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Journal articles on the topic 'Imperial art and culture'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Fowler, Mayhill C. "The Geography of Revolutionary Art." Slavic Review 78, no. 4 (2019): 957–64. http://dx.doi.org/10.1017/slr.2019.255.

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This article argues that a focus on Ukraine challenges the general understanding of culture in the revolutionary period, which either focuses on artists working in Moscow making Soviet art, or on non-Russian (Ukrainian, Jewish or Polish) artists in the regions making “national” art. Neither paradigm captures the radical shift in infrastructure during the imperial collapse and civil war. Placing the regions at the center of analysis highlights how Kyiv was an important cultural center during the period for later artistic developments in Europe and in the USSR. It shows that revolutionary culture is fundamentally wartime culture. Finally, the article argues that peripheral visions are central to a full geography of culture in order to trace how cultural infrastructures collapse and are re-constituted.

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2

Blakesley, Rosalind P. "When Art Makes News: Writing Culture and Identity in Imperial Russia." Slavonica 22, no. 1-2 (July 2, 2017): 120–21. http://dx.doi.org/10.1080/13617427.2017.1405590.

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3

Dohanian, Diran Kavork, and Vidya Dehejia. "Art of the Imperial Cholas." Journal of the American Oriental Society 114, no. 4 (October 1994): 656. http://dx.doi.org/10.2307/606179.

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4

Herscher, Andrew. "Städtebau as Imperial Culture: Camillo Sitte's Urban Plan for Ljubljana." Journal of the Society of Architectural Historians 62, no. 2 (June 1, 2003): 212–27. http://dx.doi.org/10.2307/3592478.

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Camillo Sitte's planning work has rarely been examined as anything other than an application of the theory laid out in his treatise, City Planning According to Artistic Principles (1899). However, Sitte's theoretical precepts alone do not account for the transnational geography of his practice. Sitte's work as a planner developed around the distinction between Vienna, the imperial capital, where he was never able to influence urban development, and the empire's predominantly Slavic provinces, where almost all of his projects were commissioned. Focusing on the preparation of Sitte's plan for Ljubljana in 1895, this essay relates the theoretical formulation and practical application of city planning to two dynamics that dominated late-nineteenth-century Austro-German liberal culture: the appropriation of humanist Italian culture by scientific art and architectural history, and the redeployment of that culture as professional expertise in a putatively uncultured eastern Europe.

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Bykova, Iuliia Igorevna. "To the question of creation of Great Imperial Crowns in Russia in the XVIII century." Человек и культура, no. 5 (May 2020): 54–75. http://dx.doi.org/10.25136/2409-8744.2020.5.33920.

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The object of this research is the Great Imperial Crowns of the Russian monarchs in the XVIII century. The goal consists in clarification of the circumstances of creation and existence of the Great Imperial Crowns in Russia during this period, determination of their artistic peculiarities, and analysis these regalia as the works of jewelry art with consideration of stylistic evolution. For achieving the goal, the complex method based on the synthesis of art and historical-cultural approaches is applied. The author refers to a range of sources: unpublished archival documents, memoirs of the contemporaries, and visual material. This article presents a first comprehensive study on creation of the Great Imperial Crowns in Russia. The examines archival documents allow specifying names of the artists who created these regalia, many of which are introduced into the scientific discourse for the first time. The analysis of artistic image of Great Imperial Crowns is carried out. The research demonstrates that in the XVIII century this image transformed under the influence of stylistic preferences in the Russian art culture, as well as due to succession of the court jewelers who belonged to different jewelry schools. Up until Paul I of Russia, who made these regalia hereditary, the Great Imperial Crowns were usually taken apart after the coronation ceremony they were made for.

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6

Howard, David Brian. "Reframing the Art of the Imperial Republic." American Quarterly 56, no. 2 (2004): 421–28. http://dx.doi.org/10.1353/aq.2004.0022.

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Verma, S. P. "Review: Mughal Art and Imperial Ideology: Collected Essays * Ebba Koch: Mughal Art and Imperial Ideology: Collected Essays." Journal of Islamic Studies 14, no. 3 (September 1, 2003): 402–6. http://dx.doi.org/10.1093/jis/14.3.402.

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Bernier, Ronald M., and Paul Strachen. "Imperial Pagan: Art and Architecture of Burma." Journal of the American Oriental Society 111, no. 4 (October 1991): 810. http://dx.doi.org/10.2307/603426.

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9

Hauschildt, Elke, and Brian D. Urquhart. "Polish Migrant Culture in Imperial Germany." New German Critique, no. 46 (1989): 155. http://dx.doi.org/10.2307/488319.

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10

Poyner, Jane. "Art and visual culture in Ivan Vladislavić’s Portrait with Keys." Journal of Commonwealth Literature 52, no. 1 (March 2017): 42–55. http://dx.doi.org/10.1177/0021989416686822.

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This article argues that South African author Ivan Vladislavić’s fictionalized memoir, Portrait with Keys: The City of Johannesburg Unlocked (2006), through its portrayal of visual culture and an enabling process of what the narrator, Vlad, calls “seeing and then seeing again” (2006: 89), “rehabilitates” (Coombes, 2003: 23) Johannesburg’s potentially alienating post-apartheid urban environment depicted in Portrait as having been indelibly inscribed by the apartheid state. Through the idea of “seeing and then seeing again”, I argue, the author stages an act of cultural rehabilitation, one that constitutes both artistic and ideological revision. Extending Walter Benjamin’s notion that the photographic image uniquely constellates the past and the present — of which “seeing and then seeing again” is therefore a form — I show that through his depiction of visual culture, Vladislavić engages critically with South African history in the present, and, consequently, his own historical position as white and thus always already a beneficiary of the apartheid regime. From this, I go on to argue that the method of “seeing and then seeing again” inverts the genre of Euroimperial travel writing theorized by Mary Louise Pratt in Imperial Eyes to lay bare questions of scopic power, including Vlad’s own.

