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How did painters and their public speak about art in Rembrandt's age? This book about the writings of the painter-poet Samuel van Hoogstraten, one of Rembrandt's pupils, examines a wide variety of themes from painting practice and theory from the Dutch Golden Age. It addresses the contested issue of 'Dutch realism' and its hidden symbolism, as well as Rembrandt's concern with representing emotions in order to involve the spectator. Diverse aspects of imitation and illusion come to the fore, such as the theory behind sketchy or 'rough' brushwork and the active role played by the viewer's imagination. Taking as its starting point discussions in Rembrandt's studio, this unique study provides an ambitious overview of Dutch artists' ideas on painting. - Waar ging het de Hollandse meesters om bij hun verbeelding van de werkelijkheid? Bevatten hun schilderijen verborgen betekenissen? Hoe verklaar je hun aandacht voor lichtval, spiegeling en materialen? Dit boek over het werk van de schilder en dichter Samuel van Hoogstraten, een leerling van Rembrandt, werpt nieuw licht op talrijke thema's uit de schilderpraktijk en -theorie van de Gouden Eeuw. Het behandelt het 'Hollandse realisme' met zijn vergankelijkheidsymboliek, evenals Rembrandts streven om emoties te verbeelden waarmee hij de beschouwer bij de voorstelling betrok. Opvattingen over imitatie en illusionisme blijken te zijn gebaseerd op filosofische motieven. Uitgaande van discussies in Rembrandts atelier, biedt The Visible World een ambitieus overzicht van de Nederlandse kunstopvattingen uit de zeventiende eeuw. The Visible World verschijnt in de "http://www.aup.nl/do.php?a=show_visitor_booklist&b=series&series=53">Amsterdamse Gouden Eeuw Reeks uitgegeven door Amsterdam University Press in samenwerking met het "http://cf.uba.uva.nl/goudeneeuw/">Centrum voor de Studie van de Gouden Eeuw.

Most artists earn very little. Nevertheless, there is no shortage of aspiring young artists. Do they give to the arts willingly or unknowingly? Governments and other institutions also give to the arts, to raise the low incomes. But their support is ineffective: subsidies only increase the artists' poverty. The economy of the arts is exceptional. Although the arts operate successfully in the marketplace, their natural affinity is with gift-giving, rather than with commercial exchange. People believe that artists are selflessly dedicated to art, that price does not reflect quality, and that the arts are free. But is it true? This unconventional multidisciplinary analysis explains the exceptional economy of the arts. Insightful illustrations from the practice of a visual artist support the analysis. - Kunstenaars verdienen vaak weinig. Toch is er aan jonge kunstenaars geen gebrek! Nemen zij het beperkte financiële gewin voor lief of weten zij niet beter? De overheid levert een bijdrage om de lage inkomens te compenseren, maar door subsidies lijkt de armoede onder kunstenaars slechts toe te nemen. In deze onconventionele en multidisciplinaire studie analyseert fotograaf, schilder en econoom Hans Abbing de uitzonderlijke economie van de kunsten: wijden kunstenaars zich geheel belangenloos aan hun werk, of laten zij zich wel degelijk leiden door economische motieven.

Most artists earn very little. Nevertheless, there is no shortage of aspiring young artists. Do they give to the arts willingly or unknowingly? Governments and other institutions also give to the arts, to raise the low incomes. But their support is ineffective: subsidies only increase the artists' poverty. The economy of the arts is exceptional. Although the arts operate successfully in the marketplace, their natural affinity is with gift-giving, rather than with commercial exchange. People believe that artists are selflessly dedicated to art, that price does not reflect quality, and that the arts are free. But is it true? This unconventional multidisciplinary analysis explains the exceptional economy of the arts. Insightful illustrations from the practice of a visual artist support the analysis.

Brings together some of the most exciting recent scholarship on Asian literature and culture, emphasising East Asia yet extending to South Asia Combines original findings of interest to specialists with a clear style of writing and argumentation that makes the volume accessible and appealing to the general reader Brings to life a wide range of Asian literary and scholarly figures important in their time and remain relevant and yet whose significance has been poorly understood - Het toegankelijk geschreven From Marginal to Mainstream brengt de literatuur van Azië in kaart. Het is een verzameling van grensverleggend Aziatisch literatuuronderzoek. De onderwerpen gaan van vrouwelijke poëten in het vroegmoderne India die zich door hun unieke gebruik van Sanskriet duidelijk onderscheidden van hun mannelijke collega's, via Japanse naar Chinese auteurs wier autobiografisch werk een geheel nieuwe trend zette in de 20ste en 21ste eeuwse Chinese literatuur.

