Materiality, Creativity, Testimony: A Wardrobe from Huta Zaborowska

Art historical collections form a significant part of the University of Tartu’s many scientific and historical collections. This paper provides an overview of the founding of the Art History Cabinet by the Swedish art historian and the University of Tartu’s first Professor of Art History Tor Helge Kjellin in 1922 and the travels of the cabinet and its objects, which began in 1941, as well as their temporal journey through the various University buildings. It also focuses on the fate of the vast collection of photos and reproductive prints that once belonged to the owner of the Raadi Manor and art collector Karl Eduard von Liphart, purchased for the Art History Cabinet from the Pallas Art Society on 13 November 1922 at the initiative of Professor H. Kjellin. The paper seeks to find out what is left of this collection today after frequent moving and constant lack of space. The Art History Cabinet and its items have been located in 12 different places between 1922 and 1995. It has not had its own rooms since 1941. The last place the cabinet remained for a longer period (20 years) was the building of the Estonian Students’ Society, in the dissolved (at 1940) society’s former library where it stayed from 1971 to 1992. The cabinet moved out from there in March 1992 and its objects were divided between several locations, because the University’s new building, which was supposed to become the cabinet’s new home, was not finished yet. The Liphart collection was severely damaged due to moving, but probably also due to deliberate destruction and disposal, because it was not considered thematically equal to other collections in the cabinet. At the end of December 1995, parts of the Liphart collection—mostly photos, but also reproductive and art prints that were somehow left behind or forgotten there—were discovered from a wall cupboard in the library of the building returned to the Estonian Students’ Society. The Department of Art History did not want this part of the collection back and thus it was decided to store it in the Museum of Classical Antiquities. In January 1996, additional photos were brought in from the Study Library’s storage room where most of the Art History Cabinet’s assets, including a part of the Liphart collection, were kept since March 1992. The museum selected 204 photos from the received collection and decided to send the rest, which were declared unnecessary, to the Viljandi Culture College in spring 1996, stating that only prints were sent there. These were not used as study aids but remained boxed and were stored in the college’s new building. The storage place had to be cleared due to a lack of space somewhere around 2003 and Viljandi Paalalinna Gymnasium agreed to accept the collection. The renovation of the school began in 2005 and, thanks to a teacher’s and college lecturer’s quick thinking, the photo collection found its new home in a room in St. Paul’s Church in Viljandi. Upon closer inspection of the collection stored in the church it was found that it included photos bearing the University of Tartu Art Museum stamp from the times of the Russian Empire, which meant that these came from the University of Tartu. The University of Tartu Art Museum was notified of this around five years ago and people were sent over to inspect the collection, but its fate remained undecided. It was concluded that the museum was not interested in retrieving the collection. Two years ago, this part of the Liphart collection—3,380 photos, which make it one of the largest known to survive—was given to a collector interested in the history of photography. According to an inventory book from 1933, the Liphart photo collection included 12,951 photos. Preliminary data suggests that the University owns 2,284 photos today. This means that 44% (including the pieces in private collections) of the Liphart photo collection has survived and is known to researchers. The photos and reproductive prints in the Liphart collection continue to be highly valued as examples of the history of photography but also photo printing and, from the perspective of art history, original documents of their time. However, the people involved have been unable to study and assess this collection from this perspective, especially in the last few decades.

