Art History

25 Hochschulen boten im Dritten Reich das Studienfach Kunstgeschichte an – eine davon war die Goethe-Universität in Frankfurt am Main. Im Gegensatz zu anderen kunsthistorischen Instituten ist der Einfluss der NS-Kulturpolitik hier kaum untersucht. Dokumente aus dem Uni-Archiv geben Einblicke

In this article I make an attempt to determine the function of a so-far unpublished small painting unknown also for professionals. The painting is from the former collection of Rudolf Bedő (1891-1978); the present-day trustees of the remnant of the collection register it as “French master, around 1700: Mythological scene” (fig. 1). The small composition on painter’s cardboard shows a Triton riding on dolphins and blowing a conch horn, and a putto. The characters have been popular in art works and literature since Antiquity; in mythological scenes they belong to the escort of sea nymphs or mermaids. A first sight at the picture painted as trompe-l’oeil, in grisaille, already suggested that it was related to French art, but as for the school and time of creation more caution was called for by several details. On the one hand, there is a painted label possibly with Hungarian inscription in the bottom right-hand corner, and on the other hand, the execution of the surface gives a more mo...

This paper is based on research project 11/E126 -accredited by UNLP- and aims to expose a management proposal to the areas of administration of museums and cultural enterprises, through the study and creation of experiences with building value in the areas where these institutions play. Preliminary behavior of 1,683 residents and foreign tourists visitors in 18 museums and three cultural centers in the cities of Buenos Aires and La Plata is analyzed. The influence and impact on their behavior is examined, when you create and manage different kinds of experiences. The aesthetic, social experiences, entertainment, learning, commemorative, delight and pleasure are relieved. Dynamic leadership skills that need to be managed museum experiences are described. The types of experiences and their impact on visitor behavior, depending on the personality and / or lifestyle of the visitor, through the analysis of cluster analysis technique are studied. RESUMEN. El presente trabajo se basa en el...

