Diana I Barbu | University of Bucharest (original) (raw)
Papers by Diana I Barbu
Caietele Restaurării, 2015
Overpainting represent one of the most controversial issues of restoration. The study On the Oil ... more Overpainting represent one of the most controversial issues of restoration. The study On the Oil Painting Technique and the Interventions on the Chancel paintings from Saint Catherine Church in Bucharest starts from the investigations carried out and suggests possible variants for an aesthetic solutions. The conservation -restoration interventions on the oil murals from Saint Catherine Church in Bucharest, consisting in the removal of three layers of overpainting applied during one century, were very difficult. They were executed in different ways, function of the methods used during the age when the overpainting was applied. The high degree of complexity was also due to the fact that degradation of oil painting can easily become irreversible, Another problem was posed by the execution technique, the discontinued applied varnish causing the deterioration of the metal foil after a very short time.
Being part of the collection of the Antim Monastery, the composition represents a unique piece fr... more Being part of the collection of the Antim Monastery, the composition represents a unique piece from the point of view of the subject matter, as well as through the manner by which is performed. The icon has the characteristic of recoding in the lower part, at the feet of each saint, the feast date from the Orthodox Calendar, on the new style. Also in lower register of the composition is written a text that mentions the name of the Metropolitan, which is the period in which it was performed.
In the 18th century Bucharest many churches were built, of whose purity of style and lines, somet... more In the 18th century Bucharest many churches were built, of whose purity of style and lines, sometimes equals the one of the Brâncoveanu´s foundations. The type of church – which knows a great development in the Brâncoveanu´s period and after that – is the one with porch. Consecrated in 1789, the foundation of captain of hirelings Panait Băbeanu, The Icon Church of Bucharest, stores till today in the old porch a painting made at the end of the 18th century, which raises some special iconographic problems. Although in the upper part the author – Grigorie Zugravul – follows the old iconography, he also paint some unusual elements, i.e. there are displayed some scenes from the Apocalypse. The Saint John vision – illustrated in the Western world as early as the 7th century by Saint Severus (Spain), and much later in a Byzantine approach in the Eastern Orthodoxy at the Dionysiu Monastery (painting realized with the financial help of lady Ruxandra, the daughter of Petru Rareş) responded from an iconographical point of view to a harassed and bewildered society.
Abstract: The study tries to offer new pieces of information regarding the oil painting in the 19... more Abstract: The study tries to offer new pieces of information regarding the oil painting in the 19th century. It
offers for analysis the votive painting representing Queen Elisabeth of the Princely Church of Buşteni. In the
first part, the paper makes draws a short historical presentation of the “Birth of the Holy Theotokos”
Church, founded by the royal family on the Crown Estate near to Peleş Castle; then is presented the worship
place from the artistic and architectural point of view, and, in the end, the study shall dwell on the votive
painting – a dynamic element in the iconographic program of an Orthodox church. Considering the
preserving status of the Queen Elisabeth painting, after having gained new date offered by restoration , it
can be opened a new chapter of discussions concerning regarding the technical novelties brought by a
foreign artist – Aage Exner of Denmark – summoned by the royal family in order to embellish the Princely
Church, who also performed the church painting, also concerning the collective mentality of the 19th
century, being well-known that by portrait “it is underlined the strength of character, the model’s dignity
and the social rank”, as well as the historical significance of the traditional elements. The analysis of the
artistic and technical ways of expression offers extra information for a historical period which witnesses a
dynamic and a diversity hardly equalled by another stage. So that, within this time interval, we find in the
Romanian artistic expressions related or related to the Post-Byzantine Art blended with new elements
brought by the Western wave and in which can be observed as well local ideas and motives. It is interesting
to see which are the elements specific to these artistic lines, in order to better understand each contribution
and the ability of the native painters to blend and transpose them in works of art, which ultimately make up a
Romanian style.
Keywords: Princely’ Church of Buşteni, wall painting, preservation status, chromatic, canvas, frame.
