TEXT AND IMAGE: ESSENTIAL PROBLEMS IN ART HISTORY https://txim.history.knu.ua/ <p><strong>Text and Image: Essential Problems in Art History</strong> is an international peer-reviewed biannual electronic journal established by the <strong>Taras Shevchenko National University of Kyiv</strong> (Ukraine). The journal has been launched in 2016 with <strong>the aim</strong> of contributing to the development of scientific communication between researchers who study fine art in historical and cultural contexts.</p> <p>The Editorial board encourages submissions of previously unpublished original scholarly articles on topics of significance to those concerned with the problem of historical narrative and visual imagery correlation, in various cultures, from ancient to recent history. We also invite to submit brief contributions, including book and exhibition reviews, interviews and short surveys.</p> <p>The journal is indexed in <a href="https://doaj.org/toc/2519-4801?source=%7B%22query%22%3A%7B%22bool%22%3A%7B%22must%22%3A%5B%7B%22terms%22%3A%7B%22index.issn.exact%22%3A%5B%222519-4801%22%5D%7D%7D%5D%7D%7D%2C%22size%22%3A100%2C%22sort%22%3A%5B%7B%22created_date%22%3A%7B%22order%22%3A%22desc%22%7D%7D%5D%2C%22_source%22%3A%7B%7D%2C%22track_total_hits%22%3Atrue%7D">DOAJ</a> and <a href="https://journals.indexcopernicus.com/search/details?id=46816">Index Copernicus</a> <strong>ICV: 100.00 (2021)</strong><strong> </strong></p> <p><strong>eISSN: 2519-4801</strong></p> en-US kazakevych@knu.ua (Dr. Gennadii Kazakevych) ohrimenkosasha@gmail.com (Dr. Oleksandr Okhrimenko) Wed, 31 Aug 2022 14:32:04 +0300 OJS 3.3.0.11 http://blogs.law.harvard.edu/tech/rss 60 Motives of Transcarpathian architecture in Zoltan Sholtes creativity https://txim.history.knu.ua/article/view/93 <p>The article reveals the peculiarities of Zoltan Sholtes' work in the open air. The typological characteristics of the artist's landscapes by thematic and semantic aspects are determined. Landscape with architectural motifs is one of the dominant plots, along with a lyrical chamber sketch, a rural landscape and a panoramic landscape-picture. Some landscapes with motifs of Transcarpathian architecture, in addition to artistic value, have ethnographic value, as they show architectural monuments that have not been preserved to this day. Art analysis of landscapes with motifs of the fortifications of Uzhgorod and Mukachevo, as well as wooden bell towers and churches showed the peculiarities of the creative method. This is work in the open air, solving pictorial and figurative tasks, the use of realistic-impressionist means of artistic expression. The plein air experience contributed to the formation of a recognizable author's handwriting of the artist. This is a special approach to the interpretation of planning and spatial relationships; compositional division of the canvas into plans with a high horizon line and a blank foreground; use of vibrating expressive writing technique a la Prima; combination of active modeling smear with transparent generalized planes; color experiments, a special ratio of warm and cold shades in particular. The main means of emotional expression of the works are defined by color means; means of author's equipment; composite means; figurative means, expressed through the peculiarities of the interpretation of the planes of the foreground and the sky, which enhance the emotional component of the landscape. Detailed reproduction of a visible plot with an architectural object and the search for a unique image inspired by this plot, the formation of the appropriate mood, and the manifestation of philosophical, symbolic subtext determine the peculiarity of the artist's creative method.</p> <p> </p> <p> </p> Oksana Melnyk, Viktor Shtets Copyright (c) 2022 TEXT AND IMAGE: ESSENTIAL PROBLEMS IN ART HISTORY https://creativecommons.org/licenses/by/4.0/deed.en https://txim.history.knu.ua/article/view/93 Wed, 31 Aug 2022 00:00:00 +0300 Modeling of microhistory in a narrative exposition on the example of the exhibition project at Taras Shevchenko National Museum «Shevchenko in the language of the city» https://txim.history.knu.ua/article/view/104 <p>The article attempts to analyze the method of historical modelling in a narrative exposition on the example of an exhibition project at the Taras Shevchenko National Museum "Shevchenko in the language of the city."</p> <p>In modern exhibition design, the communicative approach is defined as a way to establish a dialogue between the exhibit and the visitor. In this case, there are two cornerstones. Firstly, to provide an important condition for the visitor's ability to understand the “language of things”. And, secondly, to organize the unique exhibition space.