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1
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KRITICKÁ ANALÝZA EXISTENCIE (POJMU) „PRAVEKÉHO UMENIA“

100%
Makky L.
ESPES
|
2013
|
vol. 2
|
issue 1
36 – 45
EN
For a person as a human being, is important knowledge, true and at last but not least the ability to create. For the survival of human kind in the past, it was needed to assimilate and to adapt/reshape and so to create the environment. With this need/desire to create is connected a component of culture, which is in present called (fine) art. Because of its uniqueness it was always in the spotlight of human thinking. Theoretical grasp of art and attempt at definition and delimitation of this term represent a problem, which has been during the history repeatedly in the spotlight. This problem complicates, when the attention is turned to the prehistory, what is first of all caused by shape and context of creating and usage of studied objects, and if the necessity of determining their status appears. The aim of given issue is to morphologically and terminologically affect the artistic expressions of Slovak prehistory, in concrete, the artefacts of the Iron Age with the claim to universal validity.
2
Content available remote

POZNÁMKY K PRAVEKÉMU UMENIU: VÝCHODISKÁ A MOŽNOSTI DEFINÍCIE

80%
Makky L.
ESPES
|
2015
|
vol. 4
|
issue 1
26 – 38
EN
The twentieth century shows that the interest in fine art did not mitigate despite the radical changes in its form and content and the problem of his definition represents live and dynamic (complicated too) issue which has brought broader possibilities of looking at the art regarding the anti-essentialist tendencies. Determination of the status of non-European (in the understanding of tradition) or other artistic production presents a specific place in the analysis and is the problem itself. Even prehistoric articles of European artistic production paradoxically belong to the artistic sphere of non-European tradition and occupy special place in the specific sphere of fine art, and present the challenge for theoreticians and recipients. The aim of analysis is to review relative contemporary approaches and their critical application to the environment of prehistoric art, which shows significant specifications perplexing the use of the notion of fine art. The author does not strive for setting the definition of prehistoric art, but to point out the possibilities and the methods of how to get an integrated thesis on the artistic production of the oldest European period.
3
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MIESTO PRAVEKU V DEJINÁCH A TEÓRII VÝTVARNÉHO UMENIA 20. STOROČIA V STREDOEURÓPSKOM PRIESTORE

80%
Makky L.
ESPES
|
2015
|
vol. 4
|
issue 2
27 – 46
EN
The artistic production of prehistoric man takes very special status and place in the history and theory of art. Ever since the appearance of the first grand work and small sculptures, experts expressed interest in the understanding of prehistoric art. Its integration as a full artistic development period, however, was arduous and the most of magnificent artistic production stood at the threshold of the 20th century on the edge of acceptance and rejection. The effort to include a diverse prehistoric production to well-established and "traditional" concepts of art fails and become a problem in reflection and evaluation of prehistoric artefacts themselves. This article follows the theoretical art-historical literature of the Central European space describing prehistoric artefacts. The objective and the main effort of the author of this article, is to dissect and define the chronological phases of perception of prehistoric art and prehistoric production in the context of art history, to describe his place in art history, but also to evaluate the real degree of art-historical approach to the prehistoric artefacts. Given the diversity of artistic production, it will be necessary to monitor Central European context (even in a subject, even in the origin of individual texts) with an emphasis on the form of the cultural image of Slovakia and the chronically known theorists (J. Volko-Starohorský, B. Svoboda, K. Šourek, V. Wagner, V. Krička J, Dekan, K. Pieta, J. Eisner, M. Szabo, I. Hunyady, J. Chochorowski) complemented with the analysis of less well-known domestic and foreign works (F. Kubišťa, M. Vančo, A. Matejček, J. Kostrzewski etc.).
4

MANIFESTATIONS OF NEOLITISATION IN PREHISTORIC ART

70%
Gediga B.
Slovenská archeológia (Slovak Archaeology)
|
2016
|
vol. 64
|
issue 2
183 – 192
EN
The transition to an economy based on the production in the New Stone Age (Neolithic) was the event with far-reaching consequences in different fields of culture. The changes that took place in social consciousness in the Neolithic Period were, however, extremely important. People became conscious that the success of their economic activity depended on a large number of environmental factors, which people felt to be dependent on, among others forces of nature having not a specific shape in reality, such as reproductiveness and fertility. That resulted in directing the religious imagination to symbolism. We find this in art of Neolithic societies. For this sphere of culture, which we regard as manifestation of artistic activity of Neolithic societies that underwent a process known as neolithisation, there were two events of major importance for the culture of that time: the beginning of a sedentary way of life and appearance of pottery. The first of these events involved the development of building and architecture, while pottery created new space for artistic activity. The figurative art of the Neolithic is very richly represented, mainly by female representations. It seems that there is a kind of a renaissance of female figurative art in the Neolithic, after a long interval since the Palaeolithic. However, it would be too far-reaching to say that this is tantamount to a renaissance of analogical symbolism of these representations. Among few male representations, a preserved fragment of a figurine from Kraków-Pleszów. Among figural representations from the Neolithic, there is also quite an impressive set of zoomorphic figures, most of them of four-legged mammals (Jordanów Śląski), i.e. cattle. Short remarks about manifestations of the process of neolithisation in prehistoric art, presented above, only outline the role of appearance of pottery. This is not the complete picture, though cognitively very attractive, as it offers a special opportunity to research on the difficult sphere of symbolic culture in general and religion in particular.
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