Journal 13 / 2017 (Museum of Applied Art. Online)
ISSN 2466-460X (Online)
ISSN 0522-8328 (Printed edition)
PDF of the printed edition 
(12.6 MB)
Editor in Chief: Ljiljana Mileti? ?bramovi?, MA
Issue Editor: Jelena Pera?, MA
Editorial Board:
Sarita Vujkovi?, PhD (Academy of Arts, Banja Luka)
Marta Vukoti? Lazar, PhD (Faculty of Philosophy, Pritina)
Ljiljana Mileti? Abramovi?, MA (Museum of Applied Art, Belgrade)
Jelena Pera?, MA (Museum of Applied Art, Belgrade)
?elena Popovi? (Museum of Applied Art, Belgrade)
Vladimir Simi?, PhD (Faculty of Philosophy, Belgrade)
Maja Studen, MA (Faculty of Applied Arts, Belgrade)
Issue Editorial Assistant: Jelena Popovi?
All the papers in the sections Contributions, Polemics, Critic Reviews and Reviews are peer reviewed.List of Reviewers:
Igor Borozan, Ph.D., Assistant Professor, University of Belgrade, Faculty of Philosophy History of Art Department
Sarita Vujkovi?, Ph.D., Assistant Professor, University of Banja Luka, Academy of Arts Graphic Design Department
Marta Vukoti? Lazar, Ph.D., Assistant Professor, University of Pritina, Faculty of Philosophy History of Art Department
Tatjana Dadi? Dinulovi?, Ph.D., Professor, University of Novi Sad, Faculty of Technical Sciences Chair of Applied Arts in Architecture and Design
Slobodan Jovanovi?, Senior Curator, Museum of Applied Art, Belgrade
Sylvie Legrand-Rossi, Chief Curator, Museum Nissim de Camondo, Paris, France
Draginja Maskareli, Senior Curator, Museum of Applied Art, Belgrade
Ljiljana Mileti? Abramovi?, MA, Curator, Museum Advisor, Museum of Applied Art, Belgrade
Jelena Pera?, MA, Curator, Museum Advisor, Museum of Applied Art, Belgrade
Mirjana Proi? Dvorni?, Ph. D., Professor, Northwood University, Midland, Michigan, USA
Radosav Pui?, Ph.D., Professor, University of Belgrade, Faculty of Philology Oriental Languages, Literatures and Cultures
Maja Studen, MA, Associate Professor, University of Arts in Belgrade, Faculty of Applied Arts Costume Design Department
Vladimir Simi?, Ph.D., Assistant Professor, University of Belgrade, Faculty of Philosophy History of Art Department
Rastko ?iri?, Professor, University of Arts in Belgrade, Faculty of Applied Arts Applied Graphics Department
Biljana Crvenkovi?, Senior Curator, Museum of Applied Art, Belgrade
Sarita Vujkovi?, Ph.D., Assistant Professor, University of Banja Luka, Academy of Arts Graphic Design Department
Marta Vukoti? Lazar, Ph.D., Assistant Professor, University of Pritina, Faculty of Philosophy History of Art Department
Tatjana Dadi? Dinulovi?, Ph.D., Professor, University of Novi Sad, Faculty of Technical Sciences Chair of Applied Arts in Architecture and Design
Slobodan Jovanovi?, Senior Curator, Museum of Applied Art, Belgrade
Sylvie Legrand-Rossi, Chief Curator, Museum Nissim de Camondo, Paris, France
Draginja Maskareli, Senior Curator, Museum of Applied Art, Belgrade
Ljiljana Mileti? Abramovi?, MA, Curator, Museum Advisor, Museum of Applied Art, Belgrade
Jelena Pera?, MA, Curator, Museum Advisor, Museum of Applied Art, Belgrade
Mirjana Proi? Dvorni?, Ph. D., Professor, Northwood University, Midland, Michigan, USA
Radosav Pui?, Ph.D., Professor, University of Belgrade, Faculty of Philology Oriental Languages, Literatures and Cultures
Maja Studen, MA, Associate Professor, University of Arts in Belgrade, Faculty of Applied Arts Costume Design Department
Vladimir Simi?, Ph.D., Assistant Professor, University of Belgrade, Faculty of Philosophy History of Art Department
Rastko ?iri?, Professor, University of Arts in Belgrade, Faculty of Applied Arts Applied Graphics Department
Biljana Crvenkovi?, Senior Curator, Museum of Applied Art, Belgrade
Contents of the Jouurnal 13 / 2017 (Museum of Applied Art. Online)
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Impressum
Impressum
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Contents
Contents
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About Journal
About Journal
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AUCTION-INDUCED FORGETTING: the Question of Alienated and Expatriated Legacy of the House of Obrenovi?
AUCTION-INDUCED FORGETTING: the Question of Alienated and Expatriated Legacy of the House of Obrenovi?
Abstract (original language):
??????????? ? ??????? ???????????? ????????????? ???????? ?? ??? ???????? ???????? ? ???????? ???? ???????? ???????? ??????? ????? ????????? ??????? ?????????? ?????????-?????????? ?????????. ???? ?? ? ???????????????????? ?? ??????? ???????? 1903. ?????? ????? ??????? ?????????? ????????? ??????????????? ?????????? ???????? ?????????, ??? ???? ?????????? ? ?????????? ???????????, ?? ?? ?? ?????? ????? ????????? ????? ???? ??????. ????? ??????? ????????, ???????? ??? ???????? ??????? ?????????? ?? ????????????, ??????? ??? ? ????????????, ??? ? ???????? ??????? ?????????, ??? ??, ????? ???? ?????????? ???????, ??????? ? ????????? ???????? ????????? ????????????.
