Litography

قصّه¬های عامیانه در دوره قاجار در میان مردم محبوبیّت و شیوع بیشتری یافت. ظهور چاپ سنگی در این دوره به نشر و گسترش این داستان¬ها کمک شایانی کرد، به ویژه چاپ¬های سنگی مصوّر که داستان¬ها را با زبان تصویر و با جذابیّت بیشتری برای مردم بیان می¬کردند. داستان «نوش¬آفرین گوهرتاج» داستان عامیانه منثوری از دوره قاجار در شرح عشق شاهزاده ابراهیم، فرزند پادشاه چین، برای رسیدن به معشوقش نوش¬آفرین گوهرتاج، دختر پادشاه دمشق است. نویسنده و زمان تألیف این داستان عامیانه معلوم نیست. چاپ¬های سنگی متعدّد نوش¬آفرین گوهرتاج حاکی از مقبولیّت و محبوبیّت آن نزد عموم مردم است. با توجّه به اهمیّت این داستان در نزد مردم، پژوهش حاضر یکی از مهم¬ترین چاپ¬های سنگی این داستان، یعنی نخستین چاپ سنگی مصوّر نوش¬آفرین گوهرتاج، مورخ ۱۲۶۳ محفوظ در آکادمی ملی لینچی در رم را بررسی می¬کند. نسخه مذکور به ۵۷ نگاره به قلم برجسته¬ترین تصویرگر کتب چاپ سنگی یعنی میرزا علی قلی خویی، مزیّن است. در این جستار داستان عامیانه نوش¬آفرین گوهرتاج معرّفی و اهمیّت چاپ¬های سنگی در ترویج این داستان بررسی می¬شود. بخش اصلی مقاله¬ به تحلیل نگاره¬های این نسخه از منظر چهره¬پردازی و پیکره¬نگاری، تصویرگری موجودات موهوم و افسانه¬ای و ترسیم صحنه¬های رزم و بزم اختصاص دارد. حاصل پژوهش نشان می¬دهد که تصویرگر نسخه در تلاش بوده تا نگاره¬ها را به شیوه¬ای مردم¬پسند و متناسب با نیازهای عصر خود به تصویر درآورد.

The aim of the paper is to show that during the early years of his career the painter Umberto Boccioni (1882–1916) was considerably influenced by the work of English, Belgian and French illustrators – mainly Cecil Aldin, Harry Eliott, Henri Cassiers, Albert Beerts, who were well known in Europe thanks to the circulation of their lithographs and postcards. This influence is clear in Boccioni’s prints and temperas and this paper presents two unknown lithographs made in his youth during a stay in Rome. By that time the young painter worked as an illustrator and his works showed a deep knowledge of European illustration used in commercial contexts such as advertising. In spite of the large amount of studies about Boccioni scholars have not underlined these connections: Boccioni’s commercial works are very little analyzed and so my aim is to clarify a field of research which remains largely unexplained due to the difficulty of sourcing examples of postcards and lithographs for summary studies about early Boccioni’s production. As a result the paper suggests a different chronology for some of Boccioni’s works and a broader framework for his cultural context.

تالیف: المولوی سید علی حسن
مطبع مطلع الانوار هند (1316 قمری)
یکی بهترین کتب منظوم تاریخ تشیع تا شهادت امام حسین صلوات الله و سلام الله علیهم می باشد.
در این کتاب تاریخ و حدیث و اخلاق شیعه را بصورت مختصر و جالب و درست به نظم شعری در آورده است.
رحمة الله علیهم
به زبان عربی

Braque, Picasso – Cubist Incentives for my Printmaking Works
In this thesis, I will try to outline the development of my own printmaking work, through the presentation of two key authors of the early twentieth century. Through the analysis of some of Picasso and Braque's works, I will compare to my own printmaking prints, and come to understanding of changes in transformation in Cubism, and briefly presented the lithographic process, which I use.
In my current work, partly due to my own tendencies and partly because of good mentoring, there was slow moving and allusion to the dominant period of the early twentieth century, Cubism. On a journey to Cubisim, fauvism, collage of different variants, I was led by good books full of various authors reproductions by Picasso, Matisse, Braque, Rembrandt, Holbein, etc.
The sequence of my graphic creation takes place in such a way that begins with the imitation of reality self-portrait and further away in assembling still lifes to imitation and thus trying to understand each line and to endure in different theme and different techniques. With the help of realistic imitation, I am moving away to imaginary, not strictly separate, but intertwined with each other, such as random objects in a still life, which I establish a dialogue with an artist George Braque.

Resumen: En este trabajo nos adentramos en el universo de la cultura visual de Buenos Aires durante la década de 1860 a través de dos publicaciones periódicas: el Correo del Domingo y El mosquito. Situados en una ciudad abierta y evanescente ante las primeras manifestaciones de modernidad, buscaremos analizar el sitio que ocupan las imágenes en estos productos culturales. Nuestra hipótesis es que durante este período se asiste a una modificación de la sensibilidad visual, caracterizada por la ampliación de los horizontes y un solapamiento de las escalas espaciales, articuladas entre lo micro y lo macroscópico.