Buku ini tidak diperjualbelikan. xii Tatanan alam yang membentuk lanskap, gulungan ombak, hamparan pasir, tebaran mega, kabut di kaki bukit, gugusan pulau-pulau, sinar bintang di langit malam, semuanya berpotensi membentuk gugusan stanza, bait-bait puisi, dan rangkaian cerita yang menarik. Perasaan manusia serasa tersentuh, terhibur, dan nyaman karena sentuhan alam dirasakan hangat jauh di dalam lubuk hati manusia. Ketakjuban dan kesadaran akan keindahan dan daya sentuh alam bagi manusia menghasilkan narasi-narasi indah sebagai produk budaya yang bermakna, yang turut membentuk kemanusiaan kita. Filsuf Prancis, J. Maritain, mendefinisikan puisi sebagai interkomunikasi antara hati nurani manusia dan hakikat alam raya. Pertanyaannya adalah Masihkah kini pasir berbisik? Burung-burung bernyanyi menyambut pagi? Langit biru masih menghampar di atas bukit-bukit? Jemari malam tetap setia membelai lembut para peronda? Gunung dan lembah masih menyimpan kabut, awan, dan angin mistis? Jawabannya tegas, alam dan lingkungan hidup sudah dirusak secara masif dan brutal oleh manusia. Kerusakan itu mencakup lingkungan fisik (physical environment), lingkungan biologis (biological environment), dan lingkungan sosial (social environment). Kerusakan alam menyebabkan kerusakan degeneratif dari lingkungan-lingkungan tersebut melalui menurunnya, baik kualitas maupun kuantitas aset alam, seperti air, tanah, dan udara termasuk ekosistem, intrusi habitat, pembasmian satwa liar, dan pencemaran lingkungan. Perubahan nyata dalam lingkungan hidup itu benar-benar tidak diinginkan. Kerusakan lingkungan telah menyebabkan perubahan iklim, pemanasan global, pencemaran lingkungan, longsor, dan banjir. Pada awalnya, persoalan lingkungan dipelajari di dalam ilmu ekologi, yaitu sebuah cabang ilmu biologi yang mempelajari interaksi antarmakhluk hidup atau kelompok makhluk hidup (organisme) de ngan lingkungannya. Istilah ini diperkenalkan oleh ahli biologi Jerman, Ernst Heinrich Philipp August Haeckel (1866). Secara etimologis, ekologi berasal dari bahasa Yunani, yakni oikos (rumah atau habitat) dan logos (ilmu pengetahuan). Jadi, ekologi ialah cabang ilmu Buku ini tidak diperjualbelikan. xiii pengetahuan yang mempelajari rumah atau habitat makhluk-makhluk hidup. Jika diurutkan, ruang lingkup ekologi meliputi individu atau organisme, populasi, komunitas, ekosistem, dan biosfer. Akan tetapi, kerusakan lingkungan yang sangat mengancam kehidupan semua makhluk hidup membuat ilmu ekologi memasuki hampir semua bidang ilmu dan menarik perhatian hampir semua ilmuwan, termasuk di dalamnya sastra. Pada tahun 1992, di Amerika berdiri sebuah lembaga yang bergerak pada literasi lingkungan, yaitu Association for the Study of Literature and Environment (ASLE). Cheryll Glotfelty dan Michael P. Branch adalah tokoh pertama dan utamanya. ASLE kemudian mempromosikan setiap karya, baik humaniora, sastra, seni, maupun lainnya, yang mengangkat isu lingkungan hidup. Kelebihan dan keunggulan sastra ialah memiliki potensi yang ampuh dalam menyadarkan hati nurani manusia sejagat, tanpa harus bernada menggurui atau propaganda yang terlalu bombastis. Gerakan ini juga kemudian mempromosikan "sastra hijau" di dunia, sebuah gerakan sadar lingkungan yang disuarakan melalui "sastra hijau" atau environment literature. Melalui ekokritisisme, sebuah metode kritis yang menelisik sastra dan lingkungan kemudian mencoba merangsang tumbuhnya minat para pengarang untuk peduli terhadap lingkungan hidup melalui karya mereka. Pertanyaannya, bagaimana sumbangan sastra dan kritik sastra terhadap persoalan kerusakan alam dan lingkungan hidup? Apakah sastra dan kritik sastra memasuki wilayah ilmu-ilmu ekologi, etika, hukum, sosiologi, dan politik untuk ikut berteriak mengenai kerusakan alam dan lingkungan? Apakah karya sastra kreatif ikut-ikutan menjadi sarana propaganda pencegahan kerusakan lingkungan? Apakah kritik sastra mengembangan pendekatan khusus sebagai kontribusi bagi literasi lingkungan? Pertanyaan-pertanyaan ini penting dan perlu dijawab oleh para ahli dan masyarakat sastra. Tulisan ini memberikan sebuah perspektif sebagai pengantar bunga rampai Sastra dan Ekologi yang ditulis oleh para peneliti dari Badan Riset dan Inovasi Nasional, Buku ini tidak diperjualbelikan.

3. Se mencionan documentos de política y eventos que materializan discusiones alrededor de la educación artística, que a modo de mapeo dan cuentan del movimiento de acciones alrededor de la misma. Se precisa que este no es un ejercicio totalizante, y aunque hecho con cuidado, también contiene fisuras. La invitación es a que el lector se relacione con él de acuerdo con su experiencia. Se tiene presente el movimiento internacional que favorece el desarrollo desde la condición social del artista, recogida en la Recomendación relativa a la condición del artista (Unesco, 1980), el Informe de la Comisión internacional sobre la educación para el siglo xxi, presentada a la Unesco, La educación encierra un tesoro (Delors,