</p> <p>Today, the museum exposition is one of the main and the most important means of communication between the visitor and the museum’s stories. The communication system refers to the top qualities of modern design at the museum exposition.</p> <p>Therefore, the author defined the main purpose of the study as clarifying the features of the interaction (spectator-exhibit-exhibition) in terms of a new approach to creating an exhibition space (using narration, the method of historical modelling). In the postmodern world, this kind of space is positioned not only as an area of ​​knowledge or aesthetic pleasure but also as a meeting space, which equalizes social status and removes barriers to communication. Following the set goal, the exhibition project implemented several tasks. The first one is to form a holistic narrative of the project, which helped to immerse visitors in the theme of the project, allowing them to be present in that time and space. The second one is to demonstrate the role of the city in human life in an accessible way and the opportunities it opens up for career building, multifaceted implementation, and further chances. The last one is to model two micro-stories of people who have realized themselves in the urban space, "take" from the city certain benefits, but at the same time "give", invest in the city. Thanks to the method of historical modelling, the exhibition space turns into a "living picture" of the epoch.</p> <p>In the Ukrainian-language museum segment, this topic presented quite bland, although in the western territories such researchers as M. Kagan, K. Mannheim, and E. Rozemblium work with it more widely.</p> Yulia Chupryna Copyright (c) 2022 TEXT AND IMAGE: ESSENTIAL PROBLEMS IN ART HISTORY https://creativecommons.org/licenses/by/4.0/deed.en https://txim.history.knu.ua/article/view/104 Wed, 31 Aug 2022 00:00:00 +0300 Kyiv period of Illia Shulga’s life and work (1928-1938) https://txim.history.knu.ua/article/view/134 <p>Research work devoted to the details of the Kyiv period of life and work of Ukrainian painter Illia Shulga. This period covers the years 1928-1938, at this time there were rapid changes in the artistic life of Ukraine, which affected the fate of the artist. For most of his life the painter lived and worked at a distance from active artistic life, only in the late 1920s he manage to move to Kyiv. Despite the noticeable influence of avant-garde in artistic life, Illia Shulga consistently followed a realistic approach to art, it was the influence of his education, obtained at the St. Petersburg Academy of Arts. He successfully worked in various genres (portrait, landscape, genre paintings). During his lifetime, the artist has created about 1,000 works (the Kyiv period accounts for about 170 works), but most of them have not survived to our time. Most of Shulga's works disappeared during World War II. Today, a little more than 20 of his works are preserved in the museums of Ukraine from the huge creative heritage of the artist. The article introduces a number of documents that shed light on the details of the artist's biography. In particular, the criminal case of Illia Shulga, which recorded a number of details of the last period of the artist's life. The documents of the case shed light on the details of the arrest, the course of the investigation, and the reasons for sentencing the painter. The publication also analyzed the most complete currently known list of Shulga’s works, which includes 564 items. This list was compiled in 1941 by the artist's wife, and later this list and a number of other documents related to the life and work of the artist were deposited in the Archive-Museum D. Antonovych of the Ukrainian Free Academy of Sciences in the United States. The appendices contain a list of the artist's works that are currently stored in museums in Ukraine and a link to the list of the artist's works.</p> Taras Samchuk Copyright (c) 2022 TEXT AND IMAGE: ESSENTIAL PROBLEMS IN ART HISTORY https://creativecommons.org/licenses/by/4.0/deed.en https://txim.history.knu.ua/article/view/134 Wed, 31 Aug 2022 00:00:00 +0300 Oneiric images in artworks of 19th-century French artists https://txim.history.knu.ua/article/view/122 <p>The article reviews the artistic activity of representatives of French graphic art – Jean-Jacques Grandville (1803–1847), Victor Hugo (1802–1885), and Odilon Redon (1840–1916), who became founders of new interpretations for dreams in 19th-century art. We analyzed artists’ key works representing the world of dreams with the help of concrete images and symbols. The article outlines special features of dream depiction in French graphic art of the second