The article examines the historical and cultural aspects of the processes of formation of artistic tradition in Russian decorative and applied arts and folk crafts from the XI to the middle of the XV century. Using the example of outstanding pieces of various types and directions of decorative art, the main periods and stages of the formation of the general stylistics of the masters' creativity and the ways of spreading similar artistic and figurative solutions are determined. The examples given by the author touch upon issues directly related to the processes of integration of Russian traditional crafts and decorative art with the creativity of Byzantium, Scandinavia, Central Europe and the culture of the peoples of the European part of Russia, which were subjected to the expansion of the Northern Slavic tribes. The author defines the development of the Russian artistic tradition as the active introduction of individual elements and figurative solutions of various sources into the basic Slavic culture, based on the preserved monuments of architecture, art and printed writing. The research is based on the works of archaeologists, art historians and artists, which are fundamental works on the history and theory of decorative and applied arts (A.N. Kirpichnikova, M.A. Orlova, B.A. Rybakov, etc.). A comparative analysis of the current state of certain types of Russian decorative and applied arts, traditional and folk crafts, taking into account the influence of technological transformations on authentic techniques and materials. The author's conclusions are based on many years of experience in studying decorative and applied arts as a factor in the development of professional competencies of students of art universities and institutions of additional education in the process of becoming independent masters and artists.

Devotion to the Sacred Heart of Jesus has been controversial from its beginning in the life of the French Visitationist nun Margaret Mary Alacoque (1647-1690), who established the devotion after a series of mystical visions of Christ. Under the leadership of Sister Sophie Barat, founder of the Society of the Sacred Heart in 1800, the devotion was taken around the world in the course of the nineteenth century. Wherever it went, the devotion took the shape of an evolving visual culture. Even during Alacoque's lifetime, imagery was a fundamental part of practicing the devotion. The Sacred Heart of Jesus traces the unfolding visual biography of the Sacred Heart, showing how imagery and visual practice document the history of the devotion and the remarkable range of its evolution. - Devotie aan het Heilige Hart van Jezus is al vanaf het eerste ontstaan controversieel. De Franse non Marguerite-Marie Alacoque (1647-1690) begon met deze Heilige-Hart-verering na een opeenvolging van openbaringen van Christus te hebben gehad. Jezuïeten, spirituele goeroes en priesters tot op de dag van vandaag maken deze verering tot het centrum van hun theologische studie en beleving. The Sacred Heart of Jesus is een uitgebreide visuele biografie van het Heilige Hart. Het laat de opmerkelijke evolutie van dit fenomeen zien, maar ook hoe beeldende kunst en rituelen deze geschiedenis documenteren.

The purpose of the article is to research and analyse the development of marketing technologies in the fine art market from the ancient times to the beginning of the 21st century. The research methodology consists in the application of comparative, empirical, and theoretical methods. This methodological approach allows analysis of the formation process and the history of the development of fine art marketing, conducting a research of marketing processes during the promotion of works of art on the art market at different periods of human history. The scientific novelty consists in expanding ideas about the fine art market. The article explores for the first time marketing processes on the art market from the ancient times to the beginning of the 21st century. The article analyses for the first time the problems that were formed and overcome during the history of the emergence and development of marketing in the field of culture and art. Besides, for the first time, the theoretical foundations of fine art marketing and the ways of their practical implementation are analysed. Conclusions. The conducted analysis allowed us to determine that even before the emergence of the modern art market as an element of the general capitalist market, the movement of works of fine art already thousands of years ago, in the ancient times contained elements of marketing approaches and technologies. This movement was caused by the processes of sale and purchasing, exchanging, and collecting works of art. In particular, we are talking about the precursors of marketing approaches and technologies aimed at a kind of satisfaction of the demand for works of fine art in society; organisation of classification and collection of works of fine art; examination of their quality and originality; determining the methods of works of art promotion in society. All these methods were already available at that time. In general, we can talk about the existence before the emergence of the modern art market of works of fine art, the so-called «wild market», which in a certain way "regulated" the processes of the movement of works of art in society.
Key words: art marketing, art market, works of art «wild market», marketing technologies.

The article discusses the Talysh national culture and its decorative-applied art. The author dwells on issues connected with the Talysh people's history and the Talysh language's peculiarities, on the history of the study of Talysh culture and decorative-applied art. It is pointed out that the decorative-applied art of the Talysh people is rich, original, and quite imitative. The author enumerates the world museums where samples of Talysh decorative-applied art are exhibited. The author also pointed out the spheres of handicrafts in which Talysh craftsmen stood out. So, Talysh craftsmen were brilliantly proficient in carpet weaving (including pile and pileless carpets, hesirs and buriya), decorating swords and daggers, embroidery, wood-carving, stone-carving, and many others. Besides, the Talysh traditions in other spheres of art are also mentioned. For instance, everyday dishes, articles made from clay, various items, utensils of everyday and ritual purpose, and artistic ceramics are also mentioned in the article. The author points out that all items made by Talysh craftsmen were always in great demand, but large-scale production did not mean degrading their quality. Talyshes were jewellers of the highest level and created very interesting products, real masterpieces. It is not occasional that samples of Talysh decorative-applied art are considered a very interesting cultural phenomenon. So, the materials discovered during archaeological excavations and their comparison with modern products prove that rich traditions of Talysh decorative-applied art are saved, are continued nowadays and are enriched by new achievements.