Room Interception and Secret Perquisition during the State Security -Case Studies on the Implementation and Results of Secret Operation Az esettanulmány egy osztrák üzletemberrel szemben folytatott bizalmas nyomozás néhány intézkedését dolgozza fel. A magyar állambiztonsági szerv kémkedéssel gyanúsította az osztrák férfit, ezért a kémelhárítás feldolgozás alatt tartotta, amihez felhasználta a rendelkezésre álló titkos erőket és eszközöket, a technikai információszerzés módszereitől kezdve egészen a humán hírszerzés eszközrendszeréig. Az intézkedéseik között lehallgatták a férfi szállodai szobáit és telefonbeszélgetéseit, figyelték mozgását az országban, ügynököket alkalmaztak, valamint megfigyelték azokat a személyeket is, akik szorosabb kapcsolatba kerültek az osztrák üzletemberrel. Így orvos barátjának lakásába lehallgató berendezést telepítettek, egy másik ismerősét pedig a nyaralása alatt figyelték meg. A szerző az esettanulmányban azt mutatja be, hogy az egyes állambiztonsági szervek milyen metódusok és eljárások mentén alkalmazták a titkos információgyűjtés egyes eszközeit. Megvizsgálja azt is, hogy az egyes intézkedések révén milyen információk jutottak a kémelhárítás birtokába.

Wood is traditionally modeled as an orthotropic material, with direction dependent transport properties, in this way homogenizing the specific structure of wood: a cellular material with growth rings, consisting of early wood and late wood layers. In this paper we present a mesoscopic model for vapor transport in wood, where earlywood and latewood are modeled as distinct materials. The sorption and vapor transport properties for early-and latewood are determined using a unit cell model with constant cell geometry. These properties are used in two-dimensional calculations of vapor transport in a piece of wood consisting of several growth rings. The mesoscopic results are compared to measurement results and to macroscopic results using homogenized orthotropic transport properties. For vapor transport in radial and tangential direction the difference between meso-and macro modeling of wood is negligible, justifying the vapor transport modeling with homogenized orthotropic transport properties.

This is a paper on four unique Chola Temples in Tamilnadu, the architecture of which makes one wonder whether the temple building style followed, is that of the Dravida or Nagara or a combination of both. The four temples built during different period by different rulers of the Chola dynasty seem to have intentionally not followed the Dravidian structure of a temple, making them colossal in comparison to their other creations, secondly the mixture of two creative tradition of Bharath’s temple building techniques.  These temples also seem like a one-upmanship on the earlier temples built by the Pallava’s. The influence also seem to be coming from the conquest of the Chola’s towards the north of Tamil land and bringing the northern architecture into play at least initially

A lavishly illuminated Hebrew Bible was produced in Perpignan in 1299. Around 1300, it served as a model for at least three other Bibles from the same region. While the predominantly aniconic decoration of these Bibles is anchored in Islamicate visual culture, its style and technique are Gothic. A recent discourse in cultural history, in part from a perspective of postcolonial theory, sheds a lot of light on the dynamics of transcultural interactions and entanglements. One aspect, however, has not entered the discussion, namely, how such encounters can be explained in terms of the spatial constellations in which they took place. This paper examines how these constellations shaped the decoration schemes of the 1299 Bible. These constellations were complex, as they imply agents of different cultural backgrounds-artists, scribes, patrons-living and moving about in various parts of the urban space. The paper shows that the producers of the Bible and its patron created a visual dialogue with the surrounding architecture by means of the decoration schemes, and, in a way, seem to have participated in the design of visual trends in the public space.

For the first time, chemical analyses by XRF of all Byzantine copper alloy doors in Italy from the 11th and 12th centuries are presented, compared, and interpreted. Three main alloying groups were detected for the eight doors: leaded bronze (Montecassino), leaded brass (Monte Sant'Angelo, Amalfi, San Paolo fuori le mura, Venice SC), and quaternary alloys (Atrani, Salerno, Venice MD). This leads to the conclusion that Byzantine workshops used different alloys for their production. The different alloying groups cannot be associated with specific, single workshops in Byzantium; also, we cannot exclude the production of specific doors in the same workshop. Together with the ability to date some of the doors by means of inscriptions or historical records this allows new hypotheses to be formulated regarding workshop processes. This research also presents, for the first time, color illustrations of the figuratively decorated backs of the Montecassino door.

