Artistic Point Of View Research Articles

Church Goldsmithing as a Phenomenon of Ukrainian Culture of the 17th – 18th Centuries

The activities of such Kyiv goldsmiths as Ivan Ravych, V. Moshchenko, Matvii Narunovych, Fedir Levytskyi is described in the article in the culturological aspect. The elements of Ukrainian culture, which can be observed on the jewelry of church use of the 17th – 18th centuries are distinguished in the course of the work. The authoress has defined the style in which Kyiv masters of the studied period have worked. It is worth noting that the investigation of the culturological phenomenon is not possible without the artistic aspect, since art is a part of culture, so a review of church jewelry also from an artistic point of view, however, with the selection of features of Ukrainian culture is used in the study. The vestments for the icon of the Dehtiarivska Mother of God, vestments of 1738, made by V. Moshchenko, chalice and trays for candlesticks by Matvii Narunovych are also considered in the study in detail. It is proposed to research carefully the work of Ivan Ravych, Matvii Narunovych and Fedir Levytskyi in the future. The most important features of Ukrainian culture of the 17th – 18th centuries, manifested in jewelry, are distinguished in the studies. The technical methods used by Ukrainian goldsmiths at that time are indicated. The purpose of the article consists not only in the description of Ukrainian culture in the light of precious church utensils, but also in the distinguishing its elements specifically on church jewelry in order to demonstrate that church goldsmithing is the Ukrainian cultural phenomenon. However, it is worth remembering that the topic needs further detailed research. Only a small part of the signs of Ukrainian culture is indicated in the work because of the lack of a full-fledged source base of the investigation. The authoress is leaving further disclosure of the topic to future scientists. The work will be useful for researchers, postgraduate students, as well as for those who are simply interested in the jewelry business of Ukraine. The information provided in the article can be used in future research on church jewelry and jewelry in general.

Dabbing Technique as a Means of Acquiring Images for Hand-screen Printing

The art of screen printing largely depends on images captured from both natural and artificial sources. Obviously, with the upsurge of technology in the 21st century, images are easily captured with different kinds of cameras. Notwithstanding, creativity is propelled by a shift from normalcy from the artistic point of view. Innovative approaches to image acquisition for the conservation of textiles printing techniques, especially hand screen printing, can never be overemphasised. This study explores dabbing as an innovative image-capturing technique from found objects for textile printing with inspiration from the Rayograph technique by Man Ray. The Art studio-based research design under the Qualitative research method was employed for the study. Two approaches (Direct and Indirect dabbing) became significant. The studio exploration yielded to four articles comprising two printed fabrics for apparel purposes and two wall hangings for decorative purposes. A complement of the dabbing technique with screen printing was observed to be an innovative approach to the conservation of textile printing. It gives artists a great opportunity to utilise found objects in their surroundings that go a long way to minimize waste. The study recommends the Dabbing technique to textile design practitioners/learners as a technique worth-considering in textile design and printing.

Ways to overcome the screenwriting crisis in Ukrainian cinematography of the second half of the 1920s