????? ??????? ?? ??????? ????? ?? ???? ?? ?? ???????? ????????? ???????? ???????? ???????? ????? ????????????, ? ????????? ?? ???????????? ????????? ?? ????????? ? ???????? (Christie's) 1904. ? ????????? (Dorotheum) 1905, ???? ?? ?????? ??? ?????? ?????? ???? ????????? ?????????. ?? ????????? ????????? ???? ???? ??????????? ?? ????? ????????? ????????????? ????????? ???????? ?? ????????????, ??? ?? ???????? ?? ?? ???????????? ????????? ????????? ? ???? ??????? ???????? ? ?????????? ?????????.
????? ??????? ?? ??????? ????? ?? ???? ?? ?? ???????? ????????? ???????? ???????? ???????? ????? ????????????, ? ????????? ?? ???????????? ????????? ?? ????????? ? ???????? (Christie's) 1904. ? ????????? (Dorotheum) 1905, ???? ?? ?????? ??? ?????? ?????? ???? ????????? ?????????. ?? ????????? ????????? ???? ???? ??????????? ?? ????? ????????? ????????????? ????????? ???????? ?? ????????????, ??? ?? ???????? ?? ?? ???????????? ????????? ????????? ? ???? ??????? ???????? ? ?????????? ?????????.
Key words (original language):
???????????? ??????????, ???????, ???????, ??????????????, ?????????????
Summary:
Destruction and alienation of heritage traces are an integral part of active forgetting introduced by the outcome of political overthrows. In determining the status of the legacy of the House of Obrenovi? in the aftermath of the 1903 change of rulling dynasty on the Serbian throne, an analogous raison d'tre was put into force. Following the bloody coup, a large amount of movable goods of the deposed royal house was either vandalised or plundered, either ended up as auction lots.
The sales of dynastic effects on domestic soil were but an overture to a far wider auction activities abroad. Thus, on 8 December 1904, Queen Draga's property, consisting of costumes and jewels, was auctioned at Christie's of London, in favour of the late queen's sisters. It sparked interest among bidders and merchants trading in luxuries, who were attracted by the possibility of adding unique items to their collections, whose high-quality craftsmanship was granted by the fact that they had once belonged to a royal persona. Nevertheless, despite the initial pomp, the prices realised were far below expectation.
The subsequent sale at the Viennese Dorotheum, from 10 to 16 October 1905, was not only the largest in terms of quantity of the Obrenovi? memorabilia, but also in number of items offered to this auction house up to that point. Comprised of complete suites of furniture, silver, glass, and porcelain services, decorative objects, gifts of crowned heads and statesmen, and works of art, this auction was unparalleled in attesting to the court culture during the reign of the last Obrenovi? rulers. It was initiated for fundraising purposes by Queen Nathalie, but motives of a more personal nature primarily, the necessity of forgetting the tragic past these articles evoked prompted her to make such a decision, the decision which has once again underlined that the meanings with which we invest objects most often prevail over their artistic and utility features.
Though on a much smaller scale, assets related to members of the House of Obrenovi? have continued to be subject to trade and auction transfers over the course of the 20th and into the 21st centuries. Rare instances in which a portion of the 'expatriated' legacy managed to find its way back to Serbian museum collections are primarily the result of private initiatives, rather than due to a wider cultural platform.
The sales of dynastic effects on domestic soil were but an overture to a far wider auction activities abroad. Thus, on 8 December 1904, Queen Draga's property, consisting of costumes and jewels, was auctioned at Christie's of London, in favour of the late queen's sisters. It sparked interest among bidders and merchants trading in luxuries, who were attracted by the possibility of adding unique items to their collections, whose high-quality craftsmanship was granted by the fact that they had once belonged to a royal persona. Nevertheless, despite the initial pomp, the prices realised were far below expectation.
The subsequent sale at the Viennese Dorotheum, from 10 to 16 October 1905, was not only the largest in terms of quantity of the Obrenovi? memorabilia, but also in number of items offered to this auction house up to that point. Comprised of complete suites of furniture, silver, glass, and porcelain services, decorative objects, gifts of crowned heads and statesmen, and works of art, this auction was unparalleled in attesting to the court culture during the reign of the last Obrenovi? rulers. It was initiated for fundraising purposes by Queen Nathalie, but motives of a more personal nature primarily, the necessity of forgetting the tragic past these articles evoked prompted her to make such a decision, the decision which has once again underlined that the meanings with which we invest objects most often prevail over their artistic and utility features.
Though on a much smaller scale, assets related to members of the House of Obrenovi? have continued to be subject to trade and auction transfers over the course of the 20th and into the 21st centuries. Rare instances in which a portion of the 'expatriated' legacy managed to find its way back to Serbian museum collections are primarily the result of private initiatives, rather than due to a wider cultural platform.
??????? ?????????
????? ????????? ????????? ? ???????? ? ?????? ????????????? ???? ? ??????: ????? ?? ??????? ? ?????? 19501980.
