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Art of the Bronze Age. Southeastern Iran, Western Central by Holly Pittman

By Holly Pittman

Исследования искусства бронзового века по материалам коллекции музея Метрополитен.

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Art of the Bronze Age. Southeastern Iran, Western Central Asia and the Indus Valley

Исследования искусства бронзового века по материалам коллекции музея Метрополитен.

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Intrinsic meaning or content. apprehended by ascerwhich reveal the basic of a nation, a period, a class, a religious or philopersuasion-qualified by one personality and conIt is taining those underlying principles attitude sophical densed into one work. " In the fourteenth and fifteenth centuries, for instance (the earliest examples can be dated around 1300), the traditional type of the Nativity with the Virgin Mary reclining in bed or on a couch was frequently replaced by a new one which shows the Virgin kneeling before the Child in adoration* From a compositional point of view this change means, rougjdy speaking, the substitution of a triangular scheme for a rectangular one; from an iconographical point of view, it means the introduction of a new theme to be formulated in writing by such authors as Pseudo-Boaaventure and St, Bridget But at the same time it reveals a new emotional attitude peculiar to the later phases of the Middle Ages.

Intrinsic meaning or content. apprehended by ascerwhich reveal the basic of a nation, a period, a class, a religious or philopersuasion-qualified by one personality and conIt is taining those underlying principles attitude sophical densed into one work. " In the fourteenth and fifteenth centuries, for instance (the earliest examples can be dated around 1300), the traditional type of the Nativity with the Virgin Mary reclining in bed or on a couch was frequently replaced by a new one which shows the Virgin kneeling before the Child in adoration* From a compositional point of view this change means, rougjdy speaking, the substitution of a triangular scheme for a rectangular one; from an iconographical point of view, it means the introduction of a new theme to be formulated in writing by such authors as Pseudo-Boaaventure and St, Bridget But at the same time it reveals a new emotional attitude peculiar to the later phases of the Middle Ages.

J. Friedlander, Der Kenner, Berlin, 1919, and E. Wind, Aesthettecher und kunstwissenschaftlicher Gegenstand, loc. cit. Friedlander justly states that a art historian is, or at least good develops into, a Kenner wider Willen. Conversely, a seur might be called an art historian lui. " Now "intentions'* can a situation has to be supposed in which the maker of the work had more than one possibility of procedure, that is to say, in which he found himself confronted with a problem of choice between various modes of emphasis.

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