The relevance of the article. The history of Ukrainian cinematography of the 1920s is generally well studied. The relevance of this work lies in the fact that there are almost no works in Ukrainian film studies that examine the state of screenwriting in Ukraine during its birth and formation.
 Problem statement. After the end of the Soviet-Ukrainian (“civil”) war, which led to the Bolshevik occupation of Ukraine, there was an urgent need to reorganize the work of the entire cinematographic industry. With the organization in 1922 on the basis of the All-Ukrainian Film Committee of the All-Ukrainian Photocinema Administration (VUFKU), the heads of the new film department began to establish sustainable film production, but encountered the problem of a chronic shortage of film scripts.
 At this time, the “new” Ukrainian cinematography, for completely external reasons, experienced an acute shortage of screenwriters who had experience in cinematography. Film production, which was growing rapidly and unwaveringly, constantly lacked scripts that would be acceptable from an artistic point of view and at the same time be acceptable to the party bodies from an ideological perspective. Let’s note that there were essentially too many scripts, and film factories were literally “drowning” in the so-called “script flow”. But in this “flow” only a small part turned out to be suitable for implementing from an ideological point of view. Therefore, from the second half of the 1920s, it became increasingly common to talk about a “script crisis”, which was more ideological than creative.
 When the VUFKU began its work, “Soviet film dramaturgy” actually did not exist yet. Therefore, the directors turned to an old, time-tested source — literature. On the basis of literary works, they sought to make films more or less close to the spiritual and social trends of the time.
 At the beginning of the 1930s, the controversy surrounding the “screenwriting crisis” in Ukraine stopped. It was then that the management system of the film industry in the USSR was finally transformed. A clear vertical of soviet management with the film center in Moscow is being formed. Ukrainian cinema finally loses its autonomy and Ukrainian film factories start working with scripts approved in Moscow.

STUDY ON SCULPTURAL ART OF TEN JAINA IMAGES FROM THE ODISHA STATE MUSEUM OF BHUBANESWAR

The aim of present article is to focus on the sculptural features as well as religious significance of the ten Jaina images of the Odisha State Museum, Bhubaneswar. Iconography of ten Jaina Tirthankara images of the Odisha State Museum is a major aspect of the Odishan sculptural art in India. Jainism is one of the oldest religions in the state of Odisha. The earliest Jaina sculptures in Odisha date back to the period before Mauryan/Asokan. From the 6th century B.C. Jainism remained one of the major religions of Kalinga (ancient Odisha) until the first century B.C., when the Kharavela was ruling in the state. It is believed that Jainism continued to be a major religion in the state even after the war of Kalinga (261 B.C.). Jainism co-existed with other religions in the state of Odisha. In fact, Jaina Tirthankara images were made all over Odisha during the early medieval era. Some Jain images are noticed at different places of Odisha. After Kharavela, the artists of Odisha continued to create Jain images until the 11th century C.E. Out of the extant Jaina Tirthankara images of Odisha, some of the Jaina sculptures are found to be kept in Odisha State Museum, Bhubaneswar. Among these preserved Jaina Tirthankara images, ten Jaina Tirthankara images are discussed in this piece of work. The names and discovered sites of the ten Jaina images of the State Museum, Bhubaneswar are viz; 1. Risabhanath of Keonjhar, 2. Risabhanatha of Khajuriapada, 3. Mahavir image of Charampa, 4. Parsvanatha of Sisupalgarh, 5. Shantinatha of Charampa, 6. Risabhanath of Charampa, 7. Risabhanatha of Podasingidi, 8. Ajitanatha of Charampa, 9. Risabhanath of Bhubaneswar and 10. Parsvanatha of Baidyakhia. Sculptural features of the above Jaina Tirthankara images of the Odisha State Museum suggest that these images were made during the time period from the 8th century to 11th century C.E. The presence of these Jaina Tirthankara images gives an idea that Jainism was prevalent in eastern and northern Odisha during the medieval period. Artistic point of view, these Tirthankara images are very important and interesting for study. Hence, the present author has made a modest attempt to highlight the sculptural art as well as religious connotation of the ten Jaina images of the Odisha State Museum, Bhubaneswar. Methodologically, the author has written this article by using both primary and secondary sources.

