artistic legacy. This is an imperative because the icon bears not only aesthetic or catechetic attributes, but especially cultic or liturgical ones. It is only by maintaining our artistic identity of Byzantine origin that we can speak of integration into Europe, in ways benefic for both parties. Keywords: Byzantine Commonwealth, static and dynamic aspects, cultic or liturgical aspects of icons 1. Integration and modernity Our times display incessant renewal and a thirst for change, while new, different things are frantically demanded and sought for, irrespective of whether this ‘difference’ brings about a change for the better or its very opposite. -
Christian Monastery Gardens a Symbolistic Interpretation Between Piety and Aesthetics
European Journal of Science and Theology, June 2014, Vol.10, No.3, 199-207 _______________________________________________________________________ CHRISTIAN MONASTERY GARDENS A SYMBOLISTIC INTERPRETATION BETWEEN PIETY AND AESTHETICS Oana Pohoaţǎ Lupu* ‘Ion Ionescu de la Brad’ University of Agricultural Sciences and Veterinary Medicine, Faculty of Horticulture, 3 Mihail Sadoveanu Alley, Iassy, 700490, Romania (Received 23 August 2014, revised 9 March 2014) Abstract In the profane identification, the cult places are defined using words as „church‟, „monastery‟, „monks‟, „priests‟, etc. These are simplistic human and material expressions due to the implementation of Orthodox religion. The cult spaces, a material expression of rigorous canons that are founded on symbolic significations of Christian ideology, are ensembles consisting of various architectural objects and a garden. The garden is the inner bond of the ensemble, the „transition space‟ between sacred and secularist world. The space around churches or monasteries, bordered by surroundings, reflects the dogmatic tradition, starting from the imposed „order‟ up to the plants that are used. The landscape ensemble around the religious edifices needs an attentive and continuous care from the monks. The simplest and proper word for this is „work‟, basic, simple work that ennobles. The stylistic approach is essential to perceive and understand the natural, mysterious atmosphere of the monastery gardens, that could be found in the ensemble of vegetal and built elements placed in a preset order. The aim of the present work is to identify and interpret the symbolic vegetal and mineral elements used following a line that is either dogmatic or imposed by tradition (expression of the Paradise Garden in the afterlife), and, on the other hand, the action of taking care of the land as a way to redemption through work (a Christian act imposed by the Benedictine Latin motto ‘Ora et labora’ – „Pray and work‟), between the liberation of the body, soul and mind and the penitence through labour. -
Catalog Biblioteca ICR Viena
AUTORUL TITLUL CĂRȚII Abăluță Constantin Tot atât de liber Adameşteanu Gabriela Provizorat Adameşteanu Gabriela Dimineața pierdută Albu mihai Informatorul Aldulescu Radu Proorocii Ierusalimului Andreescu Gabriel Reprimarea mişcării yoga Andreescu Gabriel MISA. Radiografia unei represiuni Anghelescu Mircea Poarta neagră Nicolae Mărgineanu. Un psiholog în temnițele Anisescu Cristina comuniste Victimele inocente şi colaterale ale unui sângeros Antonesei Liviu război cu Rusia Baetica Morpurgo Ioana Imigranții Baetica Morpurgo Ioana Fişa de înregistrare Bădescu Cezar Paul Tinerețile lui Daniel Abagiu Bănică Mirel Enervări Biserica Ortodoxă Română, stat şi societate în anii Bănică Mirel ’30 Secolul XXI. Viitorul Uniunii Europene. Războaiele în Brucan Silviu secolul XXI Buzarin Alin Raport de cornere Cernat Paul Explorări în comunismul românesc (vol.3) Cesereanu Ruxandra Năravuri româneşti. Texte de atitudine Cesereanu Ruxandra Gulagul în conştiința românească Chivu Adrian Strada Chivu Carmen Dosarele securității Chivu Carmen Cultele din România Cimpoeşu Petru Simion liftnicul Anatomia unui faliment geopolitic: Republica Ciobanu Vitalie Moldova Cioroianu Adrian Sic tranzit gloria Codrescu Andrei Scrisori din New Orleans Crăciun Gheorghe Femei albastre Cristea‐Enache Daniel Sertarul scriitorului român Dabija Adina Şaman Danilov Nichita Locomotiva Noimann Danilov Nichita Ambasadorul invizibil Dăianu Daniel Ce vom fi în Uniune Dobrincu Dorin Listele morții Duda Virgil Ultimele iubiri Duda Virgil Un cetățean al lumii Dumitrescu Bogdan Sms Dulcea