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1

COEXISTENCE CAST IN BRONZE: MONUMENTS OF SIGNIFICANT PERSONS AS MEANS OF ORGANIZED DISTRIBUTION OF CLASSIFICATION SCHEMES (Spoluzitie zaliate v bronze: Pomniky vyznamnych osobnosti ako prostriedok organizovaneho sirenia klasifikacnych schem)

100%
Ferencova M.
Slovenský národopis (Slovak Ethnology)
|
2008
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vol. 56
|
issue 1
5-18
EN
The study provides an account of institutional distribution of classification schemes. The authoress focuses on the role of the idea on history in the policy of the Municipal Government in the ethnically mixed town Nove Zamky in South-Western Slovakia. She analyses the case of revitalisation of Main Square, which represents the central public space. Revitalisation was made in 2005 and consisted in removals and installations of monuments. The authoress argues that the statues placed at Main Square have been used as instruments in order to support local patriotism as well as ethnic balance between the Slovak and Hungarian inhabitants of the town.
2

NÁPISOVÁ KULTÚRA MIEST PENTAPOLITANY V STREDOVEKU

88%
Čovan M.
Mesto a dejiny
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2018
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vol. 7
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issue 1
63 – 82
EN
Pentapolitana was a league of the five most important royal free cities in Upper Hungary. Epigraphic monuments created to represent individuals or the urban community were important components of the extensive architecture, as well as various movable or immovable artefacts. Monumental but also simple spontaneous inscriptions often express the worldview of the community or the individual. They also point to the influences of the surrounding or remote countries from which the creators or recipients of inscriptions originated, helping modern observers to understand the cultural relationships between various regions. This article focuses on the content of medieval urban epigraphs and their urban character, discussing their contribution to our knowledge of the history of these five cities from a political and cultural point of view.
3

MILLS AS MONUMENTS IN POLAND - PROTECTION OF CULTURAL HERITAGE IN SITU AND IN OPEN-AIR MUSEUMS

88%
Mosakowski Z., Brykała D., Prarat M., Jagiełło D., Podgórski Z., Lamparski P.
Muzeológia a kultúrne dedičstvo
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2020
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vol. 8
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issue 3
41 – 62
EN
The paper presents the results of research on the history of protection of mills as objects of cultural heritage on Polish lands. First, the spatial distribution of over 20 thousand of mills at the beginning of the previous century is characterised, then the main actions undertaken for their protection in the 19th and 20th centuries are discussed. Merely 3.4% of mills that worked in the past are now protected as monuments and recorded in the national register. Most of them remain in their original locations (in situ), and another 71 windmills and 22 watermills have been relocated to open-air museums. These specific institutions face a particularly important task involving the necessity to retain the original functionality of mills.
4

PROBLEMS OF PRESERVATION, PROTECTION AND RESTORATION OF CULTURAL HERITAGE OBJECTS AND MUSEUM COLLECTIONS IN THE CONDITIONS OF WAR

88%
Pawłowska A., Pabich M., Ivashko O., Dmytrenko A., Kozłowski T., Bigaj P.
Muzeológia a kultúrne dedičstvo
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2023
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vol. 11
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issue 2
17-40
EN
The article is devoted to the problem of the preservation and restoration of objects of cultural heritage – monuments and museum collections – in the conditions of war. The article’s analysis is supplemented by a brief overview of how mankind has approached the protection of its material cultural heritage in historical times. According to data verified by UNESCO, as of November 21, 2022, 218 sites have been damaged in Ukraine since the start of the war on February 24, including 95 religious sites, 17 museums, 78 buildings of historical and/or artistic significance, 18 monuments and 10 libraries. The experience of the ongoing Russian–Ukrainian war has once again proven the insecurity of cultural heritage sites and museums in the face of conflict. The authors analysed the Ukrainian experience of protecting monuments, the effectiveness of these efforts, and various ways of preserving the cultural heritage of peoples during wars. The discussion closes with conclusions on possible remedies for the destruction of material cultural objects in Ukraine.
5

