Conferences of the Polish Institute of World Art Studies

Vol. 21: Contatti Artistici Polacco-Italiani 1871–1939, a cura di JERZY MALINOWSKI AGATA KNAPIK & ANNA JAGIEŁŁO

Sommario: JERZY MALINOWSKI, Contatti artistici polacco-italiani 1871–1939; LECHOSŁAW LAMEŃSKI, Vita e sculture di Tomasz Oskar Sosnowski alla luce delle scoperte di studiosi polacchi, ucraini, russi e italiani; EMILIAN PRAŁAT, Leopold Nowotny e i contesti della sua epoca; AGNIESZKA BENDER, Il mecenatismo di Zofia Branicka Odescalchi; MARZENA KRÓLIKOWSKA-DZIUBECKA, Gli artisti polacchi a Roma e i loro contatti con la Congregazione della Resurrezione di Nostro Signore Gesù Cristo CR; MARIOLA KAZIMIERCZAK, Michał Tyszkiewicz nell’élite dei collezionisti romani di antichità; FRANCESCO POPPI, Marco Faccini, Lucio Angelo Antonelli Il Museo Astronomico e Copernicano e la collezione originaria di Artur Wołyński; MAŁGORZATA OMILANOWSKA, Juliusz Świecianowski, membro dell’Accademia di San Luca; IWONA DOROTA, Teofil Lenartowicz – fascinazioni italiane paesaggistiche, artistiche e personali; GRZEGORZ FIRST, Roma – Pompei – Egitto. Percorsi e temi di Stefan Bakałowicz; MARIA NITKA, Realtà dell’invisibile – spiritismo e pittura religiosa nella Roma di fine Ottocento; MARIA BEATRICE GIA, La cappella polacca presso la Basilica di Sant’Antonio a Padova fra devozione, arte e committenza; MICHAŁ HAAKE, Aleksander Gierymski e il divisionismo italiano; LEILA S. KHASIANOVA, Gli artisti polacchi a Roma negli anni 80 del XIX secolo; KRZYSZTOF STEFAŃSKI, Accenti italiani nell’arte della Łódź industriale a cavallo fra Ottocento e Novecento; JAKUB ZARZYCKI, Italiani immaginati. Studio sull’iconosfera polacca negli anni 1871–1914 – pittura, grafica artistica, riviste illustrate; TAMARA SZTYMA, Henryk Glicenstein e la cerchia di artisti polacco-ebraici a Roma, 1900–1914; KATARZYNA KULPIŃSKA, L’Italia nella grafica artistica e nell’illustrazione degli artisti polacchi (1900–1939); AGATA KNAPIK, Un omaggio alla Polonia – L’arte polacca sulle colonne della rivista L’Eroica; PIOTR CHABIERA, Stamperia Polacca di Samuel Tyszkiewicz; ALESSANDRO AJRES, Aspetti del linguaggio nella Teoria del vedere di Władysław Strzemiński; CEZARY BRONOWSKI, La sperimentazione scenografica ‘alla polacca’. Le rappresentazioni teatrali di Marinetti, Pirandello e Rosso di San Secondo in Polonia tra le due guerre; EMILIANO RANOCCHI, La traduzione polacca de L’angoscia Delle Macchine di Ruggero Vasari ad opera di Irena Krzywicka; MAŁGORZATA GERON, Rita Sacchetto: le esibizioni italiane e i legami con l’avanguardia polacca; STELLA DAGNA, Soava Gallone e Elena Makowska: dive del cinema muto italiano; DARIO PROLA, Jarosław Iwaszkiewicz e l’arte toscana: epifanie del bello nella novella Anna Grazzi; ELEONORA JEDLIŃSKA, Pittura metafisica – La città metafisica nella pittura polacca del periodo fra le due guerre; BŁAŻEJ CIARKOWSKI “Idee più audaci da realizzare”. Progettisti polacchi e architettura dell’Italia fascista.

Presentazione del catalogo ragionato dei dipinti di Henryk Siemiradzki:

1. JERZY MALINOWSKI, Catalogo ragionato dei dipinti di Henryk Siemiradzki; 2. DOROTA GORZELANY-NOWAK, Siemiradzki e la cultura antica; 3. GRZEGORZ FIRST, L’Egitto e il Vicino Oriente di Siemiradzki; 4. AGNIESZKA KUCZYŃSKA, Motivi cristiani nell’opera di Henryk Siemiradzki; 5. JAKUB ZARZYCKI, Le criptocitazioni da Calderón e le ansie dell’Arcadia – gli idilli di Siemiradzki; 6. MARZENA KRÓLIKOWSKA-DZIUBECKA, Composizioni allegoriche e decorative di Henryk Siemiradzki; 7. MARIA NITKA, Siemiradzki a Roma; 8. AGNIESZKA KLUCZEWSKA-WÓJCIK, Henryk Siemiradzki sulla scena artistica europea; 9. KRZYSZTOF Z. CIESZKOWSKI, Sulla traduzione del Catalogo ragionato dei dipinti di Henryk Siemiradzki.

Polish Institute of World Art Studies & Tako Publishing House, Warsaw – Toruń – Rome 2021 (337 pp.) ISSN 2543–4624 ISBN 978–83–66758–12–4 (Poland) ISBN 979-12-210-0339-0 (Italy)

Publikację dofinansowano w ramach programu CZASOPISMA ze środków Ministra Kultury i Dziedzictwa Narodowego pochodzących z Funduszu Promocji Kultury (umowa nr 01687/20/FPK/IK z dnia 18.06.2020).

Publikacja jest wynikiem projektu Polsko-włoskie kontakty artystyczne 1871 – 1939” w ramach programu DOSKONAŁA NAUKA Ministerstwa Edukacji i Nauki, modułu Wsparcie konferencji naukowych (umowa nr DNK/SN/ 513085/2021).

Vol. XX – Art of the Armenian Diaspora, WALDEMAR DELUGA (ed.)

Contents: WALDEMAR DELUGA, Introduction; EMMA CHOOKASHIAN, Sur quelques pages issues d’un manuscrit de l’école de Crimée; BEATRICE TOLIJIAN, The art of church building and facade decoration in Ottoman Macedonia. Resonances from medieval Armenia: an overview; PETRA KOŠTÁLOVÁ, The Cultural Heritage of the Armenian traveler Simeon Lehatsi from Poland to the Ottoman Empire: A contribution to the History of the Polish-Lithuanian Commonwealth; CLAUDE MUTAFIAN, Les Armenéniens des Carpates face au prosélytisme romano-grec; Hermine Grigoryan, MARIA JOÃO MELO, ADELAIDE MIRANDA, JORGE RODRIGUES, The Gulbenkian Bible (17th c.): an interdisciplinary study of a precious Armenian heritage; VASSO ROKOU, Un paradox de l’image, le mariage d’Alexandre en Sognianee. Un Alexandre de tradition arméniene à Tachkent; MAGDALENA TARNOWSKA, Rafał Hadziewicz (1803–1886) and his paintings in Warsaw Churches; IRYNA HAYUK, Collecting in the Milieu of the Armenian Diaspora of the Eastern Europe; DOMINIKA MARIA MACIOS, Leopold Gaszczyk – unknown photographer of Armenian Diaspora in Syria (1923–1947); DOMINIKA MARIA MACIOS, Armenian Cultural Heritage in Nagorno-Karabakh – Aspects of the Current Situation with an Appendix by PATRICK DONABEDIAN.

Polish Institute of World Art Studies & Tako Publishing House, Warsaw–Toruń 2020

ISBN 2543-4624 ISBN 978-83-66758-04-9 (124 pp.) (Publikacja dofinansowana w ramach programu CZASOPISMA ze środków finansowych Ministra Kultury i Dziedzictwa Narodowego pochodzących z Funduszu Promocji Kultury).

Vol. XIX – Poland – Japan. Contemporary art and artistic relations, MAGDALENA DURDA-DMITRUK (ed.)

Contents: JERZY MALINOWSKI, The centenary of diplomatic relations between Poland and Japan; MAGDALENA DURDA-DMITRUK, Jikihitsu. The Signature of the Artist; I. STUDIES: ANNA KATARZYNA MALESZKO, What does the East mean to the West? On our inspirational get-togethers; SHIGEMI INAGA, Utsushi and Utsuroi: Imprint and Transience; YUKO NAKAMA, Nature and humans: Physical reality in Japanese aesthetics. Reconsidering the pictorial spaces of Hokusai and teamLab; MAGDALENA JANOTA-BZOWSKA,Sign of the Artist, the Artistic Sign: The Autonomy of the Artist’s Signature; ANNA DZIERŻYC-HORNIAK, What one needs is concentration, inner silence, a willingness to listen: Koji Kamoji in Artistic Dialogue with Polish Artists; JOANNA ZAKRZEWSKA, The Influence of Japanese Calligraphy and Ink Painting on Contemporary Polish Artists; MAGDALENA DURDA-DMITRUK, Fragment of the whole: Traces of Japanese aesthetics in the silk works of selected contemporary Polish artists; MAGDALENA FURMANIK-KOWALSKA, European fairy tales and kawaii aesthetics in the photography of Ewa Doroszenko; TOMASZ RUDOMINO, The Japanese Avant-garde: from Michel Tapié to GUTAI and Hori Kōsai; JERZY UŚCINOWICZ, The New Temple of Saint Nicholas of Japan at the Kamennaya Gorka in Minsk, Belarus. The Near Tradition of the Far East; II. INSTITUTIONS: RADOSŁAW PREDYGIER, The Polish Trail in Okayama: The Polish Art and Science Mission in Japan; KAZUHIRO KORENAGA, To Connect Region and People through Art; KATARZYNA NOWAK, Japan’s Living National Treasures and their exceptional presence at the Manggha Museum of Japanese Art and Technology; RINA MATSUDAIRA, Inspired by the Classics of East Asia. Searching for a meeting place of narratives and paintings; AKIKO KASUYA, Celebration: Between the Aesthetic and the Critical; Yoko Nakata, 20 years of the BIWAKO Biennale; YASUYUKI SAEGUSA, Artists in residence in Kumamoto Prefecture 2010-2018; III. ARTISTS: AGNIESZKA ROŻNOWSKA, Mono no aware: Memories of Kyushu; PAWEŁ JASIEWICZ, Every Timber Has Its Own Sound – Every House Has Its Song; MAŁGORZATA NIESPODZIEWANA-RADOS, Exercises in Mindfulness: My Japanese Experience in Creative Work; JOANNA STASIAK, Immersed in Seeing; PRZEMYSŁAW RADWAŃSKI, The Artist’s Craft as Meditation: Zen Practice and the Creative Process; ELŻBIETA BANECKA, Uncombed from Kyoto; ATSUSHI HOSOI, A report on the progress, development and background of the work of young Japanese wood sculptors today. And about my own work; GABRIELA MORAWETZ, Permeation / Image and Movement / Collaboration with the Tarinainanika Duet at the Biwako Biennale; JOANNA SITKOWSKA-BAYLE, Meetings with Japan: The works of Aliska Lahusen and Gabriela Morawetz; MAGDALENA DURDA-DMITRUK, A few words after the conference and accompanying events; Programme of the International Conference: Jikihitsu. The Signature of the Artist. The Presence of Japanese Tradition in Contemporary Polish Art; Programme of the Accompanying Events: Jikihitsu. The Signature of the Artist. The Presence of Japanese Tradition in Contemporary Polish Art.

Polish Institute of World Art Study & Tako Publishing House, Warsaw-Toruń 2019; ISSN 2543-4624 ISBN 978-956228-9-2 (248 pp.) (Pozycja dofinansowana przez MKiDN)

Vol. XVIII – The Henryk Siemiradzki that we do not know, AGNIESZKA KLUCZEWSKA-WÓJCIK & DOMINIKA SARKOWICZ (eds.)