MUSEUM OF APPLIED ART IN BELGRADE AND THE BEGINNINGS OF FASHION MUSEOLOGY IN SERBIA: Department of Textile and Costume 19501980
MUSEUM OF APPLIED ART IN BELGRADE AND THE BEGINNINGS OF FASHION MUSEOLOGY IN SERBIA: Department of Textile and Costume 19501980
Abstract (original language):
M???? ??????? ? ??????? ????????? ???????? ????? ???????? ?????? ???????????, ??? ?????? ???????????? ?? ????????????? ????, ???? ????? ? ??????? ? ???????????? ???????? ????????, ??????? ?? ??????? ?? ????????????? ??? ???????. ??? ????? ? ????????? ????? ?????? ????????? ????????? ? ???????? ? ???????? ????????????? ???? ? ??????. ????? ????????? ????????? ??????? ?? 1950. ?????? ??? ???? ??????????????? ????? ? ?????? ????a ????. ??? ???????? ???????? ?? ? ????? ?? ??????? ? ??????, ???? ?? ???? ?????? ???? ??????????? ????????? ??????? ??????????. ????? ???? ??? ????????, ????????? ?????? ?? ??????? ? ?????? ?????????? ??, ????? ??????? ?? ??????????????? ? ?????????? ??????, ????????? ??????? ? ??????? ????????. ????? ????? ? ????????? ?????? ?????? ?? 1980. ??????, ???? ?? ? ?????? ??????????? ?????? ????????? ??????? ????????? ??????? ? ???? ? ??????? ????? ? ?????? ????? XIX ? ???????? XX ????. ??????? ?? ??????? ???????????, ???? ?? ????????? ?? ?? ? ???? ?????????? ????? ????? ???????? ???????? ?????????, ???? ??????? ????? ????? ?? ????????? ?????? ??????????? ? ???? ????????????? ????.
Key words (original language):
????, ???????? ?????????, ???????? ????, ????????????? ????, ????? ????????? ????????? ? ????????
Summary:
Fashion exhibitions in large museum centres nowadays get the blockbuster status, whereas the great interest in including fashion in museums, which can be observed both among the local and international professional audiences, highlights the need for a historical analysis of this area of study. The study tracks and analyzes the role of the Museum of Applied Art in Belgrade in the earliest period of fashion museology in Serbia. The Museum of Applied Art was founded in 1950 as the first specialized museum of this type in Serbia. The Department of Textile and Costume was established on the same occasion. Its first curator was the art historian Dobrila Stojanovi?. Along with collection building and sistematization, during the first three decades, the activities of the Department of Textile and Costume included various exhibitions and accompanying programmes. The first thematic museum exhibition dedicated to fashion in Serbia, Women's Fashion from the mid- 19th Century until the 1930s, was organized in 1966.
Over the years, the Department's fashion collection was supplied with new items through purchase and gifts. The acquisitions included clothing items such as gowns, cloaks, underwear and suits, as well as various accessories: caps, hats, head adornments, footwear, belts, bags, umbrellas, handkerchiefs, walking sticks or business card boxes. The acquisition policy was primarily focused on the items of Serbian provenance, although the collection also included objects from other regions and cultures. This period was completed and closed in 1980 by a major study exhibition curated by Dobrila Stojanovi? Urban Dress in Serbia in the 19th and Early 20th Century. Together with the extensive exhibition catalogue, it is still a reference point for further study of the history of Serbian fashion. From today's perspective, it can be concluded that the Museum achieved significant results in this pioneering work, providing a solid foundation for the modern development of museology in general and particularly fashion museology.
Over the years, the Department's fashion collection was supplied with new items through purchase and gifts. The acquisitions included clothing items such as gowns, cloaks, underwear and suits, as well as various accessories: caps, hats, head adornments, footwear, belts, bags, umbrellas, handkerchiefs, walking sticks or business card boxes. The acquisition policy was primarily focused on the items of Serbian provenance, although the collection also included objects from other regions and cultures. This period was completed and closed in 1980 by a major study exhibition curated by Dobrila Stojanovi? Urban Dress in Serbia in the 19th and Early 20th Century. Together with the extensive exhibition catalogue, it is still a reference point for further study of the history of Serbian fashion. From today's perspective, it can be concluded that the Museum achieved significant results in this pioneering work, providing a solid foundation for the modern development of museology in general and particularly fashion museology.
????? ?????????
????????? ???????? ?????? ? ??????? ???????? ???????
CONTEMPORARY CURATORIAL PRACTICES AND STAGE DESIGN
CONTEMPORARY CURATORIAL PRACTICES AND STAGE DESIGN
Abstract (original language):
???? ?????? ??????? ?? ????????? ???????? ??????? ??????? ?????? ? ??????? ?????????? ? ????? ???????, ??? ? ???????? ?????? ???? ?? ?? ????????? ? ??????? ? ??????? ????????? ????????? ? ???????? ? ?????? ???????? ???????? ??????? (19962006), ??????? ???????? ?????????? ? ????? ????? ???? ?? ? ???? ??????? ??????? ? ???????? ?????? ????????? ????? ? ????? ?????????. ? ???? ?? ?????????? ? ????????? ???????? ?? ?????? ?????? ????????????????? ????? ????????? ?????? ? ??????? ???????? ???????. ?????? ????????????, ??????? ??????? ??????? ????????? ???????? ???????, ???????? ?? ? ???? ?????? ??? ?????????? ???????????? ?????????? ????????? ?????? ? ???? ???????. ??? ??????? ?? ?? ????? ?? ???????? ?????? ???? ?? ? ???? (????? ?????????????) ??????? ????????? ????????? ??????? ? ????? ??????? ?? ?????????? ? ?????????? ?????, ??? ? ?? ??????? ???????? ?????? ???????? ???????? ??????? ?? ???? ????????? ????????? ? ? ???? ??????????? ????????.