This article focuses on the integration of Ukraine into the research and educational space of the European Union. The aim of the article is to form and summarize the competent opinion of the scientific and educational expert community about the prospects and possibilities of deepening cooperation in education, science and technology between the EU member states and Ukraine, as well as to search for effective forms of such cooperation to expand the presence of Ukrainian academic institutions and universities in European programs and accelerate Ukraine's integration into the EU scientific and educational space. Methodology. The method of expert survey was used as a tool to identify the opinions of representatives of the Ukrainian scientific and educational expert community. Two expert questionnaires for representatives of academic science and higher education in Ukraine were developed to collect information. Respondents were asked key questions about their experience of working with educational and research institutions in EU member states, as well as their views on the opportunities and prospects for deepening professional ties and networks with European partners. Results. The expert survey covered 17 cities of all cultural and historical regions of Ukraine (Central, Eastern, Northern, Southern, and Western). Twenty-two higher educational institutions and five scientific institutions of Ukraine took part in the survey (32 experts in total). According to the results of the expert survey it was found that domestic higher education institutions and research institutes are interested, have successful experience and potential to deepen scientific, educational and scientific and technical cooperation with institutions of EU member states. It turned out that all higher education institutions and research institutions of Ukraine, which representatives participated in the survey, cooperate with European universities. The geography of cooperation is wide, mainly covering such countries as Germany, Poland, Latvia, Lithuania, Slovakia, Czech Republic and Hungary. Cooperation between partner institutions is carried out within the framework of Cooperation Agreements and is aimed at participation in such European programs as Horizon 2020, Erasmus + KA1, Erasmus + KA2, TEMPUS UNI4INNO "Universities for Innovation". Practical implications. It was found that most experts do not support the expediency of creating territorially separate structural subdivisions of foreign higher educational institutions in Ukraine. Instead, they consider it advisable for domestic universities and scientific institutions to create their own branches and representative offices at universities and scientific organizations of the EU. Experts see the following as the key purposes for creating such units: participation in international mobility programs, joint participation in European programs, joint research and development, exchange of students and faculty, joint participation in conferences, preparation of joint scientific publications. Experts consider such areas of implementation of joint educational programs and research projects as "green" economy, digital economy and society, implementation of modern transport technologies and systems, creative industries, research in humanities and social sciences. Value/originality. Proposals for intensification of academic and scientific-technical cooperation between the EU and Ukraine, which, in particular, concern: increasing the budget of European programs for EU associate members; launching special thematic competitions for such countries; simplifying bureaucratic procedures for preparation and implementation of European projects; strengthening competencies of Ukrainian scientists and educators in project management under special grants, which can be initiated by the National Research Foundation of Ukraine.

“Kunstiajalugu on ju siinses ülikoolis uus distsipliin.” Tartu ülikooli kunstiajaloo kabineti rajamine

Reviewed by: History and Images: Towards a New Iconology Judith Collard Bolvig, Axel and Phillip Lindley , History and Images: Towards a New Iconology ( Medieval Texts and Culture of Northern Europe 5), Turnhout, Brepolse, 2003; cloth; pp. xxii, 430; 170 b/w illustrations, 28 colour plates; RRP €90; ISBN 2503511554. The rediscovery of the significance of the visual amongst literary scholars and historians has turned what was once the focus of predominantly art and architectural historians into a much-contested field. In recent writings historians and others have found the art historical focus on the masterpiece, on style and iconography frustrating, while art historians are uncomfortable with the way the image has been reduced to a simple illustration or to a text, ignoring the very visual qualities that provide its interest. The apparent rigid separations into disciplinary areas often reveal an ignorance of the historiography of both historical and art historical research, where scholars such as Huizinga, Burckhardt and Warburg all drew on the broad range of cultural expressions from the playing card, the banquet, the pageant or such expressions of 'high art' as plays and paintings to explore the past. At the same time these territorial debates can seem odd because, by the very nature of medieval material, scholars often draw on the varieties of surviving knowledge available. The papers that are assembled here include writings by several academics who are well qualified to explore these issues. The collection is the result of a conference held at the University of Copenhagen in 1999, as part of a research project entitled The Visual Construction of Reality. As described in the introduction by Axel Bolvig, 'the main object was, and remains, not only to show how the images may be understood as an equal partner to the text in historical research but also to demonstrate that imagery constitutes a separate category of source material with its own category of meaning and information and requiring its own interpretative methodologies.' Bolvig refers to Magritte's well-known painting La trahison des images, where he wrote beneath a simple image of a pipe, 'Ceci n'est pas une pipe' to highlight the distinctiveness of visual information. He argues that the treachery found in such works lies not within the image itself but rather with the words connected with that image. This focus on the uniqueness of the visual makes this a refreshing collection. Whether the essays found here lead us towards a new iconology is less certain, although the choice of this subheading does, at least, draw from a methodology that comes from attempts to understand the visual as opposed to the literary. The collection is a generous one containing 20 essays divided into 3 principle [End Page 200] sections: Image and History; Image Databases and History; and Images as Source Material. The first, with the thought-provoking introduction, constitutes the most methodologically focused section Francis Haskell writes on the legacy of Johann Huizinga as one of the first history texts to be written under the inspiration of visual material and as one that continues to have an impact on historians and art historians, despite ongoing disagreements about his methodology and interpretation. Jean-Claude Schmitt's essay is, in part, an attempt to formulate guidelines for a more productive collaboration between art historians and historians. He, like others in this collection, underlines the manner in which the very specificity of both image and language preclude the idea that the former can ever merely illustrate a text, pointing out that the image needs to 'be considered as an 'inscribed surface' with a set of hierarchies. Keith Moxey explores the relationship between art history and visual culture, arguing that visual studies can take advantage of the opening up of interpretation created by the impact of postmodernism in the recognition of the role of subjectivity both of the material studied and those who study it. He writes that the 'point of visual culture would be not only to recognise the different genres of image production that characterises a particular culture, but also to insist that their unique qualities call for distinct approaches to their interpretation.' He also argues that it is in the study of differences and in...