The Lisbon Academy of Sciences has an interesting gallery of portrait painting, originally collected by the Franciscan José Mayne (1723-1792). Based on the analysis of 19th-century inventories and catalogues, this article reconstructs the composition and richness of the paintings once collected, which highlight Mayne's interest in natural phenomena. It then focuses on their dispersal through the auction of the "Father Mayne Gallery" held in Lisbon between 1864 and 1865 and finally considers the recent circulation on the art market of artworks from Mayne's collection of paintings

The seminar "Promoting the Green Transition via University Education with Green Standards" presents the approach and concept of the international project Boosting the Green Future via University Micro-Credentials (B-Green-ED), funded by the Erasmus+ program KA220-HED -Cooperation partnerships in higher education, aiming to contribute to the achievement of the sustainable, green and digital goals of the European Union by providing innovative university micro-credentials related to environmental and management standards to improve the digital and green capabilities of the higher education sector. Some findings and results of the B-Green-ED research conducted in four EU countries -Bulgaria, Lithuania, Spain, and Romania are presented.

Sculptural or painted representations of Surya or the Sun God and temples solely dedicated to him are rare in Kerala, There are a few Sun temples  owned by Brahmin familes and some of which after abandonment came to be renovated and now under collective protection. Most of the sculptures and temples dedicated to him owe their orgins to the late medeival period and some such are being discussed in this paper

U radu se prikazuju vrtujci i picuni - jednostavna suhozidna kamena zdanja na području Vele Luke u čijoj se gradnji primjenjuje konzolna tehnika. Na temelju terenskog pregleda, literature, kazivanja i arhivskih izvora analizira se njihovo nazivlje, tehnika gradnje, smještaj u prostoru, podrijetlo, datacija i graditelji. U interpretaciji podrijetla i tehnike gradnje posebno su u fokusu klačine (vapnenice) s kojima ih povezuje konstruktivni element pseudokupole i graditelji, a dodirne točke u oblikovanju vrtujaka pronalaze se u istarskim kažunima. U radu se donosi popis svih vrtujaka i picuna s lokacijom i osnovnim karakteristikama. Polazeći od dimenzija vrtujaka na teorijskoj razini se razmatraju moguća pravila koja su korištena prilikom izgradnje vrtujaka s posebnim naglaskom na konstrukciju pseudokupole

Bedesten, XIV. yüzyılın sonlarında özellikle kumaş ticaretine hizmet etmek amacıyla inşa edilmiş bir ticaret yapısı olarak ortaya çıkmıştır. Zamanla bedesten, yalnızca kumaş tüccarlarının mallarını depoladıkları bir alan olmanın ötesine geçerek, emanetlerin korunduğu, fiyatların belirlendiği, kalite kontrolünün yapıldığı, çarşı düzeninin denetlendiği ve çeşitli müzayedelerin gerçekleştirildiği çok yönlü bir ticaret merkezi haline gelmiştir. Bu gelişmeye paralel olarak, başlangıçta yalnızca kumaş ticaretiyle sınırlı olan bedestenler, zamanla silah, antika, değerli mücevherler, kokular ve hatta köle ticaretini de içine alan daha geniş bir ticaret alanına dönüşmüştür.
Bu tez, Erken Dönem Osmanlı kentlerinde inşa edilen bedesten yapılarını tarihsel bir perspektifle incelemektedir. Çalışma, bedesten kavramının ayrıntılı bir analizine odaklanarak, bu yapıları diğer ticaret yapılarından ayıran niteliklerini ortaya koymayı amaçlamaktadır. Ayrıca, bedestenlerin mimari gelişim süreci ve kökenleri üzerinde durulmuş, bu yapıların şekillenmesinde etkili olan tarihsel, kültürel ve toplumsal faktörler irdelenmiştir. Bununla birlikte, bedestenlerin fonksiyonel özellikleri, günlük işleyişleri, yapılarda görevli olan personel, tüccarlar ve satılan malların nitelikleri detaylı bir şekilde ele alınmış; bedestenlerin, yalnızca ticari faaliyetlerin gerçekleştirildiği alanlar olmanın ötesinde, dönemin ekonomik, kültürel ve toplumsal yapısını yansıtan önemli merkezler olduğu vurgulanmıştır.