Vă facem cunoscut că în perioada 4 – 5 mai 2015 la Centrul Cultural-Social “Iustin Patriarhul” – ... more Vă facem cunoscut că în perioada 4 – 5 mai 2015 la Centrul Cultural-Social “Iustin Patriarhul” – Centrul Naţional pentru Formare Continuă “Dumitru Stăniloae” din București, str. Sfânta Ecaterina, nr. 2, sector 4, va avea loc cea de a treia ediție a Conferinței Naționale ”Unitate dogmatică și specific național în pictura bisericească”. Participarea la eveniment se va face pe bază de invitație, care poate fi procurată de la Cancelaria Comisiei de Pictură Bisericească.
Comisia de Pictură Bisericească oferă posibilitatea implicării active a personalului de specialitate din teritoriu, astfel că, în cadrul zilei de 5 mai 2015, se pot susține comunicări orale având ca subiect Meşteri iconari şi zugravi “de subţire” (20 minute).
Lucrările vor fi publicate într-un volum colectiv.
Înscrierile, însoţite de rezumatele comunicărilor, sunt primite până în data de 16 martie 2015, la adresa comisiadepicturabisericeasca@yahoo.com sau direct la Cancelaria Comisiei de Pictură Bisericească (B.dul Regina Maria nr.1, bl.P5B, et.3, ap.8-9 sector 4 Bucuresti), persoana de contact: Dr. Diana Barbu – secretar tehnic CPB.
În urma analizării de către o comisie de evaluare a rezumatelor înaintate, lista specialiștilor selectați pentru a-și susține prezentările va fi publicată în data de 23 martie 2015 pe site-ul Patriarhiei Române.
TERMENE LIMITĂ
16 martie 2015 - Trimiterea titlurilor şi a rezumatelor în limba română (până la 500 de cuvinte și 3-5 cuvinte cheie).
23 martie 2015 - Confirmarea acceptării lucrărilor.
6 aprilie 2015 - Trimiterea lucrărilor in extenso (între 7 și 10 pagini).
Rugăm participanţii să respecte datele limită pentru trimiterea materialelor.
Conference Presentations by Diana I Barbu
The study of folk art manifestations in wood includes the origins of ornamentation and decoration... more The study of folk art manifestations in wood includes the origins of ornamentation and decoration techniques. Romanian folk art, which this analysis is about, is steeped in tradition and deals with complex historical and social conditions. It has mostly an idioplastic abstract character. Folk art’s ornamental idiosyncratic features don’t only belong to the geometric style but also, sometimes, to the vegetal and zoomorphic styles. To better illustrate this, this study has analysed 50 wooden doors and gates in the Village Museum in Bucharest. The repertoire of ornamental motifs and compositions of the monumental courtyard gates and doors mostly made in oak, attract the attention of researchers. The continual ornamental motifs used by the Vădastra culture (b. Ch. 2.200) are the wolf tooth, the teeth, the spiral, the circle, the bow, the square, and the rope. The folk artist does not use these motifs or the techniques at random, but strictly respects decorative laws to avoid cluttering the work. The present study tries to present new findings on. The question of ornamental styles, the nature of ornamental motifs their origins as well as information on conservation techniques and methods.
Muzeul de Artă - Timișoara, 2014
Lucrarea creionează o imagine coerentă, articulată a direcției principale, pe care se croiește m... more Lucrarea creionează o imagine coerentă, articulată a direcției principale, pe care se croiește manifestarea artistică religioasă din spațiul românesc în perioada interbelică. Cu toate că Biserica a fost privită ca prima și cea mai conservatoare instituție a secolului al XVIII-lea, prin prisma "decreștinării" societății după cum o numea istoricul de artă Daniel Barbu, și că odată cu deceniul al patrulea al secolului al XIX-lea putem vorbi de nașterea învățământului artistic, cu un rol tot mai important în viața urbană a Principatelor române, activitatea artistică religioasă în perioada interbelică rămâne una dintre cele mai importante forme de manifestare culturală a societății. Fie că ne referim la atitudinea familiei regale de promovare a valorilor tradiționale românești (amintim aici salvarea unor biserici de lemn din județul Mureș), fie că înțelegem implicarea Bisericii-în formarea artistică al generației aflată la primul contact cu lumea modernă, arta religioasă reprezintă un instrument de măsură a spiritualității și mentalității societății în România interbelică.