SCULPTURE IN URBAN SPACE: SOME ASPECTS OF RELATIONSHIPS (Dazi telniecibas un pilsetvides attiecibu aspekti)

88%
Caupova R.
Materiali Latvijas makslas vesturei
|
2004
|
vol. 4
163-185
EN
Sculptural works of different kinds and sizes always have had their place and role in the context of wide-ranging functions and spatial structures of urban space. In comparison with buildings and other architectural objects monuments and various sculptural creations are more directly used to promote certain ideology or express the taste typical of the particular period. Political and socio-psychological factors influence their creation and assessment. Even popular sculptural works when placed in the open air are sometimes perceived as anonymous makings. They become legendary. Both organised and spontaneous ritual activities take place near monuments and different spatial objects. It is often hard to predict how sculptural works will look in the urban space and what semantic layers will be created around them. The increasing sculptural boom characteristic of many European cities around the turn of the 20th century and later was not so typical of Riga. The few monuments set up in Riga represented the ideology of the Russian Imperial power. No sculptural images expressing Latvian national self-consciousness could be created and exhibited at that time. Still one has to admit that Riga monuments and decorative sculptures from this period, mainly by German sculptors, show well-considered choices of scale and placement. One has to emphasise the German-born sculptor August Franz Leberecht Volz's (1851-1926) important role in securing the professional level of sculptural forms created in Riga urban space. This representative of the German school who settled in Riga and founded his own company has realised many commissions in both decorative sculpture and plastic decor. After an independent state was established, urban space development and especially erection of monuments became an officially supervised task. During the Soviet period monument construction was subjected to a strongly centralised administrative supervision. A little more liberal attitude towards sculptural works in public space emerged in the 1970s
6

REFLECTING CULTURAL HERITAGE THROUGH ARCHITECTURAL ART IN DAR ES SALAAM CITY, TANZANIA

88%
Ayo S. L., Urassa H.
Etnologické rozpravy (Ethnological Disputes)
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2020
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vol. 27
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issue 2
35 – 48
EN
This paper demonstrated that identifying and preserving architectural heritage in Dar es Salaam is vital for the preservation of culture and history of the different races. The architectural designs which represent the owners and their origin, borrowing and diffusion from each other are meaningful to the cultural evolution of Dar es Salaam. The use of tropical materials and art borrowed from different culture proves special and unique character of the Dar es Salaam city. The Swahili taste which emerged as a result of racial and cultural interaction and the architectural transformation enriches cosmopolitanism. Thus, the preservation of the foreign and local architecture is the only way to acknowledge and maintain the history of the city. This is partly because it is architectural art which identifies the designer, the culture of origin, material used and social system.
7
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Pomníky rozdělující a spojující

88%
Pokludova A., Kladiwa P.
Historica: revue pro historii a příbuzné vědy (Historica: Review in history and related sciences)
|
2011
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vol. 2
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issue 1
23-40
EN
The submitted study introduces a theme from the field of the commemorative culture, particularly the memorials formerly dividing and uniting the population of the multiethnic regions. We demonstrate this issue on the example of the memorials of Josef II and Hans Kudlich erected in the German-speaking regions of the Czech lands at the end of the 19th century and the beginning of the 20th century. These memorials, representing the symbols of of unity of the German-speaking population, widened the cultural gap between the Czech and German inhabitants. Subsequently, we outline the fate of the memorials during the times of changes of political systems in the Czech lands (1918, 1945). The final section of the study is centred around the two selected memorials that were restored after 1989 and have thus become a sort of symbol of reconciliation with the past.
8

TEXTY A SKULPTÚRY/MONUMENTY (K BÁSNI Š. STRÁŽAYA MESTO A K JEJ ASOCIAČNÉMU POZADIU)

