Inferno: Journal of Art History Volume 9 (2004)https://hdl.handle.net/10023/6072024-02-23T16:30:23Z2024-02-23T16:30:23ZCurating the invisible: contemporary art practices and the production of meaning in Eastern Europe.Stamenkovic, Marko.https://hdl.handle.net/10023/6232019-03-28T15:18:38Z2004-01-01T00:00:00ZThis 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?
Previously in the University eprints HAIRST pilot service at http://eprints.st-andrews.ac.uk/archive/00000394/; Article 6 of 6 in an issue devoted to the visual culture of South Eastern Europe
2004-01-01T00:00:00ZStamenkovic, Marko.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?Saint Peter and Paul Church (Sinan Pasha Mosque), Famagusta: a forgotten Gothic moment in Northern Cyprus.Walsh, Michael.https://hdl.handle.net/10023/6222019-03-28T15:18:38Z2004-01-01T00:00:00ZThis 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
Previously in the University eprints HAIRST pilot service at http://eprints.st-andrews.ac.uk/archive/00000392/; Article 5 of 6 in an issue devoted to the visual culture of South Eastern Europe
2004-01-01T00:00:00ZWalsh, Michael.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 EuropeThe Cathedral of St Alexander Nevski in Sofia.Leandro, Gloria.https://hdl.handle.net/10023/6212019-03-28T15:18:38Z2004-01-01T00:00:00ZBuilt 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.
Previously in the University eprints HAIRST pilot service at http://eprints.st-andrews.ac.uk/archive/00000393/; Article 4 of 6 in an issue devoted to the visual culture of South Eastern Europe
2004-01-01T00:00:00ZLeandro, Gloria.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.Ship representations on Late Helladic III C pictorial pottery: some notes.Petrakis, Vassilis P.https://hdl.handle.net/10023/6202019-03-28T15:18:39Z2004-01-01T00:00:00ZThe 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.
Previously in the University eprints HAIRST pilot service at http://eprints.st-andrews.ac.uk/archive/00000391/; Article 3 of 6 in an issue devoted to the visual culture of South Eastern Europe
2004-01-01T00:00:00ZPetrakis, Vassilis P.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.The wall painting of the Chapel-martyrium Motsameta in the rock–cut monastery complex of Udabno David–Gareji.Khoshtaria, Tinatin.https://hdl.handle.net/10023/6192019-03-28T15:18:38Z2004-01-01T00:00:00ZAmong 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.
Previously in the University eprints HAIRST pilot service at http://eprints.st-andrews.ac.uk/archive/00000390/; Article 2 of 6 in an issue devoted to the visual culture of South Eastern Europe
2004-01-01T00:00:00ZKhoshtaria, Tinatin.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.Subversive evidence regarding the birth of Neohellenic painting.Alevizou, Denise-Cholehttps://hdl.handle.net/10023/6182019-03-28T15:18:39Z2004-01-01T00:00:00ZSystematic 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.
Previously in the University eprints HAIRST pilot service at http://eprints.st-andrews.ac.uk/archive/00000389/; Article 1 of 6 in an issue devoted to the visual culture of South Eastern Europe
2004-01-01T00:00:00ZAlevizou, Denise-CholeSystematic 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.