" Hălmagiu or Concerning the Sadness of a Historical monument " is a study that turns the restore... more " Hălmagiu or Concerning the Sadness of a Historical monument " is a study that turns the restorers' attention a worship place from the 18 th century of the western part of the country that lies in an advanced state of decay. The first part present technical data and the second one is concerned with the moral aspect of a historical monument of great spiritual significance.
ED. A IV-A 12-13 MAI 2016 8:30 PALATUL PATRIARHIEI
Thesis Chapters by Diana I Barbu
Teologia icoanei: influenţa isihasmului în pictura bisericească din Ţara Românească/ ed. Astra Museum , 2016
The obvious intention of the work "The Theology of Icon - the Hesychasm Influence on the Church P... more The obvious intention of the work "The Theology of Icon - the Hesychasm Influence on the Church Painting" consists in the meeting with the hesychastic prayers transpose in a plastic language.
The absence of a work devoted exclusively to this subject has completely justified the effort of analyzing a domain which opens large perspectives for the understanding of the theological deepness of the painting cloth of the Romanian monastic places. The theological approach tried to grasp the phenomenon on the whole. The role of Hesychasm in adumbrating the iconographic programs proper to Eastern art shows itself as essential, taking into account that the phenomenon takes place in times not at all untroubled. The mariological discourse of Saint Gregory finds its plastic in the representations of Akathist Hymn on the churches walls. This is how is justified the chapter - The hesychast influence on the iconography of Akathist Hymn in the Romanian Country.
Unanimously considered to be "the greatest work of the Byzantine religious poetry", quintessence of the Jesus Christ Incarnation, on the most famous hymns that glorify Virgin Mary is loaded with theological symbols.
Churches from Mount Athos (great Lavra, Hilandar on Molivoclisia, Dochiariou, Vatopedi, Xenophontos sketis), in the Byzantine Epire, Makedonia (Ochrid, Theotokos Pelibleptos and Saint Clement of Ohrid), Serbia (at Decani, Matejic, Markov - the church of Saint Demetrius), Romania (Cozia, Snagov, Tismana, Stăneşti, or the Northern Moldavia) are clothed with the hymn consecrated to the Theotokos.
The work makes special reference on the iconographical analysis of the Hymn representations in Cozia, Tismana and Snagov monasteries - dwelling places of Romanian Hesychasm. Making research into a universe as specific as that of Orthodox Iconography, opens unsuspected perspectives in the understanding of the mentality and sensibility of monastic communities on the Northern Danube.
Being always achieved as a prayer, gift, ministry and gladness in Christ and especially as doxology and spiritualization, church art must be "read" firstly with the soul, the Akathist Hymn is an eloquent example of this fact.
Books by Diana I Barbu
Dictionar de conservare-restaurare a patrimoniului bisericesc, 2016
Dictionar de conservare - restaurare a patrimoniului bisericesc, de Pr. Viorel Barbu, Diana Barbu... more Dictionar de conservare - restaurare a patrimoniului bisericesc, de Pr. Viorel Barbu, Diana Barbu, Gabriela Stefanita - Editura Basilica
Lucrarea „Dicționar de conservare-restaurare a patrimoniului bisericesc” a aparut la Editura BASILICA a Patriarhiei Romane. Cu binecuvantarea Preafericitului Parinte Daniel, Patriarhul Bisericii Ortodoxe Romane, volumul publicat este adresat specialistilor din domeniu, dar si celor interesati sa-si imbogateasca cunostintele. Aparitia lucrarii mai sus mentionate aduce noutate si originalitate in aceasta latura a activitatii bisericesti
De altfel, „Biserica Ortodoxa s-a ingrijit dintotdeauna de pastrarea, conservarea si restaurarea patrimoniului ei, indiferent daca a fost vorba despre arhitectura religioasa a lacasurilor de cult si despre pictura bisericeasca, ori despre sculptura religioasa in lemn sau piatra, despre orfevrarie sau despre artele minore in general: tesaturi, broderii, obiecte de cult de toate felurile, carti liturgice etc.”, se arata in nota editoriala.