Contents: JERZY MALINOWSKI, The Henryk Siemiradzki that we do not know – introduction; AGNIESZKA KLUCZEWSKA-WÓJCIK, Reassessing Academism: Bouguereau, Cabanel, Gérôme and Siemiradzki; AGNIESZKA ŚWIĘTOSŁAWSKA, First Attempts: the Early Work of Henryk Siemiradzki; VERONICA BOGDAN, Henryk Siemiradzki and the Imperial Academy of Arts; TATYANA KARPOVA, Siemiradzki as Portrait Painter; VITA SUSAK, Jesus and the Samaritan Woman (1890) by Henryk Siemiradzki in the Context of European Art: Variations on a Theme; AGNIESZKA KUCZYŃSKA, Christ and Sinner by Henryk Siemiradzki – Selected Problems of the Iconography of Christ in 19th Century Russian Painting; GRZEGORZ FIRST, Res Orientalis: Works of art from the ancient Near East and Henryk Siemiradzki’s “archaeological workshop”; MARIA NITKA, Henryk Siemiradzki’s Figuralism; ANETA BIAŁY, Henryk Siemiradzki and the Circle of Spanish Painters in Rome. How and Why Siemiradzki – an Ardent Opponent of the Fortunists in Rome – became a Follower of Mariano Fortuny in the Eyes of French Critics in Paris; NIKE F. LAMBE, “Et in Arcadia ego”. Where Henryk Siemiradzki, Lawrence Alma-Tadema and Frederic Leighton met; WOJCIECH M. GŁOWACKI “A Polyglot of a Paintbrush”? Critical Reception of Nero’s Torches in France; KAMILLA TWARDOWSKA, Henryk Siemiradzki and his interest in the paranormal phenomena; MAGDALENA LASKOWSKA, MONIKA PAŚ, Henryk Siemiradzki – works, memorabilia, documents. The history of the collection of the artist’s legacy in the National Museum in Krakow; MARZENA SIEKLUCKA, DOMINIKA SARKOWICZ, RAFAŁ JANKE, An unknown collection of photographs from the Siemiradzki family albums; ELENA V. NESTEROVA, SERGEY SIRRO, Academic traditions in the art of H. Siemiradzki (on the base of technological research made in the State Russian Museum); YULIA DYAKONOVA, Henryk Siemiradzki’s artistic process. Reconstruction of its initial stage – with the use of X-ray research (based on the collection from The Tretyakov Gallery); KSENIA ZDZIESZYŃSKA-DEMOLIN, DOROTA PLIŚ, A multi-staged and passionate process of building and modifying compositions in Henryk Siemiradzki’s paintings in the light of analytical photography; DOMINIKA SARKOWICZ, MARZENA SIEKLUCKA, ANNA KLISIŃSKA-KOPACZ, The palette and characteristic features of Henryk Siemiradzki’s use of pigments in the context of the examination of two paintings of uncertain attribution; JUSTYNA KWIATKOWSKA, Characterization of binding media in Henryk Siemiradzki’s works by using non-invasive reflection infrared technique; RADOSŁAW WĄSIK, Application of microscopic dendrological analysis in the identification of wooden supports of selected works by Henryk Siemiradzki.

Polish Institute of World Art Studies & Tako Publishing House, Warsaw–Toruń 2018; ISSN 2543-4624 (182 pp.)

Vol. XVII – East Asian theatres: traditions – inspirations – European / Polish contexts, MAURYCY GAWARSKI, BEATA KUBIAK HO-CHI, EWA RYNARZEWSKA (eds.)

Contents: JERZY MALINOWSKI, Introduction; JADWIGA RODOWICZ-CZECHOWSKA, Farewell to Professor Zbigniew Osiński; IGA RUTKOWSKA, Research on the reception of the theatre of East Asia in Poland: from the example of Zbigniew Osiński’s work; TRADITIONS: MEI SUN, The tradition and modern transformation of indigenous Chinese theatre or xiqu; BOGNA ŁAKOMSKA, Performances for the underground spirits. Terracotta figurines from ancient Chinese tombs; CHAN E. PARK, An inter-cultural discourse on p’ansori: the theatre of the imagination; YOKO FUJII KARPOLUK, Revived nō dramas: issues and perspectives; EWA RYNARZEWSKA, From village comedian to celebrity: metamorphosis of the Korean actor in the years of Japanese occupation (1910–1945); SANG WOO LEE, Between art and scandal: the actresses of Towolhoeand the gender politics of “scandal”; WEI LI, On female consciousness in contemporary xiqu in China; MARTA WESOŁOWSKA, The role of women in the musical life of early and medieval Japan. From naikyōbō performers to shirabyōshi dancers; MARTA STEINER, The corporeal mode of acting on the xiqu stage; ALEKSANDRA GÖRLICH, Kaoyo Gozen and attendants – relationships between the costumes of the kabuki actors of the Kanadehon Chūshingura play and their woodblock-print illustrations; MARY E. HIRSCH, What does Chinese Shadow Theatre tell us?; MARIANNA LIS, Wacinwa . History of the Chinese minority in Indonesia and its Chinese-Javanese shadow puppet theatre; BEATA KUBIAK HO-CHI, Tragedy and the tragic in the Japanese puppet theatre. Imported or native categories?; IGA RUTKOWSKA, The need to laugh – comic elements in Japanese performing arts – on the example of kabuki theatre; MAURYCY GAWARSKI, Chinese opera theatrical poster in Beijing in the first half of the twentieth century; INSPIRATIONS: BARBARA KAULBACH, Chinese theatre at the crossroads – Ouyang Yuqian and the West; MARTIN NORDEBORG, Translated Western plays as a symbol of modernity in Japan of the 1920s.; INSOO LEE, An intercultural call from the Third World: Jaram Lee’s Brecht pansori, Sacheonga; ESTERA ŻEROMSKA, Some reflections on Mask by Mori Ōgai; TAKASHI INOUE, The particularity and new possibilities of Mishima’s dramas; JOANNA WOLSKA-LENARCZYK, The concept of romantic heroism in Mishima Yukio’s play My friend Hitler; KEI HIBINO, Making comedy naturalised and vulgar: the theatre of Soganoya Gorō, the Japanese King of Kigeki; KLAUDIA ADAMOWICZ, Searching for the fantasy: the theatre of Takarazuka; MONIKA LECIŃSKA-RUCHNIEWICZ, Entering the “world of dreams”. The interior and exterior of Takarazuka Grand Theatre; YING LI, Theatre and politics in China (PRC) in the recent years; HIROSHI KOMATSU, Similarity and difference. Japanese cinema on the borderline 1907–1923; MAGDALENA FURMANIK-KOWALSKA, Chinese opera (xiqu) as a significant element of contemporary artwork; EUROPEAN / POLISH CONTEXT: YUN WANG, Justice or yi: the fate of The Orphan of Zhao being deconstructed in Europe; MARKÉTA HÁNOVÁ, Sada Yakko and the reception of Japanese theatre in the context of Japonisme in the Czech lands; EMI YAGISHITA, Sada Yakko’s and Hanako’s performances: images of exotic Japan in the West in the early twentieth century; KATARZYNA DEJA, Józef Jankowski’s play Kesa as an example of transculturality in Polish modernism; MONIKA CHUDZIKOWSKA, A Chinese Play given in the Chinese Manner. The Yellow Jacket by Joseph Henry Benrimo and George Cochrane Hazelton on the Polish stage; KATARZYNA WODARSKA-OGIDEL, Recipe for a fairy tale: a Japanese performance made by Polish P.O.W.’s in 1941; SEUNG SUK BAIK, Imagined geographies of city space in 1942: Seoul, Shanghai, Warsaw, Tokyo; WIESNA MOND-KOZŁOWSKA, Western aesthetics needs turning to nō theatre; JADWIGA RODOWICZ-CZECHOWSKA, Tadeusz Kantor in the theatrical life of Japan, 1979–2015. Introductory remarks; * * *: MAURYCY GAWARSKI, Polish research on Chinese theatre since the beginning of the twentieth century to the present day; MAURYCY GAWARSKI, List of Polish publications on Chinese theatre since the beginning of the twentieth century.

Polish Institute of World Art Studies, Tako Publishing House, Warsaw–Toruń 2017; ISSN 2543–4624; ISBN 978–83–65480–40–8 (342 pp.)

Vol. XVI – Arte de la Amėrica Latina y relaciones artisticas entre Polonia y Latinoamėrica, EWA KUBIAK, OLGA OSABEL ACOSTA LUNA (eds.)

Contenidos: EWA KUBIAK, Inicio; I. ARTE COLONIAL: AGATA ANDRZEJEWSKA, Las fundaciones franciscanas del siglo XVI en Nueva Espana y su genesis europea; EUGENIA MARIA AZEVEDO SALOMAO, Religious architecture in colonial Michoacan, Mexico; LAURA ELENA LELO DE LARREA LÓPEZ, LUIS ALBERTO TORRES GARIBAY, Muslimspanishreminis in Santa Maria Huiramangaro, Michoacan; LUIS ALBERTO TORRES GARIBAY, Local techniques and mudejar influx in ecclesiastical roofs of Michoacan, Mexico. Colonial period; GUADALUPE ROMERO SÁNCHEZ, Equipment of churches of doctrine during the XVII century: an initial approach to the study; EWA KUBIAK, Arquitectura colonial y los problemas de su percepcion; FREDERIKE BERLEKAMP, Mosaicos plumarios de America del Sur de los siglos XVII/XVIII en el Museo de America en Madrid. Dificultades y posibilidades de su interpretacion contextual; MARTÍN MESA CÁRDENAS, Imagen y dolor. Representacion y experiencia del martirio en las sociedades barrocas latinoamericanas; II. ARTE, ANTROPOLOGÍA Y ETNOGRAFÍA: KATARZYNA SZOBLIK, Los arboles en los codices indigenas de Mexico; MAGDALENA NIERZWICKA, Mexican art in collection of Stanisław Kasprzyk; MARÍA ELEONORA HEBISZ, Fronteras y transformaciones del arte en los Andes Centrales. El caso del “Valle Mantaro” en el Peru; MARTA SKWIROWSKA, Performance Theory in the Context of Mexican Ephemeral Art. Problems with the Interpretation; III. ARQUIECTURA Y ARTE PÚBLICO DE LOS SIGLOS XIX Y XX: MARÍA CRISTINA VALERDI NOCHEBUENA, JORGE SOSA OLIVER, JOSÉ LUIS BANDALA, GABRIELA TOLEDO GÓNGORA, Coincidencias y discrepancias en la arquitectura religiosa del siglo XX de la ciudad de Puebla: La Medalla Milagrosa y Nuestra Senora de la Esperanza; ALEKSANDRA SUMOROK, Nowa Huta and Brasilia – problem of the ideal cites of the 50s.; VIRGINIA CABRERA BECERRA, VARINIA LÓPEZ VARGAS, ROSARIO NAVA RAMÍREZ, Historic center of Puebla Mexico. Modernization, cultural tourism and devaluation of built heritage; ADRIANA HERNÁNDEZ SÁNCHEZ, CHRISTIAN ENRIQUE DE LA TORRE SÁNCHEZ, Las cuatro esculturas de Antoine Duranne en el Zocalo de la ciudad de Puebla, Mexico; MARÍA CRISTINA VALERDI NOCHEBUENA, JORGE SOSA OLIVER, VÍCTOR MARTÍNEZ LÓPEZ, JESÚS RODRÍGUEZ, Angeles, manifestacion escultorica en los cementerios patrimoniales. Panteon Frances de la ciudad de Puebla; PATRICIA FREITAS, Public art in Sao Paulo: modernity and identity in the 1950’s; CARSTEN SCHIEFER, Lo reaccionario en el muralismo mexicano; MARIA CRISTINA VALERDI NOCHEBUENA, JORGE SOSA OLIVER, JULIA J. MUNDO HERNÁNDEZ, RICARDO HERRERA, Art deco, un estudio comparativo Colonia Hipodromo Condesa, Cd. de Mexico – Ciudad de Puebla; VIRGINIA CABRERA BECERRA, JUAN MANUEL GUERRERO BAZÁN, DELIA DEL CONSUELO DOMÍNGUEZ CUANALO, MARCO AURELIO ROJAS AGUILAR, Public politics now: the modernizing individualism, scenographic aesthetic, historic center of Puebla, Mexico; IV. PINTURA Y ESCULTURA DE LOS SIGLOS XIX Y XX: LETÍCIA BADAN, PALHARES KNAUER DE CAMPOS, An italian painter at the paulista capital – Giuseppe Amisani exhibitions in Sao Paulo; ALICJA REKŚĆ, Fernando Botero. Plus size – Plus art; ELEONORA JEDLIŃSKA, Doris Salcedo (1958): Art as Political and Mental Archaeology of Memory; LENA GEUER, Haciendo arte argentino? Entre ayer y hoy, entre alla y aca – arte en los anos 60 y el uso del cuerpo humano entre ausencia y presencia como parametro estetico en las obras de Luis Felipe Noe y Marta Minujín; CARLOS EDUARDO SANABRIA B., Towards a Phenomenological Poetics of the Body Forgetting the Body: An Outline of the Problem; MARTINHO ALVES DA COSTA JUNIOR, The limits of the site-specifc in the work of Regina Silveira; SARAH POPPEL, An ongoing discovery? Exhibitions of “Latin-American art” with a special focus on German-speaking countries; STEFANIA KARAMPA, The mestizaje in the painting of Luis Alberto Acuna, Pedro Nel Gomez and Ignacio Gomez. Jaramillo in the second third of the twentieth century; TERESA BUENO SCHOEN, “Desequilibrio Calculado” – una posibilidad de desarrollo del constructivismo en la obra de la artista Brasilena contemporanea Elisa Bracher; YAHEL MARIELA ARRAZOLA BONILLA, Amilcar Rivera: the loss of the Mexican; OLGA ISABEL ACOSTA LUNA, Siempre llegamos tarde! El genero de la pintura historica en Colombia.

