South African Journal of Art History Volume 04 (1989)

Permanent URI for this collectionhttp://hdl.handle.net/2263/14226

South African Journal of Art History, Volume 4, Issues 3 and 4 (1989)
Content
SAJAH Volume 4, Issues 3 & 4	Cover, general information
Prins, M.	Literatuuroorsig en probleemstelling oor die rotskuns
Woodhouse, H.C.	Motivation and the rain animal in the rock art of Southern Africa
Lee, D.C.	Methodology in the recording of rock paintings
Le Roux, S.	Eenheidsfaktore in die ontwikkeling van moskee-ontwerp.
Janse van Rensburg, H.J.	Max Ernst: "The hundred headless woman" and the eternal return
Groenewald, M.M.	Die betekenis van die "Infanta" in Picasso se variasies op "Las Meninas" van Velasquez.
Duffey, A.E.	Beknopte oorsig van Sjinese keramiek.
Van der Waal, G-M & Schmidt, L.	Tendense van Tagtig; teorieë en praktyke in die Kunsgeskiedenis (Konferensie: RGN, 7 Oktober 1989)

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Eenheidfaktore in die ontwikkeling van moskee-ontwerp
(Art Historical Work Group of South Africa, 1989) Le Roux, S.W. (Schalk Willem)
Despite the immediately recognisable differences in form, construction, use of material and variance in spatial realisation between mosques throughout the Muslim world, they share architectural elements and principles. This can be ascribed to a preservation of unity of Islamic thought through Arabic, the shared religious language of the Holy Koran. Herein is formulated clear directives for prayer with the house of the Prophet at Medina serving as precedent.
Methodology in the recording of rock paintings
(Art Historical Work Group of South Africa, 1989) Lee, D.N.
Daar bestaan 'n groeiende belangstelling in die belangrike rol wat San-rotsskilderinge speel in ons nasionale erfenis. Hierdie belangstelling het gelei tot 'n besef van die vinnige agteruitgang van hierdie werke, as gevolg van natuurlike en mensllke oorsake en dus van die dringendheid van effektiewe konservasie. Kopiering - deur middel van natreksels of foto's - is tans die enigste metode om die werke te bewaar, sodat 'n getroue rekord beskikbaar kan wees vir toekomstige navorsers. 'n Voorbeeld van die waarde hiervan is gelee in die pionierswerk van William Stow. Vele van die skilderinge wat hy so versigtig gekopieer het in die laat 18OO's het intussen verdwyn of tot so 'n mate vervaag dat hul nouliks sigbaar is. Hierdie artikel beskryf in besonderhede die tegnieke van natrekwerk en fotografie wat oor 'n periode van dertig jaar geleer is deur terreinondervinding. Die doel van hierdie beskrywing is om die entoesias aan te moedig, om 'n sin vir dringendheid te bevorder en om frustrerende foute te help voorkom.
Betekenis van die 'Infanta' in Picasso se variasies op "Las Meninas" van Velazquez
(Art Historical Work Group of South Africa, 1989) Groenewald, M.M.
Picasso created a series of forty-four paintings based on "Las Meninas" by Velazquez. In these works he embarked on a Journey of exploration with regard to form, iconography and iconology. This article researches the background of and motivation for the series, as well as the expressivity reached in his different variations and the implications for his oeuvre.
Beknopte oorsig van Sjinese keramiek
(Art Historical Work Group of South Africa, 1989) Duffey, Alexander Edward
Ceramic work has been characterised as the simplest and the most complex of all the arts, because it is elemental and abstract. No other nation has reached a higher level of development in ceramics than the Chinese. This article offers a synopsis of points of culmination in the history of Chinese ceramics, as well as a chronological exposition of dynasties and periods for the orientation of student and researcher.
Konferensieverslag: "Tendense van tagtig; teoriee en praktyke in die kunsgeskiedenis" (RGN, 7 Oktober 1989)
(Art Historical Work Group of South Africa, 1989) Van der Waal, Gerhard-Mark; Schmidt, Leoni