The image artistry of VR film “Killing a Superstar”

<p>The purpose of this article is to take “Killing a Superstar” as a typical example, to denmonstrate how VR technology generates VR film via virtualizing 3D world from aesthetic perspective, and to give a critical reflection of VR film. The article includes three parts. The first part is about how the film utilizes VR as a technical premise for the implement of interactive narrative, constructing the audio-visual space with panoramic photography, and generating the virtual world with digital programs. Its interactive mode renders human-computer dialogue feasible, and realizes the connection between human and virtual reality with VR playback equipment. The second part is carried out under a further analysis of the artistic dimension of the film. In this section, it’s pointed out that the active narrative perspective of the audience, the multilinear narrative structure of time and space, the embodied and remote experience of perception, and the prominent guiding narrative processing, are all combined together for the sake to present interactive narrative art expression of virtual world. And the final part tries to reflect and evaluate on VR film in a broader vision. From both technical and artistic viewpoints, VR film is a breakthrough and innovation compared to traditional film model, although it surely has some drawbacks and limitations. If it can be considered more in a sense of establishing interactable virtual world then stroytelling, it is likely to develop into a more significant VR image art in the future.</p>

Architectural Landscape. A New Interpretation of the Sloping Ceiling of Rekhmire’s Tomb Chapel (TT 100)

The tomb TT 100, belonging to the vizier Rekhmire, in the Theban necropolis (Luxor, Egypt), one of the best examples of funerary architecture of the Egyptian New Kingdom, has been widely studied since the beginning of the 20th century from the iconographic, historical and archaeological points of view. However, it has an anomalous structural feature for the classic Theban tomb typology of this period: a longitudinal corridor with a sloping ceiling ending in a combination of false stela and niche for a funerary statue. The anomaly, widely noted in classical literature, has been vaguely explained and often forgotten due to the celebrated decorative program that occupies the tomb.This study aims to offer a reinterpretation of this architectural feature of the tomb based on a landscape archaeology approach. According to this methodology, the ancestral landscape of the necropolis, and the architectural and artistic features of the tomb of his relative and predecessor in the vizierate Useramun are significant elements for the interpretation of this element. The main result is Rekhmire’s clear intention to emulate and replicate Useramun’s double funerary structure, not only from the artistic point of view (already demonstrated in previous studies) but also from the spatial point of view, copying the phenomenological experience of space and landscape in the architectural development of his tomb. An example of how landscape archaeology can be useful in the study of the art of this ancient culture.

Un pollo come Leviatano? Mostri da un’Arte transgenica


 
 
 
 With his work, the Belgian artist-scientist Koen Vanmechelen poses a challenge to Aesthetics, which does not have the parameters to evaluate it. His artistic experience, which I would drop under the new name of Hybrid-art or Genetic-art, comes from a studied genetic manipulation of animals. If from an artistic point of view the results may apparently have data of continuity with Flemish culture, the Wunderkammers aesthetic effect and experiences such as those of Damien Hirst, the type of scientific research that accompanies it is unique. Vanmechelen, in fact, taxidermizes animals (mainly chickens) born from crosses not previously existing in Nature. The DNA of the animals born from these crosses, now in the XXIIth generation, is part of the “Cosmopolittan Chicken Project” started in 1999 and is aimed at demonstrating that greater biodiversity favors the improvement of the species. Upon their death, these “unique animals” or monsters become works of art in compositions that, historically, we would have framed in the aesthetic terms of the monstrous or the grotesque.
 
 
 

Philip K. Dick’s Decohering and Recohering Worlds: The Cases of Ubik and The Man in the High Castle

Philip K. Dick’s novels Ubik and The Man in the High Castle explore the idea of the multiplicity of realities, which can be understood better if interpreted from a cosmological point of view. The scientific principles of decoherence, as formulated by H. Dieter Zeh and Hugh Everett III, shed light on the nature of these fictional worlds, their creation and dissolution and their perception by both the protagonists and the reader. Ontological puzzles of the quantum world, based on the rejection of the special status of an observer in physical reality and fractal branching of the universe, offer insights into the mechanisms at work in these two novels. Decoherence may be the key to understanding the disintegrating borders between realities in both novels, which are manifested as worlds in superposition. However, the rules of this scientific principle are radically challenged by the emergence of what could be termed the agents of re-coherence. These agents reveal the existence of alternate realities in the novels, as well as the process of the violation of the decoherence principle. Not only are these occurrences interesting from both a scientific and artistic point of view, they also reveal the realities in the novels as being far more coherent than they seem on the surface and interpretable as literary parallels to thought experiments conceived as possible explanations of the quantum world theory.

