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Károly Viski (Torda, 1882-Budapest, 1945) was an outstanding figure in European ethnology in the years between 1920–1945. He was born in Transylvania and trained as a secondary school teacher of Hungarian and Latin at the university of Kolozsvár. As a young teacher he taught in schools in Transylvanian towns and did research on the history of the Hungarian language and dialectology. In 1920 he joined the staff of the Museum of Ethnography in Budapest and became an expert in decorative arts, material culture and European ethnology. His book on the folk art of Transylvania written in the early 1920s was published in many languages. He played a role in the choice of a European, Scandinavian orientation for Hungarian ethnology and in strengthening ties with Sweden, Finland, Estonia and Poland. He was the spiritus rector and editor of the big four-volume synthesis published in the 1930s which presented traditional Hungarian material culture and folklore in a broad European context. He devoted special attention to research on the cultural heritage of the peoples of Transylvania, the co-existence of the Hungarian, German and Romanian ethnic groups and the history of cultural exchange processes. He did a great deal for museums, collections and exhibitions of ethnography. Between 1940–45 as professor at the university of Kolozsvár and later of Budapest he trained a whole series of outstanding students (e.g. Károly Kós, János Kodolányi, Ágnes Kovács, Mária Kresz, Károly Gaál, László Vajda).
The Legacy of Soviet Monumental and Decorative Art (on the Example of Tselinograd, Republic of Kazakhstan)
A szovjet monumentális és dekoratív művészet hagyatéka (Celinográd, Kazah Köztársaság példáján)
created mosaics and stained-glass windows ( Evans 2009 ). As a young artist, Mikhail Antonyuk (1935–1993) came to the virgin lands in 1961. By that time, he graduated from the Lviv Institute of Applied and Decorative Arts, the department of Monumental
Die Entstehung des Begriffs der Volkskunst in den Kunstgewerbemuseen des Zeitalters des Positivismus
Ornament als Nationalsprache
Summary
The importance of the decorated artefacts of folk culture was first emphasized by positivitic theories of the mid 19thcentury. Gottfried Semper stated a straight connection between the genesis of arts and the evolution of civilisation. Due to his impact, ornaments were often considered as a medium of a peculiar „language“or „grammar“for ethnic contents, the primary forms of which were supposed to be stable and not subject to temporary changes. According to this theory, Folk art keeps this primary state of ornaments and evolution means a process towards individualisation in the sense of national styles. This theory has been influential in the raising of taste for ethnographic objects. Following the 1851 World Exhibition in London the institutions of decorative arts were created first in England and than on the continent. The Museums for Arts and Crafts collected among others models and patterns for embroidery and other arts. In the course of this process separate museums were founded for collecting popular artefacts. In the first ethnographic museums the dychotomy of urban and rural civilization was first expressed. The present essay analizes on the exemple of Hungarian decorative art the process of collecting national ornaments, beginning with the first publication by Károly Pulszky (1878) conceived in Semper's terms. The following discussion was determinated by an early influence of the theory of Alois Riegl, represented by the drawing teacher József Huszka, who elaborated an approach to Hungarian folk ornaments as a genuine prehistoric tradition not influenced by historical styles and interpreted as symbols. The artistic interpretation of the folk culture was widespread by the volumes on Hungarian Ethnography edited by Dezsõ Malonyay. In the same time, the system of Gottfried Semper also determinated the foundation of the Hungarian Museum of Applied Arts and the separation of an ethnographic collection in the Department of Antiquities of the Hungarian National Museum. Plans for an autonomous Museum of Ethnography during the 1870–1880-s were realized in 1898 as the collection of the Ethnographic Museum comprising universal ethnologic and Hugarian materials as well were located in a separate building. Since the early 20thcentury ethnographers began to interpret folk artefacts not as objects of aesthetic value but on the basis of their systematic situation in scholarly ethnography.
forgotten figure of František Pospíšil.] Moravské zemské museum , Brno , 115 – 127 . K UDELKOVÁ , Alena - Z EMINOVÁ , Milena 1961 : Habánská fajáns v Umeleckoprumyslovém muzeu v Praze a Brne [Habaner Faience in the Museum of Decorative Arts in
idea of interaction between the state and design, also in the context of state national identity. The study is based on the design collection created in 2005 and still being complemented at the Museum of Decorative Arts and Design. At the beginning of
. His study is followed by Zsuzsanna Tasnádi's writing, Drawing Culture and Popular Decorative Arts between 1770 and 1850 , which looks at the impact of school art education upon vernacular decorative arts and its influence on the aesthetics of the
Propugnaculum sive Clipeus Christianitatis •
Bildliche Darstellungsvarianten eines europaweit bekannten geflügelten Wortes von großer Vergangenheit in der zweiten Hälfte des 17. Jahrhunderts und zu Beginn des 18. Jahrhunderts
1570 in Speyer und die frage der türkengefahr] . világtörténet 21 . 2001 . 81 – 87 . Periods in european Decorative Arts, Baroque and rococo, catalogue of exhibition, Museum of Applied Arts, Budapest, eds. Márta péter – istván Bar doly , Budapest
trades are therefore in demand. Inese Sirica offers another possible way of interpreting folk art by outlining the collection concept of the Latvian Museum of Decorative Arts and Design. Opened in 2005, the institute presents the works of contemporary
Az avar centrum és a bizánci periféria •
Mediterráneumi eredetű alakos motívumok a késő avar díszítőművészetben a Kr. u. 8. században
The Avar centre and the Byzantine periphery: Mediterranean figural motifs in late Avar ornamental art from 8th century AD
ornamental vocabulary of the tenth century in the Carpathian Basin. Form-historical studies in the decorative arts of the Hungarian Conquest Period) . MTA BTK Régészeti Intézet , Budapest . Bollók , Á. ( 2016 ). Rediscovering antiquities and Reviving the
Fidelis Pannonia
Politikai programkép 1792-ből Ignaz Pfeilhauer üveghátlap-festményén
Fidelis Pannonia — Loyal Pannonia. Political programme on reverse glas painting by Ignaz Pfeilhauer from 1792
bostoni (USA) Skinner cég American Furniture & Decorative Arts című árverésére, „Eglomise Gilt and Polychrome Painted Silhouette Portrait of a Gentleman, late 18th century” meghatározással az az üvegkép, mely annyira szoros hasonlóságokat, egyezéseket