El presente trabajo intenta establecer las posibles incidencias de la producción gráfica de finales del siglo XIX en la práctica artística y las instituciones que la legitiman. La aparición de la cromolitografía en la década de 1830 y su utilización en los carteles publicitarios, como técnica novedosa y atractiva, debe relacionarse con la cultura visual de la sociedad en su conjunto.

Painter and engraver Auguste Raffet (1804-1860) travelled to southern Russia in 1837, accompanying the Russian prince Anatole Demidoff. Based on the drawings he made there and on his way to the destination, he subsequently published a series of litographs, of which twenty-one show realities of Muntenia, Moldavia (now, Romania) and Bessarabia (now, Republic of Moldova). Among them, a number of lithographed plates and preparatory drawings which I discuss in this article stand out through their remarkable documentary value, recording several prominent ecclesiastical monuments down to the level of architectural detail: the church of Sf. Gheorghe Nou [New St. George], the Metropolitan Church, the Greci Church from Bucharest (the last one was demolished in 1863), and the Trei Ierarhi [Three Holy Hierarchs] Church from Jassy (shown before the controversial restoration carried out by the French architect André Lecomte du Noüy between 1882 and 1904). Moreover, in the case of the Greci Church and Inn, Raffet’s artistic document remains unique to this day.
Keywords: Auguste Raffet, lithographs, drawings, ecclesiastical monuments, Romanian Principalities

Romantik dönemde yapılmış olan baskıresimler, modernleşmeye başlayan toplumun sorunları ve bu sorunlara karşı geliştirilen eleştirel yaklaşımlar  üzerine yapılanmıştır. Aklın hegemonik tutumuna, yeni olan her şeyin iyi olduğu önyargısına ve insani duyarlığın dışlanmasında belirginleşen karşı duruş, sanatçıları ister istemez bireyin yanında ve içsel duyarlılık ekseninde konumlandırmıştır. Bu dönemde, baskıresmin kullanım ve teknik yapılanmasına yönelik yeni arayışlarla birlikte, bunları kullanmaya karşı da ilginin canlandığı ve baskıresim açısından önemli  yapıtların ortaya çıktığı görülmektedir. Bu yapıtlarda akla eleştirel bakmayla değişmeye başlayan süreç, birey, toplum ve  iktidar arasındaki ilişkiye yeni bir boyut getirmiş ve sanatçının modern toplumdaki konumunun da  ipuçlarını netleştirmiştir.
The prints that were made in the Romantic period were assembled on the problems of the society and the attitude towrads these problems. Opposition aganist the hegomonic mind, the prejudice of goodness of everyhting that is new, excluding human sensitivity; placed the artist willingly or unwillingly nearby the individual and sensitivity. In this period; the quest for  usage of the printed material, the construction of print- making techniques ,  an  awakening enthusiasm for using prints and important examples of this art strated to apper. These examples viewed the new perspectives of the process that started to change with the crituque of the mind, the individual, the relationship between the public and authority. And they also defined (the traces of)  the poisiton of the artist in the society.

Resume in English: The article explores Nikolay Pavlovich’s participation in an illustrated album, which can be regarded as a product of the local forms of 19th c. orientalism. It is considered as the first album of costumes of the Ottoman ruling elite, in which a Turkish artist has used Western artistic approaches in the depiction of the figures. The name of the author is Ârif Mehmed Paşa. The Turkish art historians dealing with the Tanzimat estimate the value of the work but they are not aware who are the actual painters behind the lithographic images. In contrast, most of the Bulgarian art historians know about the participation of Nikolay Pavlovic in this album but depict it in nationalistic key or do not consider it important. Therefore, this article combines the two types of sources in order to announce the significance of this album for the common pre-national history.

Charles Heathcote Tatham and Joseph Gandy played important roles in early Nineteenth century British artistic world:
Tatham for his contribution to the development of applied arts, Gandy for being John Soane’s projects graphic executor, as well as
a truly eclectic artist, hard to classify in traditional canons. Apparently disconnected and distant from each other, the two architects
shared the experience of the trip to Rome, which took place simultaneously in the years 1794-1796, but if they boarded the same ship,
they also moved in two diametrically opposite directions once arrived in Rome. The letters sent home by the two young artists confirm
this, telling two completely dissimilar experiences of the same Rome and the Ancient. After returning home, between 1800 and 1806,
both architects published some illustrated publications strongly linked to the recent trip. In both cases they are architectural model
albums: two series of ’didactic’ engravings by Tatham, and two pattern books for rural buildings by Gandy. They are two extremely
different editorial cases, but both based on the ’re-use’ of the Italian experiences of the authors and their personal interpretation of
their time’s cult of antiquity