This paper explores how contemporary technology has been a recurring contributor throughout art history, beginning in the Renaissance and proceeding to form widely considered digital arts in the 21st century. Its objective is to trace the interconnections between traditional and digital art through thorough research on the employment of technological improvements by artists, starting with the Renaissance painting tradition, leading up to the 21st century digital painting. Furthermore, this study investigates the characteristics that indicate a work of art by comparing how the definition of ‘art’ has changed over the past centuries. It also tackles the question of attributing value to an artwork and common perception and critique of the two disparate media.

Paintings by some of America's foremost representational painters decked the walls of two of London's oldest arts institutions in summer 2010: the Royal Academy of Arts featured early marine scenes by John Singer Sargent, while across town the Dulwich Picture Gallery showcased work by various members of the Wyeth clan. Comparisons between Sargent and the Wyeths are much less evident than contrasts. Sargent epitomizes the cosmopolitan, transatlantic artist, whereas the Wyeths, particularly Andrew, verged on isolationists, repeatedly portraying the same East Coast landscapes and locals. Sargent's childhood was spent migrating between Italy (where he was born), France, Germany, and Switzerland, gaining an education in galleries and churches. He had studios in Paris, then London, but traveled incessantly, drawing and painting everywhere he went. His canvases evoke lush Old World settings, exotic or aristocratic beauties and men of position and wealth; he did not visit the United States until he was twenty years old. The Wyeths, on the other hand, have been based in Chester County, Pennsylvania, since 1902, and have summered in Maine since the 1930s. These locations and their longtime inhabitants serve as subjects for much of the family's work, remembered perhaps most commonly for Andrew's stark compositions in shades of brown, beige, and grey. Andrew first visited Europe at the age of 60 1 and his painter sister Carolyn lived in the family house until her dying day. Still, the juxtaposition of the two shows makes apparent certain parallels amongst these representational artists, particularly regarding the negative reception of their work amongst critics -a persistent habit that ultimately suggests more about the critics' preoccupations than about the art itself.

This article proposes a new interpretation of Domenico Ghirlandaio's celebrated high altarpiece for the Ospedale degli Innocenti in Florence. The emphasis is on Giuliano da Sangallo's lost framework, which will be reconstructed based on a careful examination of partly unpublished archival sources. These commissions will be seen in the wider context of ecclesiastical patronage during the 1490s and in particular the phenomenon of sacramental altarpieces.

Vienna‐based Coop Himmelb(l)au has been making adrenaline‐fuelled contributions to the architectural scene ever since its foundation in 1968 by Wolf D Prix, Helmut Swiczinsky and Michael Holzer. In discussion with Guest‐Editor Matias del Campo, Prix looks back over almost four decades of the firm's existence. Among other things, he reflects on its early investigations into space‐modifying feedback systems in response to users' heartbeats, and on later experiments in initiating design with eyes closed in order to channel emotional impact rather than pure formal logic.