Key words (original language):
???????? ???????? ???????, ???????? ??????, ?????? ????????????, ??????, ??????? ??????
Summary:
As a complex artistic and cultural practice, stage design lies at the crossroads of at least two research areas within the framework of culture (art) studies: visual culture studies and performing arts studies, as a discursive area focused on the (artistic and theoretical) problem of stage performance. This makes it an exceptionally complex area of applied art and a research subject that requires expertise from all of the abovementioned fields. Nevertheless, in the modern culture of the West, the development of theatre has traditionally implied the dominance of the drama text over other "stage texts" (including stage design), which has resulted in neglecting the visual component in performing arts and the status of stage design as a "less important" art field. The first section of the paper outlines the genesis of the term stage design, sets the theoretical platform for its use in the local context and examines the historical genesis of this paradox. The second section presents an analysis of the curatorial practices developed in collaboration with the Museum of Applied Art in Belgrade within the framework of the Biennial of Stage Design (19962006), while tracking the country's cultural production, developed under the circumstances of acute social crisis and its consequences. At the same time, the paper identifies the reasons for the success (and failure) of this project dedicated to the improvement of professional standards in performing arts in the local context. The paper also discusses the theoretical concepts underlying the conceptualization of new curatorial practices in the field of stage design. The Prague Quadrennial, the world's largest exhibition dedicated to stage design, is discussed in the third section of the paper as a specific laboratory of contemporary curatorial practices in this field. It also traces its historical development and changes in the exhibition practices and the curatorial approaches to the selection process for the Prague Quadrennial. The exhibition practices associated with stage design in the local context (and their ups and downs) are thereby set in a wider, contemporary context of the global(ized) world of performing arts.
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MARIJA DRAGOJLOVI?: a Retro-View on a Family Photo Archive
MARIJA DRAGOJLOVI?: a Retro-View on a Family Photo Archive
Abstract (original language):
?????? ???????????, ???????? ???? ?? ?????? ????? ?????????? ????????? ??????????? ??????? ?????, ??????? ?? ?? ?????????? ??????? ??? ????????? ???????? ??????: ???????? ??????????? ? ??????. ? ????????? ????? ?????????? (2005) ? ????????? ??????? (2015), ??? ?? ????????????? ?????????? ?????????????, ?? ?????? ?????? ??????????? ? ?????????? ??????? ???????????, ????????? ????? ???????????? ??????? ????????? ?????. ?? ???? ?? ????? ????????????? ? ????????? ????????? ? ????????? ? ????? ?? ?????????? ???? ??? ?? ????????? ???? ?? ????-???? ????????? ??????????? ???????, ????? ???????????? ????????, ? ?????????????? ????????. ? ???? ???? ?? ????????? ? ?????????? ??????? ???? ??????? ?????????? ?????????? ??????????? ? ???????????? ?????? ??????, ??? ? ? ??????? ??????????? ????? ?? ????????? ??????????? ? ????? ??????? ???????? ? ??????.
Key words (original language):
?????? ???????????, ???????????, ?????, ????????? ????? ?????, ???????????, ????????
Summary:
According to the manuals for the safeguarding of archival materials, the primary task of all guardians of family photo archives is to provide at least three copies for selected images and to place them in different places. Marija Dragojlovi? fully complies with this instruction. Therefore, she had her old family photos rephotographed by the master of modern photography, Vlada Popovi?. The rephotographing process was carried out as a retro-technique, as an analogue photography procedure in a period marked by the dominance of digital images. Meticulous interventions using colour pencils in the final stage of "refurbishing", or retouching, shape the coloured structure of the final image, which far outstrips the format of photo albums and private histories in pictures.
This is, in brief, the procedure used in creating Marija Dargojlovi?'s paintings from the series Nostalgia and Fragments of Time, exhibited in galleries and museums in Novi Sad, Subotica, Belgrade and Banja Luka in 2015 and 2016. The above-mentioned multimedia works should be seen as artefacts and relics of a family history, transferred to the repository of postmodern art after these interventions. The retro-perspective and empathy for the family photo archive, extended to the public space of galleries and museums, endowed the painting workshop of Marija Dragojlovi? not only with retro-techniques, such as retouching, rephotographing and enlarging analogue photographs, but also with an intention to shape a new visual format: a profane family icon.
This is, in brief, the procedure used in creating Marija Dargojlovi?'s paintings from the series Nostalgia and Fragments of Time, exhibited in galleries and museums in Novi Sad, Subotica, Belgrade and Banja Luka in 2015 and 2016. The above-mentioned multimedia works should be seen as artefacts and relics of a family history, transferred to the repository of postmodern art after these interventions. The retro-perspective and empathy for the family photo archive, extended to the public space of galleries and museums, endowed the painting workshop of Marija Dragojlovi? not only with retro-techniques, such as retouching, rephotographing and enlarging analogue photographs, but also with an intention to shape a new visual format: a profane family icon.