Polish Institute of World Art Studies & Tako Publishing House, Warsaw–Toruń 2016; ISBN 978–83– 62737–81–9 (294 pp.)

Vol. XV – Art in Jewish Society, JERZY MALINOWSKI, RENATA PIĄTKOWSKA, MAŁGORZATA STOLARSKA-FRONIA & TAMARA SZTYMA (eds.)

Contents: JERZY MALINOWSKI, Introduction; I. ARTISTIC IDEAS IN JEWISH SOCIETY: RENATA PIĄTKOWSKA, A shared space. Jewish students at the Warsaw Academy of Fine Arts (1923–1939); Aviv Livnat, Far Undzere Kinstler (For Our Artists). Tea Arciszewska and the Jewish artists; JOANNA MATYJASEK, Functions of traditional Jewish paper-cutting in the past and their modern-day changes; IZABELLA POWALSKA, Samuel Hirszenberg and the Zionism; ARTUR KAMCZYCKI, From Mentsh to Macho. Zionism, Gender and the gender; EUGENY KOTLYAR, "If I forget Thee, Jerusalem." Eastern European synagogue decorations in the Zionist paradigm; TAMARA SZTYMA, Unrealised projects. Plans for Jewish monuments before 1939; II. SOCIETIES IN ARTISTS’ EYE: WILLIAM GILCHER, The artist and the patron: Izrael Lejzerowicz and the Margolin/Spektor family in pre-war Lodz; DOMINIKA BUCHOWSKA, Jewish themes in David Bomberg’s early works; MAŁGORZATA STĘPNIK, The artist, the explorer, the initiate. Spiritual journeys of Maya Deren; GAIL LEVIN, Theresa Berenstein (1890–2002): A Krakow-born Jewish Artist in America; TERESA ŚMIECHOWSKA, Master and apprentice. The photographic work of Alter Kacyzne and Menachem Kipnis – influences, similarities, differences, and a life cut short; IRINA OBUCHOWA-ZIELIŃSKA, Henryk Stifelman, the Warsaw architect in the context of his time; III. SOCIAL ENCOUNTERS AND SEARCH FOR THE SELF: MAŁGORZATA STOLARSKA-FRONIA, Ludwig Meidner – a hyperbaroque expressionist; MONIKA CZEKANOWSKA-GUTMAN, Dialogue with Christian art: The Pietà in early 20th-century Jewish art; IRENA KOSSOWSKA, In search for cultural identity: Bruno Schulz, Debora Vogel and Giorgio de Chirico; ZIVA AMISHAI-MAISELS, Chagall's Jewish identity; SERGEY R. KRAVTSOV, Synagogue architecture of Volhynia: a search for identities; HAIM FINKELSTEIN, E. M. Lilien: Between Drohobych and Brunswick; INA KHISAMOVA, The role of Kazan Art School in a formation of a creative destiny of the sculptor Yankel Katz; ELEONORA JEDLIŃSKA, The art of life and the art: Eugenia (Gina) Pinkus-Szwarc and Marek Szwarc; IV. WHEN JEWISH ART MEETS HISTORY; VITA SUSAK, “Laocoon: or the Limits” of pogroms representation in visual arts (first third of the 20th century); BATYA BRUTIN, Lea Grundig: Duality between political and Jewish identity – 1933–1939; KARINA SIMONSON, Historical memory in the work of South African Litvak photographers; MAYA BALAKIRSKY-KATZ, Cartooning citizen collaboration: A 1949 Jewish war film in Moscow; V. DOCUMENTING AND REVISITING JEWISH TRADITION: MAGDALENA KUNIŃSKA, In search of the Jewish identity: Zofia Ameisenowa and research into Jewish iconography and its place in Polish art history discourse; VILMA GRADINSKAITE, History of art collection in Vilnius Jewish Museums: from the Time of the Russian Empire to the Present; JANA ŠVANTNEROVÁ, Prešov Jewish Museum. Communities and individual donors to its collection; ANNA LEBET-MINAKOWSKA, Minister dream or ‘cold’ calculation? History of the Judaica Department of the National Museum in Krakow in the years 1935–1939; ARIANE HANDROCK, Representing and constructing Jewish art: Alfred Grotte as an architect and author; BARRY DOV WALFISH, Otto Schneid and his Archive: A new digital resource for the study of modern Jewish art; REVIEWS: DOMINIKA BUCHOWSKA, Jewish Art in London. Review of the exhibition: Out of Chaos, Ben Uri, 100 Years in London (2 July–3 December 2015), Somerset House, London; REGINA WEINREICH, Degenerate Art: Exile to Extinction.

Polish Institute of World Art Studies & Tako Publishing House, Warsaw–Toruń 2016; ISBN 978–83– 62737–91–8 (318 pp.)

Vol. XIV – Sustainable Art. Facing the need for regeneration, responsibility and relations, ANNA MARKOWSKA (ed.)

Contents: ANNA MARKOWSKA, Introduction; I. SOCIAL PARTICIPATION: Sue Spaid,The future of environmental art or reimagining a sustainable art practice? Real-world problems; REBECCA LILIANE WICHMANN, Land art and state: surrounding ecology, policy and technology; MAGDALENA WORŁOWSKA, Ecologically oriented Land Art in Poland in the 1960s and 1970s; MAGDALENA LANGE, “It’s all in the genes!” – is it? When art and biotechnology act in concert. The One Trees project; JOANNA ZOFIA ROSE, Street art in Reykjavik as a regeneratory and rejuvenating agent; ESRA YILDIZ, Sustainability, social participation and visual culture in Turkey; ZOFIA REZNIK, Bodies, photos, paint and fire on the streets of Wrocław. Witold Liszkowski and the new public art; ELEONORA JEDLIŃSKA, Sustainability of deconstruction: the dynamics of Doris Salcedo’s art; FILIP PRĘGOWSKi, Paintings in daylight. The work of Kerry James Marshall through the identity discourse; NATALIA KRAWCZYK, Electric Rider/Electric Rise; II. RETHINKING INSTITUTIONALIZATION AND PRESERVATION OF CULTURAL VALUES: SOFIA PONTE, Musealizing “functional art”; MATEUSZ SALWA, Gardens and the aesthetics of sustainability; LISA PAUL STREITFELD, The conversion of East Berlin: can sustainable social projects celebrating unity overcome the divisiveness of success?; NATALIA SMOLYANSKAYA, Polygon; JOANNA FILIPCZYK, Searching for social equilibrium. Marian Bogusz’s activity as “prolegomena” of sustainable art in Poland; ALBERT COERS, Frequent flyers – one-way-rafts: aspects of possession, production and transportation in contemporary art; MAGDALENA ZIĘBA, Exhibition Beyond Green. Toward a Sustainable Art. Between art and art of sustainable display; PATRYCJA SIKORA, Sustainable art – facing the need for regeneration, responsibility and relations. About the BWA Studio exhibition in Wrocław; EWA WOJTOWICZ, A doppelganger figure. Sustainability of art in the process of re-practices; MAŁGORZATA MICUŁA, Escaping an object. Michael Landy’s Break Down project; III. AFFECTIVE APPROACH – EMPATHY AND LOVE: ROBERT KUSEK, WOJCIECH SZYMAŃSKI, Human, all too human, beyond human: animals and late style; ANNA MARKOWSKA, Travelling for sustainability. On some paintings from Portugal; EWELINA JANKOWIAK, Still art or already botany? Contemporary Polish artists and posthumanism; NICOLE LOESER, On the facts of life – artistic engagement by Christoph Both-Asmus; DOROTA ŁAGODZKA, Taking chickens seriously. Empathy and responsibility as sources of Mary Britton Clouse’s art; MIKOŁAJ SPODARYK, Emancipation of animals. Searching for visualization (case study); IV. SUSTAINABLE DESIGN: IRMA KOZINA, Sustainable design, a romantic utopia or a tool for eliminating negative environmental impact?; ZORYANA HNETSKO, Eco-design and sustainable development. Environmental issues at the current stage and the methods of their solution; DEAN CHATWIN, The endless river: exploring the potential for water to connect the home and the natural environment; REINER MARIA MATYSIK, River becomes cloud. Sustainability is a waste of energy; DARIA WARTALSKA, Design inspired by Victor Papanek; JEAN-FRANCOIS PAQUAY, A new direction for sustainable art: farming with Mole-Hill soil in the Portager; AGNIESZKA JANKOWSKA-MARZEC, Sustainable approach at the Faculty of Industrial Design of the Academy of Fine Arts in Cracow; Conferences and Studies of the Polish Institute of World Art Studies.

Polish Institute of World Art Studies & Tako Publishing House, Warsaw–Toruń 2015; ISBN 978–83–62737–89–5 (315 pp.)

[Vol. XIII] – Politics of erasure. From “damnatio memoriae” to alluring void, ANNA MARKOWSKA (ed.)

