Search results

1

Possibilities to compare graffiti with handwriting

100%

Brandner W.

Nowa kodyfikacja prawa karnego

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2017

|

vol. 45

101-107

EN

From the forensic point of view it is not easy to identify a person as an author of writing in graffiti mode, but at least in some cases it seems to be possible.

2

Graffiti w malowidłach ortodoksyjnyc

80%

Kruk M.

Latopisy Akademii Supraskiej

|

2019

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vol. Вѣнецъ хваленїѧ. Studia ofiarowane profesorowi Aleksandrowi Naumowowi na jubileusz 70-lecia

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issue 10

193-212

EN

Grafitti, i.e. engraved inscriptions left at different times in public places, often unfortunately on objects of great significance for world culture and heritage, till now constitute a somewhat marginalized problem, possibly treated as meaningless acts of vandalism of different periods. A brief review of grafitti teams made at different times and in various orthodox temples of Central and Eastern Europe (Novgorod, Kiev, Polotsk, Grodno) was carried out with an attempt to pre-classify them and draw conclusions of a more general nature, as well as in relation to intriguing monuments from Poland (Krakow, Sandomierz, Wislica, Lublin). Particularly intriguing is the presence in the orthodox paintings of Latin inscriptions, recorded in different eras for various reasons, primarily those related to modern times, i.e. in the 17th-18th centuries. The intensification of the application of Latin-Polish inscriptions in seventeenth-century temples is parallel to the mass occurrence of Cyrillic inscriptions in orthodox churches in the XI–XII century, which could have been the result of the particularly lush development of the literary culture of both environments in the indicated eras. Separate attention was devoted to attempts to blur the inscriptions, especially in the case of Lublin paintings, sometimes crucial for reading the foundation’s circumstances, and the these actions on the inscriptions arouse constant emotions due to attributing political motives to them.

3

Graffiti na kościelnych ławkach w kontekście inskrypcji w przestrzeni sakralnej

80%

Gołębiowska-Suchorska A.

Rocznik Antropologii Historii

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2017

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issue 10, Antropologia - folklor - historia

131–146

XX

The article analyses graffiti from pews in Roman Catholic churches in Bydgoszcz, gathered by the author in the years 2014-2017. The method of contextual analysis and case study has been applied in the research. Inscriptions from the Bydgoszcz churches have been analysed in the context of the selected examples of inscriptions in sacral space (a church with its premises and buildings), those that are historically certified and those which have occurred in our times. Inscriptions, regardless of their status (legal-illegal), have been studied mainly taking into account their location in sacral space and on the basis of the findings of M. Eliade on the division and experience of sacral and secular space by man.Moreover, inscriptions have been analysed in the cognitive aspect (topics) and the pragmatic aspect (the presumed image of a recipient and a sender as well as motivations for leaving inscriptions).Conclusions from the analysis indicate difficulties in the interpretation of motivations behind leaving graffiti on church pews. The topics of inscriptions on pews, despite their location close to the centre of sacral space, do not reflect the experience of sacral space, but rather point to the perception of the church by the creators of the graffiti similarly to secular space.

4

Graffiti jako przejaw aktywności kibiców w przestrzeni miejskiej. Przykład Poznania

80%

Bogacka E., Siniecka A.

Rozwój Regionalny i Polityka Regionalna

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2017

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issue 37

77-86

PL

Praca dotyczy graffiti jako przejawu aktywności kibiców w przestrzeni miejskiej na przykładzie Poznania. W mieście funkcjonuje Lech Poznań, klub piłkarski, którego kibice należą do bardzo aktywnych. Szczególną uwagę skupiono na jednym z obszarów Poznania, wśród sympatyków nazywanym Fyrtlem Północ. W opracowaniu przedstawiono rozmieszczenie przestrzenne oraz estetykę wykonania, a także podział tematyczny graffiti w Fyrtlu Północ.

5

Turistická kolonizace Moravského krasu ve světle epigrafických památek Býčí skály

80%

Čermáková E., Golec M.