Binecuvantarea publicarii volumului de catre Preafericitul Parinte Daniel vine sa completeze stradaniile Preafericirii Sale in acest domeniu.
„Preafericitul Parinte Daniel a aratat o atentie deosebita Comisiei de Pictura Bisericeasca, prin initierea alcatuirii unui Regulament de organizare si functionare, dar si prin fixarea de adunari anuale cu diverse tematici, pentru o mai buna cunoastere intre specialisti, pentru familiarizarea cu problemele acestora si ale Comisiei, pentru o buna ascultare canonica de autoritatea bisericeasca, pentru inflorirea artei bisericii romanesti si indeosebi a picturii bisericesti”, se arata in Prefata – Dicționarului de conservare-restaurare a patrimoniului bisericesc.
Autorii volumului sunt: parintele dr. Viorel Robert Barbu-coordonator, Diana Iuliana Barbu – doctor in teologie, domeniul Arta bisericeasca si Gabriela Stefanita, restauratoare autorizata.
Conferences, Workshops, Panels by Diana I Barbu
The Twelfth Congress of South-East European Studies, Bucharest, 2019
The Twelfth Congress of South-East European Studies. Bucharest, September 5, 2019. This day-long ... more The Twelfth Congress of South-East European Studies. Bucharest, September 5, 2019. This day-long group of papers investigates the afterlives of Byzantine monuments, memories and ideas in diverse societies and intellectual settings, ranging from Italy, Serbia, Wallachia, and Moldavia to Greece under Ottoman rule. Though the category of post-Byzantine is usually associated with 1453, it can be argued that various dates could be considered as starting points for productive discussions of the 'post-Byzantine.' The thirteen papers by scholars from several countries range in approaches from appropriation, to archaeology of knowledge, intellectual history, exchange, resistance and reception. Topics for discussion include stationary and portable, colossal and diminutive, public and private objects. These papers shed light on diverse constructions of Byzantium which emerged in the centuries after the empire's demise.
Caietele Restaurării, 2015
Overpainting represent one of the most controversial issues of restoration. The study On the Oil ... more Overpainting represent one of the most controversial issues of restoration. The study On the Oil Painting Technique and the Interventions on the Chancel paintings from Saint Catherine Church in Bucharest starts from the investigations carried out and suggests possible variants for an aesthetic solutions. The conservation -restoration interventions on the oil murals from Saint Catherine Church in Bucharest, consisting in the removal of three layers of overpainting applied during one century, were very difficult. They were executed in different ways, function of the methods used during the age when the overpainting was applied. The high degree of complexity was also due to the fact that degradation of oil painting can easily become irreversible, Another problem was posed by the execution technique, the discontinued applied varnish causing the deterioration of the metal foil after a very short time.
Being part of the collection of the Antim Monastery, the composition represents a unique piece fr... more Being part of the collection of the Antim Monastery, the composition represents a unique piece from the point of view of the subject matter, as well as through the manner by which is performed. The icon has the characteristic of recoding in the lower part, at the feet of each saint, the feast date from the Orthodox Calendar, on the new style. Also in lower register of the composition is written a text that mentions the name of the Metropolitan, which is the period in which it was performed.
In the 18th century Bucharest many churches were built, of whose purity of style and lines, somet... more In the 18th century Bucharest many churches were built, of whose purity of style and lines, sometimes equals the one of the Brâncoveanu´s foundations. The type of church – which knows a great development in the Brâncoveanu´s period and after that – is the one with porch. Consecrated in 1789, the foundation of captain of hirelings Panait Băbeanu, The Icon Church of Bucharest, stores till today in the old porch a painting made at the end of the 18th century, which raises some special iconographic problems. Although in the upper part the author – Grigorie Zugravul – follows the old iconography, he also paint some unusual elements, i.e. there are displayed some scenes from the Apocalypse. The Saint John vision – illustrated in the Western world as early as the 7th century by Saint Severus (Spain), and much later in a Byzantine approach in the Eastern Orthodoxy at the Dionysiu Monastery (painting realized with the financial help of lady Ruxandra, the daughter of Petru Rareş) responded from an iconographical point of view to a harassed and bewildered society.