the #MeToo movement stimulated art history to reflect on its academic existence and role within society. How will the researchers of art history or art history itself respond to the #MeToo Movement? Is it still possible for art history to continue its role as a traditional art history, while acquiescing sexual violence and sexual discrimination within the academic field or in the art world?BR Therefore, this article started from clarifying the meaning of the ‘#Sexual Violence_in_Art World’ movement in the extension of the Feminism Reboot in Korea. The objectification of ‘young women’ in the art world means that they are exposed to the sexual harassment or sexual violence, which threatens not only the survival of women but also the survival of artists. The unequal power relationship in the art world reveals itself in the form of sexual violence. It means that this power itself is ‘gendering power,’ and the condition that makes it possible is a long-structured man bonding in the art world. In such a structural situation, the academic field of art history has also marginalized feminist approaches. Even more, historical evaluation of feminist art has been established in a way that distinguishes ‘activist’ feminist art from ‘cultural’ feminist art and that the historical evaluation of the latter alienates the former. In the field of art history that has marginalized historical feminist activism, it is difficult to establish a place for current feminist activism such as ‘#Sexual Violence_in_Art World’ movement.BR For this reason, the feminist activist approach to art history by Linda Nochlin, which defined art history as a kind of dominant structure and as a supplement to the social movement of women, is summoned more powerfully in the #MeToo era. Nochlin, who did not insist on art history as an independent academic system, but positioned it in a wide range of feminist movements and encouraged active solidarity with the field of art, set the duty of feminist art history as changing the present. Therefore, reflection on the existence of art history in the #MeToo era will require to relocate art history in the practical dimension that change society.

First published in 1948, Frederick Antal’s Florentine Painting and Its Social Background was an important milestone in anglophone art history. Based on European examples, including Max Dvořák, it sought to understand art history’s relationship to social and intellectual history. When Antal, a Hungarian émigré, arrived in Britain in 1933, he encountered an inward-looking discipline preoccupied with formalism and connoisseurship; or, as he phrased it, art historians of ‘the older persuasion’ ignorant of ‘the fruitful achievements of modern historical research’. Despite its considerable scholarship and erudition, Antal’s book was not warmly received, largely because he had used historical materialism to understand the production of art and the development of styles. Antal’s class-based account of the social position of the artist and the role of the patron in determining the emergence of early Renaissance styles was especially controversial. However, although Marxist analysis was used to challenge the assumptions of Anglo art history, it was not Antal’s intention to weaken art history’s disciplinary autonomy. With historical materialism, he sought to place art history on a firmer historical footing. Most importantly, this approach was compatible with the discipline’s Central European tradition, where art-historical scholarship was framed by questions of method and based on broad historical research. Without defending its more deterministic features, this article supports a re-evaluation of Antal’s book, as an important forerunner of interdisciplinary art scholarship. It considers why Antal’s legacy has not endured, despite the ‘social history of art’ enjoying widespread acceptance in English-speaking art history in later decades.