Contens: ANNA MARKOWSKA, Introduction; DAMNATIO MEMORIAE – OBLIVION AS CONDEMNATION TO DEATH: AGATA KUBALA, Damnatio memoriae and Roman imperial art; ANNA GUT, The condemnation of memory in the modern epitaphs of Central Pomerania; JOANNA FILIPCZYK, Fine arts in the context of the “degermanization” in the region of Opolian Silesia after 1945; PIOTR BERNATOWICZ, Removal of Communist monuments: obliteration of the past or healing the memory?; FORGETTING HOLOCAUST?: AGNIESZKA KŁOS, The disappearing memory of Birkenau. A story of the power of nature; ELEONORA JEDLIŃSKA, A nook at Wolborska Street, or expunged remains of Jewish culture in Łodź; ANNA MARKOWSKA, Conspicuously absent Jews, alien environments: Polish artists Mirosław Bałka and Rafał Jakubowicz on the Holocaust; FIGHT FOR THE REASSESSMENT OF REPRESENTATION AS ADMINISTERING JUSTICE: HADARA SCHEFLAN KATZAV, Re-representation – critical art and the return of the repressed; ANNA ZIĘBIŃSKA-WITEK, Historical museums: between representation and illusion; XANTHI TSIFTSI, Void, the art of erasure. Representing absence in the Jewish Museum Berlin; MARTA SMOLIŃSKA, Jan Berdyszak. Between paradigms of modernity or nowhere? Subjective remarks across the post-war history of art in Poland; LUCIA POPA, Removing Romania: the Western art world colonized by the “East”; AGNĖ NARUŠYTĖ, Memory of erased time in The Soldier’s Diary by Lithuanian artist Gintaras Zinkevičius; ANDRZEJ JAROSZ, The absent ones – placing the post-war Wrocław painting in the context of Polish art; AGATA SOCZYŃSKA, Marek Oberlander – a painter undesired by the time; ALICJA PALĘCKA, Visualizing the other: ethnographic film as thick description; JED SPEARE,Washing up memories: some strategies of Milan Kohout’s performance activism; TYRANNY OF THE VISIBLE AND THE TYRANNY OF THE IDEA: CAMELIA GRADINARU, Visual tyranny as autopoiesis; RAFAŁ EYSYMONTT, The town as a palimpsest. Erasing and recovering the medieval town; MICHAŁ ZAWADA, Imaging iconoclasm; JAKUB ZARZYCKI, Polish history painting in the second half of the nineteenth century as a “quasi-metanarrative”. Visible tyranny of Idea?; ZUZANNA ILNICKA, Gerhard Richter’s failing memory. The October 18, 1977 and the need to allow doubt; MAŁGORZATA KSENIA KRZYŻANOWSKA, „Nothing is getting as old as modernity” – i.e. why the trend for Nine Graphic Artists Group has passed; AGNIESZKA SINICKA,Wilhem Sasnal’s photophobia; ANNA STEC, Anish Kapoor, Memory; ANNA SIKORA-SABAT, Romantic creation and socialist erasure: representation of Vincent van Gogh in the printed media of the People’s Republic of Poland; ETHOS OF DEPRIVATION OR IRREVOCABLE AMBIVALENCE: MAGDALENA ZIĘBA, Authenticity (aura) recycled. Erasing originality in appropriation art; RAFAŁ ILNICKI, Digital Lethe of transhumanism: weak mind uploading as erasure of individual and collective memory; AGNIESZKA BANDURA, Politics of replacing in New Romanticism; KATARZYNA BOJARSKA, Spectrality and the possibility of seeing (loss). Photography against the referentiality of history; BARBARA SZCZEPANIAK, Strategy of erasing, manipulation and destruction in photography – interpretation Aneta Grzeszykowska’s Album; ALICJA KLIMCZAK-DOBRZANIECKA, PATRYCJA SIKORA, Erasure. Memory Exercises.

Polish Institute of World Art Studies & Tako Publishing House, Warsaw–Torun 2014; ISBN 978–83–62737–66–6 (179 pp.)

[Vol. XII] – Korea. Art and Artistic Relations with Europe, AGNIESZKA KLUCZEWSKA-WÓJCIK (ed.)

Spis treści / Contens: AGNIESZKA KLUCZEWSKA-WÓJCIK, JERZY MALINOWSKI, Introduction; HERITAGE, CONTINUITY, CHANGE: PARK YOUNGSUK, Genesis of Korean art – Goguryeo art; RYU NAEYOUNG, Yun Duseo, Korean scholar-painter, precursor in painting of the Sirhak movement; BEATRIX MECSI, Meeting of the East and the West: the Western visual world (perspective and three-dimensionality) and its reception in East Asia in the 17th-18th centuries; AGNIESZKA HELMAN-WAŻNY AND JÓZEF DĄBROWSKI, “Hanji Paper” – Unique technologies of ancient Korean craft / GERT GROENING, The Heewon, 희원, where the pungryu, 풍류, can be perceived – an outstanding example of garden culture in Korea; MARZANNA POPŁAWSKA, The National Gugak Center – preserving and promoting intangible cultural properties in Korea; KOREA’S ETERNAL SPIRIT: MARK DE FRAEYE, San-shin, the Mountain God – Korea’s eternal spirit / JOHN J. TOOMEY, The Korean way of tea. The way of universal peace; KATHARINA I-BON SUH, The element of the dragon – an example of Korean dancheong on a Buddhist temple hall at Songgwangsa (Jeollanam-do, South Korea); HEE SOOK LEE-NIINIOJA, Costume culture of Hanbok as a living heritage and Korean identity; KOREAN ART IN EUROPEAN MUSEUMS: STEPHAN VON DER SCHULENBURG, Korean collections in German museums; PIERRE CAMBON, Korean collection in Paris; MAŁGORZATA MARTINI, Korean art and material culture in Polish museum collections; ROBERT PELZ, A Korean ancestor portrait in the Museum of East Asian Art Cologne; NEW KOREAN ART: BECCY KENNEDY, Orienting and disorienting contemporary Korean art; MAŁGORZATA JANKOWSKA, Hunting for self-image. Construction of identity of Nikki S. Lee and Katarzyna Kozyra art; JOANNA KUCHARZEWSKA, Between tradition and modernity. From the works of Seung H-Sang, an architect from South Korea.

Polish Institute of World Art Studies & Tako Publishing House, Warsaw–Toruń 2014; ISBN 978-83-62737-42-0 (150 pp.)

[Vol. XI] – South-East Asia: Studies in Art, Cultural Heritage and Relations with Europe, IZABELA KOPANIA (ed.)

Contents: JERZY MALINOWSKI, Foreword; IZABELA KOPANIA, Introduction; – ART & TRADITION: ORNAMENT, INSCRIPTION, FIGURE: MARZENNA CZERNIAK-DROŻDŻOWICZ, The Influence of Indian Culture on South-East Asian Art. A Few Remarks; KANG HEEJUNG, Religious Arts in the Early Classical Period in South-East Asia; VALÉRIE ZALESKI, Stucco and Terracotta Reliefs from Dvāravatī: a Clue to the Indian Sources of this Mōn State; ANNE-MAY CHEW, The Transition Style of Burmese Murals from Ava/Nyaung Yan to Amarapura (17^th – mid-19^th Century); NATALIA GOZHEVA, Buddhist Temples in Laos and the Problem of their Classification; FLORINA H. CAPISTRANO-BAKER, Trade Links: 10^th to 13^th-CenturyPhilippine Gold and Possible Links to Central Asia and the Mediterranean; FIONA KERLOGUE, The Silk Batiks of Java; MARIA V. STANYUKOVICH, Ifugao Ethnographic Art and Its Symbolism in Hudhud Oral Epics (with References to Collections of St. Petersburg, Russia and Göteborg, Sweden); KRZYSZTOF MORAWSKI, Indonesian Designs: a Survey According to Their Antiquity; IRMAWATI M.-JOHAN, The Representation of Rays in Islam Ornamentation Tombstones in the 16^th Century; NINIE SUSANTI, Ornaments in Old Javanese Inscriptions; – CULTURAL HERITAGE: COLLECTIONS, CHALLENGES, STRATEGIES: GUY LUBEIGT, Cultural Heritage in Peril in Mainland South-East Asia; KANOKWAN GERINI, Rethinking Local Toponyms as Cultural Heritage: 'A Word of Advice' in Colonel G.E. Gerini's 'A Trip to the Ancient Ruins of Kamboja, 1902'; OSCAR SALEMINK, Is there Space for Vietnam’s Gong Culture? Economic and Social Challenges for the Safeguarding of the Space of Gong Culture; MARZANNA POPŁAWSKA, Traditional Arts and Christian Expression in Indonesia: the Case of Flores; DAWID MARTIN, Musical Syncretism of the Sekaten Festival and the Garebeg Maulud Ceremony. Hindu-Javanese Gamelan and Western Military Music as an Element of a Muslim Holiday Celebration in the Court of Keraton Yogyakarta Hadiningrat; VERONICA GRITSENKO, Contemporary lacquer practices in Bagan, Burma; FRANCINE BRINKGREVE, From Colonial Collecting to Virtual Sharing: Shared Cultural Heritage between Indonesia and the Netherlands; HUISM TAN, Showcasing the Peranakan Phenomenon: A Case Study of the Peranakan Museum; ANNE HÅBU, Revealing History through Museum Collections: How the Ring Collection of Bencharong in Oslo Sheds Light on Norwegian Maritime Engagement in the Kingdom of Siam; ANGIE SIMONDS, Context and Connections: Vietnamese Ceramics in the Museum of Fine Arts, Boston; JOHN CLARKE, A 19^th Century Wood and Lacquer Shrine from the Former Mandalay Palace, Myannmar (Burma) now in the V&A Museum, London; SAU FONG CHAN, South-East Asian Textiles in the V&A: 19^th Century Acquisitions; JOANNA WASILEWSKA, Hidden Treasures. Golden Thread Tapises from Sumatra in the Collection of The Asia and Pacific Museum in Warsaw; ELEONORA TENEROWICZ, The Art and Craft of Java in the Krakow Ethnographic Collections of Polish Investigators and Travelers, Jarosław Waszak, Marian Raciborski and Michał Siedlecki, at the turn of 20^th Century; – MODERN & CONTEMPORARY ART: IDENTITIES, CONTEXT, STRUGGLES: ALISON CARROLL, Art and Change in the Asia Pacific: mid-Century War and Dislocation as a Paradigm for the Future; BRIDGET TRACY TAN, Rituals and Radicals – Aspects of Heritage and Politics in Modern and Contemporary Art in South-East Asian Arts; RIE NAKAMURA, Painting Vietnam and Painting Ethnic Minorities; MATT COX, Modern Indonesian Painters: Education and Cultural Nationalism in the Early 20^th Century; RUSSELL KELTY, Renaissance: Contemporary Burmese Art; CLAUDIA SEISE, Indonesian Art in the Periphery: Contemporary South Sumatran Lacquer Art; LYDIA PARUSOL, Contemporary Cambodian Visual Art Practice (2000–2011): A Short Survey; ALBINA LEGOSTAEVA, Dong Ho Folk Painting in the 20^th Century: New Trends, New Themes; FELICIA KATZ-HARRIS, Contemporary Form in Traditional Art: Figurative Evolution in Classical Javanese Wayang Kulit; MARIANNA LIS, Contemporary Wayang: from Sand to Hip-hop; – EUROPE AND SOUTH-EAST ASIA: ENCOUNTERS, INFLUENCES, INTERPRETATIONS: CLAUDINE BAUTZE-PICRON, Before the Art Historians Came: Burmese Monuments in the Western writings from the 17^th to the 19^th Century – a Short and Preliminary Survey; IZABELA KOPANIA, Anna Leonowens’ Observations on Siamese Art, Theatre and Literature within European Writings on Asian Art. A Preliminary Study; ULRIKE KÖRBER, South-East Asian Lacquer on 16^th and 17^th century Indian- or Singhalese - Portuguese Furniture; MARIA BELÉN BAÑAS LLANOS, Botanical Art in the 18^th Century in the Philippines. Tagalog Painter; SYLVIA FRASER-LU, European Influences in Burmese Textiles; JOACHIM OESTERHELD, Two Decades in the Netherlands East Indies. Challenges and Satisfaction for the German Artist Walter Spies; JOHN TOOMEY, Italian Architects and Artists during the Reigns of Rama V and Rama VI; LÊ THANH HẢI, Vietnamese Identities in Reproductions of European Paintings – a Phenomenological Study in an Art Gallery in Saigon.

Polish Institute of World Art Studies & Tako Publishing House, Warsaw - Toruń 2013; ISBN 978-83-62737-27-7 (364 pp.)

[Vol. X] – Trickster Strategies in the Artists' and Curatorial Practice, ANNA MARKOWSKA (ed.)

