ANNE D ALLEVA METODY I TEORIE HISTORII SZTUKI PDF

L — lecture, T- tutorial, D — discussion class, Lab — laboratory, or other. In a very interesting way, the manner of viewing a piece of work and its reception emerge, emphasising the qualities to which particular attention was paid in the age of its creation and which today do not o any deeper reflection. Thus, the language of religious and mythological symbols they used was rather clear. The play of fragments is complemented by the game of unities plural. In such cases, reception theory is an even more interesting tool, which creates an opportunity to go back in time, allowing one to enter into that age and a different way of feeling, as well as to bring closer an individual perspective other than ours.

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A piece of art comprises a good deal of information, which reflects the culture of the circle in which the work was created, as well as the individual intentions of the artist. It can also communicate a great amount of content completely not intended by its author, but actively complemented by the viewer. Thus, it can be said that it is formed due to a collaboration of the artist and the viewer.

Therefore, a modern reception of a former work differs from its reception by the audience of the time of its creation. This text is valuable inasmuch as it includes the first information that ever appeared on the tapestries, helpful in dating the commissioned series.

It is also, or perhaps above all, a record of impressions and reactions of the contemporary audience, constituting in some way a commentary of their worldview. In a very interesting way, the manner of viewing a piece of work and its reception emerge, emphasising the qualities to which particular attention was paid in the age of its creation and which today do not provoke any deeper reflection. Therefore, let us take a closer look at this description.

Therein, Adam and Eve, both our first parents and the originators of our misery, stand very lifelike, painted with the art of weaving, both interwoven with gold in all the tapestries. In the first tapestry , at the head of the marriage bed, an image of happiness of our first parents could be seen, presented in the textile, in which, as they were happy, they were not ashamed of their nakedness.

Meanwhile, the nudity of them both had such an effect on the viewers that men smiled at Eve, and frivolous girls smiled at Adam as soon as they had entered the chamber. This was because his exposed privates showed masculinity and hers femininity in full bloom. In the third one, this exile of ours, miserable and hapless, was presented. It is interesting inasmuch as the tapestry was perceived as a work of painting art, with the use of the corresponding nomenclature. Drawing, plasticity, composition, depth, and colours — all these elements have their place here.

Undoubtedly, it has its sources in the process of tapestry preparation. At the same time, engravings were a source of inspiration for many details of the presentation, serving as technical help, just as in the case of paintings.

According to the readers-response theory, a work assumes the existence of a specific viewer with whom it tries to evoke certain visual and intellectual experiences [5]. One may guess that in this case, the supposed ideal viewer was an educated 16 th -century watcher, in accordance with the full understanding of the content assumed at that time by the creators.

On the aesthetic level, the visual effect reflects the Renaissance ideal of the imitation of nature — so-called mimesis. Thorough observation and documentation of the surrounding world was accompanied by the contemporary reverence for humanity and nature, combining a passion for research with sensitivity to beauty. The subject matter of the tapestry provided an excellent opportunity for a study of a naked human body presenting the contemporary ideal of beauty, modelled on antiquity.

At the same time, the precision in the capturing of every element of flora and fauna due to which we are able to recognise individual types and species of plants, insects and animals is a result of using various compendia of nature. However, with time, in accordance with the principles of Counter-Reformation, the contemporary freedom in presentations of nudity even dictated by the subject!

The discussed tapestry was not spared the mark of that time, as well. Non-invasive interference? People of that time were taught and accustomed to emblematic thinking. Thus, the language of religious and mythological symbols they used was rather clear. The tradition derived from antiquity and medieval bestiaries had absorbed various myths and legends, resulting in the compendia and atlases acting as a handbook of symbols, aside from being a pattern.

The tapestry under discussion was also composed with the objective of conveying some metaphorical content hidden in the form of animals and plants accompanying first parents, which added meaning to the entire narrative, clear at that time. The work of art involves the viewer, as a book involves its reader.

There was a gradual build-up of tenseness in the story — from the right to the left side heraldically. This only attests continuously to the exceptional nature and level of the work. In such cases, reception theory is an even more interesting tool, which creates an opportunity to go back in time, allowing one to enter into that age and a different way of feeling, as well as to bring closer an individual perspective other than ours. This work is licensed under a Creative Commons Attribution 3.

Kubalska-Sulkiewicz ed. However, the readers-response theory crystallised within the theory of literature in the 2 nd half of the 20 th century. All these theories have been transferred to the history of art and used for interpretation works of art, which in theory is called by Wolfgang Kemp the aesthetics of reception.

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No part of this book may be reproduced in any form or by any electronic or mechanical means, including information storage and retrieval systems, without written permission from the publisher or author, except in the case of a reviewer, who may quote brief passages embodied in critical articles or in a review. The essence of knowledge is not to see or argue, but to interpret.. Michel Foucault, Les mots et les choses. Architecture needs meanings in order to become a valuable element of culture in the environment of space.

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ANNE D ALLEVA METODY I TEORIE HISTORII SZTUKI PDF

On the other hand, the perspective of traditions from the Far East, the mysticism of the West, informalism or neodesign aesthetics irresistibly impose their presence. Some of her works can also be included in the category of landscape architecture, which after all is more and more situational, ephemeral and symbolic. And on the other hand: how to capture the mark of the individualism in her works, which by principle escape all kinds of definiteness? How to identify subjectivity which endlessly questions itself through universalizing or accidental gesticulation? Her lines will, like a Greek chorus with its refrain, give rhythm to the present argumentation. Increasingly seldom one can encounter artists such as Urszula Wilk, who remain loyal to their own ideas and intuition. Her starting point takes the form of faith in the elevated character of direct painting gesture.

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To browse Academia. Skip to main content. By using our site, you agree to our collection of information through the use of cookies. To learn more, view our Privacy Policy. Log In Sign Up. Ideograms in Architecture. Between Sign and Meaning.

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