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Trifunovic, Branislava. "Fin-de-siccle in Russia: Politics and culture." Zbornik Matice srpske za drustvene nauke, no. 174 (2020): 185–206. http://dx.doi.org/10.2298/zmsdn2074185t.

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In this research paper, author discusses artistic responses to political turmoil from 1850 to 1917. This period in the Russian Empire was marked by a gradual striving for a radical and total social transformation initiated by, sometimes even violent, social reactions to the existing autocratic form of government in the mid-19th century, and completed by the Great Russian Revolution of 1917. The article dwells upon historical problems of social and cultural transformations of the Russian society and highlights artistic contribution in strive for modernization. In exploring the mode of adaptation of Russian society to the challenges of modernity, the possibility arose for the setting of three chronologically conditioned, but complex, cause-effect correlations of art and socio-political change: national-imperial, then (paradoxically named) larpurlartist-democratic and avant-garde-socialist correlation. These political and, at the same time, cultural platforms, are recognized as suitable for creating and strengthening a revolutionary climate in imperial Russia. Referring to the revolutionary nature of the artistic movements that preceded the Russian avant-garde, we insist that pluralism of styles and aesthetics in the socio-cultural sphere, as well as social engagement of artists, are factors that are of utmost importance in the preparation of the October Revolution in 1917.

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DE SOUZA, PHILIP. "WAR, SLAVERY, AND EMPIRE IN ROMAN IMPERIAL ICONOGRAPHY." Bulletin of the Institute of Classical Studies 54, no. 1 (June 1, 2011): 31–62. http://dx.doi.org/10.1111/j.2041-5370.2011.00016.x.

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Abstract This paper discusses the theme of defeated and captured enemies in Roman art based on a selection of examples from the imperial period. It argues that the relative prominence and frequency of such images can be correlated with historical texts and documents to demonstrate that the taking of captives for enslavement was a significant aim of Roman warfare. Examples of similar iconography from other ancient cultures, in particular the Neo-Assyrian Empire, are compared to suggest that a preference for motifs celebrating the acquisition of slaves through warfare is a general characteristic of the commemorative art of ancient imperial cultures.

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Kenney, Ellen. "Treasuring Yemen: Notes on Exchange and Collection in Rasūlid Material Culture." Der Islam 98, no. 1 (March 30, 2021): 27–68. http://dx.doi.org/10.1515/islam-2021-0003.

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Abstract Often distinguished by their characteristic five-petalled rosette emblems, objects dedicated to the Rasūlid sultans of Yemen in Egypt or Syria have long been identified as a distinct corpus in histories of Islamic art. Whether treated singly or as a group, these objects have usually been positioned in the periphery of discussions about Mamlūk luxury arts or cited briefly as evidence of diplomatic relations between the Mamlūk and Rasūlid leadership. Perhaps reflecting a general marginalization of South Arabia in the historiographic traditions of Islamic art scholarship, narratives centered on the imperial Mamlūk enterprise tend to overshadow both the Rasūlid context for these objects and the complexities of their global material histories. This essay explores these two themes together, drawing broadly on visual culture connected with the Rasūlid court to analyze a selection of case studies. It reviews art historical literature on the Rasūlid-Mamlūk corpus as reflected in European and North American scholarship, outlines the various modalities by which this material exchange is understood to have taken place, explores the setting for Rasūlid patronage and collection of such objects, and examines their material afterlives.

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Gilbert, George. "Katia Dianina, When Art Makes News: Writing Culture and Identity in Late Imperial Russia, 1851–1900." European History Quarterly 47, no. 1 (December 16, 2016): 121–22. http://dx.doi.org/10.1177/0265691416674402h.

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15

Huang, Ellen C. "From the Imperial Court to the International Art Market: Jingdezhen Porcelain Production as Global Visual Culture." Journal of World History 23, no. 1 (2012): 115–45. http://dx.doi.org/10.1353/jwh.2012.0028.

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16

Sahu, Bhairabi Prasad. "Aśokan edicts: The genesis of the imperial idea and culture in early India and the debt to Iran." Studies in People's History 5, no. 2 (October 29, 2018): 143–53. http://dx.doi.org/10.1177/2348448918795739.

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The Mauryan Empire was preceded by the Achaemenian Empire, which in extent, and centralisation appears to have set a model for it. There is much on the surface to justify this thesis. Most remarkably there is the use of stone inscriptions for which the Achaemenid emperors, especially Darius and Xerxes, set a precedent. Stone and stone-cut art and architecture, not traceable in post-Indus India begin with Aśoka, and this too had Achaemenid precedents on a grand scale. This essay concedes the connection but argues that the contexts and contents of Aśokan inscriptions were essentially different from their Achaemenid precedents, and Mauryan art too, in both its forms and message, owed much to indigenous tastes and genius.

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Koroleva, A. A. "Nostalgia for the Empire and the modern image of Spain: inspired by Carrera & Carrera jewelry house collection «Treasures of the Empire»." Cuadernos Iberoamericanos, no. 2 (June 28, 2015): 19–24. http://dx.doi.org/10.46272/2409-3416-2015-2-19-24.