Český lid: etnologický časopis (Český lid: Ethnological journal)

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2014

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vol. 101

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issue 4

459-482

EN

The study focuses on analysis of the collection of historical graffiti preserved in the cave Býčí skála (Moravian Karst). Epigraphic relics preserved here, started to be produced around 1796, when the cave was an integral part of the Lichtenstein romantic landscape park. The research proved several touristic "waves of colonization" the manifested themselves in different character of the graffiti and their varied spatial distribution in the cave

6

Przestrzeń manifestacji, czyli jak napisy na murach transformują przestrzeń miejską

71%

Gałuszka J.

Studia Regionalne i Lokalne

|

2009

|

issue 1(35)

110-126

PL

Artykuł opisuje zjawisko transformowania przestrzeni miejskiej w Łodzi poprzez graffiti i napisy pojawiające się na murach miasta. Analizowane są tylko te typy graffiti stanowiące formę manifestu bądź komunikatu, który przeciętny mieszkaniec miasta może odczytać i zrozumieć. Z pozoru banalna kompozycja napisów na ścianach faktycznie w dużym stopniu wpływa na znaczenie przestrzeni, w której się pojawiają. Poprzez analizę warstwy tekstualnej, graficznej oraz kontekstu występowania graffiti autor stara się odczytać, w jaki sposób wpływają one na przestrzeń miejską w Łodzi i ją transformują. Materiał do przeprowadzonego badania stanowi obszerna dokumentacja fotograficzna zebrana w 2006 i 2008 r., w dużej części łódzkiego Śródmieścia oraz wybranych blokowiskach znajdujących się na obrzeżach miasta.

EN

The article describes the phenomenon of urban space in Lodz being transformed by graffiti and wall-writings. The graffiti samples selected for analysis may be described as conveying a message that is easily understood by every local. This seemingly meaningless composition of wall-writings is highly influential in fact and transforms the surrounding city space. The author, by analysing the content of the graffiti, its graphical form and space context in which it appears, explores the way in which graffiti transforms urban space in the city of Lodz. The subject of the research is photographic documentation made in 2006 and 2008 in the city centre and some of the residential areas situated on the outskirts of the city.

7

Duchy miejsca – napisy (graffiti) w przestrzeniach publicznych i prywatnych jako przedmiot badań archeologii współczesnej przeszłości

71%

Kajda K., Frąckowiak M.

Acta Universitatis Lodziensis. Folia Archaeologica

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2017

|

issue 32

345-363

EN

Writing, signing and carving names in public spaces are popular ways of indicating somebody’s presence in the world. Various inscriptions made in different places have been appearing from the ancient times until today. There are multiple motivations for such practice: a simple signing to indicate somebody’s presence, a declaration of sympathy or antipathy to some idea or person or political manifests and encouragement to engage in some actions. Despite the popularity of such phenomenon and its long duration, archaeologists, especially those involved in studying the recent or contemporary past, are not particularly focused on researching this source of knowledge. Most of the academic works which concern inscriptions and graffiti are conducted by sociologists or visual culture specialists. However, these sources may be truly significant in studying microhistories of the places and people. Thus, in our article we want to present a unique potential of graffiti in the studies related to the recent and contemporary past. The aim of our article is to show various spatial contexts in which graffiti may be encountered and to present how the archaeology of the contemporary past may take advantage of researching such inscriptions. After Laurent Olivier (2001), we think that discovering the local past is a characteristic feature of the archaeology of the contemporary past and our article aims to show how the specific “being” of graffiti around us may contribute to discovering the microhistories of people and places. According to Michael Bell’s concept (1997), we interpret graffiti as “the ghosts of place” which indicate the presence of those who are no longer in the place. Due to the breadth of topics connected with graffiti, we decided to focus on those inscriptions which manifest someone’s presence in the place, narrowing our studies only to its written form (not graphic).

PL

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8

WYDZIERGAĆ SIEBIE I ŚWIAT. BOMBARDOWANIE WŁÓCZKĄ JAKO ZJAWISKO SPOŁECZNO-KULTUROWE

71%

Kępa E.