75%
Matejov F.
Slovenská literatúra (Slovak Literature)
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2014
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vol. 61
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issue 4
292 – 302
EN
The text is an act of reading the poem The City from the collection The Interier (1992) by Štefan Strážay. The motif of covered sculptures is a poem set at the turn of the years 1989 – 1990. The article tracks the motifs of bad signs, spectres and revenants. It relates them to the theme of history and problematic future. The associated background to the reading is provided by the poems by L. Novomeský, M. Válek and I. Kupec written in the 1960s featuring sculptures, i.e. funeral monuments – as the witnesses, opponents, objects of historical changes. The interconnections between sculptures and lyric texts occurring in the article were inspired the works of R. Jakobson and Z. Mathauser. The article takes notice of the 1960s reflections on sculpture by D. Tatarka and J. Patočka. It confronts sculptures and city as such in Strážay´s work with the poem by F. Halas written in the troubled late 1930s. The Strážay´s ascetic, minimalist poem is situated amongst other lyric texts giving historical accounts of the late 1980s (I. Laučík, I. Kupec) and on the distant horizon of the emphatic possibilities of poetry opened up in the 1960s (M. Válek, J. Ondruš).
9

MUSEUM AFFAIRS AT THE TERRITORY OF SUBCARPATHIAN RUS’ IN THE YEARS OF THE FIRST CZECHOSLOVAK REPUBLIC (1919 – 1938)

75%
Shnitser I.
Muzeológia a kultúrne dedičstvo
|
2019
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vol. 7
|
issue 1
99 – 110
EN
The article deals with the formation and specifics of the development of museums in Subcarpathian Rus’ in 1919-1938. It defines the main centres of museum science, as well as the contribution of scientists, representatives of cultural and public societies, and the state to the collection and exhibition of natural monuments and monuments of material and spiritual culture of the region. In the article, a great attention is paid to the coverage of the history of the creation, development and functioning of the Museum of T. Legotsky in Mukachevo, the Museum of the Society `Prosvita`, the Rus’ National Museum, and others. The author reaches the conclusion that the development of museum affairs in the territory of Subcarpathian Rus’ in 1920s – 1930s was stimulated by the attention of the society and the support of the central and local authorities. Museum affairs were moved to the state level.
10

THE ROLE OF POLITICAL FACTORS AND ADMINISTRATIVE RESOLUTIONS IN SCULPTURE (Politisku faktoru un administrtivu lemumu loma telnieciba)

63%
Caupova R.
Materiali Latvijas makslas vesturei
|
2006
|
vol. 5
156-165
EN
Sculpture in public space has been subjected to influences of ideological and political contexts as well as commissions from dominant authorities and religious institutions in almost all periods of history. Monuments realized in permanent materials have served to declare the might of the dominant political system, its ambitions and pretensions of existence. As sculpture in public space became an instrument of propaganda, administered territories were marked not just with works created in valuable materials but pieces in more modest materials as well. For instance, during the first post-war years public space was mapped with numerous plaster or concrete busts and figural monuments of Lenin erected at central town squares, close to institutions and schools but highway sides, parks, sanatoriums and kindergartens were decorated with kitschy plaster sculptures of pioneers, sportsmen and other cliche figural motifs found throughout the USSR. These plaster figures were cast at the USSR Art Foundation workshops after several officially acclaimed etalons and sometimes local artists were involved in realizing commissions based on accepted patterns. According to the slogan that art should be socialist in content but some traces of national culture can show in its form, there were also figures in national costumes. This low-quality mass art production in Latvia was called 'highway ghosts' or 'plaster ghosts'. Artists protested against these superficial sculptures made of cheap materials, and such objects were gradually removed. The plaster and concrete images of Lenin started to deteriorate and ruin in open air but it was not allowed to dismantle them. In the 1960s, 1970s and 1980s they had to be replaced by monuments in permanent materials - granite and bronze - in almost every town of Latvia. During this period of occupation Lenin monuments and memorial ensembles dedicated to Soviet soldiers made up the most part of sculpture in the public space.
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