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The article touches upon peculiar for the Spaniards nostalgia for the Spanish imperial past. Information society is characterized by growing influence of the symbolic capital of national culture alongside with importance of international prestige of national values. The main topic is the exploration of the “made in” effect and its influence on modern image of Spain. The scientific novelty of the work lies in the application of semiotic analysis of contemporary jewelry art visualizing the Golden Age of Spanish culture heritage, in order to express the importance of symbolic interpretation of the archetypal image in technologies of national branding.

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18

Fordham, Douglas. "Costume Dramas: British Art at the Court of the Marathas." Representations 101, no. 1 (2008): 57–85. http://dx.doi.org/10.1525/rep.2008.101.1.57.

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Arriving at the Maratha court of Poona in the 1790s, British artists struggled to integrate metropolitan aesthetics into the business of imperial expansion. "Costume" lay at the heart of this conflict, pitting an aesthetic concept against an early ethnographic tool of the East India Company. By focusing on British representations of the Maratha durbar, this essay argues that "costume" tested the ideological limits of Western aesthetics and imperial representation at the turn of the century.

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Elverskog, Johan. "Things and the Qing: Mongol Culture in the Visual Narrative." Inner Asia 6, no. 2 (2004): 137–78. http://dx.doi.org/10.1163/146481704793647054.

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AbstractThis article explores how the notion of stasis has shaped the study of Qing Mongolia. In particular it investigates Mongol visual culture in order to reveal how Qing rule and the success of its imperial consolidation was less a stationary monologue of Manchu-Buddhist imperial rule than an on-going fragmented discursive practice.

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20

Garipova, Ninel F. "Amateur Piano Music-Making and the Ufa Section of the Imperial Russian Musical Society." ICONI, no. 1 (2019): 73–82. http://dx.doi.org/10.33779/2658-4824.2019.1.073-082.

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The geographic position of Ufa, which in the early 19th century was a deep province, was not conducive to the development of musical culture. However, we must consider as an important element in its formation the active spread of household music-making and the wish of amateurs to participate in the city’s concert life. The “Society for Singing, Music and the Art of Drama” was founded in 1885 in Ufa following the wishes of the city residents. The twenty-year-long existence of the Society has left a considerable trace in the development of musical education and the exposure of the public to the academic genres of the art of piano performance; it played a significant role in the development of musical literacy and the musical hearing of the residents of Ufa. In virtue of a number of existing social reasons the Society was closed down, but following the request of the most educated part of the local nobility and intelligentsia the Ufa Section of the Imperial Russian Musical Society (IRMS). Having existed for only a few years, until the revolution of 1917, it was able to lead the art of music to a new, higher level. Professionals with a higher musical education were conducive to the further expansion of promotion of music with their concert performances and teaching lessons in the musical classes and enhanced the development of the art of professional music in Bashkiria.

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21

Zachernuk, P. S. "African history and imperial culture in colonial Nigerian schools." Africa 68, no. 4 (October 1998): 484–505. http://dx.doi.org/10.2307/1161163.

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Evaluations of colonial education policy tend to treat it as a tool for applying imperial ideology, which—among other things—denied the Africans their past. This study of the debate about history education in southern Nigeria in the 1930s suggests the need to re-evaluate this assessment. While some imperial pronouncements did deny African history, colonial administration also required historical knowledge. Further, many colonial educators thought it proper to provide African students with a sense of their past appropriate to colonial subjects. A few went much further, to actively promote pride in African history. In this ambivalent context African schoolteachers and graduates got on with the task of describing their past, often using colonial educational media, constrained but not silenced by their colonial situation. Recognising the fertile ambivalence of this aspect of imperial culture opens new and more fruitful approaches to colonial intellectual history in general.

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22

Ayzenberg, Shimshon. "Antokolskii’s Inquisition." Images 8, no. 1 (December 4, 2014): 93–104. http://dx.doi.org/10.1163/18718000-12340029.

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When Mark Antokolskii published his autobiography in a major St. Petersburg monthly, Vestnik Evropy [“The Herald of Europe”] in autumn 1887, it was during unprecedented state anti-Semitism in Tsarist Russia. The autobiography celebrates the liberal culture in St. Petersburg of the 1860s, when he grew into an artist as a student at the Imperial Academy of Art. The translated excerpt below describes how Antokolskii came to make the clay model of the relief, “The Raid of the Inquisition on the Jews during Passover,” as a product of his own search for beauty in art. In the short introduction, I explain that although this specific piece remained unfinished to the end of his life, its artistic concept was the philosophical undercurrent of his artistic creativity and placed his conception of Jewish identity at the very heart of his art.

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Koehler, Jonathan. "“Soul Is But Harmony”: David Josef Bach and the Workers' Symphony Concert Association, 1905–1918." Austrian History Yearbook 39 (April 2008): 66–91. http://dx.doi.org/10.1017/s0667237808000059.