Abstract: The study tries to offer new pieces of information regarding the oil painting in the 19... more Abstract: The study tries to offer new pieces of information regarding the oil painting in the 19th century. It
offers for analysis the votive painting representing Queen Elisabeth of the Princely Church of Buşteni. In the
first part, the paper makes draws a short historical presentation of the “Birth of the Holy Theotokos”
Church, founded by the royal family on the Crown Estate near to Peleş Castle; then is presented the worship
place from the artistic and architectural point of view, and, in the end, the study shall dwell on the votive
painting – a dynamic element in the iconographic program of an Orthodox church. Considering the
preserving status of the Queen Elisabeth painting, after having gained new date offered by restoration , it
can be opened a new chapter of discussions concerning regarding the technical novelties brought by a
foreign artist – Aage Exner of Denmark – summoned by the royal family in order to embellish the Princely
Church, who also performed the church painting, also concerning the collective mentality of the 19th
century, being well-known that by portrait “it is underlined the strength of character, the model’s dignity
and the social rank”, as well as the historical significance of the traditional elements. The analysis of the
artistic and technical ways of expression offers extra information for a historical period which witnesses a
dynamic and a diversity hardly equalled by another stage. So that, within this time interval, we find in the
Romanian artistic expressions related or related to the Post-Byzantine Art blended with new elements
brought by the Western wave and in which can be observed as well local ideas and motives. It is interesting
to see which are the elements specific to these artistic lines, in order to better understand each contribution
and the ability of the native painters to blend and transpose them in works of art, which ultimately make up a
Romanian style.
Keywords: Princely’ Church of Buşteni, wall painting, preservation status, chromatic, canvas, frame.
Vă facem cunoscut că în perioada 4 – 5 mai 2015 la Centrul Cultural-Social “Iustin Patriarhul” – ... more Vă facem cunoscut că în perioada 4 – 5 mai 2015 la Centrul Cultural-Social “Iustin Patriarhul” – Centrul Naţional pentru Formare Continuă “Dumitru Stăniloae” din București, str. Sfânta Ecaterina, nr. 2, sector 4, va avea loc cea de a treia ediție a Conferinței Naționale ”Unitate dogmatică și specific național în pictura bisericească”. Participarea la eveniment se va face pe bază de invitație, care poate fi procurată de la Cancelaria Comisiei de Pictură Bisericească.
Comisia de Pictură Bisericească oferă posibilitatea implicării active a personalului de specialitate din teritoriu, astfel că, în cadrul zilei de 5 mai 2015, se pot susține comunicări orale având ca subiect Meşteri iconari şi zugravi “de subţire” (20 minute).
Lucrările vor fi publicate într-un volum colectiv.
Înscrierile, însoţite de rezumatele comunicărilor, sunt primite până în data de 16 martie 2015, la adresa comisiadepicturabisericeasca@yahoo.com sau direct la Cancelaria Comisiei de Pictură Bisericească (B.dul Regina Maria nr.1, bl.P5B, et.3, ap.8-9 sector 4 Bucuresti), persoana de contact: Dr. Diana Barbu – secretar tehnic CPB.
În urma analizării de către o comisie de evaluare a rezumatelor înaintate, lista specialiștilor selectați pentru a-și susține prezentările va fi publicată în data de 23 martie 2015 pe site-ul Patriarhiei Române.
TERMENE LIMITĂ
16 martie 2015 - Trimiterea titlurilor şi a rezumatelor în limba română (până la 500 de cuvinte și 3-5 cuvinte cheie).
23 martie 2015 - Confirmarea acceptării lucrărilor.
6 aprilie 2015 - Trimiterea lucrărilor in extenso (între 7 și 10 pagini).
Rugăm participanţii să respecte datele limită pentru trimiterea materialelor.