Ars inter Culturas

|

2016

|

issue 5

241-252

EN

Knitting graffiti is a form of street art rapidly expanded and gained popularity around the globe. Yarn bombing is the practice of affixing knitted and crocheted works in the space of the town. This form of activity is not only an attempt to change the aesthetics of public space but also a kind of micropolitical action and the form of craftivism. In the presented article I examine this colorful and “warm” form of graffiti by concentrating on issues such as knitting and identity, the importance of creativity in everyday life and yarn bombing as integrating aesthetic phenomenon.

9

Kultura i sztuka ulicy w Maghrebie na przykładzie Algierii i Tunezji. Zarys problemu

71%

Barska A.

Górnośląskie Studia Socjologiczne. Seria Nowa

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2022

|

vol. 13

1-12

EN

In her article, Anna Barska presents various strategies used by social actors to manifest their desire to speak, to break taboos and to make sense of their presence in the city. The places represented, the time, the themes and the creator(s) are a form of message and communication. The examples Barska discusses, i.e., Algiers, Oran, Tunis and Djerba, are helpful in understanding the complexity of the socio-cultural and political life in the Maghreb.

PL

Artykuł przedstawia różnorodne strategie manifestowania chęci do mówienia, przełamywania tabu i próby nadawania sensu swojej obecności w mieście jako aktora społecznego. Prezentowane miejsca, czas, tematyka i twórca/y stanowią formę przekazu i komunikacji. Omawiane przykłady Algieru, Oranu, Tunisu czy Dżerby pozwalają zrozumieć złożoność życia społeczno-kulturowego i politycznego w Maghrebie.

10

Napis w przestrzeni miasta (street art, mural i graffiti) Studium porównawcze Torunia i Łodzi

71%

Kmieć A. N.

Rocznik Toruński

|

2015

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issue 42

135-170

PL

Celem pracy, poświęconej wybranym formom ulicznego folkloru współczesnego, jest analiza napisu w przestrzeni miejskiej, zwłaszcza: street artu, muralu i graffiti. Teren badawczy ograniczyłam do Torunia i Łodzi. Wybór ośrodków tłumaczę ich specyfiką: zarówno w Toruniu, jak i w Łodzi ważną rolę odgrywają napisy o tematyce kibicowskiej, w tym te podkreślające przynależność osiedlową grup tworzących graffiti. Dodatkowo ważnym zagadnieniem poruszanym w pracy jest napis, pełniący rolę dekoracyjną i oswajającą przestrzeń, a mianowicie mural i formy streetartowe. W tym przypadku skupiam się na różnicach, jakie występują w funkcjonowaniu obu typów napisów w badanych miastach. Śledząc street art, mural i graffiti jak również analizując rozmowy z ich twórcami i mieszkańcami obu miast, starałam się odpowiedzieć na pytanie o miejsce napisu w przestrzeni i jego rolę w kształtowaniu różnych form tożsamości (np. kibicowskiej, osiedlowej, miejskiej). Zwracałam też uwagę na podobieństwa i różnice w ich formie, w zakresie funkcji, a także zróżnicowaniu miejsc występowania. Rozważania opieram na obszernym materiale badawczym, który pozyskałam podczas badań terenowych prowadzonych od września 2012 do maja 2014 roku. Są to zapisy z obserwacji, zapisy i nagrania wywiadów z osobami tworzącymi napisy w przestrzeni miasta (legalnie bądź nielegalnie) oraz działającymi w różnego rodzaju organizacjach i stowarzyszeniach zajmujących się poruszaną przeze mnie tematyką. Podstawą prowadzonych analiz jest dokumentacja fotograficzna z Torunia i Łodzi.

