Зборник 10 / 2014 (Музеј примењене уметности. Online)
ISSN 2466-460X (Online)
ISSN 0522-8328 (Штампано издање)
PDF штампаног издања (5.0 MB)
Главни и одговорни уредник: мр Љиљана Милетић Абрамовић
Уредник броја: Драгиња Маскарели
др Сарита Вујковић
др Марта Вукотић Лазар
мр Љиљана Милетић Абрамовић
мр Јелена Пераћ
мр Маја Студен Петровић
др Владимир Симић
Секретар редакције броја: Јелена ПоповићСви текстови у рубрикама Прилози, Полемике, Критике и Прикази се рецензирају.
Доц. др Сарита Вујковић, Универзитет у Бања Луци, Академија умјетности – Смер Графички дизајн
Доц. др Марта Вукотић Лазар, Универзитет у Приштини, Филозофски факултет – Одељење за историју уметности
Проф. др Радивоје Динуловић, Универзитет у Новом Саду, Факултет техничких наука – Катедра за уметност примењену у архитектури, техници и дизајну
Проф. др Јелена Ердељан, Универзитет у Београду, Филозофски факултет – Одељење за историју уметности
Слободан Јовановић, кустос, Музеј примењене уметности у Београду
Мр Рифат Куленовић, музејски саветник, Музеј науке и технике у Београду
Драгиња Маскарели, виши кустос, Музеј примењене уметности у Београду
Мр Љиљана Милетић Абрамовић, музејски саветник, Музеј примењене уметности у Београду
Мр Јелена Пераћ, виши кустос, Музеј примењене уметности у Београду
Доц. др Владимир Симић, Универзитет у Београду, Филозофски факултет – Одељење за историју уметности
Доц. мр Маја Студен Петровић, Универзитет уметности у Београду, Факултет примењених уметности – Одсек Костим
Мр Милица Цукић, музејски саветник, Музеј примењене уметности у Београду
Викторија Шимон Вулетић, Арт биоскоп „Александар Лифка“, Суботица
Садржај Зборника 10 / 2014 (Музеј примењене уметности. Online)
ON THE PROBLEM OF HALOS IN THE MINIATURES OF CODEX PARISINUS GRAECUS 1242
The close analysis of the miniatures showed that the halos were represented in all three portraits of Kantakouzenos, and the reason for the earlier arguments of the scholars that the halos do not exist is their partial damage, as well as their weak visibility that is the result of various techniques of execution of this particular detail in each of the portraits. In the Emperor's portrait on the f. 5v, the halo is painted brown, and the traces of the pigment can be discerned only when looked at through a converging lens. The same goes for the miniature on the f. 123v, where Kantakouzenos is represented as both ruler and monk, beneath the representation of The Holy Trinity, with halos whose circumferences are deeply engraved onto the golden foundation of the background of the representation.
During the process of analysis, the author noticed the so far overlooked form of the complex halo around Christ's head in the miniature with the representation of the Transfiguration of Christ. The author also points at two examples of iconographical parallels, the icon of Christ the Pantocrator from the National Museum in Sofia, Bulgaria, and the fresco with the torso of Christ the Ancient of Days from the tympanum above the entrance of the Church of Saint Apostles in the Patriarchate of Peć.
In the conclusion, the author stressed the importance of intitulation of the ruler in the Kantakouzenos' double portrait, which is inscribed only alongside his imperial aspect. Bearing in mind that even after his abdication and taking monastic vows his contemporaries continued to address him as Emperor, which he himself had done as well, Kantakouzenos' double portrait reflects the state of affairs, i.e., his deep influence on almost all church-political developments in Byzantium, so that the miniatures represent the direct visual reflection of the contents of the codex, the purpose of which was to celebrate, as a whole, the role of the former Emperor in Byzantine and European history of the fourteenth century.
THE ERA OF PORCELAIN FIGURES: The 18th and 19th Century Figurines from the Collection of the Museum of Applied Art
The first part of this essay represents a kind of introduction into the history of emergence, shaping and development of this kind of porcelain in Europe. Special accent here is given to evolution of the porcelain figurines, to interpretation of their aesthetics and the roles they were assigned in various aspects of Early Modern culture, i.e. during the 18th and the 19th centuries. The second part of the essay deals with the analysis of the objects that are classified according to certain thematic wholes in the collection of the Museum of Applied Art. The objects presented in this essay form a segment of the Museum's collection of European porcelain figures, and were created in leading European manufactures at the end of the 18th and during the 19th century. We tried to establish clear concrete frames of production of the porcelain figures with introduction of certain thematic wholes, which actually follow general points of references of art of the period in question, and that immediately influenced shaping and development of this kind of porcelain objects. Inspired by the mythological fables from Ovid's Metamorphoses, by music, or everyday life, or by famous personages of the Early Modern culture, the figurines from the Museum's collection have certainly had strong influence to the presentation and building of identities of their owners and commissioners.
