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Vol.01 Vol.01  (0) 
No.1 January 2005 (7) 
No.2 October 2005 (2) 
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No.1 September 2006 (2) 
No.2 November 2006 (1) 
No.3 February 2007 (1) 
No.4 April 2007 (1) 
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No.1 October 2007 (1) 
No.2 February 2008 (1) 
No.3 April 2008 (1) 
No.4 May 2008 (2) 
Vol.04 Vol.04  (0) 
No.1 July 2008 (1) 
No.2 October 2009 (2) 


No.2 October 2009
Pictorial Reconstruction of Ecclesiastical Design

Ariyuki Kondo

[Keywords] John Everett Millais, Anglo-Catholicism, Ecclesiastical Design, Pre-Raphaelite Brotherhood

This paper examines ways in which mid-nineteenth century medievalist artists perceived and depicted Christian ritual settings, or, more specifically, the liturgical order and use of space in ecclesiastical architecture. The focus is primarily on the implications of the chancel, the area for the Eucharist, the highest act in the Christian religion, which controls the entire nature of Christian rituals, in John Everett Millais's Christ in the House of His Parents (1849-50). Gothic Revivalist Augustus Welby Northmore Pugin's severe Christian medievalism was based on his firm conviction that "it is scarcely possible to preserve the interior faith in the doctrine of the holy eucharist if all exterior reverence and respect is to be abolished". Pugin, although considered very eccentric for his extreme medievalism, was, in fact, not alone in this ecclesiastical stand. A similar conviction on the inseparability of religious ritual from faith itself seems to have been held by many other mid-Victorian artists affiliated with Anglo-Catholic circles, amongst whom was Millais, whose Christ in the House of His Parents is believed to have been inspired by Puseyan typology. It is widely known that, in his Christ in the House of His Parents, Millais intended the interior of Christ's parental home, viz., a carpenter's workplace, to be an emblem of the chancel in a church, carefully depicting spatial details as symbolic of Biblical significance, reminding us of Pugin's claim that "in pure architecture the smallest detail should have a meaning or serve a purpose". Through close examination of this specific iconographical work, this paper intends to explore the high regard in which Millais held the Anglo-Catholic liturgical order and use of space in ecclesiastical architecture, and in so doing suggest the synthesis of art, architecture, and religion in mid-Victorian Britain.

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No.2 October 2009
Robert Morrison's Influence on Translation, Printing, and Publishing in Asia

Hyun-Guk Ryu
Tsukuba University of Technology
[Keywords] Robert Morrison, Bible, Translation, Printing, Publishing, China, Korean language

This study examines the influence on translation, printing and publishing in Asia of a mission press established by the Protestant missionary Robert Morrison, by reexamining precedent studies of the history of type printing in Asia. Morrison initially translated the Old and New Testaments into Chinese before compiling the 4,595-page Dictionary of the Chinese Language, in Three Parts. This dictionary subsequently served as the base for publications of multilingual dictionaries in Japan and Korea.
Morrison also participated in the printing business, actively publishing evangelical works. In addition, he published and disseminated the Old and New Testaments in Hangul, the Wenli Bible, which became the base for Korean Bible translations. The new finding of this research is that both direct and indirect influences, including Robert Morrison's research and introduction to Hangul, followed by Hangul Bible translations by Karl F. A. Gützlaff and John Ross, helped new cultures to blossom in Korea.

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No.1 July 2008
Japanese influence on decorative arts in Barcelona

Ricard Bru
University of Barcelona, Spain
[Keywords] Decorative Arts, Barcelona, Japonisme, Modernism, Aestheticism

At the end of the 19th century a fascination for all things Japanese arrived in Barcelona (Spain) influencing much of the artistic work in the city. Japanese art brought a new manner of understanding esthetic beauty that played an outstanding role in the process of the development of new forms of expression that attained a high degree of creativity in the epoch of Modernism. This paper aims to analyze and present an overview of the Japanese influence and its significance during the renovation process that affected Barcelona’s decorative arts in the last quarter of the 1800.

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No.4 May 2008

Mercè Vid

[Keywords] functionalist furniture, first avant-garde movements, Le Corbusier; GATCPAC, vernacular

This paper proposes a short revision of the history of design put in the context of historic avant-garde. The study of documents and original sources offers a new approach to historiography interpretations. In that sense, as far as the traditional and classical approach to the period, usually following Pevsner, has repeated and spread the same interpretation of design always pointing at the universalizing aim of any product while forgetting its belonging to a specific place. This paper proposes a new vision of the period and also will present some writings and professional proposals spread during the twenties and thirties that have been hushed up. What has been found is a stream focused on Mediterranianism and Latinism defended by Le Corbusier and spread all over through his links with Catalonia, Italy, France and Central Europe. Thus, in front of that functionalist furniture so German in spirit stand all those models which find its roots in vernacular productions of the Latin world. From that point of view, the period acquires new references which talking about a particular place suggests that there have been many aesthetic trends that inform contemporary design.