Contents: From the Editor: ANNA MARKOWSKA, Trickster in democratic and non-democratic systems; - History of Trickster. Urban Myths and Events: BOŻENNA STOKŁOSA, Trickster – mythical deity, archetype and figure of a creator; TOMASZ GRYGLEWICZ, Trickster or jester/clown?; WALDEMAR OKOŃ, Tricksters and others; KATARZYNA ZIMNA, Tricksters lead the game; ANNA ŻAKIEWICZ, Witkacy – a perfect trickster; JERZY LUTY, The demilitarization of language: a serious musical concern. John Cage’s trickster strategy in Empty Words; MARTA SMOLIŃSKA, Tricksters in Poznań: Penerstwo and The Krasnals; PATRYCJA GWOŹDZIEWICZ, Lady or trickster with an ermine. Review of actions around the most famous picture in Polish collections; - Role of Trickster in Post/-Communist and Post-Colonial Countries: IRINA GAVRASH, Subversive strategies in contemporary Russian art; NIKO ANKLAM, Masks and Camouflage. Some notes on a postcolonial in-between space of the trickster; KAMILA WRÓBEL, Hero’s revolutionary song. Istvan Kantor aka Monty Cantsin; JILL GIBBON, War Mart: trickster strategies in war art and the arms trade; MAŁGORZATA MICUŁA, „Professional Bad Guys”: the rebellious British and Polish art in the context of changes in the Nineties; - Outdoor activism: PATRYCJA PIRÓG, Trickster on Polish Street; GILLIAN WHITELEY, Political pranksters, provocateurs and Pan-Ic: re-connecting countercultural practices; DOMINIKA BISZCZAK-KULCZYCKA, Defense of the cross – a spontaneous social movement or artistic provocation?; MAGDALENA ZIĘBA, Trickster games in the public space. Between art and culture jamming; MAGDALENA WORŁOWSKA, Cecylia Malik's anarchic and mischievous actions, inspirations and related situations; – Trickster and Gender: IZABELA KOWALCZYK, Vulnerable masculinity in the works of young Polish artists; MAŁGORZATA JANKOWSKA,The female trickster: on the artistic strategies of Natalia LL; AGNIESZKA ŻECHOWSKA, Beast in the claws of Europe: Aleka Polis’ art; EWELINA JAROSZ, “Newman”: a trickster in every sense of the word!; – Curatorial Performances: IRINA HASNAȘ HUBBARD, Curatorial performances. Looking for trickster curators in museums in Romania; PATRYCJA SIKORA, PIOTR STASIOWSKI, Swindlers, rascals and parasites; WOJCIECH CIESIELSKI, Three gaps in the process?; MIHAELA-LUCIA ION Curatorial project: the communication between the public and the artists; FILIP PRĘGOWSKI, Angry tricks. On Kazimierz Piotrowski’s exhibition in the Centre of Contemporary Art in Toruń; EWELINA KWIATKOWSKA, Love me – if you don’t I will force you! Artist’s and curator’s strategies on the example of the vernissage exhibition of Izabella Chamczyk in Arttrakt gallery: – In Between Different Domains and Spaces: IRMA KOZINA, Trickster strategies in critical design; CEZARY WĄS, "Trick" and "Click" – Peter Eisenman’s design strategies; JANUSZ ANTOS, An artist and a library. Bibliophilia in contemporary Polish art; MONIKA SAMSEL-CHOJNACKA, The figure of trickster in crime novels by Henning Mankell, Stieg Larsson and Jo Nesbø; ROB IRVING, Art, artifice, articulations: the trickster as a methodological principle of artists performance in ritual transactions with the orderly.

Polish Institute of World Art Studies & Tako Publishing House, Warsaw–Toruń 2013; ISBN 978-83-62737-26-0 (302 pp.)

[Vol. IX] – Art of Japan, Japanisms and Polish-Japanese art relations, AGNIESZKA KLUCZEWSKA-WÓJCIK & JERZY MALINOWSKi (eds.)

Contents: JERZY MALINOWSKI, AGNIESZKA KLUCZEWSKA-WÓJCIK, Introduction; – JAPANESE AND WESTERN APPROACH: KRYSTYNA WILKOSZEWSKA, Art and the arts; BEATA KUBIAK HO-CHI, Taste, sense of beauty, and the cognitive role of Japanese aesthetics; YUMIKO MATSUZAKI, Johakyu 序破急; HIDEMICHI TANAKA, The Classicism of the Nara art (8th century); STEPHAN VON DER SCHULENBURG, Salt dealer Bunshō’s incredible career. Introducing a rare collection of Japanese illustrated manuscripts (Nara ehon) in Frankfurt’s Museum of Applied Arts; TOMOKI OTA, The “export” of artistic crafts through foreigners visiting Kyoto in the modern period; AGNIESZKA KOZYRA, Zen influence on Japanese dry landscape gardens; MAŁGORZATA WOŁODŹKO, The Japanese Garden in Wroclaw – trends in transformations from 1913 to 2005; CHRISTINE M. E. GUTH, Yokoo Tadanori and the rediscovery of Hokusai’s Great Waves; – PAST AND PRESENT: CONTINUITY OF TRADITION: JULIA HUTT, How Japanese was the Inrō?; ESTERA ŻEROMSKA, Dashi-ningyō or the dolls on the top of floats in the Kawagoe-matsuri; MONIKA LECIŃSKA-RUCHNIEWICZ, Evolution of Takarazuka stage make-up. From reality to extremity; SVITLANA RYBALKO, Japanese traditional raiment as a modus of Japanese culture; JOHN J. TOOMEY, Searching for Shuko’s “chilled” and “withered” in a global age: the inner dynamics of a modern day tea ceremony; KLAUDIA MORAWIEC, Bizen – traditional Japanese ceramics; MAGDALENA KOŁODZIEJ, Saikokai and the paradigm shift in the appreciation of ceramics in Japan; JOANNA KORYCIARZ-KITAMIKADO, Kintsugi. The Japanese way of repairing china with lacquer and gold; KATARZYNA ZAPOLSKA, The screen with the image of a tiger and a dragon. The technique of workmanship and the conservation; WERONIKA LISZEWSKA, JACEK TOMASZEWSKI, Traditional Japanese methods and European conservation principles in the restoration of the kakemono scrolls from the collection of Asia and Pacific Museum in Warsaw; – JAPANESE ART IN THE WEST: GENEVIEVE LACAMBRE, China’s role in the diffusion of Japanese lacquerware; ANNA EKIELSKA-MARDAL, Namban table. A Japanese star of Wilanow historical collection; MONIKA BINCSIK, Japanese art as ethnographic or decorative art: the 1868–1869 Austro-Hungarian East Asia Expedition and collecting Japanese art in Vienna and Budapest; AGNIESZKA KLUCZEWSKA-WÓJCIK, Collecting and promotion of the Japanese art in Poland at the turn of the 19th and 20th century; TOMO IMAI, The collection of Charles Cartier-Bresson (1852–1921) and the Japanese curio market in Paris at the end of the 19th century and at the beginning of the 20th century; ANNA KATARZYNA MALESZKO, A Collection of Japanese cloisonne enamels in the National Museum, Warsaw; KATARZYNA PACZUSKA, Japanese collection of The District Museum in Toruń; MAŁGORZATA MARTINI, Ukiyo-e woodblock prints inspired by the Japanese adaptations of Chinese novels based on the Feliks Jasieński collection; GALINA SHISHKINA, The collection of Shudo Sadamu in the State Museum of Oriental Art in Moscow; – WESTERN VISIONS OF JAPAN: TOSHIO WATANABE, What is Japonisme? Terminology and interpretation; JOHN SZOSTAK, Unexpected reversals: Japanism, Ukiyo-e prints, and their influence on Meiji and Taishō-era Kyoto Nihonga; JERZY MALINOWSKI, Polish and Japanese painting. Relations and parallels (1853–1939); ŁUKASZ KOSSOWSKI, The unique quality of Polish Japanisme; PIOTR SPŁAWSKI, Japonisme at Krakow Academy of Fine Arts (1895–1939) in the context of other examples of Japonisme in art education; EWA MACHOTKA, Kimono and sword: performing Japanese in Galician Krakow; MARKETA HANOVA, Japonisme and Japonaiserie in the Czech Lands (1880s–1920s); JAKUB KARPOLUK, The Meiji no Nihon film collection. Visions of the 19th century Japan captured by European and Japanese early filmmakers; ŁUKASZ MIKOŁAJ SADOWSKI, The Japanese “overseas” architecture in North-East China 1905–1945; GISELA JAHN, Let’s go West: Japanese design invades occidental tableware in the 1930s; – JAPAN AND POLAND: MODERN AND CONTEMPORARY ART: TOSHINO IGUCHI,The pioneers of media art in postwar Japan: the avant-garde group Jikken Kobo (Experimental Workshop); NAGISA RZĄDEK, Visual communication in Japanese theater poster: contextual materials for a poster by Tanaka Ikkō; KATARZYNA KULPIŃSKA, Polish and Japanese masters of posters (after 1945) – schools, inspirations, influences; JAQUELINE BERNDT, Images to be “read”: Murakami Takashi’s mangaesque nihonga-like paintings; MAGDALENA FURMANIK-KOWALSKA, Cultural performance in photography of Japanese women artists; AGNIESZKA JANKOWSKA-MARZEC, Young Polish artists inspired by Japanese culture; MAŁGORZATA JANKOWSKA, Silence of the Taming. Transculture project of Andrzej Karmasz as an example of the interpretation of Japanese culture; AKIKO KASUYA, The crack between imagination and symbolism. The exhibition “HANA: the adventure of our vision in interval of reality and a fiction”; JOANNA KUCHARZEWSKA, Contemporary housing architecture in Japan and Poland. Similarities and differences.

Society of Modern Art & Tako Publishing House, Toruń 2012; ISBN 978-83-62737-16-1 (364 pp.)

[Vol. VIII] – The History of Art History in Central, Eastern and South-Eastern Europe, JERZY MALINOWSKI (ed.), Vol. II