half of the 19th century. </p> <p>In the 19th century, the increased interest in the topic of dreams in France related to French scientist Alfred Maury (1817-1892). His book “Sleep &amp; Dreams” (1861) influenced conceptually the activity of French artists who researched the unconscious with the help of visual language. The French art of the 19th century gradually withdrew from traditional European plots of dreams depiction of previous years that can be encountered in the artworks of Henry Fuseli, Francisco Goya, and William Blake. </p> <p>French graphic artists focused their attention on depicting the inner nature of dreams and oneiric space. They were not interested in plots with a sleeping person – they aimed to delve into the most hidden part of human subconsciousness during sleep and embody what is happening there. They approached philosophical and medical tracts devoted to the nature of dreams, inspired by spiritualism, and studied various oneiric states – insomnia, hallucinations, somnambulism, and nightmares. Dreams became the source of inspiration and infinite fantasies for 19th-century French artists. They turned into art researchers of dreams, kept «night» diaries, and wrote down their observations. Their artworks became exceptional results of these oneiric searches. The research of 19th-century French graphic artists and their innovative approaches to the depiction of dreams also play an important role in understanding the establishment and development of surrealist art at the beginning of the 20th century. </p> <p> </p> Anastasiia Bovtun Copyright (c) 2022 TEXT AND IMAGE: ESSENTIAL PROBLEMS IN ART HISTORY https://creativecommons.org/licenses/by/4.0/deed.en https://txim.history.knu.ua/article/view/122 Wed, 31 Aug 2022 00:00:00 +0300 The ideas about Ottomans in Italy during the 15th and 16th centuries: https://txim.history.knu.ua/article/view/136 <p>The article is an attempt to supplement the knowledge of Italians' ideas about Ottomans during the 15th and 16th centuries, using the preserved antique textiles of both cultures, as well as fabrics' mentions in written and visual sources.</p> <p>Modern technological research methods of ancient textiles make it possible to clarify their attributive data, which in turn contributes to more definite conclusions about artistic exchanges in the field of decoration of expensive textiles. Thus, for example, it turned out that two fabrics from the collection of the Khanenko Museum, which were considered Italian, are the work of Ottoman masters. If the structure of the Italian and Ottoman fabrics of the period under the study are quite different, visually – they are often almost identical. Despite the fact that the trade in Ottoman fabrics was not widespread in Italy during the 15th and 16th centuries, Italian painters and weavers still actively imitated the textile products of the Middle East.</p> <p>Written sources, especially epistolary and inventory, are also filled with references to Ottoman fabrics and "turkish-style" textiles. Since there were few authentic silks from West Asia in the secular space of Italian cities at the time, it is likely that citizens could even associate Ottoman culture with certain types of local textiles that looked like "Turkish". The number and peculiarities of their description in written sources suggest the Italians' enormous interest in Ottoman culture, "cautious concern" for the growing Ottoman Empire, and recognition of its dominance over many Asian peoples. All this took place in spite of the permanent wars between the Venetian Republic and the Ottomans. The entry into Italian fashion of fabrics "in the Turkish style" was lightning fast. However, local authors emphasized the antiquity of this fashion tradition, to some extent rooting the idea of ​​kinship between the two cultures.</p> Kateryna Hotsalo Copyright (c) 2022 TEXT AND IMAGE: ESSENTIAL PROBLEMS IN ART HISTORY https://creativecommons.org/licenses/by/4.0/deed.en https://txim.history.knu.ua/article/view/136 Wed, 31 Aug 2022 00:00:00 +0300 Singers of Pereyaslav bishops in the 18th century https://txim.history.knu.ua/article/view/105 <p>The proposed article is based on the corpus of historical sources of the 18th century and is devoted to the study of the singers of bishops of Pereyaslav. We found documentary evidence of the singers in 9 of the 14 bishops of Pereyaslav. According to the traditional order at the episcopal cathedrals of the Hetmanate, during the services, only the monks (<em>kryloshany</em>) sang. This tradition can be eloquently traced in the Pereyaslav Ascension Cathedral and other monasteries of the Pereyaslav eparchy during the 1720-1740s. The total number of singers in the