This work was created in merry Czechoslovak, and for a “Faustian” experiment also favoring sixties. In the hindsight we may call the Octagon (1962) of Ladislav Kupkovič, being the brightest artistic ...persona of then new music and the initiator of non-formal group Music of today, a parable of good and bad, not only in production but also in authors personal life. In the time of the creation and after a “little while” of liberty the author immigrated to West Germany and his work of art became a symbol of two phenomenon of an age that represented the social and also political relationships. They also documented the political animosities of seventies, creating the pressure from Kremlin and the society was under the influence of normalization.
The work sets its goal in an attempt to name the possible relationship in Kant’s, Schopenhauer’s and Wittgenstein’s thoughts about art. The notion less character of the ’idea‘ of an art piece, ...outlined by Kant’s and Schopenhauer’s aesthetic theory, will be studied in the context of Wittgenstein’s points of view on the question of meaning or interpretation of art pieces. On the theme level, the chosen study can be titled as an analysis of thoughts of the alleged thinkers, these then offer reasons of silence when being ’in front of‘ an art piece. In the second part I turn my attention mainly to some of the connections concerning Wittgenstein’s thoughts and personal experience, which explain in a more broad context his silence, i.e. the mystical dimension of his philosophy.
Glazbeno umjetničko djelo u nastavi glazbe djeluje na razvijanje estetskih kriterija u području glazbe, glazbenog ukusa i stvaranje fundusa poznavanja određenog dijela glazbene literature, ...primjerenog uzrastu. Ono je ujedno i sredstvo razvijanja različitih elemenata glazbenog sluha kao što je izoštravanje slušne percepcije, vježbanje slušne koncentracije, upoznavanje s temeljnim glazbenim pojmovima kao što su ugođaj, tempo, dinamika, glazbeni oblik i razni izvodilački sastavi. U trenutku slušanja i doživljavanja glazbe u samoj nastavi glazba je umjetničko djelo, ali u trenutku razgovora i analize sastavnica istog umjetničko djelo postaje sredstvo učenja o glazbi. Kako ishode učenja treba evaluirati, umjetničko djelo u nastavi glazbe time postaje sredstvo evaluacije. Istraživanje koje je provedeno bavi se pitanjem postoje li razlike među učiteljima razredne nastave u mišljenjima prema ocjenjivanju u predmetu Glazbena kultura s obzirom na godine poučavanja i postoje li razlike među učiteljima razredne nastave u mišljenjima prema ocjenjivanju u predmetu Glazbena kultura s obzirom na stupanj obrazovanja. Rezultati koji su dobiveni otkrivaju da ne postoji statistički značajna razlika među učiteljima razredne nastave u mišljenjima prema ocjenjivanju niti statistički značajna razlika među učiteljima razredne nastave u mišljenjima prema ocjenjivanju obzirom na stupanj obrazovanja. Ispitanici su skloniji brojčanom ocjenjivanju što otvara pitanja vezana uz glazbene kompetencije učitelja u nastavnoj praksi i njihovog permanentnog usavršavanja u području školske dokimologije.
По результатам изучения многообразия литых артефактов – украшений представляется очевидным, что казанско-татарским ремесленникам были знакомы элементарные и достаточно сложные методы литья. Наиболее ...распространенным являлось литье по готовой модели в закрытые земляные формы. Так изготавливалось большинство литых украшений. Из сложных способов были известны литье «навыплеск» и литье по выплавляемой восковой модели. Они представляют особый интерес в плане выявления истоков литейных технологий, тесно связанных со средневековыми традициями тюркских, финно-угорских, славянских этносов Евразии. В разные периоды этнокультурной истории литейное ремесло находилось на различных ступенях технологической эволюции, что объясняется рядом исторических причин, связанных в частности с пробирным законодательством Российской империи.
From the variety of moulded artifacts studied by the authors, it is obvious that the Kazan Tatar craftsmen were familiar with elementary and rather complex casting technologies. Casting from a ...ready-made model into closed earthen moulds was the simplest and most widespread. This is how most of the moulded jewelry was made. “Splash" casting and casting on a melted wax model were known among the complex methods. They are of particular interest in terms of identifying the origins of casting technologies closely related to the medieval traditions of the Turkic, Finno-Ugric, Slavic ethnic groups of Eurasia. In different periods of ethnic-cultural history, the casting work was at various stages of technological evolution, which is explained by a number of historical reasons, particularly related to the assay legislation of the Russian Empire.
The perception of the Stations of the Cross is constantly oscillating between visual perception and the acceptance of a verbal description. In the beginning, people taking part in historical events ...(Jesus Christ went to the execution with the cross in the streets of Jerusalem) perceived and experienced what others later tied to words. (Leaving aside the oral history, the first biblical text appeared in the 1st century, and the text tradition of records of the Stations of the Cross’s piety dates back to 1471.) An effort to convey the described historical event through the senses meant adding an image to the text (for the first time in 1423 or 1425). The long period of coexistence of the verbal description and the corresponding visual concepts was gradually disrupted by artists during the 20th century until its last decades in which the artists almost achieved independence of an image from the traditional theme. They did it through an emphasis on expressing inner reality and overcoming the subject reality. They created a new system of symbols suppressing the traditional Stations of the Cross’s image. This artistic concept sees a creative role in the hands of the subject, both the author of the work and his observer. As an accompaniment to this new image, another verbal description appears interpreting blank spaces between the work and the recipient. This transformation will be interpreted on the several artworks.
In this paper are presented some art pieces, used in orthodox religion for artificial general lighting. These pieces, realized at SC RANCON SRL Jassy, present a special importance, because they join ...harmoniously the functionality principle with the artistic and architectural concepts. Thus contribute at the achievement of sobriety, equilibrium and solemnity ambiance from spiritual service realized in Moldavian orthodox churches.
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