EN

The aim of the work, devoted to selected forms of the contemporary street folklore, is the analysis of signs in the city space, particularly street art, murals and graffiti. I restricted the research area to Torun and Lodz. The choice of the two cities was determined by their specific nature. Both in Torun and in Lodz signs left by sport fans play a very important role as they underline the alle-giance of a given group to a certain district. Another significant issue touched upon in the work is that of murals and street art- decorative forms of signs which familiarise the city space. Here I focused on the differences in the func-tion of both types of signs in the cities discussed in the article. Examining street art, mural and graffiti and analysing the conversations with their creators and inhabitants of both cities, I tried to answer questions concerning the place of such signs in the city space and their role in shaping various forms of identi-ty (e.g. the identity of a sport fan, the identity of a district, the identity of a city). I also underlined the similarities and differences in their form, functions and the place where they appeared. The foundation for my considerations is the research material which I acquired during the field research conducted from September 2012 to May 2014. The material consists mainly of observa-tion recordsfrom interviews with people creating signs in the city’s space (le-gally or illegally) and by working alongside various organisations and associa-tions dealing with the subject matter addressed in the article. The basis for the analysis is provided by photographic documentation from Torun and Lodz.

DE

Die Arbeit befasst sich mit ausgewählten Formen moderner Straßenfolklo-re. Ihr Ziel ist die Analyse von Malereien im städtischen Raum, vor allem von Street Art, Wandmalerei und Graffiti. Das Untersuchungsgebiet beschränkt sich auf Thorn und Lodz. Die Wahl der Orte erklärt sich aus ihrer Besonder-heit: Sowohl in Thorn als auch in Lodz spielen Malereien mit Fußballfan-Thematik eine große Rolle, darunter solche, in denen die Zugehörigkeit von graffitischaffenden Gruppen zu einem Stadtteil hervorgehoben wird. Ein wei-teres wichtiges Phänomen, das in der Arbeit berührt wird, sind Malereien, die der Verschönerung und der Domestizierung des Raums dienen, und zwar Wandmalereien und Formen von Street Art. In diesem Fall konzentriere ich mich auf die Unterschiede, die bei den Funktionen beider Arten von Malereien in den untersuchten Städten auftreten. Bei der Betrachtung von Street Art, Wandmalereien und Graffiti wie auch bei der Analyse von Gesprächen mit ihren Schöpfern und Bewohnern beider Städte versuche ich, auf die Frage nach dem Ort von Malereien im Raum und deren Rolle bei der Herausbildung verschiedener Formen von Identität (z. B. über den Verein, die Siedlung oder die Stadt) zu antworten. Ebenso achte ich auf Ähnlichkeiten und Unterschiede in ihrer Form, ihrem Funktionsbereich und der Orte, an denen sie auftreten. Die Überlegungen stützen sich auf umfangreiches Quellenmaterial, das ich bei Untersuchungen vor Ort zwischen September 2012 und Mai 2014 gesammelt habe. Es handelt sich um Abschriften aus eigener Beobachtung, Abschriften und Aufnahmen von Interviews mit Personen, die (legal oder illegal) Malere-ien im städtischen Raum schaffen oder in verschiedenen Arten von Organisa-tionen und Vereinigungen tätig sind, die sich mit der von mir behandelten Thematik befassen. Grundlage der durchgeführten Analysen ist eine Sammlung von Fotografien aus Thorn und Lodz.

11

Tegelikkuse motestajad: vanasonad poola grafitis

70%

Szpila G.

Mäetagused

|

2013

|

vol. 53

39–54

EN

The paper investigates proverbial elements in Polish mural inscriptions. The main aim of the paper is to consider paremic mural inscriptions with an eye to determining if proverbs are used in Polish graffiti only as content-free play on traditional folk wisdom. The starting point in this analysis is the assumption that proverbs and non-paremic graffiti exhibit both similarities and differences and that most paremic uses in graffiti can be classified as anti-proverbial in character. Many studies suggest that the dominant feature of anti-proverbs is their mocking and humorous nature. The paper then tries to establish if mural anti-proverbs can be treated also as carriers of various sentiments which do not necessarily deny the traditional nuggets of wisdom, but are used to convey observations and truths based on them, which pertain to contemporary reality and regulate it in the same way as traditional paremias do.

12

Kam s nimi? Hesla a nápisy v ulicích z listopadu 1989

70%

Petráňová L.