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Ifhigh culture, asTheodorAdornoonce proposed, promises a reality that does not exist, why, at the fin de siècle, did it hold such great attraction for Central Europe's populist politicians who were most attuned to the realities of everyday life? The answer, at least for imperial Austria, is that those politicians believed high culture to possess an integrative social function, which forced them to reconcile notions of “high” culture with “mass” culture. This was particularly true in Vienna, where the city's public performance venues for art, music, stage theater, and visual art stood as monuments to the values that the liberal middle classes had enshrined in the 1867 Constitution. A literate knowledge of this cultural system—its canon of symphonic music; the literature of tragedy, drama, and farce; and classical and contemporary genres of painting—was essential for civic participation in an era of liberal political and cultural hegemony. This article examines one cultural association that attempted to exploit the interaction between German high culture and two spheres, which are commonly thought to stand at odds with elite, high culture: popular culture and mass politics. Rather than a simple, cultural divide, this relationship created a contested “terrain of political and social conflict” in the decades preceding World War I. This terrain was of enormous consequence for Viennese of every social class.

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Zimmerman, Andrew, and Margaret Lavinia Anderson. "Practicing Democracy: Elections and Political Culture in Imperial Germany." German Studies Review 25, no. 1 (February 2002): 135. http://dx.doi.org/10.2307/1433272.

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Shcherbak, Nadezhda L. "I. I. Gornostaev – architect, art historian, teacher: to the 200th anniversary of the birth." Vestnik of Saint Petersburg State University of Culture, no. 2 (47) (2021): 182–88. http://dx.doi.org/10.30725/2619-0303-2021-2-182-188.

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The theme of preserving national culture is associated with the work of the famous architect and art historian Ivan Ivanovich Gornostaev (1821–1874), who popularized Russian culture and its unique originality. The article examines the activities of I. I. Gornostaev as the architect of the Imperial Public Library (his main works are a special room for storing incunabula («Faust’s Cabinet») and the New Reading Room (together with the architect V. I. Sobolshchikov)), as well as Saint-Petersburg University (according to his designs, a building was built for a botanical laboratory with a greenhouse, and the building was rebuilt «for playing ball» to accommodate a library, a physics study and an observatory there). He is the author of two projects – the Iversky Cathedral of the NikoloBabaevsky Monastery and the Kazan Cathedral of the Transfiguration Ust Medveditsky Monastery. Reflected his achievements in teaching as the author of the first systematic course in the history of fine arts in Russia. The role of I. I. Gornostaev in the study of the history of art of the Ancient World, the Middle Ages and the Renaissance is shown.

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Zurndorfer, Harriet. "The Art of Being Governed: Everyday Politics in Late Imperial China." Ming Studies 2019, no. 79 (January 2, 2019): 77–80. http://dx.doi.org/10.1080/0147037x.2018.1547007.

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Sharma, Elena Yu. "The Imperial Russian Musical Society and the Formation of Russian Vocal Education." ICONI, no. 1 (2019): 63–72. http://dx.doi.org/10.33779/2658-4824.2019.1.063-072.

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The article is devoted to the role of the Imperial Russian Musical Society (IRMS) in the process of formation of Russian vocal education. As a result of the Society’s work, the art of Russian singing became established onto a sturdy systemic basis and acquired high professional orientation directed at the time of the Rubinstein brothers. Some of the results of these activities became visible in the first decade of the existence of the conservatories in St. Petersburg and Moscow. However, they revealed themselves especially distinctively at the turn of the 19th and the 20th centuries, when the general standard in academic singing became quite high. Moreover, this pertained not only to opera, but also to the chambersinging genre, which found its confirmation on an official governmental level. The archival materials demonstrate that one of the most crucial roles in this work belongs to the Imperial Russian Musical Society. As the result of its highly developed regional infrastructure it made musical and, in particular, vocal education accessible for the broadest strata of the population. In the long run, this would necessarily affect the formation of the national school of performance, a gradual rise of the overall level of professional singing culture, which reached its peak at the turn of the 19th and 20th century. In such a context the significance of the Imperial Russian Musical Society in the act of formation of Russian vocal education cannot be overestimated.

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BALABANLILAR, LISA. "The Emperor Jahangir and the Pursuit of Pleasure." Journal of the Royal Asiatic Society of Great Britain & Ireland 19, no. 2 (April 2009): 173–86. http://dx.doi.org/10.1017/s1356186308009395.

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The Mughal emperors of India were remarkably mobile kings, inspiring modern historians to describe their imperial court culture as ‘peripatetic’. While the Mughals were not immune to the impulse to construct massive urban architect, no Mughal city, no matter how splendid, innovative, accessible or enlightened, remained the imperial centre for long. Through generations of Mughal rule in India, the political relevance of Mughal imperial cities continued to be very limited; it was physical mobility which remained at the centre of Mughal imperial court life and, for much of the Mughal period, the imperial court was encapsulated in the physical presence of the king.

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Oh, Younjung. "Oriental Taste in Imperial Japan: The Exhibition and Sale of Asian Art and Artifacts by Japanese Department Stores from the 1920s through the Early 1940s." Journal of Asian Studies 78, no. 1 (February 2019): 45–74. http://dx.doi.org/10.1017/s0021911818002498.

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From the 1920s to the early 1940s, Japanese department stores provided Japanese urban middle-class households with art and artifacts from China, Korea, Taiwan, and Southeast Asia. The department stores not merely sold art and artifacts from Japan's Asian neighbors but also promoted the cultural confidence to appreciate and collect them. At the same time, aspiring middle-class customers satisfied their desire to emulate the historical elite's taste for Chinese and other Asian objects by shopping at the department stores. The aesthetic consumption of Asian art and artifacts formulated a privileged position for Japan in the imperial order and presented the new middle class with the cultural capital vital to the negotiation of its social status. This article examines the ways in which department stores marketed “tōyō shumi” (Oriental taste), which played a significant role in the formation of identity for both the imperial state and the new middle class in 1920s and 1930s Japan.