EMMA FILIPPONI, FERNANDO FILIPPONI
SUR LES TRACES D`UN DCOR: de l'htel parisien aux objets d'art. changes entre ateliers europens au XVIIe sicle / ????????? ??????: ?? ???????? ????????? ????? ?? ?????????? ????????. ??????? ?????? ????????? ?????? XVII ????
TRACING THE ORIGINS OF A DECORATION: from a Parisian Mansion toArt Objects. Exchanges among European Workshops in the 17th Century
TRACING THE ORIGINS OF A DECORATION: from a Parisian Mansion toArt Objects. Exchanges among European Workshops in the 17th Century
Abstract (original language):
A partir du XVIIe sicle, l'art franais est engag dans un processus de transformation sous le signe d'une vritable autonomie, notamment face au modle italien. Le pouvoir monarchique de Louis XIV (16381715) et le chantier grandiose de Versailles sont l'expression la plus aboutie de cette mancipation. Les nouveaux modles dcoratifs conus par les ateliers de la capitale franaise, utiliss galement pour le ramnagement de rsidences aristocratiques, influencent aussi les arts dcoratifs, mme au-del des frontires nationales.
La Suite de pices ornementales, un recueil de douze planches, sign par Franois Bignon (ca.1620-post1668) et Zacharie Heince (16111669), semble s'inspirer des dcors de l'htel parisien du chancelier Pierre Sguier (15881672). Aujourd'hui disparu, l'htel Sguier fut ramnag au milieu du XVIIme sicle. En quelques annes, ces dcors furent repris par les artisans de deux centres de production de cramiques parmi les plus importants en Europe aux XVIIme et XVIIIme sicles: Nevers et Castelli.
La ville de Nevers, situe au centre de la France, a pu profiter d'une position stratgique, au milieu des routes commerciales entre Paris et Lyon. Les recherches rcentes confirment que les artisans nivernais taient trs actifs sur le chantier versaillais. En Italie, les cramistes de Castelli utilisent, aux mmes dates que leurs homologues franais, les sujets de la Suite de pices ornementales. Il s'agit d'une trace des contacts existants entre les deux ateliers, confirms par le partage d'autres sources iconographiques inattendues.
/
????? ?? XVII ????, ????????? ???????? ??????? ???? ?????? ?????????????? ???? ?? ?????? ? ????? ???????? ??????????, ??? ????? ? ?????? ?? ??????????? ?????. ????????? ??? ???? XIV (16381715) ? ???????? ??????????? ????? ??? ??? ?? ????????? ?????? ???????????? ?? ????? ??? ????????????. ???? ??????????? ?????? ????????? ? ??????????? ????????? ??????????, ???? ?? ?? ????????? ? ???????? ???????????? ?????????????? ???????????, ??????? ?? ? ?? ??????????? ????????? ? ????? ???????? ???????.
??????? ?? ?? ??? ????????????? ????? (Suite de pices ornementales), ?????? ?? ???????? ????????? ??????? ???? ????????? ??????? ????? (Franois Bignon, ??? 16201668) ? ?????? ??? (Zacharie Heince, 16111669), ??????????? ???????? ????????? ?????? ????????? ????? ?????? (Pierre Sguier, 15881672). ???? ???????? ?????, ???? ????? ???? ?? ???????, ?????????? ?? ???????? XVII ????. ????? ???????? ??????, ?????????? ??? ?????? ???????? ?? ????????? ?? ??? ?????? ?? ?????????? ????????, ?????? (Nevers) ? ????????? (Castelli), ???? ?? ? XVII ? XVIII ???? ??????? ? ????????????? ???????? ?????? ? ???? ??????? ??????????.
???? ?????, ? ?????????? ??????????, ?????????? ?? ????????? ??????? ?? ?????????? ?????????? ?????? ???? ??????? ????? ? ????. ????????? ??????? ??????????? ????????? ?? ?? ????????? ?? ?????? ???? ????? ??????? ?? ?????????? ??????????. ? ????? ?????? ???????, ? ???????, ?????????? ?? ????????? ??????? ???? ?? ???? ????????????? ????? ? ???? ????? ???? ? ?????? ????????? ?????? ?? ??????. ?? ?? ??? ????? ???? ????????? ???? ?? ????????? ?????? ??? ??? ?????????, ? ???? ?? ????????? ? ?????? ? ?????, ?????? ??????????? ???????????? ??????.
La Suite de pices ornementales, un recueil de douze planches, sign par Franois Bignon (ca.1620-post1668) et Zacharie Heince (16111669), semble s'inspirer des dcors de l'htel parisien du chancelier Pierre Sguier (15881672). Aujourd'hui disparu, l'htel Sguier fut ramnag au milieu du XVIIme sicle. En quelques annes, ces dcors furent repris par les artisans de deux centres de production de cramiques parmi les plus importants en Europe aux XVIIme et XVIIIme sicles: Nevers et Castelli.