Český lid: etnologický časopis (Český lid: Ethnological journal)

|

2009

|

vol. 96

|

issue 4

421-444

EN

From a distance of twenty years the author contemplates the short literary texts that accompanied the downfall of the totalitarian regime in Czechoslovakia in the year 1989. Slogans and inscriptions, hanged out by hundreds on the busy places of political protests, belong to the symbols shared in the process of social interaction and, at the same time, are distinguished by many aspects that classify them as folklore. The analysis of their unique character, historical importance and their possible use by other scientific disciplines is based in the collection of these communicates, preserved at the Institute of Ethnology of the Czech Academy of Sciences in Prague.

13

English Words Adopted and Used by Polish Graffiti Writers. A Review o f Socio-Linguistic Aspects

70%

Krawiec M.

Acta Neophilologica

|

2007

|

issue IX

53-63

EN

The issues presented in the article concern English loanwords and their role in the process of shaping a specific variety of the language which is characteristic of the subculture of Polish graffiti writers. The article describes various forms, styles and techniques by means of which young people signal their presence and express their thoughts and feelings. The paper is, first of all, an analysis of the linguistic component and an attempt of classifying English lexical units which are borrowed and most frequently used in the conversations of Polish graffiti writers. This study also concentrates on the categorization of the linguistic content which is adopted from the English language to various forms of Polish graffiti writings. The article presents the results of the survey which was conducted at the turn of April and May 2006. The obtained results suggest the widespread use of English words in the daily talk of Polish graffiti writers, the evidence of which comes from the quoted expressions and utterances that are applied by artists in their environment and their description of the so called "crime work". The article in the final part also enumerates the main factors which are believed to have a significant impact on such frequent use of English words among Polish graffiti writers.

14

Dual Place of Street Art – the City vs the Internet

70%

Gralińska-Toborek A.

Acta Universitatis Lodziensis. Folia Philosophica. Ethica – Aesthetica – Practica

|

2017

|

issue 30

99-109

EN

Street art (or more broadly urban art), as the name suggests, has its own specific place, which is the street. However one would be mistaken to think that this type of art can only be seen there. Most street art lovers know the works of their favourite artists primarily through the Internet, not only because this kind of art is ephemeral or not easily accessible (for example, due to its dangerous or exotic locations), but because it is perhaps the best documented art that has been created in the world. For artists and lovers of street art, the Internet has become a common space to share photos. More often than not, the Internet also becomes the only place where artistic ideas exist. Paradoxically, such art, which was supposed to be the nearest to the viewer in the physical sense, has become the nearest in the virtual sense. One can, however, hope that neither consumers of art. nor artists will have to give up their direct experience of art that builds our polysensory sensitivity.

15

El refugio cultural festival, graffiti and urban art in the historic centre of Puebla in Mexico

70%

Jiménez G. V., Hernández Sánchez A., De La Torre Sánchez C. E.

Acta Universitatis Lodziensis. Folia Philosophica. Ethica – Aesthetica – Practica

|

2021

|

issue 39

91-111

EN

The city of Puebla was put on the UNESCO list of Cultural Heritage of Humanity in 1987; its history dates back to the sixteenth century allowing for the preservation of various important buildings, such as churches with baroque and neoclassical facades, buildings from the period known as Novo Hispanics, when some of its historic neighbourhoods were founded, including the Barrio el Refugio, hereinafter referred to as BR, where indigenous people employed in the lime manufacture used to live. Since those times, however, the neighbourhood has become a place with bad reputation, “a den of thieves” (Leicht). The traditional, religious commemoration, the “Fiesta Patronal de la Virgen del Refugio,” is the most important celebration in the neighbourhood. In the Church of La Virgen del Refugio, built in the seventeenth century after an inhabitant painted a mural with the image of the virgin, the “mañanitas” are sung with the Mariachi. During the patronal feast, the “El Refugio Cultural Festival” is held with more than a hundred artists taking part and creating about a thousand murals according to the organiser’s estimation. This happens in the city where a project “Puebla Ciudad Mural” was started, as an initiative of the “Colectivo Tomate,” which sought to regenerate the neighbourhood through art, in alliance with the government and private companies. However, these policies are more tourist oriented rather than benefit the neighbourhood. For this reason, the graffiti movement “Festival Cultural el Refugio” is becoming a meeting point for urban artists from Mexico and Puebla, accustomed to taking up public or private space, as they demand space where they can live and express themselves. For ten years the festival has realised more than one thousand pieces of urban art, including Wild Style graffiti, bombs, stickers, stencil, and murals. All this is done under the patronage of the artists themselves, as three hundred of them come from all over the country to take part in every edition of the festival that does not receive any government support or other form of sponsorship.