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MacDonald, Carolyn. "Take-Away Art: Ekphrasis and Appropriation in Martial's Apophoreta 170–82." Classical Antiquity 36, no. 2 (October 1, 2017): 288–316. http://dx.doi.org/10.1525/ca.2017.36.2.288.

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This paper examines the cultural antagonisms of Martial's Apophoreta 170–82, a unique series of epigrammatic gift-tags for artworks to be given away during the Saturnalia. In these poems, I argue, Martial thematizes and enacts Rome's transformative appropriation of cultural capital from Greece and elsewhere. First, he adopts the Hellenistic trope of the ekphrastic gallery tour in order to evoke the “museum spaces” of the Flavian city, where artworks became testaments to the power and culture of Rome (Section 1). While evoking these masterpiece collections, however, the epigrams in fact describe miniatures changing hands at a banquet. Martial thus tropes a second Roman practice of appropriation, namely the widespread consumption of transmedial miniature copies (Section 2). Third and finally, the epigrams dramatize the vulnerability of plundered objects by reevaluating their significance within the Roman frameworks of Latin literature and the Saturnalia (Section 3). In this miniature ekphrastic series, then, Martial's apophoretic poetics converge with Roman forms of appropriation both imperial and domestic, concrete and conceptual.

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Bykova, Iuliia Igorevna. "Small crowns of Russian empresses in the XVIII – early XIX centuries: creation, presence, artistic attributes." Культура и искусство, no. 9 (September 2020): 15–29. http://dx.doi.org/10.7256/2454-0625.2020.9.33829.

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The object of this research is the small crowns of Russian empresses of the XVIII – early XIX century. The goal of this work consists in specification of circumstances of the creation and presence of small imperial crowns in Russia of that time, description of their artistic attributes, and analysis of these regalia as the works of jewelry art, considering stylistic evolution. For achieving the designated goal, the author applied comprehensive method of research based on the combination of art criticism and historical-cultural approach, referring to a range of sources: from unpublished archival documents and memoirs of contemporaries to visual material. The article clarifies the term “small” crown. Based on the archival documents, the author introduces into the scientific discourse the records on a number previously unknown small crowns, as well as specifies the circumstances of their creation along with names of the craftsmen. The artistic image of small Imperial crowns was analyzed for the first time. The conducted research demonstrates that in the XVIII century this image transformed under the influence of stylistic preferences in Russian artistic culture and due to the change of court jewelers who belonged to different schools of jewelry art. In the XIX century, influenced by the national ideas and according to the already established state ceremonial, which tends to traditionalism, the exterior of small crowns was fully oriented towards the small crown of 1797.

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BAZIN, NATHALIE. "Fragrant Ritual Offerings in the Art of Tibetan Buddhism." Journal of the Royal Asiatic Society of Great Britain & Ireland 23, no. 1 (January 2013): 31–38. http://dx.doi.org/10.1017/s1356186312000697.

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Buddhism, first officially adopted by Tibetan royalty in the seventh century, remained confined to court circles and was not widely accepted during the reign of the Tibetan kings between the seventh and ninth centuries. After a dark period of persecution during the late imperial period, the so-called “Second Diffusion” of Buddhism in Tibet began towards the end of the tenth century.

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Peers, Glenn. "Review Essay: The Status of the Visual in Byzantine Culture: On Some Recent Developments in Byzantine Art History." Florilegium 17, no. 1 (January 2000): 155–66. http://dx.doi.org/10.3138/flor.17.009.

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The impression given by art history surveys and civilisation courses can often be that Byzantine art is 'flat, flat figures on gold, gold ground.' Take, for instance, the ninth-century mosaic over the imperial door in the narthex of that quintessential Byzantine monument, Hagia Sophia, in Istanbul: Christ is seated on a lyre-backed throne, blessing with his right hand and holding a book open with his left. To either side are roundels containing bust portraits of two members of his celestial court, the Virgin Mary (or the Theotokos, or the Bearer of God, to use proper Orthodox designation) and an angel (Gabriel? Michael?); while the angel gazes sternly out at the viewer, the Virgin turns to the figure of Christ with hands outstretched in a gesture of supplication. Set off in their roundels, these two figures belong to a different field of activity from the fourth participant in this image, the figure of an emperor (identifiable through dress and headgear) kneeling abjectly to Christ's right and below the figure of the Theotokos.

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HANDLER, RICHARD. "Objects of Culture: Ethnology and Ethnographic Museums in Imperial Germany." American Anthropologist 106, no. 3 (September 2004): 631. http://dx.doi.org/10.1525/aa.2004.106.3.631.1.

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35

Porshnev, V. P. "Landscape gardening art of the Seleucid Empire." Vestnik of Saint Petersburg State University of Culture, no. 4 (45) (December 2020): 85–92. http://dx.doi.org/10.30725/2619-0303-2020-4-85-92.