This article delves into the relationship between Carlo Levi's L'Orologio (The Watch, 1950) and Primo Levi's Se questo è un uomo (If This Is a Man, 1947). Following a brief overview of passages where Carlo Levi addresses themes of extermination, deportation, and return from concentration camps (not limited to Jews), the article highlights some intertextual connections to suggest that Se questo è un uomo served as one of the literary influences for L'Orologio. Particularly, the portrayal of a Roman survivor by Carlo Levi echoes the character of Elias in Primo Levi's work. Lastly, the article examines Carlo Levi's position within the circle of friends and relatives who welcomed Primo Levi upon his return to Italy and engaged in discussions regarding the first edition of Se questo è un uomo.

her purchase, arguing that as the merchant was flogging it across Italy, she bought it to prevent public embarrassment to Ippolita. Clark's research into the correspondence documenting a family argument that entangled ambassadors and kings offers precious insight into conceptions of honor and reputation, as well as a rare glimpse into the lived experience, values, and emotions of distant historical personages. An iconographic analysis of Ercole de' Roberti's diptych, owned by the avid collector of religious painting Eleonora d'Aragona, anchors the longest chapter, which is a consideration of intertextuality in the court of Ferrara that feels like the center of this book. An appendix of Eleonora's inventories is enlightening. Clark insists on the formal analogy between the folding diptych and a book; she brings to light the plethora of copies and variations spawned by Eleonora's Roberti, buttressing her argument for the agency of objects. Clark's study of the Order of the Ermine, founded by King Ferrante of Naples, not only explains why so many weasels appear in Renaissance art but also proves to be the book's most subtle and effective case study of diffusion and dissemination. Analyzing the deployment of the order's regalia, Clark shows how the ermine constituted a powerful sign that was circulated geographically, temporally, and across media. Like the ermine, the scope of Clark's book reaches well beyond collecting.

The ideal page" is an essay about Sol Le Witt's Wall Drawing # 1126 Whirls and Twirls 1 (2004), which can be seen on the ceilings of the lecturer's hall of the Panizzi library in Reggio Emilia, Italy. With this exciting vision on our minds, this essay takes us on a journey through time, although we stay in the same place, in Italy, recovering the palette of the fresco paintings from the early Renaissance, applied in Giotto's and Piero della Francesca's figures, both of them Le Witt was devoted for. The comparative reading which indeed occurs reversely, starts with murals, tainted in diluted colours, and continues with a revision of the minimal period, under the reference of Le Witt's understanding of the book Mallarmé as a multiple microcosm. From the word to the book, he regards it as a small universe reigned by a universal relationship: movement-space-time. This universe bares the key for Le Witt's interpretation of Mallarmé's stylistic composition, suggesting a regulated structure.

Talk for ‘A Sense of Nature’, SHNH International Summer Meeting, University of Glasgow, 19-20 June 2025.

While 18th-century naturalists commonly documented the emanations of plants and animals, references to smell have become increasingly rare in natural history treatises since the 19th century, and are virtually absent from modern field guides which have long been predominantly ocularcentric. The subjectivity of olfactory experience has been regarded as problematic in natural history, and in sciences in general. Linnaeus himself, although he proposed a categorization of plant odours, wrote in Systema naturæ (1735) that “odour never clearly distinguishes the species” and that “of all the senses [smell] is the least certain.” By the 19th century, the sense of smell was further devalued, often dismissed as a prerogative of “lower animals” and “savages,” incapable of producing reliable knowledge. As a result, the once-common practice of sniffing specimens to describe their specific scents was progressively abandoned among naturalists.

Yet, despite of this shift in favour of visual-knowledge, smell perceptions undeniably remained an important part of the naturalist experience in the 19th century, as evidenced by the new genre of Nature writing. Moving away from the Cartesian constraints of traditional treatises, nature essayists of that time combined scientific inquiry and first-person narratives based on empirical experiences, appealing to a fuller, more diversified sensorium. This paper will examine the attention to the olfactory in the writings of three 19th-century North-American naturalists with a keen sense of smell: Henry David Thoreau, John Burroughs, and John Muir. Their reflections about olfactory sensitivity in human- nature relations, as well as their evocative olfactory descriptions of flora and fauna, demonstrate that active use of the sense of smell in encountering the living world is, in spite of the modern prejudice against this sense in the West, highly valuable—both scientifically, philosophically and aesthetically.