La ville de Nevers, situe au centre de la France, a pu profiter d'une position stratgique, au milieu des routes commerciales entre Paris et Lyon. Les recherches rcentes confirment que les artisans nivernais taient trs actifs sur le chantier versaillais. En Italie, les cramistes de Castelli utilisent, aux mmes dates que leurs homologues franais, les sujets de la Suite de pices ornementales. Il s'agit d'une trace des contacts existants entre les deux ateliers, confirms par le partage d'autres sources iconographiques inattendues.
/
????? ?? XVII ????, ????????? ???????? ??????? ???? ?????? ?????????????? ???? ?? ?????? ? ????? ???????? ??????????, ??? ????? ? ?????? ?? ??????????? ?????. ????????? ??? ???? XIV (16381715) ? ???????? ??????????? ????? ??? ??? ?? ????????? ?????? ???????????? ?? ????? ??? ????????????. ???? ??????????? ?????? ????????? ? ??????????? ????????? ??????????, ???? ?? ?? ????????? ? ???????? ???????????? ?????????????? ???????????, ??????? ?? ? ?? ??????????? ????????? ? ????? ???????? ???????.
??????? ?? ?? ??? ????????????? ????? (Suite de pices ornementales), ?????? ?? ???????? ????????? ??????? ???? ????????? ??????? ????? (Franois Bignon, ??? 16201668) ? ?????? ??? (Zacharie Heince, 16111669), ??????????? ???????? ????????? ?????? ????????? ????? ?????? (Pierre Sguier, 15881672). ???? ???????? ?????, ???? ????? ???? ?? ???????, ?????????? ?? ???????? XVII ????. ????? ???????? ??????, ?????????? ??? ?????? ???????? ?? ????????? ?? ??? ?????? ?? ?????????? ????????, ?????? (Nevers) ? ????????? (Castelli), ???? ?? ? XVII ? XVIII ???? ??????? ? ????????????? ???????? ?????? ? ???? ??????? ??????????.
???? ?????, ? ?????????? ??????????, ?????????? ?? ????????? ??????? ?? ?????????? ?????????? ?????? ???? ??????? ????? ? ????. ????????? ??????? ??????????? ????????? ?? ?? ????????? ?? ?????? ???? ????? ??????? ?? ?????????? ??????????. ? ????? ?????? ???????, ? ???????, ?????????? ?? ????????? ??????? ???? ?? ???? ????????????? ????? ? ???? ????? ???? ? ?????? ????????? ?????? ?? ??????. ?? ?? ??? ????? ???? ????????? ???? ?? ????????? ?????? ??? ??? ?????????, ? ???? ?? ????????? ? ?????? ? ?????, ?????? ??????????? ???????????? ??????.
Key words (original language):
architecture, cramiques, dcor d'intrieur, htel particulier, Pierre Sguier / ???????????, ????????, ????????? ??????????, ??????? ???????? ?????, ???? ?????
Summary:
In the 17th century, French art came through a campaign of renewal and emancipation from Italian artistic models. The artists of this period, mainly working at the construction site of Versailles, sought to disseminate new models, already tested when furnishing aristocratic residences. These new decorative models, developed in the studios of the French capital, also affected the development of decorative arts, even beyond the borders of France.
The Suite of Ornamental Pieces (Suite de pices ornementales), a set of twelve engraved plates, signed by Franois Bignon (ca. 1620 after 1668) and Zacharie Heince (16111669), seems to be inspired by the decorations made in the mid-17th century in the Parisian mansion of the chancellor Pierre Seguier (15881672) which are now non-existent. In the following years, these patterns were adopted by craftsmen in the two most important European centres of pottery production in the 17th and 18th centuries: Nevers and Castelli.
The city of Nevers, in central France, benefited from a strategic location close to trade routes, halfway between Paris and Lyon. Moreover, recent research proves that the artisans of Nevers were active participants at the construction site of Versailles. At the same time, the Italian potters working in Castelli introduced subjects from the Suite. This study tracks the contacts and active communication between the two studios, confirmed by the fact that they shared other unexpected iconographic sources.
The Suite of Ornamental Pieces (Suite de pices ornementales), a set of twelve engraved plates, signed by Franois Bignon (ca. 1620 after 1668) and Zacharie Heince (16111669), seems to be inspired by the decorations made in the mid-17th century in the Parisian mansion of the chancellor Pierre Seguier (15881672) which are now non-existent. In the following years, these patterns were adopted by craftsmen in the two most important European centres of pottery production in the 17th and 18th centuries: Nevers and Castelli.
The city of Nevers, in central France, benefited from a strategic location close to trade routes, halfway between Paris and Lyon. Moreover, recent research proves that the artisans of Nevers were active participants at the construction site of Versailles. At the same time, the Italian potters working in Castelli introduced subjects from the Suite. This study tracks the contacts and active communication between the two studios, confirmed by the fact that they shared other unexpected iconographic sources.