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Landscape art of the state of the Seleucid Empire, which inherited a considerable part of the broken-up Alexander of Macedon’s Empire still was not a subject of a separate research. Unlike Ptolemaic Egypt where imperial gardeners managed harmoniously to unite the landscape planning inherited from sacred groves and parks of Hellas with Ancient Egyptian tradition of regular planning, there is no reason to speak about any specific «Seleucid’s style». Nevertheless, landscape art of this dynasty has the great interest to historians of ancient art as it fills a time gap between gardens and parks of an era of Hellenism and further stages of landscape art’s history. Having inherited and having enriched the Persian paradises and Hanging gardens of Babylon, having extended the culture of the Greek policies to the East, it, further, transfers the heritage to gardeners of Parthia and Bactria, Pergamum kingdom, Roman Empire. Article investigates gardens and parks on the cultural space controlled by Seleucid’s on certain regions (Asia Minor, Mesopotamia, Persia, Bactria, Syria). The main attention is devoted to the park in Daphne, the suburb of Antiochiaon- Orontes, to the biggest and best-known park of antiquity. The author builds a research both on the saved-up archaeological material, and on the written sources which not always are available in high-quality Russian translations.

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Tyukhmeneva, Ekaterina Alexandrovna. "Sorrowful processions Peter the Great: principles of decoration and their evolution in the imperial funeral ceremonies of the XVIII century." Культура и искусство, no. 12 (December 2020): 79–98. http://dx.doi.org/10.7256/2454-0625.2020.12.34466.

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This research reveals the basic principles of the mourning decorations created for the burial of Peter the Great, and traces their fate in the Russian imperial sorrowful processions throughout the XVIII century. Decorative arrangement of state ceremonies is viewed in the context of the panegyric culture of that time. Ceremonial decoration was of temporary (occasional) nature and have been scarcely preserved; other than certain artifacts. The research is based on examination of a wide variety of written and graphic sources that allow reconstructing the image of funeral processions of that time. It is demonstrated that that in preparation for the funerals of Peter the Great, were developed certain patterns of mourning decoration preserved throughout the entire XVIII century. The principles of decorative arrangement of Russian imperial sorrowful processions were based on the European examples, and in many ways by inviting the foreign inventors and masters. The system of creation of mourning ensembles (as well as festive) obeyed the general laws inherent to the court ceremonial culture of Modern Age. The artistic solution of memorial halls and hearses corresponded to the stylistic evolution of art. The author introduces new materials and previously unknown facts into the scientific discourse, as well as clarifies the questions of terminology.

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McMahon, Keith. "Women Rulers in Imperial China." Nan Nü 15, no. 2 (2013): 179–218. http://dx.doi.org/10.1163/15685268-0152p0001.

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“Women Rulers in Imperial China”is about the history and characteristics of rule by women in China from the Han dynasty to the Qing, especially focusing on the Tang dynasty ruler Wu Zetian (625-705) and the Song dynasty Empress Liu. The usual reason that allowed a woman to rule was the illness, incapacity, or death of her emperor-husband and the extreme youth of his son the successor. In such situations, the precedent was for a woman to govern temporarily as regent and, when the heir apparent became old enough, hand power to him. But many women ruled without being recognized as regent, and many did not hand power to the son once he was old enough, or even if they did, still continued to exert power. In the most extreme case, Wu Zetian declared herself emperor of her own dynasty. She was the climax of the long history of women rulers. Women after her avoided being compared to her but retained many of her methods of legitimization, such as the patronage of art and religion, the use of cosmic titles and vocabulary, and occasional gestures of impersonating a male emperor. When women ruled, it was an in-between time when notions and language about something that was not supposed to be nevertheless took shape and tested the limits of what could be made acceptable.

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Hansen, Janine. "The Attractive Empire: transnational film culture in imperial Japan, Michael Baskett." Historical Journal of Film, Radio and Television 29, no. 4 (December 2009): 572–74. http://dx.doi.org/10.1080/01439680903343646.

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Egorova, Sophia K. "A Paradise for Venus." Philologia Classica 15, no. 2 (2020): 277–91. http://dx.doi.org/10.21638/spbu20.2020.207.

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Though the buying pieces of the Classic and Italian art of the Petrine time seemed to lack strategy, one can perceive some tendencies that show an aim to create what the German call Antikensammlung, a collection of Classic art kept at the royal court and organized under museum principles. One of plausible proves of this activity is an unfulfilled project made by Iuriy Kologrivov, who was busy buying pieces of art for the Imperial compilation in Rome. Having acquired some education as an architect, he proposed to Peter the Great an extant draft of the Venus’ Gallery meant to adorn his residence. For the center of the composition the statue of the Tauride Venus was chosen. Whereas this masterpiece was purchased by chance almost last of all, the average quality of the whole collection seems to be rather high, the display having been planned not as decorative one, but as an exhibition based on both art and historic principles. Some new for Petrine culture context traits include discrete exposition of Classic statues (and their copies) and modern Italian pieces along with presence of several statues of the same character (untypical for garden and interior decorative style of the period). This way of thinking coms back to Kologrivov’s culture experience gathered in Italy and even in a shape of an unrealized proposal is an interesting example of a classic art museum space and reflected the latest trends in perception of the Antiquity in Russia and Europe in the beginning of the 18th century.

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Ilika, Aaron. "Sobre Michael Schreffler, The Art of Allegiance: Visual Culture and Imperial Power in Baroque New Spain." Revista Iberoamericana 75, no. 226 (May 6, 2009): 294–97. http://dx.doi.org/10.5195/reviberoamer.2009.6571.

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Parani, Maria G. "Mediating presence: curtains in Middle and Late Byzantine imperial ceremonial and portraiture." Byzantine and Modern Greek Studies 42, no. 1 (March 13, 2018): 1–25. http://dx.doi.org/10.1017/byz.2017.33.