Contents: – THE FORMATION OF ART HISTORY CENTERS: NIKOLAI KHRENOV, The history of art history: the realization of the Russian art history project of I. Grabar during the Silver Age and the post-war period; MICHELA PASSINI, France and the evolution of art history in Central and Eastern Europe. Three cases of cultural transfer; ODETA ŽUKAUSKIENĖ, Jurgis Baltrušaitis: cross- cultural biography and cross-cultural art history; KAZIMIERZ PIOTROWSKI, The metacritic of Mieczysław Wallis; TARAS STEFANYSHYN: Ukrainian art studies in Lwow/Lviv of the 20s – 1930s: personalities, works, tendencies; LYUDMILA SOKOLYUK, Dmytro Antonovych’s general concept of Ukrainian art history and its significance for the modern teaching system; MATTHEW RAMPLEY, Art history, racism and nationalism. Coriolan Petranu and art in Transylvania; ANCA BRATULEANU, Alexandru Tzigara- Samurcas slide archive – a way to reconstruct the beginnings of Romanian art history as a scientific discipline; KRISTA KODRES, Two art histories: the (Baltic) German and Estonian versions of the history of Estonian art; STELLA PELSE, Latvian art historians as critics and theoreticians: art’s values and developments in the inter-war period; TOMASZ GRYGLEWICZ, Studies on modern art in the Institute of the History Art, Jagiellonian University in Cracow in the 1970s – Mieczysław Porębski, Piotr Krakowski; JÓZEF GRABSKI: The 30th anniversary of the IRSA Institute of Art Historical Research; – ART HISTORY AND NATIONAL IDEOLOGIES: AGNIESZKA CHMIELEWSKA, National art and the theory of nationalism; LIA LINDNER, Art history and national art as seen in Hungary from the mid-19th century to the beginning of the 20th century: Historicism versus Modernism; REBECCA HOUZE, Ethnography, art history, and the Design Reform Movement in Habsburg Central Europe. The case of A Magyar Háziipar Díszítményei [Ornaments of the Domestic Industry of Hungary], 1878; MARTA FILIPOVÁ, The peasant in art history. Discourses on folk art in the late Habsburg Empire; ROBERT BORN, The Vienna School of Art History and Bukovina; IRINA MISHCHENKO, Art criticism in Bukovina of the late 19th – early 20th century: the European context; AGNIESZKA KLUCZEWSKA-WÓJCIK, “What art Poland needs.” In search of the Polish national style at the beginning of the 20th century; MAŁGORZATA GERON, The Formists’ Group (1917–1923). Trends in research and the assessment of Polish avant-garde art in the 20th century; MYKHAILO SELIVACHOV, Folk art and ornament as a subject of study in Ukraine (19th–20th century): Russian and Austrian Empire, Polish state, Soviet period; LARISSA SAVITSKA, Ethnic discourse in the art of Ukraine; SILVIJA GROSA, The historiography of Art Nouveau architecture in the context of art history in Latvia; VLADIMIR KUDRYAVTSEV, Art of the Finno-Ugric peoples in art history; – ART HISTORY AND CONTEMPORARY POLITICAL AND SOCIAL IDEOLOGIES: SWIETŁANA CZERWONNAJA, The art in exile: changing of interpretation paradigms in the Russian art criticism; RASA ŽUKIENĖ, The activities of the Lithuanian art critic Aleksis Rannit in the West: the significance of a 1949 report for research on Mikalojus .K. Čiurlionis’ work; TANJA ZIMMERMANN, Socialist neo-primitivism in art history in Tito’s Yugoslavia; OLGA NOVYTSKA, Ukrainian Soviet art history as part of totalitarian culture; PIOTR JUSZKIEWICZ, Socialist realism and modernity in Polish art history and criticism of the 1950’s and 1960’s; REUBEN & MAJA FOWKES, The post-national in East European art: from socialist internationalism to transnational communities; IZABEL GALLIERA, Constructing the idea of Central Europe: ruptures and continuities in post-1989 scholarship in Hungarian neo-avant-garde art; TETYANA PAVLOVA, On Ukrainian photography / past and present; KATRIN KIVIMAA, Re-thinking of art history: feminist art writing in post-Soviet Estonia; HELENA MUSILOVÁ, The role of Jiři Valoch in Central-European art during the 1970s and 1980s; VIOLA HILDEBRAND-SCHAT, The history of contemporary art as manifestation in Russian art. Ilya Kabakov – Svetlana Kopystianskaya – Vadim Zakharov; ANNA MARKOWSKA, The claustrophobic canon of national art?

Society of Modern Art & Tako Publishing House, Toruń 2012; ISBN 978-83-924110-9-3 (286 pp.)

[Vol. VII] – The History of Art History in Central, Eastern and South-Eastern Europe, JERZY MALINOWSKI (ed.), Vol. I

Contents: – THE GENESIS OF ART HISTORY AS A SCIENCE: JERZY MALINOWSKI, The art history at the ancient Vilna / Wilno / Vilnius University and its tradition; INESSA SVIRIDA, Joseph Saunders: The making of the biography (historiography and sources); VYTAUTAS LEVANDAUSKAS, The history of architecture in academic works by professors of Vilna University in the first half of the 19th century; ANNA EKIELSKA-MARDAL, Dilettanti and the scientific workshop of the first Polish art historian. Italian art in the eyes of Stanisław Kostka Potocki during his journey between 1795 and 1797; ANNA GREGOROWICZ-METZ [RUCINSKA], Stanisław Kostka Potocki – The first Polish art historian and his ideas about art in O sztuce u dzisiejszych (On the art of the Moderns); JOLANTA CZERZNIEWSKA, Jan Feliks Piwarski’s News on the Print Room joined with the National Public Library in “Gazeta Literacka”– academic lecture or a method of studying art?; MARKO ŠPIKIĆ, Strange parents, unrecognised child. The genesis of Croatian art history in the Vormarz period; LJERKA DULIBIĆ & IVA PASINI TRŽEC, Bishop Josip Juraj Strossmayer and the founding of art history studies in Croatia; IVANA MANCE, Ivan Kukuljević Sakcinski: Art history and politics in Croatia (second half of the 19th century); RYSZARD KASPEROWICZ, Klaczko and Berenson – the politics of revivals; STEFAN MUTHESIUS, The beginnings of the “Cracow School of Art History”; MAGDALENA KUNIŃSKA, In-cluded – ex-cluded. Marian Sokołowski’s building of the Monument of Art History at the end of the 19th century; OKSANA STORCHAI, History of art study at Kiev University (the 19th century & the beginning of the 20th century); – RESEARCH ON RELIGIOUS ART: ARMEN KAZARYAN, National and political problems in the history of architectural history of medieval Armenia and Southern Caucasus; WALDEMAR DELUGA, Discovery and conservation of the Byzantine frescos in Poland and Lithuania in the 19th and 20th century; ANDRZEJ FREJLICH, The Polish-Ruthenian Archaeological Exhibition in Lwow/Lviv (1885) and beginnings of Polish researches on Byzantine art; OLEH RUDENKO,The beauty of Greek Catholic church art in the Polish researchers’ works of the second part of 19th century; JERZY UŚCINOWICZ, Theology and the history of art within the Eastern Orthodox Church – methodological aspects of studies; NATALIYA URSU, Art history investigations of sacral heritage of the Dominican order of the 13th–19th centuries on Ukrainian lands; INNA BEREZINA, Sacral architecture of Kamyanets-Podilsky/Kamieniec Podolski – the town of multicultural heritage – in the investigations of art history of the 19th–20th centuries; KRISTĪNE OGLE, Research traditions of the Jesuit artistic heritage in Latvia and their sources; SERGEY R. KRAVTSOV, Studies of Jewish architecture in Central-Eastern Europe in historical perspective; – THE HISTORIOGRAPHY OF ART: MICHAEL SAGAYDAK, Archaeology as a “cradle” of Ukrainian art studies (to the question of the origin of the Old Rus’ art); JACEK TYLICKI, The history of art studies in Gdańsk; KATJA BERNHARDT, The historiography of art history in the second row. PhD-theses at the Department of Architecture, Danzig/Gdansk University of Technology (1904–1945); BARBARA HRYSZKO, A review of Polish research into Rococo with special emphasis on architecture; NATALIA MIZERNIUK-ROTKIEWICZ, To the problem of researches of the 18th century Russian art. Baron Vrangel and his role in the process of rediscovering of art of “gallant century” in Russia; KRZYSZTOF STEFAŃSKI, National concepts in the research on history of Polish architecture in the 19th century and at the beginning of the 20th century; – ART HISTORY IN THE ISLAMIC EUROPE: V. BELGIN DEMIRSAR ARLI & HATICE ADIGUZEL, Past and present of art history education in Istanbul University; ELVAN TOPALLI, Assembling of Turkish painters by the state: creation of national art; AYSE N. EREK, Arts, architecture and the problem of nationalization in early republican Turkey; BEATA BIEDROŃSKA-SŁOTA, The history of Polish studies on Islamic art and the history of the artistic relations between Poland and the Islamic countries; NURIYA AKCHURINA-MUFTIEVA, Historiography of architecture and decorative arts of Crimean Tatars; OLGA ULEMNOVA, The role of the Kazan fine art experts P..M. Dulsky and P. E. Kornilov in the establishment development of the Art, Art history and the Museum Affairs of the Soviet Tataria of the 1920–30s; RAUZA SULTANOVA, Researches of art history of Tatarstan at the present stage.

Society of Modern Art & Tako Publishing House, Toruń 2012; ISBN 978-83-924110-8-6 (300 pp.)

[Vol. VI] – THE FIRST CONFERENCE OF POLISH AND CHINESE HISTORIANS OF ART – Poland-China. Art and Cultural Heritage, JOANNA WASILEWSKA (ed.)

Contents: JERZY MALINOWSKI, BOGDAN ZEMANEK, Foreword; I. POLISH ART IN THE EUROPEAN CONTEXt: ROBERT KUNKEL, An Outline of the Medieval Architecture in Poland; MAREK WALCZAK, Art in Krakow during the Reign of the Last Two Piast Kings (c. 1320–1370);JÓZEF GRABSKI, Polish Renaissance Art and the Art of the Renaissance in Poland; JACEK TYLICKI, European Context of Architecture, Sculpture and Painting in Gdańsk and Royal Prussia in the Early Modern Period (Sixteenth–Seventeenth Centuries); JAN OSTROWSKI, Forgotten Baroque Borderland; MARIA POPRZECKA, Polish Painting between Historicism and Modernism; ANDRZEJ SZCZERSKI, Stanisław Witkiewicz and the Zakopane Style; MAŁGORZATA GERON, Krakow Formist Group (1917–1923). Genesis of Polish Avant-Garde Art; IWONA LUBA, Propaganda of Polish Art Abroad in 1918–1939; WERONIKA LISZEWSKA, Safeguarding of Asian and European Heritage in Regard to the Conservation Standards; II. CHINESE ART AND ART RELATIONS BETWEEN POLAND / EUROPE AND CHINA: DOBROMIŁA UHMA-MIECHOWICZ, What Did It Mean To Be a Foreigner in Ancient China?; EDWARD KAJDANSKI, Between Science and Art: Drawings of Michael Boym to His Works on China; DANUTA ZASŁAWSKA, “Chinoiserie” in Poland; IZABELA KOPANIA, Far from Canton: the Chinese Vogue in Eighteenth-Century Poland and its Long Journey There; KATARZYNA ZAPOLSKA, Collection of the Chinese Textiles in the National Museum in Warsaw; CHEN ANYING, The End of Literati Painting? An Unfinished Controversy in Retrospect; FANG XIAOFENG, Aesthetic Attitude of Chinese Classical Gardens; ŁUKASZ M. SADOWSKI, Harbin. The Center of Civilization in the Northern Part of Manchukuo; SU-HSING LIN, Archaeology, National Identity and Book Design in Republican China; KATARZYNA KULPINSKA, International Language of Woodcut Art – Chinese and Polish Avant-Garde in the 1920s and 1930s; KAROLINA PAWLIK, Shanghai Poinsettia and Nostalgia Counterfeits; HU GUANG HUA, Investigation of Art Exchanges between China and Poland in the 1950s; LI CHAO, Dissemination of Polish Fine Arts in China in the 1950s; ADINA ZEMANEK, Chinese Aesthetics – An Anthology. A Book Presentation; III. MODERN AND CONTEMPORARY ART IN POLAND AND CHINA: ZHANG FUYE, The Elements of Traditional Culture in Modern Chinese Art; CHEN CHIYU, Construction and Painting in New China; PAN YAOCHANG, The Posters of Mao Era: A Perspective of Art and Society; ZBIGNIEW OSINSKI, Jerzy Grotowski in China; TOMASZ GRYGLEWICZ, Chinese Inspiration in Jerzy Panek’s Prints; PIOTR JUSZKIEWICZ, Utopias and Expressions. Polish Art Criticism of the 1950s and 1960s; ANNA MARKOWSKA, Modernism in Krakow after the Post-Stalin Thaw. The KrakowGroup; MARIA HUSSAKOWSKA, Nicely Painted, Perfectly Done, Well Sold; ZHANG GAN, Beyond Western Criteria: The Establishment of Criteria of Contemporary Chinese Art; MAŁGORZATA JANKOWSKA, Alike but Different: Common Themes in Chinese and Polish Art in the New Millennium; JOANNA KUCHARZEWSKA, Capsule or Apartment? Remarks on Housing Architecture of the Twenty-First Century; MAGDALENA CZECHOŃSKA, Chinese Art Scene in 1979–2000 from the Perspective of Performance Art; MAGDALENA FURMANIK-KOWALSKA, Threads between Past and Future: Lin Tianmiao’s Installations.

Jagiellionian University Press, Kraków 2011; 978-83-233-3235-0 (349 pp.)

[Vol. V] – Art of the Islamic World and Artistic Relationships between Poland and Islamic Countries, BEATA BIEDROŃSKA-SŁOTA, MAGDALENA GINTER-FROŁOW & JERZY MALINOWSKI (eds.)

