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Archeologia klasyczna w poszukiwaniu swej tożsamości. Między przeszłością, teraźniejszą a historią sztuki

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Bugaj E.

2011

tom 16

255-279

The article defines classical archaeology as one of the first and oldest branches of archaeology practised in Europe by stressing that interests in the relics of ancient civilisations have been deeply embedded in the cultural self-identification of various peoples of Europe. The author aims to recognize how the modern world values contribute to interpretation and conservation of the classical past, especially Greek art and architecture, alongside other ancient objects, and how the Western elites treated them in the past centuries. The issue of common roots of classical archaeology and history of art as well as their long-lasting relationships are also thoroughly discussed. Discrepancies between major research procedures of classical archaeology and art history are scrutinized, especially in terms of an arguable irrelevance of modern concept of art in relation to archaeological evidence. The role of museums in relation to art and antiquities trade is also raised. Furthermore, the author discusses classical archaeology within broader issues of contemporary archaeology. It is recognized that classical archaeology has certainly changed by resigning from the previously dominant connoisseur knowledge approach to artefacts, concentrated solely on the works of art often seen as autonomous entities devoid of the context of their production, meaning and perception. Finally, the author defines contemporary classical archaeology as a rapidly changing discipline, reformulating its research agenda and opening up to cooperation with numerous other disciplines. Nevertheless, this should not mean a wholesale rejection of its great legacy of being a history of ancient art. On the contrary, this traditions ought to be redefined and incorporated into contemporary research agenda of the discipline.

Uwagi o rzeźbie greckiej i nowych kierunkach jej badań

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Bugaj E.

tom 21

35-54

In the paper concerning the new approaches in the study of Greek sculptural production at first the author considers the problem of putting the ancient artefacts with the modern works of art on the same level and the need for the new conceptualisation of them. In the next step she outlines historiography of the Greek sculpture with the particular reference to the study on its stylistic development. Further on the author presents selected, new approaches in the study on Greek sculpture, the ones which are breaking the long tradition of research on them, rooted in the Enlightenment and Hegelian thought and historicism. She focusses on the results of these research which shift the interpretative emphasis from the relation between the image/sculpture and its model to that of the image and its viewer.

Kilka uwag na temat antycznej metrologii oraz ceramiki attyckiej okresu geometrycznego i zasad jej dekoracji

100%

Bugaj E.

tom 20

The article deals with the ancient metrology and a possible recognition of the rules determining ornamentation observed on Attic geometric pottery. While referring to former studies, the author presents ornamentation of Attic geometric pottery, revealing an exceptional standardisation and repetitiveness of elements, as having two developmental tendencies. One concerns horizontal arrangement of decorative motifs, placed in surrounding belts, while the other decoration is put in vertical panels, focusing. These both tendencies in the course of development of Attic geometric period become one harmonized whole. It is also possible to demonstrate on an example of monumental became from Athens (inv. NM 804), that the vessel was exactly twice as tall as the biggest width of its body, as well as that ornaments covering its whole surface have been made according to an accepted module. The author suggests that such a way of thinking and ordering activities should not be interpreted as proving the beginnings of classical mathematical thinking, which is to develop later. However, metrological analyses of ancient artefacts suggests that such objects as Attic geometric pottery may permit recognition of already existing disposition of its creators for visual representations of experienced reality and for attempts made to generalize these experiences.