Browsing by Author "Bugaj, Ewa"
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Item Antropomorficzne figurki pradziejowe jako źródło poznania złożoności kultury ludzkiej(2008) Bugaj, EwaJednym ze świadectw przeszłości przykuwających powszechną uwagę są różnorodne przedstawienia antropomorficzne znajdowane najczęściej w formie licznych figurek wyobrażających postaci ludzkie lub tylko ich fragmenty. Rozumienie owych artefaktów oraz ich interpretacja są wśród badaczy bardzo rozmaite, natomiast znaleziska owe, bez względu na to z jakich terenów oraz okresów pradziejów lub starożytności pochodzą, wzbudzają zawsze niezmierne zainteresowanie i emocje. Autorka uważa, że owo nastawienie bierze się między innymi z tego, że figurki antropomorficzne po prostu w pewien bezpośredni sposób „przemawiają” do odbiorcy, będąc materialnym medium ucieleśniającym albo jakieś konkretne osoby ludzkie z przeszłości albo też bóstwa lub inne zjawiska, które obleczono w ludzką postać. W artykule podjęta została próba omówienia szerokiego spektrum podejść badawczych do plastyki figuralnej na gruncie archeologii, od analizy ikonograficznej poczynając, przez rozważania nad ich funkcją oraz analizą społeczną, a na studiach symbolicznych kończąc.Item Archeologia a sztuka(Instytut Archeologii i Etnologii PAN, 2012) Bugaj, EwaItem Archeologia klasyczna w poszukiwaniu swej tożsamości. Między przeszłością, teraźniejszą a historią sztuki(Wydawnictwo Naukowe Uniwersytetu im. Adama Mickiewicza w Poznaniu, 2011) Bugaj, EwaThe 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.Item Badania archeologiczne a obrazowanie wizualne przeszłości(2004) Bugaj, EwaOne can say that our times are dominated by visual communication. Usually all day long we have been faced by various pictures, visual forms and symbols. According to the subject of the book 'Archaeology-Culture-Ideologies' I found it interesting to pay attention to the problem of visual representation, or better say visual symbols in nowadays communication and culture, their meaning and importance. From this point of view I would like to show the role of archaeologists who discover, interpret or even create some of them. The subject is not new of course, but the most often it is taken into consideration by the scholars who practice in social anthropology or philosophy and quite rarely it appear in studies of archaeologies, especially in Polish tradition. In my opinion the subject concerning visual symbols communication and archaeology arise several important questions that are also valid for the theme of book 'Archaeology-Culture-Ideologies'. The first is socio-cultural role of our discipline, next the danger of political and propaganda misuse of the results of archaeological research and then also commercialisation of the archaeological activities. The problem of visualisation and visual-communication can be the matter of various studies. In my paper from the beginning I would like to present the general view concerning visual symbols and figural motifs and the main ideas and approaches to study them from different humanistic perspectives. Then in my presentation I am going to discuss the question why in our culture the visual symbols and representations became so popular – compare to other ways of human expression, for example verbal symbol communication. I would like to see the problem in historical perspective as well. There are a lot of evidences, which support the statement about the power of visual symbols in history. In ancient times for example Horace in 'Ars Poetica' suggested that human mind usually is much more impressed by eyes than by ears. In my opinion that is quite often in human culture that visual impression is before mental one. Visual representations and symbols are very powerful, they can show and communicate various phenomena, they act immediately and quite often in easily way they can associate. So for archaeological research it could be very important to make some studies concerning the ancient symbols and general iconography and also it would be grateful to make some attempts for the study what kind of potential meaning could have visual symbols. In my paper I can only make some general statement about it. But the most important for the topic is reflection on prehistoric and ancient visual symbols and representation and their presence in contemporary culture. So after some general statements concerning the visual symbols examined from various perspectives finally I would like to point out with support of some examples how ancient and prehistoric visual symbols and images are still used and captured by contemporary culture and what is or should be the role of archaeologists activity concerning this matter.Item Badania ikonograficzno-ikonologiczne greckiego malarstwa wazowego – zarys problematyki(Komitet Nauk Pra- i Protohistorycznych PAN, Muzeum Archeologiczne w Gdańsku, 2018) Bugaj, Ewa; Minta-Tworzowska, DanutaIn the text the author pointed out that the iconographic and iconological approach in the study of Greek vase painting has not developed and never functioned strictly according to