The study of folk art manifestations in wood includes the origins of ornamentation and decoration... more The study of folk art manifestations in wood includes the origins of ornamentation and decoration techniques. Romanian folk art, which this analysis is about, is steeped in tradition and deals with complex historical and social conditions. It has mostly an idioplastic abstract character. Folk art’s ornamental idiosyncratic features don’t only belong to the geometric style but also, sometimes, to the vegetal and zoomorphic styles. To better illustrate this, this study has analysed 50 wooden doors and gates in the Village Museum in Bucharest. The repertoire of ornamental motifs and compositions of the monumental courtyard gates and doors mostly made in oak, attract the attention of researchers. The continual ornamental motifs used by the Vădastra culture (b. Ch. 2.200) are the wolf tooth, the teeth, the spiral, the circle, the bow, the square, and the rope. The folk artist does not use these motifs or the techniques at random, but strictly respects decorative laws to avoid cluttering the work. The present study tries to present new findings on. The question of ornamental styles, the nature of ornamental motifs their origins as well as information on conservation techniques and methods.
Muzeul de Artă - Timișoara, 2014
Lucrarea creionează o imagine coerentă, articulată a direcției principale, pe care se croiește m... more Lucrarea creionează o imagine coerentă, articulată a direcției principale, pe care se croiește manifestarea artistică religioasă din spațiul românesc în perioada interbelică. Cu toate că Biserica a fost privită ca prima și cea mai conservatoare instituție a secolului al XVIII-lea, prin prisma "decreștinării" societății după cum o numea istoricul de artă Daniel Barbu, și că odată cu deceniul al patrulea al secolului al XIX-lea putem vorbi de nașterea învățământului artistic, cu un rol tot mai important în viața urbană a Principatelor române, activitatea artistică religioasă în perioada interbelică rămâne una dintre cele mai importante forme de manifestare culturală a societății. Fie că ne referim la atitudinea familiei regale de promovare a valorilor tradiționale românești (amintim aici salvarea unor biserici de lemn din județul Mureș), fie că înțelegem implicarea Bisericii-în formarea artistică al generației aflată la primul contact cu lumea modernă, arta religioasă reprezintă un instrument de măsură a spiritualității și mentalității societății în România interbelică.
" Hălmagiu or Concerning the Sadness of a Historical monument " is a study that turns the restore... more " Hălmagiu or Concerning the Sadness of a Historical monument " is a study that turns the restorers' attention a worship place from the 18 th century of the western part of the country that lies in an advanced state of decay. The first part present technical data and the second one is concerned with the moral aspect of a historical monument of great spiritual significance.
ED. A IV-A 12-13 MAI 2016 8:30 PALATUL PATRIARHIEI
Teologia icoanei: influenţa isihasmului în pictura bisericească din Ţara Românească/ ed. Astra Museum , 2016
The obvious intention of the work "The Theology of Icon - the Hesychasm Influence on the Church P... more The obvious intention of the work "The Theology of Icon - the Hesychasm Influence on the Church Painting" consists in the meeting with the hesychastic prayers transpose in a plastic language.
The absence of a work devoted exclusively to this subject has completely justified the effort of analyzing a domain which opens large perspectives for the understanding of the theological deepness of the painting cloth of the Romanian monastic places. The theological approach tried to grasp the phenomenon on the whole. The role of Hesychasm in adumbrating the iconographic programs proper to Eastern art shows itself as essential, taking into account that the phenomenon takes place in times not at all untroubled. The mariological discourse of Saint Gregory finds its plastic in the representations of Akathist Hymn on the churches walls. This is how is justified the chapter - The hesychast influence on the iconography of Akathist Hymn in the Romanian Country.
Unanimously considered to be "the greatest work of the Byzantine religious poetry", quintessence of the Jesus Christ Incarnation, on the most famous hymns that glorify Virgin Mary is loaded with theological symbols.
