Editorial Schwerda, Mira Xenia
Art in translation,
09/2022, Letnik:
14, Številka:
3
Journal Article
Recenzirano
The artist Mona Hatoum aims to “expand the idea of a shaky ground to include the entire world.”1 The articles in this varia issue of Art in Translation discuss the topics of translation and ...transformation, and they underline that the global history of art and visual culture is complex, unexpected, and ever-changing—in some ways resembling Hatoum’s “shaky ground.” This issue’s articles foreground unpublished, original research on intercultural translation. While focusing on specific case studies or people, the articles address broader questions that have been at the heart of art history over recent decades: The authors lead us away from the deceptive paradigm of linear rise and decline and from the question of original and copy, which preoccupied art history for so long. They examine specific routes taken by objects and moments of cultural contact rather than searching for illusive origins, explore the development of specific phenomena, ideas, and symbols, and investigate the cultural, political, and personal context of art, artists, and art historians. Geographically this issue’s essay topics range from East Asia, to Southeast and South Asia, the Middle East and West Africa, with some references to European and North American art histories and art historiographies, thereby illuminating specific chapters in a global, interconnected history of art.
Black Matrilineage, Photography, and Representation: Another Way of Knowing' questions how the Black female body, specifically the Black maternal body, navigates interlocking structures that place a ...false narrative on her body and that of her maternal ancestors. This volume, which includes a curated selection of images, addresses the complicated relationship between Blackness and photography and, in particular, its gendered dimension, its relationship to health, sexuality, and digital culture – primarily in the context of racialized heteronormativity. With over forty contributors, this volume draws on scholarly inquiry ranging from academic essays, interviews, poetry, to documentary practice, and on contemporary art. 'Black Matrilineage, Photography, and Representation: Another Way of Knowing' thus offers a cross-section of analysis on the topic of Black motherhood, mothering, and the participation of photography in the process. This collection challenges racist images and discourses, both historically and in its persistence in contemporary society, while reclaiming the innate brilliance of Black women through personal narratives, political acts, connections to place, moments of pleasure, and communal celebration. It serves as a reflection of the past, a portal to the future, and contributes to recent scholarship on the complexities of Black life and Black joy.
New insights on the reception of Etruscan antiquity in the modernist period.
“L’Étrurie est à la mode”, French archaeologist Salomon Reinach bluntly stated in 1927. Since the beginning of the ...nineteenth century, Etruria had not only been attracting the attention of archaeologists and specialists of all sorts, but it had also been a fascinating and, in some cases, captivating destination for poets, novelists, painters and sculptors from all over Europe. This volume deals with the impact of the constantly expanding knowledge on the Etruscans and their mysterious civilisation on Italian, French, English, and German literature, arts and culture, with particular regard to the modernist period (1890–1950). The volume brings a distinctive point of view to the subject by approaching it from an interdisciplinary and comparative perspective, and by looking at a quite diverse range of topics and artefacts, which includes, but is not limited to, the study of drawings, art works, travel essays, novels, cooking recipes, schoolbooks, photographs, and movies.
By exploring a new paradigm to understand ancient cultures, beyond the traditional ideas and models of “reception of the classics”, and by challenging the alleged fracture between the so-called “two cultures” of humanities and natural sciences, Modern Etruscans will be of interest to scholars from various disciplines. Designed as a learning tool for university courses on the interplay between literature and science in the twentieth century, it is suited as recommended reading for students in the humanities.
Contributors: Francesca Orestano (Università degli Studi di Milano), Chiara Zampieri (KU Leuven), Bart Van den Bossche (KU Leuven), Lisa C. Pieraccini (University of California, Berkeley), Martin Miller (Italienisches Kulturinstitut Stuttgart), Marie-Laurence Haack (Université de Picardie Jules Verne), Gennaro Ambrosino (University of Warwick), Martina Piperno (Durham University), Andrea Avalli (Scuola Superiore di Studi Storici di San Marino).
Ebook available in Open Access.
This publication is GPRC-labeled (Guaranteed Peer-Reviewed Content).
This book places the discourse surrounding stigmata within the visual culture of the late medieval and early modern periods, with a particular focus on Italy and on female stigmatics. Echoing, and to ...a certain extent recreating, the wounds and pain inflicted on Christ during his passion, stigmata stimulated controversy. Related to this were issues that were deeply rooted in contemporary visual culture such as how stigmata were described and performed and whether, or how, it was legitimate to represent stigmata in visual art. Because of the contested nature of stigmata and because stigmata did not always manifest in the same form - sometimes invisible, sometimes visible only periodically, sometimes miraculous, and sometimes self-inflicted - they provoked complex questions and reflections relating to the nature and purpose of visual representation.
Since the 14th cent. the scriptoria of the convents of the highlands of Ḥamasen, Sära’e and Akkälä Guzay, where Christian scriptural and liturgical texts were systematically copied to meet the needs ...of monks and clergymen, housed artistic workshops of extraordinary importance, in which the miniature of the sacred book received specific and refined declinations. In this presentation some examples of illustrated manuscripts from some Eritrean historical and cultural contexts will be examined and tentatively the most significant stylistic features will be highlighted.
Frequently, the interiors of the Ethiopian basilicas built in the Christian ‘millennium' ranging from 5th-6th cent. to the end of the 15th cent. are adorned and embellished by serial motifs. Is it ...right to simply call ‘decorations’ these geometric patterns? If so intended they would just be an accessory. Actually, the presence of friezes, stuccos, paintings, etc. affixed to the structure or the elements of furniture is not only a manifestation of quality and mastery, but also an attempt to make more beautiful and glorious the buildings. The different typologies of internal decorations of the Ethiopian basilicas of Tigray and Lasta are here listed and studied according to their patterns and realizations.
This article focuses on a significant and hitherto unpublished icon painted around the mid-fifteenth century by the Master of the Amber-Spotted Tunic. By analysing its style and iconography, it ...furthers our understanding of history of panel painting in Ethiopia during this period. The study shows that Fǝre ṣǝyon was not the only talented artist who created works in compliance with the policies of Zär’a Ya'ǝqob and that the Master of the Amber-Spotted Tunic was an equally accomplished painter. The latter’s work was in fact capable of conveying complex theological ideas in a visually accessible manner.