Objective - This article examines the relationship between art history writing and the theory of temporal hierarchy, specifically the application of historical time in art historical research. The article draws on several representative viewpoints of historical time, such as the theory of historical cycles, the diversity of historical time, the temporalization of history, and the narrative of historical time. Methodology/Technique - Combining the method of historical hermeneutics, this analysis examines the significance of the temporal hierarchy of history for the development of art history writing. The study explores the relationship and contemporary significance between art, history, and time perspectives from the perspectives of experiential space and expectancy. It explains how these concepts influence the writing of global art history. Findings – This study will start with the three main concepts of time view in art history: cyclical view, linear development view, and art history periodization, attempting to discover the three-layer structure of "art history consciousness time view," exploring the construction process of art history view from the perspective of time, exploring and excavating people's potential cognitive consciousness, and explaining the relationship between history and time from a new perspective of relevance, further elaborating on the latest trend of art history writing under the guidance of the theory of time hierarchy. Through in-depth analysis of artistic works, the profound influence of time hierarchy on the evolution of art schools and artists' creative practices has been revealed. The continuity and correlation of art history are more critical than systematicity and wholeness. Originality - Art history should be regarded as a part of the broader history of art, prompting us to pay closer attention to the interaction between art and society, as well as the emergence and development of artworks within their social and cultural context, when studying. The theory of time hierarchy offers a new perspective on writing art history by analyzing different temporal levels and exploring the connotations, values, and relationships between artworks and history, culture, and society profoundly. Type of Paper: Empirical/ Review JEL Classification: B1, B19. Keywords: Time Hierarchy Theory, Historical Time, Art History Writing, Historical Time Perspective, Art History Periodization Reference to this paper should be made as follows: Tao, D.H; Xi, W. (2025). Art History Narrative and the Theory of Temporal Hierarchy, J. Mgt. Mkt. Review, 10(1), 55 – 64. https://doi.org/10.35609/jmmr.2025.10.1(4)

Often met with suspicion, practices of ‘fusion’ between neighbouring disciplines simultaneously build on and reinforce complementarities between them. I argue that the key advantage of identifying and exploring such complementarities is the opportunity for improved understanding of the interaction of time and space in the history of art – i.e. how temporal tendencies unfold across geographical space. New digital sources of information on artistic careers, museum and personal collections or important sales make it possible to chart the mobility of people, artworks and concepts across time and space. A combination of computer algorithms, sociological methods and historical data provide opportunities to address substantive questions in the history of art, to identify patterns and resolve controversies. As an example of synergies in data collection and analysis between sociological and historical research, I analyse data on the students of Antoine Bourdelle. Results expose the interaction between centrality and two types of marginality, based on gender and the country of origin, and that between mobility of artists and the fragmentation of the field, as key factors in the acceleration of innovation at that time.