cathedral monastery ranged from 5 to 9 people. At the head of the monks were two <em>ustavnyky</em>, who ruled the right and left choirs. And only in 1722, by a special decree, the Most Holy Governing Synod unified the rules, which primarily concerned the Ukrainian eparches. Since then, the order for the service of 10 singers has been established in the bishop's houses. Despite this, even before the decree was issued, vicar bishop Cyryl Szumlański was served by his own singers, led by the <em>regent</em>. The presence of the <em>regent</em> can be traced in the service of the next vicar bishop Joachim Strukov. Both the church monody and the polyphony sounded in the cathedral. We draw this conclusion from the available music books. Bishop Joakim Strukov in Pereyaslav owned the Heirmologia with musical notation, and in the time of Bishop Arseniy Berlo in the cathedral the musical-theoretical treatise of Mikołaj Dilecki "Musical Grammar" was rewritten. On the cover of this manuscript it was stated that one day a solemn <em>partesnyi concert</em> was performed. In connection with the last musical manuscript, the bishop's intention to introduce and consolidate innovations in the field of music education can be traced, when the aim of the students was to master the art of <em>partes </em>singing at a qualitatively better level. In addition to the above, this thesis is confirmed by information from the life of the singer of one of the previous bishops, when the teaching of <em>partes</em> singing took place outside Pereyaslav. The bishops' singers were called "pivchi" in authentic terminology, which we see both in documents from the archives of the Most Holy Governing Synod in St. Petersburg and in local documents from Pereyaslav. Beginning with the act sources of 1760 and at least until 1782, the group of bishop's singers was called "vocal music". During the same period, there is another name for this vocal group, which was used for internal use - "pivcha", which probably meant primarily a separate room where the singers lived. The choir was financed, first of all, from the bishop's treasury. And the singers received additional income by collecting money from the parishioners in a "singing mug", a special container for donations. According to expenditure sources, the funds received went to sewing, repairs, as well as the purchase of clothing and footwear. Among the information found in the sources about the singers, the total number of which reaches 29 names, not counting the mentioned singers without names and monks, we find representatives of various social stratum - children of clergy, Cossacks, burghers, commoners. For many of them, singing in the cathedral choir was not only an opportunity to earn a steady income, but also served as a springboard for career growth, for the rank of priest, or a place as a singer in one of the imperial capital choirs. In the second half of the 18th century there is a certain pattern, when most singers were disadvantaged, mostly orphans. In the life of the Pereyaslav bishops there were contacts with secular musicians-instrumentalists. In the 1720s, a bandura player served to vicar bishop Joachim Strukov. In the early 1780s, Hilarion Kondratkovskyi used the services of military musicians for solemn greetings during church holidays.</p> Ivan Kuzminskyi, Vladyslav Bezpalko Copyright (c) 2022 TEXT AND IMAGE: ESSENTIAL PROBLEMS IN ART HISTORY https://creativecommons.org/licenses/by/4.0/deed.en https://txim.history.knu.ua/article/view/105 Wed, 31 Aug 2022 00:00:00 +0300 Protecting Portable Heritage during War: https://txim.history.knu.ua/article/view/124 <p>In response to the urgent necessity of protecting cultural heritage in Ukraine in the wake of the Russian invasion, this article explores the approaches recently adopted in Ukraine to safeguard portable objects by providing an extended comparison with the methods used in Italy during World War Two. Three components of the procedure for protecting moveable objects are investigated: preliminary planning through the creation of lists of museum collections to determine priorities for safeguarding; the selection and preparation of storage deposits to shelter the objects; and the work of packing and moving boxed items to the deposits. Attention also is given to the obstacles encountered during WWII in Italy that hampered the protection of moveable heritage. The purpose is to probe whether the same problems have been met in Ukraine and if they have been circumvented or not. While the difficulty of protecting heritage during conflict is understood, even in the case of portable heritage materials, this comparison of recent methods in Ukraine to the work in Italy in the early 1940s highlights the continued use of traditional methods, albeit with adaptations, because they are effective. However, some of the same obstacles also have persisted, suggesting the potential to search for better solutions. Emphasis is placed on the abundant cultural holdings in religious institutions, which may fall outside the protective compass of national heritage initiatives and, therefore, be particularly vulnerable during war. This study also acknowledges some of the novel characteristics of the protection of moveable heritage in Ukraine and notes the impressive help that is being offered in innovative ways by heritage agencies and organizations outside the country.