In 'n tyd wat 'n mens aanhoudend dwing om standpunt in te neem, is daar behoefte aan gesprekke oor tendense. Sulke besinnings is hulpmiddels om tot 'n posisiebepaling te kom binne die netwerk van verhoudings waarin 'n mens staan. Dit geld ook vir verhoudings tot 'n vakgebied soos Kunsgeskiedenis. Met die doeI om groter helderheid te kry oor die huidige benaderings in die vak en die waarde van die beroep wat ons beoefen, het die Kunshistoriese Werkgemeenskap van Suid-Afrika (KWSA) op 7 Oktober 1989 'n werkseminaar met die bostaande titel by die RGN in Pretoria gereel. 'n Sestal departementshoofde is gevra om enkele pertinente stellings oor die tema voor te berei (waarvan die tekste vooraf in die Vlugskrif van die KWSA aan die seminaargangers versprei is) en kortliks tydens die seminaar toe te lig. Die sprekers was Dirk van den Berg, Elizabeth Rankin, Peter Engel, Karin Skawran, Muller Ballot en Alec Duffey, terwyl Gerhard-Mark van der Waal die tema met enkele inleidende gedagtes aan die orde gestel en Leoni Schmidt die diskussie gelei het.
Max Ernst: "The hundred headless woman" and the eternal return
(Art Historical Work Group of South Africa, 1989) Janse van Rensburg, H.J.
Max Ernst often responded to the thought of the philosopher Friedrich Nietzsche in his art in the 1920's. This study approaches the collage-novel, "The Hundred Headless Woman", from the perspective of Nietzsche's concept of the 'eternal return', suggested by imagery in the novel. The study offers a brief iconographical context for the concept of 'eternal return', and examines key images in Ernst's response to this concept. The discordant superimposing of layers of meaning and the refutation of rationality in the novel are considered in terms of the disorientation of time, seriality and the principle of identity implied by the perspectivism of Nietzsche's concept of the 'eternal return'. The study argues that Ernst's assimilation of Nietzsche's ideas and concepts is exceptionally sophisticated, and suggests that it significantly anticipates some of the concerns in the reinterpretations of Nietzsche by recent French philosophers.
Literatuuroorsig en probleemstelling oor die rotskuns
(Art Historical Workgroup of South Africa, 1989) Prins, M
Die rotskuns is voortgebring deur prehistoriese samelewingsgroepe wat nie die skryfkuns geken het nie en geen geskrewe bronne is dus beskikbaar wat Iig kan werp op die kuns nie. Uit die Iiteratuur blyk dit dat daar min wisselwerking tussen navorsers uit die verskillende dissiplines plaasvind; uiteenlopende benaderingswyses word gevolg en teenstrydige resultate word verkry. Na bykans 'n honderd jaar van navorsing kan daar geen konsensus bereik word oor die doel en betekenis van die kuns nie. Ten einde die betekenis van rotskuns bloot te Ie is dit nodig om 'n alternatiewe metode van ondersoek te vind: Die metode moet enersyds nie afhanklik wees van die beskikbaarheid van primere bronne nie; en andersyds moet daar oorweging geskenk word aan alle benaderingswyses en aan elke interpretatiewe hipotese. Vir die doel kan J. Heidema se strukturele model van betekenis vir die ontsyfering van die visuele kunste aangewend word.
Motivation and the rain animal in the rock art of southern Africa
(Art Historical Work Group of South Africa, 1989) Woodhouse, Herbert Charles, 1919-2011
The question arises why paintings and engravings were made on the rocks of southern Africa and also why the theme of the 'rain animal' or 'rain snake' was often executed. Motivation for the artistic activity involved is found in an ascending hierarchy of human needs; while the frequency with which the 'rain animal' was depicted is related to various levels in this hierarchy. A representative sample of artistic expression is considered in demonstration of the arguments put forward.
South African Journal of Art History, Volume 4, Issue 3 & 4, 1989
(Art Historical Workgroup of South Africa, 1989-11) Mare, Estelle Alma; Schmidt, Leoni

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