Historiography of Korean modern art history is very short with only a handful of researchers. The researches have been done on the documentation of art works and individual artists, and the problem of authenticity and attribution have always been important. However, there has been shift of direction from the late 1990s when young art historians cautiously started to apply cultural theories to their researches. This was not merely an appropriation of Western theories, but a resistance to how very confining art history had become with its linear narratives of formalism, famous artists and their masterpieces; how research based on empiricism had evolved into a struggle for who gets the hand on the sources first. Their turn to post-modernistic cultural theories was supported by the fact that modern art itself rapidly arose from a transitional sphere where tradition and modernity coexisted in confusion. Also former methods of art history were not suitable for Korean modern period when there were not many works survived from the period; instead, there was a rich resource of photographs, prints, illustrations, etc, which revealed the experience and everyday life of modernity and provided a possibility of studying visual culture. Rather than renouncing formalism, these young researchers sought to open up a more diverse discourse as well as embrace new perspectives on art. Compared to traditional art history, modern art history has a shorter history with relatively fewer scholars. Since there is no solid body of scholarship as of yet, it has also proved easier to freely engage new methodologies. Another trend is that modern art history is no longer restricted to only Korean art and has expanded to include other areas of East Asia, stimulated by increase of interest in contemporary Asian art a well as the return of students who studied not only in the United States and Europe, but also Japan and China. If one recognizes that art is not merely a reflection of beauty, but more importantly, a reflection of culture, a product imbued with the consciousness of its period, then, it is true that the new methodologies have expanded the perspective and terrain of art history. Through such diverse perspectives, I think we can get a better sense of the identity of Korean modern art. Thus, Korean art history must pursue two paths at the same time: formal analysis of works of art with the excavation of primary sources ”and” the incorporation of multiple perspectives for the task of interpretation. In this paper, I will briefly address the state of research in Korean modern art history, as well as the search for new methodologies in contemporary scholarship.

Tropes Revisited: Evert Sprinchorn's<i>Ibsen's Kingdom: The Man and His Works</i>and Recent Historical Research in Ibsen Studies

Over the last two decades, teaching, learning and research in higher education have developed a growing digital presence. Digital development in the humanities has been slow relative to most other areas in academia, and with some exceptions art and art history have enjoyed slow digital growth within the humanities. Within this environment, the article here presents one collaborative model for digital art history, rare in its exclusive focus on undergraduate “junior scholars”. Undergraduate senior-level art history and studio art students at Providence College collaborate annually with art history and studio art faculty to publish their senior theses in print format as the Art Journal. In the last few years, students, faculty and digital library staff have enhanced this collaboration to include the publishing from process to product of the Art Journal as a complementary digital Art Journal. They collaborate in creating digital art history and digital studio art in order to bring exponentially greater meaning, significance and visibility to the students’ senior culminating works through real-world digital publishing, including quality control, copyright issues and ideas related to persistent access and ongoing global visibility for the scholarly and creative works and for the student scholars. These students function as real-world collaborative scholarly partners in publishing their culminating academic and artistic work globally and persistently accessible in Providence College’s digital repositories. This case study evidences engagement in meaningful digital knowledge creation focused on the intellectual and creative output of student-scholars and student-artists (art historians and studio artists) as a model for other student-faculty-digital library professional collaborations.