Churches from Mount Athos (great Lavra, Hilandar on Molivoclisia, Dochiariou, Vatopedi, Xenophontos sketis), in the Byzantine Epire, Makedonia (Ochrid, Theotokos Pelibleptos and Saint Clement of Ohrid), Serbia (at Decani, Matejic, Markov - the church of Saint Demetrius), Romania (Cozia, Snagov, Tismana, Stăneşti, or the Northern Moldavia) are clothed with the hymn consecrated to the Theotokos.
The work makes special reference on the iconographical analysis of the Hymn representations in Cozia, Tismana and Snagov monasteries - dwelling places of Romanian Hesychasm. Making research into a universe as specific as that of Orthodox Iconography, opens unsuspected perspectives in the understanding of the mentality and sensibility of monastic communities on the Northern Danube.
Being always achieved as a prayer, gift, ministry and gladness in Christ and especially as doxology and spiritualization, church art must be "read" firstly with the soul, the Akathist Hymn is an eloquent example of this fact.
Dictionar de conservare-restaurare a patrimoniului bisericesc, 2016
Dictionar de conservare - restaurare a patrimoniului bisericesc, de Pr. Viorel Barbu, Diana Barbu... more Dictionar de conservare - restaurare a patrimoniului bisericesc, de Pr. Viorel Barbu, Diana Barbu, Gabriela Stefanita - Editura Basilica
Lucrarea „Dicționar de conservare-restaurare a patrimoniului bisericesc” a aparut la Editura BASILICA a Patriarhiei Romane. Cu binecuvantarea Preafericitului Parinte Daniel, Patriarhul Bisericii Ortodoxe Romane, volumul publicat este adresat specialistilor din domeniu, dar si celor interesati sa-si imbogateasca cunostintele. Aparitia lucrarii mai sus mentionate aduce noutate si originalitate in aceasta latura a activitatii bisericesti
De altfel, „Biserica Ortodoxa s-a ingrijit dintotdeauna de pastrarea, conservarea si restaurarea patrimoniului ei, indiferent daca a fost vorba despre arhitectura religioasa a lacasurilor de cult si despre pictura bisericeasca, ori despre sculptura religioasa in lemn sau piatra, despre orfevrarie sau despre artele minore in general: tesaturi, broderii, obiecte de cult de toate felurile, carti liturgice etc.”, se arata in nota editoriala.
Binecuvantarea publicarii volumului de catre Preafericitul Parinte Daniel vine sa completeze stradaniile Preafericirii Sale in acest domeniu.
„Preafericitul Parinte Daniel a aratat o atentie deosebita Comisiei de Pictura Bisericeasca, prin initierea alcatuirii unui Regulament de organizare si functionare, dar si prin fixarea de adunari anuale cu diverse tematici, pentru o mai buna cunoastere intre specialisti, pentru familiarizarea cu problemele acestora si ale Comisiei, pentru o buna ascultare canonica de autoritatea bisericeasca, pentru inflorirea artei bisericii romanesti si indeosebi a picturii bisericesti”, se arata in Prefata – Dicționarului de conservare-restaurare a patrimoniului bisericesc.
Autorii volumului sunt: parintele dr. Viorel Robert Barbu-coordonator, Diana Iuliana Barbu – doctor in teologie, domeniul Arta bisericeasca si Gabriela Stefanita, restauratoare autorizata.
The Twelfth Congress of South-East European Studies, Bucharest, 2019
The Twelfth Congress of South-East European Studies. Bucharest, September 5, 2019. This day-long ... more The Twelfth Congress of South-East European Studies. Bucharest, September 5, 2019. This day-long group of papers investigates the afterlives of Byzantine monuments, memories and ideas in diverse societies and intellectual settings, ranging from Italy, Serbia, Wallachia, and Moldavia to Greece under Ottoman rule. Though the category of post-Byzantine is usually associated with 1453, it can be argued that various dates could be considered as starting points for productive discussions of the 'post-Byzantine.' The thirteen papers by scholars from several countries range in approaches from appropriation, to archaeology of knowledge, intellectual history, exchange, resistance and reception. Topics for discussion include stationary and portable, colossal and diminutive, public and private objects. These papers shed light on diverse constructions of Byzantium which emerged in the centuries after the empire's demise.