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Curtains constituted a standard component of the scenography of imperial ceremonies during the Middle and Late Byzantine period. This paper explores how curtains were used to control and ritualise sensory and perceptual access to the sacred person of the emperor and to manipulate emotive response to ritual performances. It also enquires into the way in which curtains, both as material objects and as symbols, were employed by those staging imperial ceremonies in order to articulate and communicate messages regarding the nature of the emperor's authority and his special status vis-à-vis his subjects. Paradoxically, the performative and symbolic potential that ensured the curtains’ use in imperial ceremonies led to their exclusion from the representation of the emperor in imperial portraiture, since post-Iconoclastic art did not admit veiled secrets.

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Taylor, Jesse Oak. "Kipling's Imperial Aestheticism: Epistemologies of Art and Empire in Kim." English Literature in Transition, 1880-1920 52, no. 1 (2009): 49–69. http://dx.doi.org/10.2487/elt.52.1(2009)0031.

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Eaton, Natasha. "Nostalgia for the Exotic: Creating an Imperial Art in London, 1750-1793." Eighteenth-Century Studies 39, no. 2 (2006): 227–50. http://dx.doi.org/10.1353/ecs.2005.0060.

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Meissen, Randall. "Francisco Pacheco’s Book of True Portraits: Humanism, Art, and the Practice of “Visual History”." Representations 145, no. 1 (2019): 32–54. http://dx.doi.org/10.1525/rep.2019.145.1.32.

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Francisco Pacheco (1564–1644), the foremost Spanish art theorist of his generation, worked on his manuscript Libro de verdaderos retratos (Book of true portraits) for more than forty years. This essay addresses how the visual cultures of Pacheco’s Seville, especially the city’s reimagined imperial Roman past, Catholic Counter-Reformation image praxis, and visual conventions of Renaissance humanism, shaped his conception of how an illustrious past could be recovered and shown.

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Feldman, Marian H. "Nineveh to Thebes and back: Art and politics between Assyria and Egypt in the seventh century BCE." Iraq 66 (2004): 141–50. http://dx.doi.org/10.1017/s002108890000173x.

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In 671 BCE, Esarhaddon advanced south from the Levant and attacked Egypt, sacking Memphis. About seven years later, in response to repeated Kushite uprisings and following an initial campaign into Lower Egypt, Ashurbanipal's army reinvaded Egypt, marching as far as Thebes where, according to Assyrian accounts, the temples and palaces were looted and their treasures brought back to Nineveh. The Assyrians had been in conflict with Egypt for some time, but these clashes had always taken place in Western Asia, where the two states fought for control and influence over the small Levantine kingdoms. Not until Esarhaddon and Ashurbanipal did Assyria penetrate into the heart of Egypt, attacking its two traditional capitals of Memphis and Thebes. This period of intensified antagonism, along with its consequence — increasingly direct contact with Egyptian culture — brought into greater focus Assyria's relationship to the Egyptian imperial tradition. I would like to propose here that Assyrian royal ideology, as expressed in art, developed in part out of an awareness of and reaction to the great imperial power of New Kingdom Egypt, in particular that of the Ramesside period of the thirteenth and early twelfth centuries. Indeed, it is more the reaction against Egyptian tradition that seems to have stimulated what we understand as characteristic and distinctive of Assyrian art, but at the same time, even these elements may owe some inspiration to Egypt. In this way, the New Kingdom Egyptian empire served as both precedent and “other” for Assyria, which began to develop its own imperialist ideology during the contemporaneous Middle Assyrian period.

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Delle Donne, Fulvio. "The University of Naples and the Organisation of Official Culture = La Universidad de Nápoles y la organización de la cultura oficial." CIAN-Revista de Historia de las Universidades 21, no. 1 (June 1, 2018): 79. http://dx.doi.org/10.20318/cian.2018.4191.

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Abstract: The emperor Frederick II of Hohenstaufen created the University of Naples in 1224, but we do not have the foundation charter; we have only a circular letter in which he invites students to come to Naples. We do not know, in fact, if there was a formal institutional act or if certain statutes or decrees were issued. In any case, the circular letter of invitation is particularly important for two reasons. The first is that Frederick declares in an absolutely new way that culture generates riches and nobility. The second is that the circular letter is transmitted from the collection of epistles attributed to Petrus de Vinea, the protonotary, head of the imperial chancery. The epistles attributed to Petrus de Vinea were a formidable instrument of propaganda not only because of their vigorously effective ideological content, but also because of their extraordinary style. This style was an impressive “symbol of power” demonstrating to the world Frederick’s renewed imperial authority. At the same time, the University of Naples was able to provide monarchs with a wide choice of people of excellent education, essential for the administration of the state, which was being organized more and more centrally.Keywords: University of Naples, Frederick II of de Hohenstaufen, Petrus de Vinea, medieval epistolography, ars dictaminis.Resumen: El emperador Frederick II de Hohenstaufen creó la Universidad de Nápoles en 1224, pero no tenemos el documento fundacional; sólo conservamos una misiva en la que se invita a los estudiantes a ir a Nápoles. No sabemos, de hecho, si hubo un acto institucional o si determinados estatutos o decretos fueron establecidos. En cualquier caso, la carta de invitación es particularmente importante por dos razones. La primera es que Frederick declaró, de forma novedosa, que la cultura generaba riqueza y nobleza. La segunda es que la circular se transmitió desde la colección de epístolas atribuidas a Petrus de Vinea, el protonotario, cabeza de la cancillería imperial. Estas epístolas fueron formidables instrumentos de propaganda no sólo por su vigoroso contenido ideológico, sino también por su extraordinario estilo. Este estilo fue un impresionante “símbolo de poder” que mostró al mundo la renovada autoridad imperial de Frederick. Al mismo tiempo, la Universidad de Nápoles pudo proveer a la monarquía con un amplio abanico de personas de excelente educación, esencial para la administración del estado, que fue administrándose cada vez de manera más centralizada.Palabras clave: Universidad de Montpellier, medicina, profesiones médicas, herejía, traducciones árabes, Edad Media.