16

Dobry towar

70%

Leder A.

Res Publica Nowa

|

2013

|

issue 1

151

EN

Trying to describe the discourse which is used in the drug business, the author looks closely at urban graffiti. The small signature of a drug dealer (“Good stuff”), modified several times by members of the local community, becomes part of the story about personal suffering, addiction and loss of dignity. By referring to Hannah Arend’s “On revolution”, the following article builds the parallel between the aristocracy just before the outbreak of the Great Revolution and the discourse of the drug business, which maintains a semblance of “charity”. In fact, both are based on the same hypocrisy, reducing human beings to the “naked need”.

17

STREET ART AND GUERRILLA MARKETING AS ATTEMPTS TO CREATE A PUBLIC SPACE

70%

Grotowska S.

|

2012

|

vol. 11

|

issue 3

EN

This article addresses a problem of the social functions of street art. The starting point is the assumption that art (not just street art) is present in all spheres of life - in a political propaganda, religious portraits, objects of trade, media, collective memory, etc. Explicitly or implicitly art supports the morale, co-creates the sense of community, social solidarity, can be used for - supporting the social order as well as for its criticism. The text consists of 4 subsections. The first summarises the origins of street art, inthe second one street art is considered as fram¬ing, in the third - street art has been analysed as a tool for building awareness of opposition, and the fourth one discusses the use of aesthetics of street art in the market games based on the example of guerrilla marketing and marketing activities of public institutions. The paper ends with a conclusion that street art is the art involved, the role of which in a public debatę relies on the production and maintaining awareness of opposition, although there are several factors that hinder the initiation of social change: a lack of understanding by the local com¬munity, limited freedom of speech, blurring the boundary between street art and street art aesthetics used for other purposes (such as guerrilla marketing).

18

Wodą w mur lub wyjście przez okno z betonu. O kilku graffiti Banksy'ego

61%

Mrozewicz A.

Images. The International Journal of European Film, Performing Arts and Audiovisual Communication

|

2011

|

vol. 9

|

issue 17-18

208-220

EN

The paper discusses a series of five graffiti pieces made in 2005 on the Israeli-Palestinian separation barrier by the English street artist Banksy. Location is here key to the understanding of the messages. The departure point for my analyses is, on the one hand, the meaning connoted with the ‘wall,’ the aim of which is to separate two peoples in a conflict, and, on the other, the representations of landscapes, often with water, painted by Banksy in most of the works. To answer what symbolic role landscape plays in the conflict-ridden area, I look at some other art works, made by contemporary Israeli artists for whom place, landscape and the related question of identity and belonging seem to play a central role. Painted by Banksy on the Palestinian side, the utopian, Eden-like sights, which ‘make holes’ in the concrete barrier, undermine, in an ironic fashion, the hierarchical discourse of power relations constructed by the ‘opposite’ side, and give ‘water’ to the evicted.

PL

Water on the wall or exit through the concrete window. On some graffiti of Banksy The paper discusses a series of five graffiti pieces made in 2005 on the Israeli-Palestinian separation barrier by the English street artist Banksy. Location is here key to the understanding of the messages. The departure point for my analyses is, on the one hand, the meaning connoted with the ‘wall,’ the aim of which is to separate two peoples in a conflict, and, on the other, the representations of landscapes, often with water, painted by Banksy in most of the works. To answer what symbolic role landscape plays in the conflict-ridden area, I look at some other art works, made by contemporary Israeli artists for whom place, landscape and the related question of identity and belonging seem to play a central role. Painted by Banksy on the Palestinian side, the utopian, Eden-like sights, which ‘make holes’ in the concrete barrier, undermine, in an ironic fashion, the hierarchical discourse of power relations constructed by the ‘opposite’ side, and give ‘water’ to the evicted.