</p> Cathleen Hoeniger Copyright (c) 2022 TEXT AND IMAGE: ESSENTIAL PROBLEMS IN ART HISTORY https://creativecommons.org/licenses/by/4.0/deed.en https://txim.history.knu.ua/article/view/124 Wed, 31 Aug 2022 00:00:00 +0300 Cultural Heritage and the Problem of Prioritization https://txim.history.knu.ua/article/view/161 <p>Monitoring impacts to cultural heritage during armed conflict or natural disaster has often relied on priority lists. These lists rank cultural properties by relative importance. While born from practical motivations, cultural heritage monitoring based on priority lists often fosters structural biases, selective preservation, and assumptions of shared values of significance. Recent cultural heritage monitoring efforts have taken an alternative approach that moves beyond prioritization. Rather than monitoring the highest priorities on a list of sites, this alternative approach uses technology to monitor many cultural properties simultaneously. Of the impacted sites identified using this alternative approach, only a small number would have been ranked on traditional priority lists. This includes sites of local significance, representations of regional or ethnic diversity, recent heritage sites, and rural heritage. In this essay, we advance a no-priority monitoring model, in which prioritization occurs at the intervention phase, rather than serving as the starting place. Eliminating prioritization as a starting place minimizes the potential for unobserved impacts, and as a result, the implicit decisions that must be made toward mitigating those impacts. We demonstrate the current value of this approach in monitoring cultural heritage in Ukraine.&nbsp;</p> Hayden Bassett, Kate Harrell, Damian Koropeckyj, Madeleine Gunter-Bassett, William Welsh Copyright (c) 2022 TEXT AND IMAGE: ESSENTIAL PROBLEMS IN ART HISTORY https://creativecommons.org/licenses/by/4.0/deed.en https://txim.history.knu.ua/article/view/161 Wed, 31 Aug 2022 00:00:00 +0300 Protection of cultural heritage during wartime in Ukraine: https://txim.history.knu.ua/article/view/148 <p>The article discusses the legal basis in the field of cultural heritage protection in Ukraine, the powers of cultural heritage protection bodies and the central executive body - the Ministry of Culture and Information Policy of Ukraine on cultural heritage protection, general issues regarding the evacuation of cultural values. The author analyses the international legislation in the field of cultural heritage protection and international aid and support to Ukraine in wartime, including the United Nations Educational, Scientific and Cultural Organization (UNESCO). The article determines the efforts of state authorities, entrepreneurs, the public, and activists to preserve cultural heritage, in particular regarding the protection of immovable monuments and monuments in the largest Ukrainian cities (Kyiv, Lviv, Odesa). The author characterises the destruction of objects of cultural heritage and the documentation of war crimes against humanity and objects of cultural heritage committed by the Russian occupying forces on the territory of Ukraine. Brief statistics of episodes of Russian war crimes against Ukrainian cultural heritage (by regions, types of cultural heritage objects, etc.) are provided. It discloses the aspects of de-Russification, decommunization in the field of cultural heritage protection in Ukraine since the beginning of the war and the powers of state authorities regarding the dismantling of monuments that do not have the status of objects of cultural heritage or are not registered, removal, de-registration and relocation of objects of cultural heritage. The author raises the need of updating the information on the library collections in connection with the armed aggression of the Russian Federation against Ukraine. It indicates the peculiarities of the protection of intangible cultural heritage in Ukraine and its role during armed conflicts and emergency situations. The author also shows the further measures for the reconstruction of Ukraine and the preparation of a plan for the restoration of Ukraine.