Various kind of Kala is one of temple ornament, that are patterned face of the giant's head Kala at every Hindu Indonesia Java temple entrances. Kala's ornament is come from India named Kirtimukha. It has beautiful form, strange, unique and mythic, it also is noted by many parties. Its presence raises contradiction. Giant Kirtimukha was born out of anger of Siva, which raised a fire of anger from between her eyebrows. Kirtimukha that has very big power called Mahakala, with grim face, grinning mouth and sharp fang, killer and cannibal, was assigned to keep the palace/temple. Giant Kirtimukha or Mahakala is ornament of palace doors in India deva and Java temple, and then spreads to the East Java named Banaspati, to Bali named Boma, the mask, Betara Kala, Barong, Gupala, Bhutakala and others. Frequently, the word Kala is also associated with time and the sun. Each Kala in separated region has its own form and function. Heaven Palace buildings architect named Wisvakarma. Kala as temple ornament in Dieng is classical style built on (± 600-900), in Plaosan Lor is middle classical style built on (± 900-1250 AD), in Panataran temple is late classical style built on (± 1250-1400 AD ). Form and function changes in classical style Kala were done in anthropomorphich, metamorphosis, deformative by creative and innovative artist in each period. Period of Hindu artist produce classical Kala ornament as enterance guard on temple or and the like. Period of Islam produces Batara Kala and Gunungan Wayang Kulit Purwa and others.The change of the political, religious and authorities in various regions, is a major cause of changes in form and function of Kala. In a classic Indonesian Hindu temple, Middle and modern period Kala have different name and form, but his function still as an ornamental and security guard of its owner. Modern period produce new type of reliefs and paintings for building wall and many others. Kala ornament is created by creative and innovative artist ranging from design, preparation of materials/equipment and the forming, till producing giant pattern art works or mask.Â

The paper "From Ruins to the Decorative and Applied Arts Museum" reflects the complicated path passed by the outstanding monument, a pseudo-gothic style - mezzanine - "New Cavalry House"-
designed by the architect of German origin - Albert Zaltzmann. Based on scientific research, the work presents content and functional loading possibilities for the new Decorative Applied Arts Museum building and its outer space. One of the main goals is to replace the Russian narrative with European content.
The European-style architecture Museum, located in the centre of the popular Georgian Spa resort Borjomi, with displayed decorative and applied arts collections belonging to the royal family, will be interesting for all visitors. Accordingly, it will be in demand and profitable. It has been noted that the museum is of an extraordinary, unusual nature, and it stands out from the rest of the similar museum institutions in Georgia thanks to the peculiar architecture, content, and collections displayed here.
The paper describes the mission of the future museum, its content, and the vital role it has to play in the context of educational and economic development, promoting the region and the whole country.

This collection of essays, co-edited with Katie Scott, redefines the study of the decorative arts in eighteenth-century France. It includes broader accounts of the impact of Enlightenment philosophy in shaping the understanding of the 'decorative arts' alongside case studies of silks, furniture, and architecture, drawing on recent theories of the body and space. Alive to the everyday pleasures found in objects, furnishings and dress, the volume illuminates the material worlds of consumers, from the extravagance of the court to the more modest taste of middle-class families, linking these material worlds to political and social life. The culture of luxury goods is considered alongside the changes to dress and design in the Revolutionary period

This article synthesises diverse material to discuss both state use of the arts for the purposes of controlling prisoners and the broader public, and the use made of the arts by prisoners and portions of the broader public as tools of resistance to penal states. The article proceeds with an analysis of the politics surrounding and underpinning the philosophy, formation, operation, effectiveness, and research evaluation of arts-in-prisons programmes in the contemporary Anglo-American world. It argues that arts-in-prisons programmes and pertinent evaluation research are often employed as means to a variety of latent ignoble ends, with 'decorative justice' – the function of masking the injustices and painful nature of imprisonment behind claims of fairness, benevolence and care – chief amongst these ends.

This article synthesises diverse material to discuss both state use of the arts for the purposes of controlling prisoners and the broader public, and the use made of the arts by prisoners and portions of the broader public as tools of resistance to penal states. The article proceeds with an analysis of the politics surrounding and underpinning the philosophy, formation, operation, effectiveness, and research evaluation of arts-in-prisons programmes in the contemporary Anglo-American world. It argues that arts-in-prisons programmes and pertinent evaluation research are often employed as means to a variety of latent ignoble ends, with 'decorative justice' – the function of masking the injustices and painful nature of imprisonment behind claims of fairness, benevolence and care – chief amongst these ends.