Contents: JERZY MALINOWSKI, Introduction; BEATA BIEDROŃSKA-SŁOTA, Introduction; ZDZISŁAW ŻYGULSKI JR, Poland and Turkey: From enmity to friendship; TOMASZ MIŚKIEWICZ, About Tatars and Moslems on Polish soil; I. ARCHITECTURE: BEKIR DENIZ, Jand city in Kazakhstan and its Caravanserai; ELMIRA GYUL, The Karakhanid Era in the context of the formation of Islamic art in Maverannahr; EKATERINA KIRYUSHKINA, The Spanish-Muslim tradition in monuments of court architecture of Christian Spain in the 14th century; FATIH ELCIL, An Ottoman castle in the Balkans: Szigetvár; MEHMET KEREM ÖZEL, An interpretation of Sinan’s Sehzade complex in Istanbul; ADRIENN PAPP, Building and builder: Constructions under Sokollu Mustafa Pasha’s reign in medieval Buda; TATYANA STARODUB, Peculiar properties of the Safavid faience decoration in two Isfahan royal mosques; MOHAMMAD GHARIPOUR, The image of Safavid garden palaces in European travel accounts; KAYAHAN TÜRKANTOZ, Tendencies in contemporary mosque architecture of Turkey; IMAD OTAHBACHI, Al-Faisaliah Tower: The first skyscraper in Saudi Arabia; II. PAINTING, CALLIGRAPHY AND EPIGRAPHY: GITI NOROUZIAN, A copy of a panegyric biography of Timur, the Zafar-Nama of 935 H, with pictures attributed to Bihzad; SHAKHINA B. IBRAKHIMOVA, The aesthetic ideal in the miniatures of the Ali-Shir Nava’i period; TAMAR ABULADZE, Persian illuminated scientific manuscripts from the National Centre of Manuscripts in Tbilisi; DANIEL REDLINGER, Image without images: Visualization in Islamic epigraphy; SWIETŁANA M. CZERWONNAJA, Muslim epigraphy (tombs with inscriptions) as a phenomenon within the fine arts and architecture (based on the Caucasus, Crimea and Volga-Ural Regions’ materials); III. APPLIED ART: CATIA VIEGAS WESOLOWSKA, Metal mounts on ivories of Islamic Spain; NURIYA AKCHURINA-MUFTIEVA, Basic purposes of Crimean Tatar ornamental art in the context of Islamic symbolism; SERGEY BOCHAROV, ANDREY MASLOVSKY, Decor of the mosques of the Golden Horde towns of the northeastern Black Sea region (on the basis of archaeological data); OLENA FIALKO, SVITLANA BILYAYEVA, Art ceramics of the Islamic world in Ukrainian lands (13th–18th centuries); ANIKÓ TÓTH, Turkish ceramics recovered during the archaeological excavations on the Castle Hill of Buda; BELGIN DEMIRSAR ARLI, HATICE ADIGÜZEL, The connection between the tile decoration of the 16th and 17th centuries in Istanbul with the tile fragments found in Iznik excavations; IVÁN SZÁNTÓ, How to obtain a Persian rug in 17th-century Hungary?; VALIDE PASHAYEVA, Artistic and technical features of Azerbaijan’s kalagai silk scarves; IV. ARTISTIC CULTURE OF THE POLISH-LITHUANIAN TATARS: HARRY NORRIS, Reflections upon Sufi influences within the artistic expression, and in the manuscript documents, of the Belarusian, the Lithuanian and the Polish Tatars; ANDRZEJ DROZD, Decoration in the culture of the Polish-Lithuanian Tatars: A preliminary study; LUCYNA LESISZ, KAROLINA RADŁOWSKA,Tatar monuments in the collection of the Historical Museum in Białystok; MIESTE HOTOPP-RIECKE, The Muslim Tatar cultural legacy in its German-Polish context; V. RELATIONSHIPS BETWEEN THE ART OF POLAND/ CENTRAL-EASTERN EUROPE AND ISLAMIC COUNTRIES: SVITLANA BILYAYEVA, Islamic art in Ukrainian lands (13th–18th centuries); ZDZISŁAW ŻYGULSKI JR, Armenians in Poland: A foreign culture incorporated; JANINA POSKROBKO-STRZĘCIWILK, The 18th-century Polish silk sash and its Oriental prototypes; ELVAN TOPALLI, A meeting of two painters from West and East: Stanisław Chlebowski’s and Osman Hamdi Bey’s paintings of the Green Mosque; TAREK EL-AKKAD, Neo-Islamic architecture in Central and Eastern Europe; VI. ISLAMIC ART IN EUROPEAN COLLECTIONS: AGNIESZKA KLUCZEWSKA-WÓJCIK, A new approach to Islamic art: The collecting of Eastern carpets in Poland at the beginning of the 20th century; HANA NOVÁKOVÁ, Islamic art from Czech collections (with an accent on Iznik pottery); EMESE PÁSZTOR, Ottoman-Turkish and Iranian textiles in the collection of the Museum of Applied Arts in Budapest; MAGDALENA GINTER-FROŁOW, Miniatures from Persian manuscripts: The history of Polish collections; MAŁGORZATA MARTINI, Scissors for Islamic calligraphy as an example of collecting artifacts from other cultures for their exotic origin; VII. MODERN AND CONTEMPORARY ART: MARS AKHMADULLIN, The art of book printing in Arabic type in the Volga-Ural region during the late 19th and early 20th centuries; FUAD PEPINOV, Caricature in Turkic public life under the Russian Empire; OLGA ULEMNOVA, Islam and fine arts of the 1920s in Soviet Russia; RAUZA SULTANOVA, Islamic aesthetics and scenography of the Tatar theatre; DINA KHISAMOVA, The figurative system of Islam in Tatar sculpture; HAMID SEVERI, What is self? Samples of contemporary Iranian photographic self-portraits; VIII. SPIRITUAL HERITAGE OF THE ISLAMIC WORLD: VLADIMIR KOSHAEV, “Stepsons of the Urals”: The Turkic-Finnish incorporation in the culture of the Bessermans; OTHMAN YATIM, Architecture and other Islamic arts, particularly in Malaysia: Unity in diversity.

Polish Institute of World Art Studies & Manngha Museum of Japanese Art and Technology, Kraków 2011 (2012); ISBN 978-83-62096-11-4 (500 pp.)

Vol. IV – Tkaniny orientalne w Polsce – gust czy tradycja? / Oriental Fabrics in Poland – Taste or Tradition? BEATA BIEDROŃSKA-SŁOTA (ed.)

Spis treści: JERZY MALINOWSKI, Przedmowa / Foreward; BEATA BIEDROŃSKA-SŁOTA, Orientalne tkaniny w Polsce. Gust czy tradycja? / Oriental Fabrics in Poland – Taste or Tradition?; PIOTR KORDUBA, Wystawa tkanin „Polska sztuka tkacka” w Instytucie Propagandy Sztuki w 1938 roku / The exhibition of textiles „Polish art of weaving” in the Institute for the Propaganda of Art in 1938; MARIA TERESA MICHAŁOWSKA-BARŁÓG, Tkaniny wschodnie z kolekcji Leona Wyczółkowskiego w zbiorach Muzeum Narodowego w Poznaniu / Oriental fabric from the collection of Leon Wyczółkowski in the National Museum in Poznań assmblage; MARTA KŁAK, Podróż Jana Matejki na Bliski Wschód i jej reminiscencje w twórczości i kolekcji artysty / Jan Matejko’s journey to the Middle East and the reminiscences of it in his artistic Works and collection; EWA MIANOWSKA-ORLIŃSKA, Niezwykłe kolekcje - fragmenty tkanin i ubiorów wschodnich oraz polskich w zbiorach Muzeum Narodowego w Warszawie, pozyskane od polskich kolekcjonerów / Extraordinary collection – fragments of oriental and Polish textile and clothes donated from Polish collectors in the National Museum in Warsaw; ANNA KWAŚNIK-GLIWIŃSKA, Tkaniny wschodnie ze zbiorów Muzeum Narodowego w Kielcach /Oriental textiles from the collection of the National Museum in Kielce; ELEONORA TENEROWICZ, Tkaniny indyjskie w krakowskim Muzeum Etnograficznym / Textiles from India at the Ethnographic Museum of Cracow; MONIKA PAŚ, Zbiór mat plecionych z włókien roślinnych w zbiorach działu Rzemiosła Artystycznego i Kultury Materialnej Muzeum Narodowego w Krakowie / The collection of mats woven from plant fibres in the Decorative Art and Material Culture Department of the National Museum in Cracow; MONIKA STACHURSKA, Perska czy turecka ? – problem określenia proweniencji makaty ze zbiorów Skarbca Jasnogórskiego / Persian or Turkish? – problem of determination a historical wallhanging origin, coming from Jasna Góra’s Treasury; MARIA CYBULSKA, EWA MIANOWSKA-ORLIŃSKA & KAROLINA STANILEWICZ, Tkaniny wschodnie w szatach liturgicznych Kościoła katolickiego w Polsce na przykładzie kolekcji bazyliki katedralnej w Łowiczu i Muzeum Narodowym w Warszawie / Oriental fabrics in liturgical vestment of the Polish Catholic Church in collections of the Lowicz Cathedral and the National Museum in Warsaw; WOŁODYMIR NAZAR, Tkaniny tureckie i perskie z XVII i XVIII wieku w zbiorach Kijowsko-Peczerskiego Narodowego Muzeum Historyczno-Kulturalnego / Turkish and Persian textiles of 17^th–18^th centuries in the collection of the National Kyiv-Pechersk Historic-Cultural Conservation Area; KATARZYNA ZAPOLSKA, Chińskie szaty dworskie ze zbiorów Muzeum Narodowego w Warszawie / Chinese court robes from the collection of The National Museum in Warsaw; WACŁAW UMIŃSKI, Tkaniny orientalne w Muzeum Historyczno-Misyjnym Zgromadzenia Księży Misjonarzy w Krakowie / Oriental textiles in the Museum of History and Mission of the Congregation of the Mission in Cracow; MAŁGORZATA WRÓBLEWSKA-MARKIEWICZ, Pierre-Toussaint Dechazelle, lyoński desinator i fabrykant jedwabi – projektant orientalnych pasów kontuszowych / Pierre-Toussaint Dechazelle, designer and manufacturer of silks, author of kontusz sashes in oriental taste; MARIA CYBULSKA & TOMASZ DROŻDŻ, Pasy kontuszowe jako źródło inspiracji w projektowaniu współczesnych tkanin / Kontusz sashes as an inspiration in contemporary textile designing; MARIA WROŃSKA-FRIEND, Łączy nas wosk: batik na Jawie i w Krakowie / Joined by wax: batik in Java and Cracow; MATEUSZ KŁAGISZ, Igłą malowane na tkaninie – suzani / Paintings with a needle on a cloth – suzami; KAROLINA KRZYWICKA, Ikaty uzbeckie ze zbiorów Muzeum Azji i Pacyfiku w Warszawie / Uzbek ikats form the collection of the Asia and Pacific Museum in Warsaw; MAŁGORZATA MOŹDŹYŃSKA-NAWOTKA, Między sztuką, etykietą i osobistą ekspresją. Inspiracje orientalne w modzie kobiecej XVIII i XIX w. w Polsce / Between art, etiquette and personal expression: Oriental inspirations in women’s fashion in Poland in the 18^th and 19^th c.; JOANNA REGINA KOWALSKA, Mężczyzna w domu – wpływy wschodnie w męskich ubiorach domowych ze zbiorów Muzeum Narodowego w Krakowie / Man at home. Eastern influences in man’s home costumes.; JERZY HOLC, Konserwacja jedwabnego chińskiego bucika królowej Marysieńki Sobieskiej z Muzeum Okręgowego w Tarnowie / Conservation of the queen Maria Sobieska Chinese silk shoe from the District Museum in Tarnów.