the method proposed by E. Panofsky, but it emerged as a result of a specific adaptation of elements of this method with the participation of others. E. Bugaj characterized the contribution of C. Robert’s research to iconographic studies on the Greek art, whose work at the beginning of the twentieth century set the course of scientific procedure in this field. Attention then was turned in the text to the so-called anthropological turn in the studies on ancient art and on the achievements of Swiss and French scholars, inspired by structuralism and comparative linguistics. These studies have shown that images on Greek vases cannot be read as direct sources of information about the ancient world, because their purpose was not to represent reality. They should be perceived as the expression of a specific mental system, characteristic for a specific cultural environment in a given place and time. As a result of these studies, new conclusions have been reached on the subject of Greek vase painting imagery, indicating that specific representations are based on the specific types of figures and iconographic schemas. Further on, the author presented the links between iconological and semiotic approaches, emphasizing that despite their common goal of reading the meanings and deeper senses of the pictures, reaching it in the above mentioned approaches is different. Iconology is primarily interested in setting the analysed images in the external world, of which they are a part and "representation". Semiotics, in turn, focuses on the internal, operational structure of images, in order to reveal the principles of their functioning. Semioticians argue that the world of Greek images is culturally constructed. It results in the creation of a specific language of images, and the recognition of its functioning allows for the recognition of the mentality of its creators, namely the Greeks, and allows an attempt to look at their cultural heritage in a way as close as possible to that in which they looked at themselves. In the conclusion of the text the author stated that contemporary research on Greek vase painting is based on elements of both iconological and semiotic methods, but above all it is aimed at broadly understood visual culture studies. Their common element is the belief that vase paintings do not directly represent the past reality, but are constructed of types of figures and iconographic schemas that convey some values and ideas, important at that time both for the vases painters and for the people who order them. Moreover, there is no single, correct way to analyse and interpret them.Item Badania ratownicze na stanowisku Milejowice, pow. Wrocław, w latach 1999-2001(Instytut Archeologii Uniwersytetu Wrocławskiego, 2002) Bugaj, Ewa; Gediga, Bogusław; Kosicki, Andrzej; Szwed, Robert; Żygadło, LeszekItem CZTERY MIĘDZYNARODOWE SESJE ZORGANIZOWANE PRZEZ KOŁO NAUKOWE STUDENTÓW ARCHEOLOGII DZIAŁAJĄCE PRZY INSTYTUCIE PRAHISTORII UNIWERSYTETU IM. ADAMA MICKIEWICZA W POZNANIU(Wydawnictwo Naukowe UAM, 2004) Bugaj, EwaKronikaItem Etruscan Systems of a Goods Exchange and Communication Routes Including Regions Located North of the Alps. Outline of the Issue(Wydawnictwo Uniwersytetu Wrocławskiego, 2007) Bugaj, EwaItem Item Figuracje oraz antropomorfizacje w pradziejach i starożytności(Wydawnictwo Poznańskie, 2010) Bugaj, EwaThe introduction into the issues discussed in the book 'Aesthetics in Archaeology' (no. 3) is entitled ‘Figuration and anthropomorphization in prehistory and antiquity’, as research perspectives presented here oscillate, on the one hand, around specific human-like artefacts, produced in various cultural circles, starting from the preserved oldest visual images until the present. On the other hand, the papers indicate that anthropomorphism is a much wider and capacious phenomenon, consisting in attributing human characteristics to inanimate world, or, wider, on projecting human qualities onto the whole surrounding reality or even on impossibility of recognizing the reality beyond the anthropomorphising ‘I’. It must be emphasised that reflections presented in the books are not limited to perceiving archaeology as a discipline interested only in the past studied by the prism of material remains, here preserved relicts of figural art. On the contrary, they make us realise that those remains (even so meaningful as works of art) are not identical with the culture of these past societies or with them. They constitute just a fragment of the then culture, which did not function autonomously but in connection with other domains, especially symbolic culture, which cannot be studied empirically. Taking under consideration the specificity of archaeological sources, we always have to refer to a theory as a means of mediation between their materiality, past socio-cultural reality, the present and the researcher.Item Idole cykladzkie. Krótka charakterystyka źródeł oraz kilka refleksji na temat funkcji i znaczenia(2007) Bugaj, EwaThis paper will shortly describe some aspects of Cycladic sculpture consisting mostly of marble female figurines with