The painter Hermann Meuselbach (1858-1924) worked for more than four decades in Sebeș, many of his works illustrating a heritage that today is of interest for the accuracy of his drawings. A favourite subject of Meuselbach's paintings was the medieval fortress of Săsciori. A new painting from 1888 of the recently discovered Gothic tower of the citadel is the pretext for a foray into the "archaeology of art". Also presented is a history of the medieval monument, with the stories and legends surrounding it, a fortress datable to the thirteenth to sixteenth centuries, identified with castrum Petri and probably Saxobanya in medieval documents. Today a large courtyard with two towers, one with a gate, is preserved. The fortress has not benefited from archaeological excavations, but neither has there been any interest in its preservation.

A bilingual collection of Italian translated poems on Armenian-themed topics penned by Armenian-Canadian Diaspora author and emeritus professor Alan Whitehorn. The poems deal with the 1915 Armenian Genocide, travels though Armenia, Armenian society and politics, the Nagorno Karabakh wars of the 1990s and 2020s, Diaspora identity issues, the continued vexing problem of genocide along with its denial, and the ongoing existential challenges facing Armenians, both in Armenia itself and in the Diaspora. Poems selected for the Italian volume are primarily drawn from Whitehorn’s previously published books: "Ancestral Voices, Just Poems, Return to Armenia and Karabakh Diary". The poetry translations were led by Sona Haroutyunian, associate professor of Armenian and Translation Studies at Ca’ Foscari University Venice.

Иконостас у цркви Светог Николе у Гњилану представља монументалну дрвену конструкцију на којој се налазе иконе које је 1900. године насликао чувени велешки зограф Димитар Андонов Папрадишки. Овај иконостас други је по реду израђен за ову цркву, јер је први страдао у пожару у фебруару 1893. године. Од првобитног су
сачуване царске двери, које се и данас налазе на новој олтарској прегради. Њих је 1887. године осликао Константин Јаковљевић из Галичника. Оне представљају дело зографског сликарства и неће бити анализиране у овом тексту, који представља прилог проучавању опуса Димитра Андонова Папрадишког, као и црквеног сликарства у последњим деценијама османске власти на Балкану које је било под утицајем руског академског сликарства.

У тексту се презентују иконостаси које је у цр-
квама Светог Димитрија у Добротину и Светог Николе у
Косовској Каменици израдио Хаџи Костадин Крстев, ве-
лешки зограф. Иконе за оба иконостаса насликао је 1862.
године, годину дана након што је израдио иконе за иконо-
стас у цркви у Великом Ропотову, који је публикован пре
неколико година. С обзиром на то да се ради о олтарским
преградама које су израђене у складу са актуелном зограф-
ском пикторалном поетиком, и веома сличним програмом,
у овом раду обрађене су заједно. Циљ овог текста је, између
осталог, да се скрене пажња на нововековну црквену умет-
ност која сведочи о дугом и непрекинутом животу Срба на
тлу данашњег Косова и Метохије, а која је угрожена новим
естетско-практичним тенденцијама.

Црква Светог Димитрија у Добротину код Липљана, обновљена, осликана и опремљена у другој половини XIX века представља леп пример црквене уметности и верске обнове овог периода у Рашко-призренској епархији. Цркву је осликао велешки зограф Хаџи Костадин Крстев 1862. године, у време када је сликао и иконе за тамошњи иконостас. Предмет рада је изузетно богат програм зидног сликарства којим су покривене све зидне површине у цркви. Кључне речи: Добротин, Хаџи Костадин Крстев, зограф Игњат, зидно сликарство, црквена уметност XIX века, Рашко-призренска епархија.