The Art History Association of Korea was established with the five scholars in the Coterie of Antiquarians, which had been founded in 1960. The year of 2018 marks the centennial of the birth of two of the five scholars, Chin Hong-sup and Hwang Su-young. To celebrate the centennial anniversary, the Art History Association of Korea organized a conference, which has a special meaning in the field of Korean art history. Both of the two scholars were born in Gaeseong in the same year, and studied business administration in Japan. The reason why they became scholars in art history, which was unrelated to their major, was because of the director of the Gaeseong Museum, Uhyeon Ko Yu-seop’s influence on them. The two scholars devoted their entire life to the study of Korean art history to establish the foundation of scholarship in the field and founded the Art History Association of Korea.Of the two scholars, Soomuk Chin Hong-sup succeeded Uhyeon Ko Yu-seop as the director of the Gaeseong Museum. After the Korean War, Chin was appointed the director of the Gyeongju Museum and then the chief official in the Office of Culture Properties. Shortly after the appointment he was hired as a professor at the Ewha Womans University, with which he held the position of the director of the Ewha Womans University Museum concurrently for twenty years.During his term in office at the Gyeongju Museum, Chin established the Gyeongju Children’s Museum School, which has served thousands of children thus far. At the Ewha Womans University, he trained numerous students in art history, who are now playing important roles in various fields. His students in the group called Yeoyeohoe, whose name was given by Chin, donate books to the Gyeongju Children’s Museum School every year, and a library with a collection of Chin's books, named “Soomuk mungo,” has been run by the Gyeongju Museum. These activities embody his teachings and exert positive influence throughout the country. In 1899 when the Hosudon Girls' High School in Gaeseong was about to be closed down, he willingly donated a large fortune to continue the school, demonstrating his exceptional virtue. To prevent the construction of KTX, which would pass through Gyeongju, he published his article titled “Gyeongju is a Critical Patient.” in conference at the Seoul Civic Center he became the victim of egging. Nonetheless, he kept his seat until the end of the conference, showing his strong affection for cultural heritages.Chin made outstanding academic achievement as illustrated in his publications encompassing 25 books, 147 articles, 6 reports, and 6 catalogues. Of these publications the ninth volume of the Compilation of Primary Sources in Korean Art History provides textual sources for art history research, and represents his persistent scholarly endeavor. Although digitized materials are being extensively utilized in the field, the materials collected in this book will be invaluable for centuries. Furthermore, the Chronology of Korean Art History has been useful for both specialists and non-specialists in Korean art history, having been revised by the author several times. Up until he passed away in November of 2010, Chin had kept revising and supplementing the publication, demonstrating his enormous enthusiasm about art history that cannot be surpassed by any of his students.He did not seek fame and profit throughout his entire life, as illustrated in the fact that he declined the post of the director of the National Museum of Korea. Showing his strong will and sense of justice, he always took initiative without hesitation in stopping damages on cultural heritages. He also assumed the leadership, whenever the Art History Association of Korea was faced with a crisis, as he cherished the association. Because of these characteristics, Soomuk Chin Hongsup well deserves the admiration as “a man of noble character standing aloof from fame and profit.”

This essay addresses different perspectives of performativity on Japanese visual cultures. In juxtaposing theoretical reflections on the performativity of images in Western art history with performative phenomena in Japanese visual cultures, it aims at encouraging a promising interdisciplinary dialogue. The first chapter summarizes theoretical approaches to the notion of cultural performance and performance studies relevant to the art-historical debate on performativity. The second chapter outlines ongoing theoretical reflections in the German speaking scientific community of art history. The debate centers on performativity but also intersects with ideas concerning the general nature of images as deictic communication systems (iconic difference) and their capability to convince the viewer through visual affection (iconic evidence). It furthermore touches the question of who is acting in performative processes within as well as with images – the images themselves (image act) or the viewers (gaze act). The third chapter introduces three exemplary approaches to Japanese images and visual cultures from performance-theoretical perspectives, namely to painting on the spot ( sekiga ), to the cultural normalization of the brushstroke as an expression of the painter’s personality, and to Morimura Yasumasa’s photographic Art History Series as a contemporary example. The outlook focuses on the historic and ongoing art-historical approaches to act with images, discussing art history itself as being actively involved in performative processes.