several figurines of male musicians and rare examples of warriors and groups. Traditionally these figures are referred to as “idols” implying the possible meaning of anthropomorphic images of gods. What should be mentioned here is the uniqueness of the whole group together with consistent usage of marble – the material requiring considerable artisan skills of stone-cutting - and with remarkable, suggestive uniformity of style, yet allowing the inner evolution of forms. Around mid-III millennium BC this evolution eventually stimulated the creation of as called “canonical” image: sublime, simplified and geometrical with the arms folded over the abdomen. Simple, synthetic form of vertical, geometrical structure meets the expressiveness of large, flat surfaces, commonly enriched with painted patterns. Despite numerous publications still no complex analysis of function and meaning has been proposed. The archaeological findings indicate possibility of various functions rather then one only. The question of symbolism may never be fully answered due to fragmentary character of available resources. The complexity of a social context within the islander population during the thousand years of early Bronze period also prevents us from developing detailed explanations. Archaeological data partially supports the theories of predominantly funeral meanings of the idols, since most of them have been found in graves - usually together with other objects demonstrating clearly sepulchral character. It is possible that from the very beginning the idols have been manufactured to this very purpose i.e. to become parts of funeral inventory. Figurines might have played an important function in the funeral rites, being finally laid down in graves as votive offerings. But another possible functions and meanings for the figures have been proposed lately on the basis of painted motifs, the archaeological contexts and ethnographic parallels. They could play an active role in various rituals, storytelling, educating over the course of their use-life in the community. What more some painted motifs may have been applied with association with important events: initiations into adult groups, marriage, pregnancy and birth giving, sea venture, and, ultimately, the voyage to the next world.Item Ikonografia pradziejowa jako źródło „mówiące”. Kilka uwag dotyczących metodologicznych problemów badań nad tzw. sztuką w pradziejach(Polska Akademia Nauk, Oddział we Wrocławiu, Muzeum Archeologiczne w Biskupinie, 2001) Bugaj, EwaItem Kilka uwag na temat dziecka w kulturze starożytnego Rzymu(Stowarzyszenie Naukowe Archeologów Polskich, Oddział w Poznaniu, 2004) Bugaj, EwaItem Kim jesteś ateńska zamożna Pani?(2011) Bugaj, EwaItem Kopie i naśladownictwa w kulturze starożytnego Rzymu(2006) Bugaj, EwaItem O antropomorfizowaniu i potrzebie przedstawień figuralnych w sztuce greckiej(Wydawnictwo Poznańskie, 2010) Bugaj, EwaAt the beginning of the text ‘On anthropomorphising and the necessity for figural images in Greek art’, Ewa Bugaj notices that in the nomenclature related to Greek art, the term anthropomorphism was commonly accepted first of all in relation to anthropomorphising religious images – mainly deities. Therefore, it is inevitably connected with the idea of the cult image, difficult to define. Its contemporary understanding derives from the context outside the Greek world, principally linked with the criticism of idolatry. Nevertheless, the author claims that in ancient Greece there occurred one of the most typical forms of anthropomorphism, mostly explicit in the poems of Homer and Hesiod, where the attribution of human forms, customs, actions and characteristics to the gods is really paradigmatic, although there were some early philosophers who rejected and criticised such a way of perceiving the deity. Focusing first of all on the Greek phenomenon of anthropomorphising the deities, E. Bugaj reminds that throughout the period of development of the Greek ancient culture there existed various ways of depicting divinity, and that recognition of only one of them – expressed by anthropomorphised (human-like) images – is a great simplification. However, some historical premises suggest that also those deities that did not have a humanlike figure, exhibited human traits. On the margin of above considerations the author emphasises that the Greek phenomenon of anthropomorphising gods, who in Homer and Hesiod’s works expressed the whole assembly of human characteristics and vices, frequently unworthy of reproducing, does not testify to the lack of seriousness of religiousness of the Greeks, as shown by Walter Friedrich Otto and Walter Burkert. According to Burkert, depicting gods as non-heroic characters in the epic poetry, especially Homer’s, poetry that originated on the basis of the long and older oral tradition, is a long folk practice of narrating divinity. It fulfilled important functions of focusing attention and bringing the deity closer to people by showing them in ordinary, familiar situations. This tradition came to Greece from the Orient. The Greek religiousness is shown