Art Histroy

CENOLÍTICO HERRAMIENTAS: HOMBRE DE BALDERAS, DISTRITO FEDERAL, Y HOMBRE DE CHIMALHUACÁN, ESTADO DE MÉXICO (10,500 A.P.): http://www.historiacultural.com/2012/07/hombre-de-balderas.html MUJER DE LAS PALMAS, TULUM, QUINTANA ROO (10,000 A.P.): http://entretenimiento.terra.com.mx/cultura/ arte/inah-reconstruye-mujer-de-las-palmas-quedata-de-la-era-del-hielo,d0e83f226602f310Vgn CLD200000bbcceb0aRCRD.html SACRO DE TEQUIXQUIAC, ESTADO DE MÉXICO (12,000 A.P.): http://cronistadetequixquiac.blogspot.mx/ 2010/03/proyecta-gobierno-municipal-construir.html

De zeventiende eeuw in de Nederlanden is een Fundgrube van liefde voor de oudheid. De welopgeleide klasse, die in de steden van Holland, Zeeland en de provinciën aanzienlijk was, deed zich volop tegoed aan klassieke kunst en literatuur. De beeldende kunsten door deze te verzamelen, de literatuur door te lezen en in bibliotheken te vereeuwigen en beide door veelvuldig te imiteren. In de architectuur werden uit de oudheid gedestilleerde voorschriften nagevolgd in nieuwe bouwkunst. Deze beweging kan als het classicisme worden aangeduid, in navolging van de hoge status die de klassieke kunst in de Italiaanse renaissance genoot. In deze bijdrage ga ik in op een zeventiende-eeuwse Amsterdammer die exemplarisch was voor deze verzamel- en imitatiedrift: Jan Six (1617-1700). Behalve door zijn vooraanstaande positie als koopman, bestuurder en burgermeester van Amsterdam in 1691, werd hij ook beroemd door het patronaat van een door anderen in zijn tijd vaak miskende kunstenaar: Rembrandt van Rijn (1606-1669).

Özet:
Sümerlerin bilgelik - su tanrısı Enki ve yardımcıları olan Yedi Bilgelerin gerçekleştirdiği inisiyasyon törenleri Mezopotamya sanatına özellikle Yeni Assur ve Yeni Babil Dönemlerinde damgasını vurmuştur. Enki Kültü, devletin en üst kademesinin temsil edildiği saraylarda ziyaretçileri ve elçileri kapıda bekleyen doğaüstü varlıkların koruyucu heykelleriyle karşılayıp, taht odasına gidene dek, iki taraflı koridorlarda tüm görkemini gözler önüne sermiş ve en güzel örneklerini kralın arkasında bulunan duvarlardaki kabartmalarda göstermiştir. Kraliyet ailesinin kişisel eşyaları ve yaşam alanlarını süsleyen motifler, bilgelerin hayat ağacı etrafında gerçekleştirdikleri - zaman zaman kralların da katıldığı - ritüellerin anlatıldığı sahnelerden oluşur. Bakraç ve çam kozalağı ile serpe işlemi yapan bilgelere stilize hayat ağacı motifi yanında lotus çiçeği, keçi (Enki’nin kendisini temsil eder), aslan ve kuş başlı insan gövdeli kanatlı varlıklar yada aslan ve boğa vücutlu insan başlı kanatlı varlıklardan oluşan figürler eşlik eder. Bu kültün halk inançlarında da önemli bir yer tuttuğu gözlenmiştir. Kapı altlarına gömülen heykelcikler ve silindir mühürlerde bu izler kendini hemen belli eder.
Mezopotamya’da geniş bir etki alanına sahip Enki Kültü; Hitit, Urartu ve Phryg sanatını etkisi altına almış; kabartmalarda, kralların kişisel eşyalarında, süsleme sanatı ve edebiyatta yer edinmiştir. Hitit ve Phryglere ait yerleşim alanlarından Alacahöyük, Arslantaş, Aslantepe, Kargamış, Kalaba Köyü, İlhamlı Köyü, Etimesgut ve Ahi Yakup’taki kabartmalar incelendiğinde inisiyasyon töreni yapan bilgeler, demonik varlıkların gerçekleştirdiği ritüel sahneleri Mezopotamya’daki örneklerinin birer kopyası mahiyetindedir. Urartular için de durum pek farklı sayılmaz. Sanatsal form Mezopotamya’daki aslına uygun şekilde devam ettirilmiştir.