Art historians have shown a great deal of interest in Indigenous conceptions of space and place and their representations of such in pictorial documents. Another, heretofore largely unrelated line of research in history has examined Indigenous uses of the colonial court system to protect their rights. In this new monograph, Ana Pulido Rull unites both these topics, examining how Mexican Native communities made maps and employed them as evidence in court battles to defend their lands from Spanish depredations. What results is perhaps the most revealing study yet not only on such maps but also on how Native Mexicans manipulated colonial law to protect communal claims.The initial chapters describe how the Spanish empire developed a system of land grants, or mercedes de tierras, to distribute Indigenous lands to Spaniards. Indians in central New Spain (Mexico) began to oppose the mercedes by presenting their own maps showing that such grants were unjust or harmful to their communal welfare. In doing so, Indigenous maps became accepted, and even requested, by Spanish judges as permissible evidence. Afterward, Pulido Rull proceeds to the core of her work: examinations of maps used to oppose mercedes (or to defend them when they favored Indigenous land claims). She also examines the transcriptions of testimony from these cases, to see to what extent such maps worked in protecting Indigenous territory, and how such litigation came to be resolved.The most fascinating aspect of her research methodology, yielding the most revelatory results, is her use of infrared light imaging and ultraviolet light photography to examine the preliminary sketches, revisions, and previous versions that lay hidden underneath the maps. Through such a technique, she reveals that these maps went through several changes that corresponded to changes in the arguments and legal strategies of litigants. The Indigenous legal representatives of their communities would alter maps to strategically appeal to Spanish law or to cast doubt on the allegations of their Spanish opponents, often in ways that did not accurately correspond to the topography of the landscapes in question. These maps, hence, rather than being timeless expressions of Native territoriality, were cleverly crafted with the intent of swaying Spanish judges.Her study also brings to light new information on Indigenous participation in the colonial legal system in general. This aspect should appeal particularly to historians of Latin America. Pulido Rull's combing through colonial case files reveals that the resolutions of many of these quarrels over land either were never recorded or appeared suddenly with little or no explanation. This, along with other telling signs in the documentary record, implies that there were considerable extralegal (and often illegal) negotiations between Native community representatives and Spaniards. The final word in many a legal dispute came down to backroom dealings only implied in the archival corpus. Ultimately, Pulido Rull finds that even if the Native peoples of New Spain did not always succeed in defending their lands in court (and many times they did not), their use of maps was creative, ingenious, and, more often than not, effective.Her treatment of preconquest cartography and justice, however, is unfortunately largely descriptive and uncritical, using modern language with little discussion of the risk of anachronism. She takes at face value information from nostalgic colonial histories that hearkened back to an unrealistically idealized preconquest justice system suspiciously similar to that of the Spaniards (but reportedly free of corruption), replete with Aztec imperial “judges,” “courts,” and “petitioners” (p. 2). Particularly glaring is her unquestioned use of the term map to describe traditional Mexican Indigenous pictorial representations of land. As Pulido Rull herself briefly notes, Indigenous people had no word entirely equivalent to the European category of map, and it is unclear if their ostensibly similar documents exactly corresponded to Western maps. Art historians have noted this, though Pulido Rull largely sidesteps this noteworthy matter by averring that, whatever their differences, Indigenous and Western maps had a “correspondence in meaning” (p. 75).Nevertheless, the book excels in its innovative treatment of colonial Mexican Indigenous mapping for legal ends. Moreover, Pulido Rull's work furnishes further evidence that mapmaking in any culture, contrary to Western notions, is never a truly objective process, something that scholars studying maps from other societies have also recently noted. Pulido Rull furthermore provides another example showing that Indigenous knowledge, rather than being simply exotic or inconsequential trivia made by peripheral people, was sought after and utilized by Europeans. Consequently, this work will appeal to not only art historians or other specialists of Mexico and Latin America but any scholar of cartography or Indigenous peoples.

The modern military realities of the deployment of Russian aggression against Ukraine have an impact on the development of Ukrainian cultural life and prompts the rethinking of existing concepts as well as the expansion of research areas in the history of art. The purpose of the proposed article is to study the current state of Ukrainian art, its scientific and phenomenological understanding, and to determine possible future vectors for scientific discoveries in this field. This study is important and relevant, especially given the need for a more detailed study of the state of art in crisis conditions. Several scientific methods were used to realize this goal, in particular, the method of content analysis of scientific literature selected for research, the method of comparison to achieve objectivity when considering the main material. The results noted that Russian aggression led to the emergence of new trends in Ukrainian art that indicate experiences, aesthetics, emotions and social changes in society against the background of changes in collective memory and historical consciousness. The interest in military themes in Ukrainian art only increased interest in the study of the history of Ukrainian art in general. Art forms that protest against aggression and express solidarity with the victims of war have also developed: street art, digital projects, posters and banners that are actively distributed on the Internet. The conclusions emphasize that even during such actualization, Ukrainian artists actively refer to historical roots, traditions, and symbols in order to emphasize the uniqueness of Ukrainian culture.