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A GUILD BOOK COVER OR A LUXURIOUS MEMORIAL ALBUM? Contribution to the Study of Luxury Bookbinding
A GUILD BOOK COVER OR A LUXURIOUS MEMORIAL ALBUM? Contribution to the Study of Luxury Bookbinding
Abstract (original language):
? ?????? ?? ???????? ???????? ??????? ???? ?? ???? ??????? ????????? ?????? ?? ????? ????????. ??? ?? ? ?????? ?????????? ?????? ?? ???????? ????, ?????????? ?????? ?? ??????? ????????? ? ???? ? ???????????, ?? ???????? ?? ????????? ????? ? ?????? ? ?????? ?????? ???????? ?? ???????????? ? ????????. ?? ?????? ?????? ?? ?????? ?? ?????????? ?????????? ? ?????? ?? ??????????? ???????? 18741896. ????? ??????? ??????? ?? ?????? ? ????? ??????: ????? ??? ?? ????????? ??????? ?? ???????? ?????? ?? ???????? ??????????, ??????? ?? ??????? ???????????? ????????, ??? ?? ???????? ????????? ? ????? ?????? ?????? ????????? ????????? ????????? ????? ??????? ???????? ?????????? ?????????? ?????? ??????: ??? ?? ?? ????? ??????? (Jzsef Morzsnyi), ????? ?? ??????? ?????- ?????????? ?????????, ??????????? ? ???????? ? ??????? ?? 1870. ?????? ?? ?????? ?????????? ?????? XX ????.
Key words (original language):
?????, ???????????, ?????, ??????????, ????? ??????? (Jzsef Morzsnyi)
Summary:
The paper deals with an object long considered to be a guild book of the town of Jagodina; it is kept in the Regional Museum in Jagodina. It has the form of a luxurious leather binding framed in gilt brass with cast and pierced ornaments, additionally adorned with floral designs in multicolored enamel paste and four medallions in the corners with miniatures painted in watercolour. The central position on the front cover is occupied by an elaborate cartouche containing a monogram with three letters PJC in blue, white and red. Below the letters, there is a metal ribbon engraved with the years 18741896.
The thorough analysis of the object has brought to light new data. The discovery of legends in German, inscribed on the background of all four miniatures, has made it possible to explain the miniature scenes in medallions; they represent Commerce (Handel), Banking (Bankhaus), Accounting (Buchhaltung, Beamte), and Industry (Industrie). During the research, close analogies were found in a group of bindings designed as decorative albums in the collections of the Austrian National Library in Vienna, the Museum of Applied Art in Budapest, and the Museum of Vojvodina in Novi Sad. The analogies have enabled the author of the article to identify the luxurious binding as a memorial album made as a gift to an unidentified owner of the monogram and to establish the identity of the craftsman who made it. It was Jzsef Morzsnyi, the leading bookbinder and medalist in Budapest, active from 1870 until the late 1930s. The author also argues that the painter of the miniatures may have been Ernst August Krahl (18581926), a German painter who resided in Vienna, but was comissioned to design a throne chair for the Hungarian Millenial Exposition in 1896, the very year the album in the Jagodina museum is dated to.
The thorough analysis of the object has brought to light new data. The discovery of legends in German, inscribed on the background of all four miniatures, has made it possible to explain the miniature scenes in medallions; they represent Commerce (Handel), Banking (Bankhaus), Accounting (Buchhaltung, Beamte), and Industry (Industrie). During the research, close analogies were found in a group of bindings designed as decorative albums in the collections of the Austrian National Library in Vienna, the Museum of Applied Art in Budapest, and the Museum of Vojvodina in Novi Sad. The analogies have enabled the author of the article to identify the luxurious binding as a memorial album made as a gift to an unidentified owner of the monogram and to establish the identity of the craftsman who made it. It was Jzsef Morzsnyi, the leading bookbinder and medalist in Budapest, active from 1870 until the late 1930s. The author also argues that the painter of the miniatures may have been Ernst August Krahl (18581926), a German painter who resided in Vienna, but was comissioned to design a throne chair for the Hungarian Millenial Exposition in 1896, the very year the album in the Jagodina museum is dated to.
IRENE SECO SERRA
WRAPPED IN LUCK: a Japanese Textile Design with Chinese Amulets in the Collection of the Costume Museum Library (Madrid)
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Abstract (original language):
The Costume Museum Library in Madrid holds an exquisite collection of old Japanese textile design books or hinagata-bon. The paper discusses in detail an interesting print from one of these books, a volume of the Nihon (Japan) series, printed in Kyoto on the first day of the tenth month of the 37th year of the Meiji era (1 October 1904). The design includes several coin-shaped amulets of Chinese origin and is laden with an intricate symbolism. Animals and flowers, magical inscriptions and lines from the Chinese Classics conjure up the idea of good wishes and magical protection for the textile design, which was probably intended to serve as a wedding gift and an auspicious present.
Key words (original language):
Japan, China, textiles, amulets, design books
Summary:
? ?????? ?????????? ?????? ??????? ? ??????? ???? ?? ???????? ?????? ?????? ????????? ????? ?? ????????? ???????? ?? ??????? hinagata-bon. ???????? ?? ???????? XX ????, ? ?????????? ?? ? ??? ????????? ??????: Shima shima (??, ?????), Keika zuan (????, ??????? ??????) and Nihon (??, ?????). ? ???? ???? ??????? ?? ????????? ?????? ? ?? ?????? ?? ??? ???? ?? ?????? Nihon.
???? ??? ?????? ??????? ?? ???????? ? ????????? ?? ????? ????????. ? ??????? ? ??????? ????? ?????????? ???????.