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Bond, Katherine. "Mapping Culture in the Habsburg Empire: Fashioning a Costume Book in the Court of Charles V." Renaissance Quarterly 71, no. 2 (2018): 530–79. http://dx.doi.org/10.1086/698140.

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AbstractThis article introduces two manuscript editions of a richly illustrated costume album dated ca. 1548–49. Commissioned by Christoph von Sternsee (d. 1560), the captain of Charles V’s German guard, and composed using visual material sourced from Dutch master Jan Cornelisz Vermeyen (ca. 1500–59), the costume album records the diversity of subjects, customs, and costumes that the guard witnessed across imperial Habsburg Europe. Shaped by Sternsee’s personal experiences of travel, war, and empire, his costume album paints a vivid picture of imperial propaganda and personal ambition, demonstrating the significant role that Habsburg networks and relationships had upon the period’s visual culture.

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Wolff, Lesley A. "Café Culture as Decolonial Feminist Praxis: Scherezade García’s Blame … Coffee." Humanities 10, no. 1 (February 25, 2021): 35. http://dx.doi.org/10.3390/h10010035.

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This article provides a decolonial feminist analysis of Latinx artist Scherezade García’s most recent portable mural, Blame it on the bean: the power of Coffee (2019), created for and installed in the café and library of The People’s Forum, a “movement incubator for working class and marginalized communities” and “collective action” in the heart of Manhattan. This artwork depicts three allegorical women convening over cups of coffee, one of which has precariously overflowed onto a miniaturized portrait of Napoleon Bonaparte, whose undoing was said to have been facilitated by his excessive indulgence in coffee and other commodities of empire. Historically, coffee production was bound to imperial plantocracies, enslavement, and patriarchal networks; today, the industry remains a continued site of oppression and erasure for female workers around the globe. By placing this mural in conversation with the portable material economies of the Caribbean, the gendered history of coffee production and consumption, and the history of female representation in art, this article argues that the mural dismantles heteropatriarchal conventions precisely by invoking café culture—the very mode of social performance that García’s work critiques. In so doing, García subverts the problematically gendered and racialized heritage of coffee with a matriarchal Afrolatinidad that, in the artist’s words, “colonizes the colonizer.”

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Schreiber, Katharina J. "Conquest and Consolidation: A Comparison of the Wari and Inka Occupations of a Highland Peruvian Valley." American Antiquity 52, no. 2 (April 1987): 266–84. http://dx.doi.org/10.2307/281780.

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A recent archaeological survey was conducted of a highland Peruvian valley in order to evaluate the effect on a local culture of the expansion of empires. The strategy employed in the consolidation of a region under an imperial administrative structure is the result of two general factors: the needs of the empire, and the level of extant local political organization. Evidence of Wari and Inka imperial facilities in the Carahuarazo Valley is interpreted in light of changes in the local culture during each occupation to provide a more complete picture of this process. A relatively greater Wari presence and lesser Inka presence are interpreted as the result of differing administrative needs on the part of the respective empires, as well as differing local systems at the time of each conquest. Similarities in goods and services extracted by each empire serve to indicate that although imperial strategies differed, the end result of consolidation of the area into each empire was roughly similar.

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Dolgov, K. M., and E. I. Starikova. "Policy and Culture: From Machiavelli’s Political Philosophy to Kipling’s Political Prophecies." MGIMO Review of International Relations, no. 6(45) (December 28, 2015): 40–50. http://dx.doi.org/10.24833/2071-8160-2015-6-45-40-50.

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The article is concerned with interrelationship of policy and culture, in particular N.Machiavelli's political philosophy and its reflection in some short stories by R.Kipling, one of the most recognized representatives of the British imperial thought. Policy and culture have traditionally been considered almost incompatible spheres of human activity as policy tended to become more and more severe, cynical, "dirty", while culture aspired to develop supreme values and perfect ideals. Sometimes the direct confrontation between policy and religion, policy and morals, policy and law, policy and literature, policy and art in the broad sense of the word could occur. The greatest Renaissance masters - Michelangelo, Leonardo da Vinci, Rafael etc. - actively opposed any evil manifestations: evil ideas, evil words, evil doings, expressing in their masterpieces the highest ideals and values. However, these ideals and values drastically diverged from the reality, political and public relations of the time, the "dirty" policy conducted by the rulers of numerous Italian principalities. It is no coincidence that N.Machiavelli develops his new political philosophy aiming not only to create the strong unitary state, but also to overcome this "dirty" policy at least to a certain extent. Therefore, describing the mechanism of the "dirty" policy that opposes high culture, N.Machiavelli introduces a new political philosophy which should be based on the highest ideals and values. As far as literary art is concerned, one can easily see that such world famous novelists as Kipling, Chekhov, Maupassant and many others reflected in their short stories that very longing for highest values and ideals which are almost absent in political doctrines and political practice. The true policy is necessarily based on the true culture and its values and ideals, whereas the true culture is indispensably connected with the true policy.

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