in the epic tales in a very serious and even severe way and it reveals a fear of gods, as it is not based on myths but first of all on practising cults, rituals comprising of scarifying victims, libations and praising gods. Next, Ewa Bugaj reflects upon cult images and their specifics, consisting in their necessity to present powers/beings transcendent for humans; they have to represent something without revealing the fact that this something (spiritual power, deity) is not visible on the basis of data from sensory experience, on the basis of direct observation. Referring to a number of scholars, the author explains that as far as the Greek world is concerned, all cult images were not to imitate any external model, which is basic for the modern understanding of an image (in Greece typical for conceptual thinking after Plato). Archaic Greek images of deities, especially the older ones, gave form to something that did not have it, albeit they did not imitate anything. The Greeks used a number of terms for the images, e.g. xoanon, bretas, andrias, palladion, agalma, kolossos, eikōn, eidōlon. What’s more, both terms and specific forms must have functioned together in ancient Greece and only confrontation of epigraphic and historic sources with archaeological data will demonstrate that looking for the explanation of these phenomena just in one category of sources, without its critical analysis, as well as using evolutionary schemes for the interpretation of the forms of the images is an unacceptable simplification. Giving examples from literature and art, E. Bugaj notices that bretas and xoana stood for non-iconic forms and they did not attempt to display any resemblance. They were imagined as something that falls down from the sky, such as xoanon of Athena Polias, located in Erechtheion on the Acropolis of Athens. However, such a deity ‘embodied’ in a non-iconic form could have been treated in various ways: it was carried in processions or ritually bathed, oiled and clothed (in the mentioned case from Acropolis in a specially woven peplos). Therefore, we witness here a specific form of anthropomorphism. Next, the author shows examples of preserved statues of the so called kouroi and korai – young boys and girls – from the archaic period, in order to demonstrate different ways of interpreting them – from cult statues to, at present most commonly accepted interpretation, emphasising their votive and commemorative function. Further, the author ponders upon the possibility of recognising other explanations of the fact that ancient Greeks created a culture, the most significant feature of which was common usage of images, frequently human-shaped. She refers primarily to works of Jean-Pierre Vernant and Alain Schnapp. E. Bugaj notices that the onset of immense popularity of visual images is dated from the so called geometric period, especially its end, when between the 9th and 8th century BC ancient Greece was an arena of fundamental changes. The religious system must have also undergone changes, taking the form of a state religion. On the one hand it expressed the uniqueness of particular Greek centres, and on the other, it endeavoured to confront various legendary traditions on a religious plan by the erection of common sanctuaries, organisation of Panhellenian Games and the panegiria. At the time in Greece, temples are for the first time constructed independently of human settings. They are inhabited by gods in anthropomorphic forms. What is more, this period witnessed the renovation of structures deserted for centuries, mostly grave structures, which began to serve as places of cult of legendary characters and heroes, not necessarily connected with them. Furthermore, their images are produced. Therefore, we may suppose that the development of figurative art in Greece with a central role of a human figure was first of all a significant means of communication for the society and of constructing its identity. In the sacral sphere it provided an opportunity for approaching a deity and contacting him/her through its anthropomorphised image. The author emphasises, however, that we should not talk about personal, individual or psychic relation with a god, because in the archaic epoch, as historic relations and studies within anthropology of culture prove, a man was not internally shaped as a separate individual personality. In Greece individuals existed only socially, as far as they were seen and people strived for approval in the eyes of their fellow citizens.Item O doświadczaniu starości w kulturze starożytnego Rzymu(Stowarzyszenie Naukowe Archeologów Polskich, Oddział w Poznaniu, 2006) Bugaj, EwaItem O nowych podejściach w badaniach sztuki greckiej na przykładzie wytwórczości rzeźbiarskiej(Instytut Archeologii i Etnologii Polskiej Akademii Nauk, Ośrodek Studiów Pradziejowych i Średniowiecznych w Poznaniu, 2018) Bugaj, EwaIn the chapter concerning the new approaches in the study of Greek sculptural production at first Ewa Bugaj 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 their 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.