2024-03-29T13:58:42Zhttps://research-repository.st-andrews.ac.uk/oai/requestoai:research-repository.st-andrews.ac.uk:10023/6212019-03-28T15:18:38Zcom_10023_600com_10023_12col_10023_607
Leandro, Gloria.
2008-12-19T14:26:36Z
2008-12-19T14:26:36Z
2004
Inferno: Journal of Art History Vol. 9 Article 4 2004
1355-5596
http://hdl.handle.net/10023/621
Built to celebrate the liberation of Bulgaria from centuries of Ottoman domination, the Cathedral of St. Alexander Nevski in Sofia has aroused only scant interest among art historians both inside and outside the country. In recent years, the general disinterest surrounding this monument can be ascribed to the political climate in Bulgaria after the Second World War; for almost half a century the militant atheism of the Communist regime stifled the religious feelings of the Bulgarian people, forcing believers underground. Consequently, under pressure from the regime, religious works of art and places of worship fell into neglect.
In view of this void, the aim of my research was to document as completely as possible all the various aspects of the Cathedral of St. Alexander Nevski. I then traced the history of Bulgaria, starting from the Ottoman conquest and focusing particularly on the period of the Bulgarian Renaissance, which led the country, with the help of Russia, to freedom from the Turkish Empire and then to independence. I hope that this study will shed a glimmer of light on this splendid building and help to stimulate interest in Bulgaria's artistic heritage.
en
Bulgarian architecture
national style
Ivan Semenovich Bogomolov
Alexander Nikanorevich Pomeranchev
nineteenth century
The Cathedral of St Alexander Nevski in Sofia.
Journal article
oai:research-repository.st-andrews.ac.uk:10023/6222019-03-28T15:18:38Zcom_10023_600com_10023_12col_10023_607
Walsh, Michael.
2008-12-19T14:51:32Z
2008-12-19T14:51:32Z
2004
Inferno: Journal of Art History Vol. 9 Article 5 2004
1355-5596
http://hdl.handle.net/10023/622
This article presents a very brief historical overview, and contemporary description, of the Church of Saint Peter and Saint Paul, Famagusta, Northern Cyprus. In the light of the changing political situation in that island it invites scholarship in a range of disciplines to the church and to other historic landmarks within the old city walls. Scholars interested might include: art historians, architectural historians, civil engineers, archivists, historians, structural analysts, masonry conservators, surveyors, ecclesiastical historians, and a wider range of experts involved in the full study of other Gothic churches elsewhere in mainland Europe
en
Cyprus
Gothic
Lusignan
Conservation
Saint Peter Paul
Famagusta
Architecture
Medieval
Saint Peter and Paul Church (Sinan Pasha Mosque), Famagusta: a forgotten Gothic moment in Northern Cyprus.
Journal article
oai:research-repository.st-andrews.ac.uk:10023/6192019-03-28T15:18:38Zcom_10023_600com_10023_12col_10023_607
Khoshtaria, Tinatin.
2008-12-19T14:06:48Z
2008-12-19T14:06:48Z
2004
Inferno: Journal of Art History Vol. 9 Article 2 2004
1355-5596
http://hdl.handle.net/10023/619
Among the numerous churches of the monasteries of Gareji, there is situated at the top of a mountain in west of the mine complex, the little church of the Forty Martyrs, or Motsameta. The paintings of this chapel-martyrium, Motsameta, have special significance in the study of the Garejian painting school. In the Gareji desert there were other martyriums, in Sabereebi, Bertubani and Tsamebuli for example, but paintings are rarely found in these edifices. Martyriums were painted more commonly in Byzantium than in Georgia. Thus the church of Motsameta is a rare example of a Georgian painted martyrium. Its further study, particularly with the aim of establishing parallels with similar medieval European monuments, is very important.
en
Georgia
Chubinashvili
eleventh century
thirteenth century
The wall painting of the Chapel-martyrium Motsameta in the rock–cut monastery complex of Udabno David–Gareji.
Journal article
oai:research-repository.st-andrews.ac.uk:10023/6232019-03-28T15:18:38Zcom_10023_600com_10023_12col_10023_607
Stamenkovic, Marko.
2008-12-19T15:03:05Z
2008-12-19T15:03:05Z
2004
Inferno: Journal of Art History Vol. 9 Article 6 2004
1355-5596
http://hdl.handle.net/10023/623
This article addresses the system of art and the issue of contemporary art curatorship in the area known as ‘Eastern Europe’, with a particular emphasis on the status of curatorial practices in the postsocialist condition. The problems explored are focused firstly around the issues of the representation of Eastern Europe and contemporary Eastern European art, in terms of organizing exhibitions in the context of globalisation, and secondly the role of a contemporary art curator as compared to the role performed by a contemporary cultural manager. The question to be raised is related to ‘The Image of Eastern Europe’ within the functioning of global cultural imperialism, i.e. how do the models of contemporary artistic and especially curatorial practices respond to the up-to-date demands of cultural policy issues related to the area of the former communist/socialist countries in Eastern Europe?
en
contemporary art
Eastern Europe
postsocialist art
art curator
art manager
curator mediator
Viktor Misiano
Marina Grzinic
Boris Groys
Ales Erjavec
Curating the invisible: contemporary art practices and the production of meaning in Eastern Europe.
Journal article
oai:research-repository.st-andrews.ac.uk:10023/6202019-03-28T15:18:39Zcom_10023_600com_10023_12col_10023_607
Petrakis, Vassilis P.
2008-12-19T14:15:46Z
2008-12-19T14:15:46Z
2004
Inferno: Journal of Art History Vol. 9 Article 3 2004
1355-5596
http://hdl.handle.net/10023/620
The present article aims to examine some iconographic aspects of ship representations on Late Helladic III C pictorial pottery (c.1220-1075 BC). Our primary focus is on the function of the ship motif within the context of the Aegean and contemporary Eastern Mediterranean iconography with emphasis on artistic conventions. Two basic iconographic elements, the figurehead prows and the so-called "horizontal ladder" pattern, are briefly considered and some new interpretations are suggested.
en
Aegean
Late Bronze Age
Mycenaean iconography
pictorial pottery
ships
Ship representations on Late Helladic III C pictorial pottery: some notes.
Journal article
oai:research-repository.st-andrews.ac.uk:10023/6182019-03-28T15:18:39Zcom_10023_600com_10023_12col_10023_607
Alevizou, Denise-Chole
2008-12-19T13:59:36Z
2008-12-19T13:59:36Z
2004
Inferno: Journal of Art History Vol. 9 Article 1 2004
1355-5596
http://hdl.handle.net/10023/618
Systematic analysis and comparative study of the eariest known written works on the art of painting in the history of Neohellenic art, has brought to light new evidence regarding its first School of painting, the Heptanese School. The first neohellenic original treatise on the art of painting was proved an anthology of translations selected from current Italian literature on art, and was considered anew as a codification of artistic practices current in the Venetian-ruled Ionian Isles (early 18th c.). Thus questioning long-considered certainties regarding the role of its writer Panaghiotis Doxaras as founder of the School and his alleged will to revolutionise the existing painting practices, it leads to a new understanding of artistic ideals in his time. Further evidence proving the direct involvement of another protagonist of the Heptanese School, Panaghiotis’s son, Nikolaos, with two of the three known written works, adds a new prospect to the study of the first school of Neohellenic painting.
en
Doxaras
Ionian Isles
Heptanese School
Neohellenic art
18th century Greece
art
Subversive evidence regarding the birth of Neohellenic painting.
Journal article