? ?????? ???? ?????? ?????? ?? ???? ???????. ????? ??????????? ?????????, ???? ?? ???? ???? ?????? ????? ? ?????? ?? ?? ???????. ??? ??????? ????????? ?? ?????? ???? ???????? ? ?????? ???????; ??????? ?? ??????, ??? ? ???????, ? ?? ??????? ????? ??????, ???? ?? ???? ???? ????????????? ???????, ???? ?? ???????? ???????? ??????????? ? ??????? ?????????? ?? ???? ?? ???????? ?? ?????? ?????. ????????? ?? ?? ?? ????????? ??????? ?????? ?????????. ?? ?? ????????? ?????? ???????? ??????? ?? ????????? ???? (9601279). ? ???? ?? ??????????? ??? ????????? ???????, ??? ? ?????? ???????.
????? ???? ??????????? ??????, ?????? ?? ????????????? ? ??????? ?????? hinagata-bon ????? ?? ?????? ???????, ?? ???? ?? ?? ?????????? ????????. ????, ??????? ? ???? ??????? ??????????? ??????????, ????????? ?? ???????? ?? ???????? ?????. ???????? ? ?????, ???????? ?????? ? ??????? ?? ???????? ??????? ??????????? ????????? ???? ???? ? ???????? ??????? ???? ?? ?????? ????????? ?? ???????? ???????.
???? ??? ?????? ??????? ?? ???????? ? ????????? ?? ????? ????????. ? ??????? ? ??????? ????? ?????????? ???????.
? ?????? ???? ?????? ?????? ?? ???? ???????. ????? ??????????? ?????????, ???? ?? ???? ???? ?????? ????? ? ?????? ?? ?? ???????. ??? ??????? ????????? ?? ?????? ???? ???????? ? ?????? ???????; ??????? ?? ??????, ??? ? ???????, ? ?? ??????? ????? ??????, ???? ?? ???? ???? ????????????? ???????, ???? ?? ???????? ???????? ??????????? ? ??????? ?????????? ?? ???? ?? ???????? ?? ?????? ?????. ????????? ?? ?? ?? ????????? ??????? ?????? ?????????. ?? ?? ????????? ?????? ???????? ??????? ?? ????????? ???? (9601279). ? ???? ?? ??????????? ??? ????????? ???????, ??? ? ?????? ???????.
????? ???? ??????????? ??????, ?????? ?? ????????????? ? ??????? ?????? hinagata-bon ????? ?? ?????? ???????, ?? ???? ?? ?? ?????????? ????????. ????, ??????? ? ???? ??????? ??????????? ??????????, ????????? ?? ???????? ?? ???????? ?????. ???????? ? ?????, ???????? ?????? ? ??????? ?? ???????? ??????? ??????????? ????????? ???? ???? ? ???????? ??????? ???? ?? ?????? ????????? ?? ???????? ???????.
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BECOMING-A-TITLE-SEQUENCE: Digital Animation in Television Series Title Sequences
BECOMING-A-TITLE-SEQUENCE: Digital Animation in Television Series Title Sequences
Abstract (original language):
? ???? ?????????????? ??????? ????????? ????????? ? ??????? ??????? ????????????? ?????? ?????? ?????????? ???? ????????? ?????????? (Gilles Deleuze) ??? ?????????, ??????? ?????? ??????? ???????? ?????? ??? ?????? ???? ???????, ???????? ??? ?????????. ????????? ? ??????? ??????? ?????? ???????????? ??, ????????, ?????????? ?????????? ???? ????????? ?????? ?? ???????? ???????? ?????? ? ?????? ????????????? ???????. ? ???? ???? ?????????? ?? ?????? ????? ? ?????? ?? ????????? ????, ????????, ??????, ???????? ??? ?????? ??????, ?????????? ?????????? ???????????? ? ???? ???? ??? ?????????. ?????? ????? ??????? ??????? ??????????? ????????? ????????? ?? ?? ???????? ???? ????????, ????????? ?????????? ????????? ? ??????? ??????? ????????????? ??????. ?? ???? ?????, ????? ??????, ??? ?????????? ????? ????????? ????????? ???? ????? ?? ?????? ???????? ??????, ?????????? ????? ????? ?? ?????? ??? ?????????????? ?????, ??? ???? ??????????? ???? ?? ??????? ?????????? ????????? ????.
Key words (original language):
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Summary:
The improved production quality of drama series in the early 2000s, primarily on American cable television networks such as HBO, Showtime, AMC, Starz and FX, and, recently, on streaming websites, such as Hulu, Netflix and Amazon, has been accompanied with an improved environment for designing TV series title sequences. In collaboration with the authors of TV series, teams consisting of several dozen authors are engaged by production studios; they are led by designers and directors of title sequences who use digital animation to show the period in which the events presented in the series unfold and the changing fluxes of consciousness in the main characters and relationships among them during the series. This change is an important aspect of Deleuze's concept of becoming, which implies the movement of one form of life, the condition of an object or the way of thinking about another, the pursued one. The intention of the authors of title sequences is to symbolically depict, in a condensed art form and using digital animation, the deviation to which characters or objects are subject in the process of becoming in the series. Furthermore, the authors of TV series title sequences use the heritage of diverse visual arts to create new narratives, immanent to digital animation in TV series title sequences. In this way, a title sequence, as an integral form of applied art that announces a series, fulfils its role in a completely new way in terms of communication, while at the same time seeking to become an independent work of art.
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ACQUISITIONS MAA
ACQUISITIONS MAA
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