Wydawnictwo DiG, Warszawa 2011; ISBN 978-83-7181-669-7 (240 pp., X color ills.)

Vol. III – Jewish artists and Central-Eastern Europe from the 19th century to the second world war, JERZY MALINOWSKI, RENATA PIĄTKOWSKA & TAMARA SZTYMA-KNASIECKA (eds.)

Spis treści: JERZY MALINOWSKI, Jewish art in Central-Eastern Europe: the nineteenth century to the Second War World. Introduction; SZYMON RUDNICKI: Jews in Poland between the two World Wars; EWA GELLER, Yiddishland - Jewish Identity in East Central Europe; KAZIMIERZ & MARIA PIECHOTKA, Architecture of Synagogues on the lands of the former Polish-Lithuanian Commonwealth, 15th – early 19th Century. History and State of Research; ELEONORA BERGMAN, Synagogues of Europe – still much to learn; Marcos Silber: The function of Kazimierz as lieu de mémoire in Yiddish Film in Interwar Poland; BRAHA YANIV, The Wall decoration in the Izaac Synagogue in Kazimierz District, Krakow: the first overall layer; ULF G. HAXEN, Yehuda Leib ben Eliyya Ha-Cohen’s Haggada. Copenhagen 1769. A Jewish Artist in the Making?; IWONA BRZEWSKA: The motif of Jerusalem in Jewish tapestry and ritual objects in Polish collections; WALDEMAR DELUGA, Jewish German graphic amulets from the eighteen century; ANNA LEBET-MINAKOWSKA, The “Spanier Arbeit” technique; MAŁGORZATA REINHARD-CHLANDA, Role of stained-glass windows in the architecture of progressive synagogues on the example of the „Temple” Synagogue in Krakow; DANIELA M. SCHMID, Besamim & Hasidim. The Sabbath soul and myrtle in Jewish mysticism and a selection of Eastern European spice boxes; SERGEY KRAVTSOV, Józef Awin on Jewish art and architecture; SAMUEL D. GRUBER, Polish Influence on American synagogue architecture; JULIA WEINER: “Zealots and dreamers aiming at something to which only millionaires and powerful nations can aspire”. The Ben Uri Art Society and its founders; IRINA SERGEYEVA, Destiny of Museum of the Jewish Historical and Ethnographical Society after 1917: MONIKA CZEKANOWSKA, Portrait of "biblical" women in Maurycy Gottlieb’s and Wilhelm Wachtel’s painting. A semiotic and an iconographic approach to the pictures of Judith and Salome; TAMARA SZTYMA-KNASIECKA, Jewish idiom in the art of Henryk Glicenstein; ARTUR KAMCZYCKI, Herzl’s portrait by Leopold Pilichowski. Meanings of the picture; NATASZA STYRNA, The influence of Zionist’s ideology on the Jewish artistic milieu in Krakow, 1904–1939; SARAH MCDOUGALL, From Warsaw to Whitechapel: an exploration of cultural and artistic identity in the early work of Alfred Aaron Wolmark (ca. 1876–1961); ARTUR TANIKOWSKI, Heralds of moderate modernity: Polish-Jewish-Polish artists in Catalonia; AVIGDOR POSÈQ, Jacques Lipchitz: sculpture as prayer; RACHEL DICKSON, Jacob Kremer (189–1962): British Modernism and the Central Eastern Jewish émigré experience 1913–1923; CAROL ZEMEL, Bruno Schulz’s Book of Idolatry: making Jewish art in Diaspora; ELEONORA JEDLIŃSKA, Jankel Adler - Hassidism and New Jewish Art; IGOR DUKHAN, El Lissitzky and the search for New Jewish Art (Smolensk – Vitebsk – Moscow – Berlin); GAIL LEVIN, Reflection on Lee Krasner and Jewish culture of Eastern Europe; EUGENY KOTLAR, Bezalel versus Kultur-Lige: approaches to Jewish revival; MAŁGORZATA STOLARSKA-FRONIA, Jewish Expressionism – a quest for cultural space; KEIT HOLZ, Max Silberberg’s commitment to modern art and Jewish culture in interwar Breslau; RENATA PIĄTKOWSKA, Not just writers... Artists at Tlomackie 13; VILMA GRADINSKAITĖ, Attitudes of interwar Lithuanian art critics towards Jewish art; AVIV LIVNAT, Arieh Merzer and the Warsaw’s interwar metaloplastics art scene; ANDRZEJ SZCZERSKI, Beyond modernity. Benedykt Jerzy Dorys’ photos of Polish-Jewish Kazimierz in the 1930s; MAYA BALAKIRSKY-KATZ, Rebbishe representation: pre-war Polish photography of Hasidic leaders; MAGDALENA TARNOWSKA, Art in the Warsaw Ghetto; ANNA MARKOWSKA, Reconstructing Community: Jonasz Stern’s art after the Holocaust; PIOTR JUSZKIEWICZ: Space and Memory. Oskar Hansen’s project of Auschwitz Monument; ZIVA AMISHAI-MAISELS, Disappearance of the identity of the Holocaust victim in Art.

Wydawnictwo DiG, Warszawa 2010; ISBN 978-83-7181-655-0 (418 pp., LXXXII color ills.)

Vol. II – Sztuka i kultura wizualna Indii / Art and visual culture of India, PIOTR BALCEROWICZ & JERZY MALINOWSKI (eds.)

Spis treści: PIOTR BALCEROWICZ & JERZY MALINOWSKI, Wstęp. O badaniach sztuki Azji Południowej w Polsce / Preface. On research of Indian art in Poland; ANNA SIERADZKA, Profesor Andrzej Jakimowicz (1919–1992) – badacz sztuki i kultury Indii / Professor Andrzej Jakimowicz (1919–1992) – researcher of Indian art and culture; SAMIR KUMAR MUKHERJEE, Sztuka terakoty w Dolinie Gangesu w czasach dynastii Guptów / Terracotta art in the Gangetic Valley under the Guptas; M. SINGH, R.S. TRAMBLAKE & D.A. GUPTA, Konserwacja chemiczna obrazów hinajany z II w. p.n.e. w grocie nr 10 w Adżancie / Chemical conservation of Hinayana paintings 2nd B.C., cave no. 10 Ajanta; DOROTA KAMIŃSKA, Przedstawienia portretowe władców Mandi / Royal portraits in the Mandi State; KAROLINA KRZYWICKA, Biżuteria dworska Wielkich Mogołów / The court jewellery of the Great Mughals; NATALIA ŚWIDZIŃSKA, O czym warto pamiętać opisując tamilskie kamienie pamięci? / What one should remember while researching on memorial stones?; ELŻBIETA WALTER, Ludowe malarstwo narracyjne w Bengalu Zachodnim / Narrative scroll paintings in West Bengal; BARBARA GRABOWSKA, Czyny mistrza Wiśwakarmana w poematach bengalskich / Acts of master Viśvakarman in Bengali poems; MARZENNA CZERNIAK-DROŻDŻOWICZ, Religijna sztuka południa Indii / Religious art of South India; MACIEJ KARASIŃSKI, Tantryczna przestrzeń rytualna – architektura sakralna Kerali / Tantric ritual space – sacral architecture of Kerala; AGNIESZKA STASZCZYK, Ikonografia i funkcja jakszów w rzeźbie indyjskiej do VI w. n.e. / The iconography and position of the Yaksas in Indian sculpture up to 6th century / Iconography and status of the Yaksas in Indian sculpture up to 6th century CE; ANNA ŚLĄCZKA, Konsekracja świątyń hinduistycznych w Azji Południowej i Południowo-Wschodniej. Konfrontacja źródeł archeologicznych i piśmiennych / Temple consecration rituals in temples of South and Southeast Asia. A study of the textual and archeological evidence; MAGDALENA JAETKE, Droga pasa kontuszowego z Indii i Persji do Polski / The route of the Polish kontusz sash from India and Persia to Poland; BEATA BIEDROŃSKA-SŁOTA, Indyjskie szale zwane tyftykowymi / Indian shawls of wool or cashmere; MAŁGORZATA REINHARD-CHLANDA, Malarstwo Stefana Norblina dla maharadżów / The paintings by Stefan Norblin for the Maharajas;

Wydawnictwo DiG, Warszawa 2010; ISBN 978-83-71-81-636-9 (170 pp., LLIV color ills.)

[Vol. I] – Sztuka Japonii / The Art of Japan, AGNIESZKA KLUCZEWSKA-WÓJCIK i JERZY MALINOWSKI (eds.)

Spis treści: JERZY MALINOWSKI, Przedmowa / Preface; MAŁGORZATA MARTINI, Feliks „Manggha” Jasieński – propagator sztuki japońskiej / Feliks ‘Manggha’ Jasieński as a propagator of Japanese art; MAŁGORZATA WOŁODŹKO, Ginkaku-ji - Świątynia Srebrnego Pawilonu / Ginkaku-ji: the Temple of the Silver Pavilion; ANNA WOJCIUL, Parawany typu Kirishian i Yofuga ery Momoyama / Screens type Kirishian and Yofuga age of Momoyama; KATARZYNA MALESZKO, Konserwacja w Japonii zwoju z wizerunkiem bogini Benzaiten ze zbiorów Muzeum Narodowego w Warszawie / Restoration in Japan of the scroll with the image of Benzaiten Goddess from the collection of the National Museum in Warsaw; WERONIKA LISZEWSKA, Zmiany kolorystyczne pigmentów w zabytkowych drzeworytach japońskich z Muzeum Narodowego w Warszawie / Discoloration of pigments in ancien Japanese woodcut prints from the collection of the National Museum in Warsaw; ESTERA ŻEROMSKA, Makijaż i peruka aktorów teatru kabuki / The makeup and wigs of the Kabuki actors; KATARZYNA PACZUSKA: „Uki-e” – obrazy perspektywiczne / Uki-e perspective pictures; DANUTA N. ZASŁAWSKA, Eksportowa laka japońska i jej europejskie naśladownictwa – zarys problematyki i uwagi konserwatorskie / Export of Japanese lacquer and its European imitations. An outline and remarks on conservation; AGNIESZKA KLUCZEWSKA-WÓJCIK, Motywy japońskie w europejskim rzemiośle artystycznym końca XIX – początku XX wieku / Japanese motifs in the European crafts of the end of the 19th century – sources, patterns, interpretations; MARIA JAŹWIŃSKA, Główne motywy ikonograficzne w japońskiej sztuce użytkowej / Japanese decorative motifs; ŁUKASZ SADOWSKI, Ogród Glovera w Nagasaki – architektura willowa z okresu Meiji / Glover Garden, residential architecture from Meiji period; IGA RUTKOWSKA, Mingei – japoński ruch sztuki ludowej / Mingei – the Japanese folk and art movement; ALEKSANDRA KRYSKA-GÖRLICH, Współczesna ceramika z Kioto w zbiorach Muzeum Sztuki i Techniki Japońskiej „Manggha” / Contemporary Japanese ceramics in the collection of the Manggha Museum of Japanese Art and Technology; ANNA DZIERŻYC-HORNIAK, W poszukiwaniu duchowości – „ plastyczne haiku” w sztuce Koji Kamoji / In search of spirituality – “relief haiku” in Koji Kamoji’s art; JAKUB KARPOLUK, Od widowiska do filmu. Ewolucja środków ekspresji filmowej w pierwszym okresie rozwoju kinematografii japońskiej 1899-1928 / From performance to film. Changes in the cinematographic forms of expression during the first development period of the Japanese cinema 1899-1928; JOANNA CHOŁAŚCIŃSKA, Koji Yamamura – niezależny autor filmów animowanych / Koji Yamamura – an independent author of the animated films in Japan; MAGDALENA FURMANIK,Rola artystek w kształtowaniu się współczesnej sztuki japońskiej / A role of female artists in the development of contemporary Japanese art

Wydawnictwo DiG, Warszawa 2009; ISBN 978-83-7181-596-6 (162 s.)

TOMY ARCHIWALNE