A FORGOTTEN GUARDIAN OF THE BANK: Pumping Station “Plavna” on Danube
The first buildings were of architecturally modest dimensions, following the shapes of standard family houses of the period. As typical industrial buildings, pumping stations included a number of other objects necessary for their successful functioning: beside machine house, there were also quarters for superintendent, machinists, guardian houses, workshops, and storehouses for wood and coal.
Pumping stations and plants represented, at the time, some of the most modern and the most specialized architectural problems and subjects for their builders, regardless of their sizes and locations, and auxiliary buildings were supposed to have architectural qualities, too. The architects were required to conceal the strictly utilitarian content, and to make an impact on existing surroundings with the aesthetic forms of their architectural projects. Their interiors were to be as functional and as practical as possible, accessible, clear and organized with utmost precision. Channels with locks, embankments, bridges and other objects, apart from draining and cultivating the once swampy ground, introduced new elements of beauty into village landscapes.
The pumping station in Plavna, as one of the most representative examples of hydrotechnic buildings from the beginning of the 20th century, is veritable rarity from the aspect of the protection of industrial heritage, owing to high level of preservation of its building complex and machines. With obvious elements of Secession combined with traditional building techniques, and with its original pumps, engines and reservoirs, this pumping station is true witnesses of the time in which it was created. Bearing in mind that the narrow definition of industrial heritage, with reference to machine systems and architectural structures, had been expanded, the future challenge will be to explore all the key elements that should be taken into account in the evaluation of industrial heritage.
THE BURMESE ART OF LACQUER: The Traditional Technique of Engraving and Motifs on Two Bagan Betel Boxes
Typical of times and places of their production, the refinement of these boxes serves as an example of the quality of workshops from which they emerged. The motifs full of symbolic meanings, according to canon, although often accompanied by routinely executed drawings, are indisputably characterized by the refined sense of artistic qualities. Bearing in mind the quality of the boxes intended for everyday use, one could imagine the beauty of the best works of Burmese lacquerware with which it undoubtedly stands equal to other, more acknowledged and better-known countries that claim this art as their heritage.
CONTRIBUTION TO RESEARCH INTO RELATIONSHIP BETWEEN SCULPTURE AND PAINTING IN MODERN ARCHITECTURE OF BELGRADE DURING THE SECOND HALF OF THE 20TH CENTURY
DEVELOPMENT OF INDUSTRIAL DESIGN IN THE FPR YUGOSLAVIA ON THE EXAMPLE OF EXHIBITION ART IN INDUSTRY HELD IN MUSEUM OF APPLIED ART IN 1961
ARCHITECTURE OF FURNITURE: Utility Objects in the Opus of Mustafa Musić
CRAFTS AND DESIGN: From an Alternative to the New Forms of Creativity
GLAMOUR: The Stylish Excess that Conceals a Painful Spot
Glamour has quickly and easily moved from cinema to various lines of industry of life styles, and crucial for its mass popularization was the importance of costume designed for the Hollywood melodramas. Costume has become one of the basic features of both aesthetics and semantics. When we take into consideration that the purpose of clothing is, in the first place, the spectacularization of identities, a question arises: what is the content which this stylistic language treats and communicates? We discover that in the very heart of this aesthetic concept rests Georges Bataille's notion of eroticism as eternal longing to establish the lost totality or continuity, an attempt to overcome the gap between the rational and the irrational in man. This is why the fundamental signifying focus of glamour is composed of problems of sexuality and death. With channelling social hysteria into a stylistic excess, glamour appears in the form of aesthetic and moral misdemeanour. Glamour allows one to, in transposing the forbidden contents into the visual, into the language of clothing, step out from mediocre, moderate, appropriate or functional, and into the unattainable, into the everlasting...
In the process of spectacularization, the biological sexuality and mortality become entirely neutralized. Glamour managed to overcome the eternal problems of man by completely divorcing beauty and appeal, but also death, from the corporeal and the social givens. One has, through integrating oneself into the spectacle, at last realized the unity with the world, but the price of this success is exorbitant. One can free oneself from the loneliness and death only when turned into an image.