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No.4 May 2008
Imagining the City Scenery: Categories of Renaissance Aesthetics and Architectural and Urban Metapho

Vladimir M

[Keywords] Aesthetics, City, Scenery, Architecture, Judgment

Examples discussed in this article are showing that from the late Middle Ages all through the Renaissance, there existed an idea of the city as scenery imagined as a metaphorical ground for interpreting different social and cultural values. In that context, the aesthetic categories relevant to the process of imagining the city as scenery are directly anticipating the observer’s aesthetic respond to the emotionally created character of the scenery. From the mediaeval time, urban space reflected metaphorically the regional space and its essentially performing and theatrical characteristics. More precisely, in the twelfth and thirteenth century western European literature, the city has been interpreted as an urban mirabilia, miraculous scenery of many important events. However, in the thirteenth century the city is becoming a matrix of an ideological system. It is a social urban utopia, which success depends on the coordination between the actual story and the cultural and psychological heritage of the citizens and their system of values in the context of the time. These components of experiencing beauty of the city seem to develop further into a particular ethical concept under the influence of the philosophy of humanism. This was a kind of process through which man express’ his longing for acting as necessity in creating an ambivalent world. In this world rationality and irrationality are correlated in a complex way through the form of architectural and urban scenery. Far from rationalized aspects, intuition and emotion as aesthetic values, are now interpreting the ethical bond between individual and eternal aspects of humanity.

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No.3 April 2008
The Palau de la Música Catalana: Its Musical Symbols and Felip Pedrell

Mutsumi FU
University of Barcelona, SPAIN
[Keywords] Musical iconography, Spain, Catalonia, Modernism

The Palau de la Música Catalana is a concert hall that has a wide range of material, which is significant for its architectural, religious and folk aspects, and was declared a World Heritage Site in 1997. Although the decoration of the Palau de la Música Catalana is often a clear reference to the owner, the Orfeó Català, and to Lluís Millet, its director, it also exhibits the influence of Felip Pedrell.
This study aims to analyze iconographic musical scenes from throughout the building and tries to justify the influence of Pedrell in them.

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No.2 February 2008
Designing the incorrect
Design and graphic humor

Manuel &#1

[keywords] humor, form, graphics, creation, contextualization, topicality, transgression, complicity
A careful and precise mechanism is needed to create transgression graphics since their mission is to communicate the incorrect. The formation of any visual message is complicated by an appropriate transparency, which attempts to avoid foreseeable interferences between emitter and receiver. However, upon adding deliberately inappropriate content, the task becomes doubly complex because it must somehow visually advise the observer of the abnormality in such a way that the message will be perceived in its correct sense and that the transgression will be accepted by him or her without question. Furthermore, if its purpose is, as in the case of humor, to obtain a playful interaction with the spectator, then previous conceptual planning and a concrete resolution of the utilized visual symbology are required. Everything is ordered to give significance to the transgressed situation and to reach the goal of viewer complicity. As a result, the central content of this study will be the structure of graphic humor.

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No.1 October 2007
Rereading the moya/hisashi in Japanese architecture
Between expression and conception

Mizuki CRU
Ph.D. course, Kyoto Institute of Technology, Dept.
[keywords]spatial organisation, moya/hisashi, Japanese spatiality
We will try to analyse and grasp a Japanese concept of space, from a traditional spatial organisation system used in the Nara period until the arrival of the shōinzukuri during the Kamakura period, the moya/hisashi, and the expression which allows us to describe it, the kenmenkihō. We shall also see how, despite having abandoned the system, the conception is kept throughout subsequent periods, revealing unconscious forms of spatial representation.

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No.4 April 2007
Classification of Aesthetic Curves and Surfaces for Industrial Designs

Ichiroh Ka
Graduate School of Engineering Science, Osaka Univ
[keywords] industrial design, impression of curves/surfaces, computer aided design, differential geometry
This paper aims to figure out difference of our impressions on curves that are used in form designs, and also contribute industrial designers by implementing a smart computer aided design (CAD) system that have as same feeling on curves as human designers have. The proposing K-vector is a mathematical form of classifying such curves by designers’ impressions.

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No.3 February 2007
In the Scope of the Development Process and Techniques of Turkish Tiles and Ceramics

Secil SATI

[keywords] Iznik tiles-ceramics, traditionalism, transference to the current
The art of ceramic, which dates back to ancient periods and has multifarious types, took on a lively and colorful note when it took the name of Iznik tiles and ceramics, and became known worldwide in its peak in the 16th century. The authentic glazed type of ceramic started with the Assyrians and it reached to its perfection going through Central Asia, Great Seljuks, Anatolian Seljuks and Ottoman periods in the hands of the Turks until its maturity in Iznik. Iznik tiles are commonly made with under-glaze and above-glaze techniques, along with trials of other techniques; the art received much external influence, but was mainly nourished by the rich sources in its essence. Providing sustainability to Iznik tiles, which have an important place in Turkish culture, should be the assignment of ceramic experts as well as of the design perspective. It is essential to sustain the essence with quality while preventing degeneration.

[DOWNLOAD]  331.62 KB  

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