</p> Maryna Okhrimenko Copyright (c) 2022 TEXT AND IMAGE: ESSENTIAL PROBLEMS IN ART HISTORY https://creativecommons.org/licenses/by/4.0/deed.en https://txim.history.knu.ua/article/view/148 Wed, 31 Aug 2022 00:00:00 +0300 Modern Approach to the Process of the Material Cultural Heritage Protection in the Context of the European Experience’ Specific Cases https://txim.history.knu.ua/article/view/141 <p>Cultural property is the heritage that defines and constructs our identity. We share responsibility for its protection. The important thing is the approach to cultural property and its respective protection and restoration. This article tries to understand the mechanisms used to prepare facilities for restoration properly. Trends and examples of countries that have faced similar challenges in protecting the cultural heritage we face in Ukraine are discussed. The article describes a new holistic approach to researching and preserving cultural property called 'restoration design.' The role of the art restorer as an interdisciplinary specialist, who can be a link between representatives of different disciplines of science and art in restoration, has been determined. This new approach to protecting and preserving cultural property, which has existed for many years in Western Europe, was also applied and discussed in concrete examples of restoration projects in Western Ukraine. It has been determined that such a model certainly improves the overall approach to the preparatory process and the implementation of works related to the protection of material heritage. The increasing role of the art restorer is perfectly consistent with this pattern. The restorer ensures a holistic approach to the cultural heritage object concerning its historical and artistic values. Proven models from other countries can be the basis for further discussion of the future of restoration in Ukraine.</p> Lesia Hanuliak Copyright (c) 2022 TEXT AND IMAGE: ESSENTIAL PROBLEMS IN ART HISTORY https://creativecommons.org/licenses/by/4.0/deed.en https://txim.history.knu.ua/article/view/141 Thu, 01 Sep 2022 00:00:00 +0300 Digital Cultural Heritage Under Attack https://txim.history.knu.ua/article/view/149 <p><span style="font-weight: 400;">Cultural heritage is at the heart of Russia’s war on Ukraine, still underway five months after the invasion on February 24, 2022. Statements from the Kremlin indicate that the fundamental goal of Putin’s regime is to undermine and eliminate the distinct and distinctive Ukrainian national identity, culture, and language – three concepts that are manifested through cultural heritage. During a war with such an agenda, internationally recognized frameworks such as the 1954 Hague Convention can be subverted, turning the blue shield symbol meant to protect cultural property into a target. While practices codified by the Hague Convention provide both opportunities and challenges for physical cultural heritage in this war, the biggest challenge for preserving digital cultural heritage is the lack of precedent. Saving Ukrainian Cultural Heritage Online (SUCHO, sucho.org) began on March 1, 2022, as an emergency response effort organized by three digital humanities practitioners, and quickly grew to over 1,300 volunteers. In this brief essay, the three co-founders – Anna Kijas, Sebastian Majstorovic, and Quinn Dombrowski – reflect on the first five months of SUCHO, the differences between physical and digital cultural heritage, the urgency of preserving digital cultural heritage during a war, and the importance of these materials for the future of art history.</span></p> Quinn Dombrowski, Anna Kijas, Sebastian Majstorovic Copyright (c) 2022 TEXT AND IMAGE: ESSENTIAL PROBLEMS IN ART HISTORY https://creativecommons.org/licenses/by/4.0/deed.en https://txim.history.knu.ua/article/view/149 Wed, 31 Aug 2022 00:00:00 +0300 Ensuring the preservation of cultural values of the Garrison Church and the Church of Paraskeva in Lviv during the war https://txim.history.knu.ua/article/view/142 <p>The proposed article is devoted to the issue of preservation from possible damage to the national heritage of the Garrison Church of the Holy Apostles Peter and Paul (Jesuit Church or Society of Jesus), as well as the Church of St. Paraskeva Friday in Lviv during the Russian-Ukrainian war (2014 – present). Circumstances of the full-scale military invasion of the Russian Federation into Ukraine on February 24, 2022, necessitated the immediate need to protect the country's cultural heritage. The urgency of the security component of the preservation of art objects was dictated