Abstract:
The initiation ceremonies performed by Enki the Sumerian god of wisdom and water and his servants Seven Sages left their marks on Mesopotamian art especially the Neo-Assyrian and Neo-Babylonian periods. The Enki Cult, welcomed the visitors and envoys by protective statues of supernatural beings waiting at the gates of the palaces in which the senior government officials are represented, presented all its glory in two sided hallways up to the throne room, and showed its masterpieces on the reliefs on the walls behind the king. The ornaments decorating the personal belongings and spaces of royal family were composed of scenes of rituals – attended by the kings at intervals- performed by the sages around the tree of life. The sages shaking pine cone with bucket was accompanied by the stylised tree of life, lotus flower, goat (represents Enki), and winged creatures with lion and bird headed human body or winged creatures with human headed lion and bull body figures. This cult had also an important place among the popular beliefs. Statuettes buried under the doors and cylinder seals carry these beliefs.

The Enki Cult which had a broad sphere of influence in Mesopotamia affected the Hittite, Urartian and Phrygian art as well; found a place on reliefs, personal belongings of the kings, decorations, and literature. When the reliefs of Alacahöyük, Arslantaş, Aslantepe, Kargamış, Kalaba Village, İlhamlı Village, Etimesgut, and Ahi Yakup from the Hittite and Phrygian Periods examined, the sages performing initiation ceremony, and the ritual scenes of the demonic creatures are the counterparts of the Mesopotamian samples. The situation was the same for the Urartian as well. The artistic form was followed by the Anatolians as it was in Mesopotamia.

El Calvario que el escultor de Calatayud (Zaragoza) Pedro Martínez el Viejo (doc. 1579-1609) hizo en 1605 para el altar del racionero Domingo Moros en la colegiata de los Sagrados Corporales de Daroca (Zaragoza) es coetáneo de su intervención en la capilla Terrer de Valenzuela del mismo templo, una de las empresas artísticas más relevantes del momento en Aragón, cuya portada había contratado en 1603 junto a los canteros Hernando Larroza y Domingo Pontones. Fundado en los modelos que Juan de Anchieta y sus discípulos habían dejado años atrás en la capital aragonesa, constituye una bella creación en la que el artista aragonés ofrece su interpretación de un tema básico en la imaginería de la Contrarreforma que dispone, además, de un paralelo cercano en el Calvario que él mismo esculpió para el retablo mayor (hacia 1605-1610) de la catedral de Santa María de la Huerta de Tarazona (Zaragoza).
The Calvary that the sculptor from Calatayud (Zaragoza) Pedro Martinez the old (documented 1579-1609) made in 1605 for the altarpiece of Domingo Moros in the Colegiata of the sacred bodies of Daroca (Zaragoza) is contemporary to his intervention in the Terrer de Valenzuela’s chapel of the same temple, one of his most outstanding works of the time in Aragon, which façade had contracted in 1603 with the stonemasons Hernando Larroza and Domingo Pontones. It is based in the models Juan de Anchieta and his disciples had left some years earlier in the capital city of Aragon. It is a beautiful creation in which the artist offers his interpretation of a basic topic in the Counter-reform’s sculpture that it is also similar to the calvary he himself sculpted for the major altarpiece (1605-1610) of the cathedal of Santa María de la Huerta of Tarazona (Zaragoza).

This article focuses on two experimental films from the 1960s: Yvonne Rainer's Hand Movie (1966) and Richard Serra's Hand Catching Lead (1968). It scrutinizes the way both works exhibit a hybridized and indeterminate approach to artistic media. It offers an empirical reading of the films' movement and contextualizes them historically to move on to a theory of medium informed by Deleuze, Levinson, and Rajewsky. How does Rainer's move from the time-based media of dance and choreography, and Serra's move from the object arts of painting and sculpture, into the medium of film, advance our understanding of what is at stake aesthetically when boundaries of media are dissolved, transited, or displaced? Dance aesthetics requires that we show how movement gets translated into medium. I propose that the movement of media creates a displacement that is parallel to the displacement from the empirical to the theoretical in this article, where displacement becomes a form of reflection and critique.