19

The mastaba of the chief physician, Nfr-Hr-PtH (AS 65)

61%

Jánosi P.

Pražské egyptologické studie (Prague Egyptological Studies)

|

2017

|

issue 19

27-36

EN

During the fall season in 2016, the Czech Institute of Egyptology continued its field work at Abusir South. The western part of mastaba AS 65 belonging to the chief physician, Neferherptah (end of Fifth/beginning of Sixth Dynasty), was cleared and documented. One aim of the work was to clarify the relationship of AS 65 to AS 31 and an as yet unexcavated mud brick mastaba to the east. During this work, a third shaft was discovered in AS 65 situated between Shaft 1 in the south and Shaft 2 in the north. This shaft was probably the latest in the sequence of building Neferherptah’s tomb, but it was never used for a burial. Neferherptah is the latest of the physicians found in this part of the cemetery thus far (cf. Ptahhotep, Shepeseskafankh) and his tomb reveals a complex building history, which is detailed in this contribution.

20

Four seasons of documentation in the Main Sanctuary of Amun-Re in the Temple of Hatshepsut at Deir el-Bahari

61%

Pawlicki F.

Polish Archaeology in the Mediterranean

|

2016

|

vol. 25

303-314

EN

Four seasons of documentation have supplied pertinent data to indicate that the Main Sanctuary of Amun-Re in the Temple of Hatshepsut in Deir el-Bahari was perceived from a theological perspective as a cult place for the local form of Foremost of +sr-Dsrw and for the royal worship of Hatshepsut connected with it. The latter aspect was of sufficient significance to warrant twice a far-going modification of the decoration of the tympanum of the east wall of the Bark Hall, influencing the way the Inner Sanctuary was illuminated.

Refine search results

Possibilities to compare graffiti with handwriting

Graffiti w malowidłach ortodoksyjnyc

Graffiti na kościelnych ławkach w kontekście inskrypcji w przestrzeni sakralnej

Graffiti jako przejaw aktywności kibiców w przestrzeni miejskiej. Przykład Poznania

Turistická kolonizace Moravského krasu ve světle epigrafických památek Býčí skály

Przestrzeń manifestacji, czyli jak napisy na murach transformują przestrzeń miejską

Duchy miejsca – napisy (graffiti) w przestrzeniach publicznych i prywatnych jako przedmiot badań archeologii współczesnej przeszłości

WYDZIERGAĆ SIEBIE I ŚWIAT. BOMBARDOWANIE WŁÓCZKĄ JAKO ZJAWISKO SPOŁECZNO-KULTUROWE

Kultura i sztuka ulicy w Maghrebie na przykładzie Algierii i Tunezji. Zarys problemu

Napis w przestrzeni miasta (street art, mural i graffiti) Studium porównawcze Torunia i Łodzi

Tegelikkuse motestajad: vanasonad poola grafitis

Kam s nimi? Hesla a nápisy v ulicích z listopadu 1989

English Words Adopted and Used by Polish Graffiti Writers. A Review o f Socio-Linguistic Aspects

Dual Place of Street Art – the City vs the Internet

El refugio cultural festival, graffiti and urban art in the historic centre of Puebla in Mexico

Dobry towar

STREET ART AND GUERRILLA MARKETING AS ATTEMPTS TO CREATE A PUBLIC SPACE

Wodą w mur lub wyjście przez okno z betonu. O kilku graffiti Banksy'ego

The mastaba of the chief physician, Nfr-Hr-PtH (AS 65)

Four seasons of documentation in the Main Sanctuary of Amun-Re in the Temple of Hatshepsut at Deir el-Bahari