by missile attacks in almost all regions of Ukraine, including the Lviv region. The security measures in which the authors of the article took part were conditioned by the possibility of rocket attacks on sacred monuments of Lviv and the possibility of their damage by fire or mechanical damage. These cultural values include altars, wooden sculptures, decorative elements, organs, and objects on the canvas of the Garrison Church, as well as a six-row wooden iconostasis of the Church of St. Paraskeva. The specifics of the material of art objects, their size, location, and in part restoration work, made it difficult to evacuate and preserve them in new circumstances. The authors characterize the newly acquired experience of securing the heritage of the 17<sup>th</sup> – 20<sup>th</sup> centuries. refractory materials in the outlined Lviv religious buildings. The article deals with artefacts that have been protected from the effects of missile damage. The stages of monument protection work are covered, which first of all consist of selecting and classifying refractory and heat-resistant materials, team involvement, photo-fixing, marking, inventory of objects, and direct security of art objects. The authors express their recommendations for practical solutions in uncertain conditions. For the first time since the restoration of Ukraine’s independence, such a practice has been used in architectural monuments of national importance in Ukraine.</p> Stanislav Voloshchenko, Arsen Shpak Copyright (c) 2022 TEXT AND IMAGE: ESSENTIAL PROBLEMS IN ART HISTORY https://creativecommons.org/licenses/by/4.0/deed.en https://txim.history.knu.ua/article/view/142 Wed, 31 Aug 2022 00:00:00 +0300 ‘Nothing New‘: once again about the impossibility of a global history of art https://txim.history.knu.ua/article/view/120 <p><span style="font-weight: 400;">I started this text as a review of another </span><strong>‘</strong><span style="font-weight: 400;">short history of art’ that I came across. </span><strong>‘</strong><span style="font-weight: 400;">A Short Book About Art’, written by the British art historian Dana Arnold, is a great example of the popularization and practical application of new approaches to art history. Among them are sociology, psychology of art, political iconology, gender art history and more. The researcher set an ambitious goal. The work is dedicated to finding common threads that connect the art of different geographical areas and demonstrate that the art of any period works in a similar way. We are talking, as we see, about the global history of the arts. This story should cover all regions and give a balanced representation of the cultures/arts of the different regions. However, the noble goal, as a careful reading of the work showed, not only did not solve the problem but also exacerbated it. Non-European art is almost ignored. In addition, the researcher builds a typical pro-Western narrative, where, however, the progressive approach is replaced by values. If progressivism was the </span><strong>‘</strong><span style="font-weight: 400;">dark side of modernity’, the </span><strong>‘</strong><span style="font-weight: 400;">value approach’ involves the consideration of non-European art exclusively from the perspective of Occidental values. Non-European art enters the narrative of global art history through hybridization due to glocalization. At the same time, the glocalization of art occurs in two ways. The first of them is passive. The projective vision of the researcher formed by Western values ​​simply does not notice and does not anticipate any difference between the </span><strong>‘</strong><span style="font-weight: 400;">other’. Because of this, neither the </span><strong>‘</strong><span style="font-weight: 400;">other nor its differences fall into the field of study. The second way of glocalization is active. It involves the relocation and recontextualization of culture. It is about moving culture in a familiar, acceptable to the researcher context (most often it is the morphology of art, topic or phenomenology). Both options for glocalization involve the implementation of an exclusion strategy, which makes it impossible to talk about global art history. Global art history is possible only as a result of non-trivial decolonial optics. However, decolonization as a postmodern project contradicts the modern idea of ​</span><strong>‘</strong><span style="font-weight: 400;">short history’ and centrifugal narrative.</span></p> Illia Levchenko Copyright (c) 2022 TEXT AND IMAGE: ESSENTIAL PROBLEMS IN ART HISTORY https://creativecommons.org/licenses/by/4.0/deed.en https://txim.history.knu.ua/article/view/120 Wed, 31 Aug 2022 00:00:00 +0300