La belleza es siempre un misterio para el ser humano. Es un misterio porque deseamos que esté presente en nuestra vida, pero a menudo nos faltan palabras para definir exactamente qué es. La belleza es una experiencia que se nos muestra más allá de nosotros mismos, frecuentemente en momentos fugaces e inadvertidos. Para poder captar esa belleza, es necesaria una predisposición a abrir nuestros sentidos a la realidad y, con ello, llegar a intuir lo que este mundo hermoso nos ofrece en cada instante. La educación de los sentidos y el desarrollo de la sensibilidad estética son, por ello, preocupaciones propias de la teoría y práctica educativas. La belleza se puede percibir a través de la contemplación de un objeto, intentando que sea abierta, libre, sin ningún tipo de prejuicios previos que predispongan a una observación intencionada. Para Rudolf Arnheim (2007), esta observación está íntimamente relacionada con la percepción. El filósofo Cómo citar: Martínez Cano, Silvia et al. (2025). Sensibilizar la educación: una aproximación teórica y práctica a la educación estética. En David Luque Mengibar y Silvia Sánchez-Serrano (Eds.) Teoría de la Educación (pp. 313-345). Ediciones Complutense.

In this essay, I point out four European engravings that could have served as models for the Brazilian sculptor Aleijadinho (the Little Cripple) in conceiving the two frontal bas-reliefs of the pulpits in the Church of São Francisco de Assis in Ouro Preto.

Dissertação (mestrado)—Universidade de Brasília, Instituto de Artes, Programa de Pós-Graduação em Artes, 2018.A presente dissertação de Mestrado em Arte: ARTE CONTEMPORÂNEA, FULERAGEM E ITERAÇÃO: TANTO FAZ SE É PERFORMANCE OU NÃO aborda processos criativos do trabalho poético feito por Natasha de Albuquerque, atravessado pelo grupo Corpos Informáticos e contaminado por iteratores que modificam as propostas. São deglutidos os conceitos: iteração, fuleragem, (e)vento, composição urbana, mar(ia-sem-ver)gonha, sinal nomadizante, sinal normatizante, cá-já, cá-qui, já-cá, mét-todo e lance - criados pelo Corpos Informáticos. Também é proposto o termo "tanto faz se é performance ou não" - para desestabilizar as certezas e navegar em um trajeto de paradoxos, perplexos, absurdos de uma arte ou fuleragem que se afirma e se rasga, que é pró e contra, ambígua por natureza. A arte contemporânea está em terreno frágil em tempos de crise política, incompreensão e reboliço estético; sua pe...

InSEA ART Education VISUAL Journal IMAG intends to provide a visual platform, which, in line with the constitution of InSEA, will help foster international cooperation and understanding, and promote creative activity in art through sharing experiences, improving practices, and strengthening the position of art in all educational settings. IMAG is an international, online, Open Access and peer-reviewed e-publication for the identification, publication and dissemination of art education theories and practices through visual methods and media.

haberme iluminado a través de sus indicaciones durante mis comienzos. Al maestro Riccardo Macrì De Marino por haber encendido mi luz interior. A Fernando García Gutiérrez el cual me abierto la puerta hacia la tradición zen. A los artistas: Ana Crespo, Federico Guzmán e Ian Szydlowski Álvarez por su disponibilidad en compartir sus inquietudines artístico-espirituales. Al profesor Liborio Curione, que generosamente me ha regalado parte de su sabia experiencia en el campo del arte gráfico. A Mª Ángeles por el apoyo especial en todo momento. A Carlo Guarrera amigo y compañero de proyectos transcendentales. A todos aquellos que de alguna forma han favorecido la llegada a esta significativa etapa de mi vida. Y, sobre todo, a quien me ha dirigido con paciencia y profesionalidad, en este viaje.

This is interesting in the context of the transition of kingdoms from the Rigvedic period (3500-1500 BCE) to the period of the Mahājanapadas (before and around the time of the Buddha, 600 BCE). As per google: "Mahajanapadas were sixteen powerful kingdoms and republics that emerged in ancient India around the 6th century BCE, marking a transition from tribal societies to organized states, and playing a crucial role in shaping the political, economic, and cultural landscape of the region."