A recently discovered cameo and a few considerations on the glyptics from Apulum (Roman Dacia)

AbstractIn this paper, the author draws the attention of experts to a new glyphic discovery from Apulum. It is a schematic portrait of the Gorgon Medusa, depicted on a three-layered sardonyx. Based on parallels and the manufacturing technique, the author concludes that the piece originates from the workshops of Viminacium, Upper Moesia. The cameo is dated in the second half of the second century AD, prior the time when the canabae of the XIII Gemina legion rose to the status of municipium (ante AD 197). It is the only glyptic piece that bears the image of Medusa that's Dacian origin is certain. From an artistic point of view, it is a modest quality of execution, below the average provincial level. Furthermore, the author makes some remarks on the gems found in the collections of the National Museum of the Union in Alba Iulia, with a few additions and clarifications regarding the place of discovery and the possibility of the existence of a workshop of cavatores gemmarum at Apulum.

Czech Literature at the Turn of the Epoch and its International Contexts

The contexts of Czech literature are related to the crisis and revolutionary situation which gradually built up towards the end of the 19th century and reached its peak in the years of World War I and during the attempts at the world revolution. This was manifested by a certain dichotomy of Czech literature after 1918 when Czechoslovakia came into existence as a relatively large state and a strong parliamentary democracy amidst more or less authoritarian countries, a state with the first-rate Czechoslovak legions tested in the battles of World War I, with strong industry and agriculture which had been the nucleus of Austria-Hungary in the past. On the one hand, there was a majority and influential left, on the other were conservative groups often connected with Catholic Church, and in the middle — liberal currents linked with the official policy of the so-called Prague Castle represented by the first president T. G. Masaryk (e g. Karel Čapek). Nevertheless, Czech literature as a whole helped create national and state consciousness, with the currents differing from each other only in their preference for traditions and political and economic systems. The problems of the new state were, of course, not only social, but also national, ethnic and religious and were also reflected in the international arena. Unlike in the other Central European countries, Czech literature exhibited radical leftist tendencies which were realised in the Czech modernist avant-garde, the apex of which was Czech poetism and surrealism (with the corresponding current in Slovakia) and their authors, such as Vítězslav Nezval, František Halas, Josef Hora, Jaroslav Seifert (1984 Nobel Prize winner), and Konstantin Biebl etc., but also the Catholic current which was very impressive from the artistic point of view (Jakub Deml, Jaroslav Durych, Jan Zahradníiek, Jan Čep and others). Both of these tendencies were surprisingly and paradoxically linked with each other, as were their representatives. The drama and the novel (the Brothers Čapek, and Vladislav Vaniura etc.) occupied a prominent place alongside poetry. What shows the mutual relationship between “the building of the state“ (the title of a very important book by the famous Czech journalist and politician Ferdinand Peroutka) and Czech literature is the fact that between 1918 and 1938 Czech literature reached a world level for the first time in modern history. The author defends the thesis that Czech literature connected with the rise of the independent Czechoslovak state regardless of all these problems and idealistic constructs (“Czechoslovakism”), created a specific, original model of the co-existence of various currents of thought and of the relationships between culture in its widest sense and practical politics. This enabled radical artistic innovations anticipating the evolutionary tendencies of world literature (surrealism, anti-utopia/dystopia, baroquizing prose, and experimental novel).

Digital art in designing an artistic image

The research aim lies in describing new approaches in art. The use of digital art allows displaying an artistic image that perceives new ideals. The development of digital art in the era of global digitization implies introducing several modern tools for designing an artistic image. The paper raises the issue of the media of digital works, including photographic paper and canvas. The technological and automated side of some or all digital works is also described. The question of their uniqueness or singularity is raised. The paper reveals the aesthetic aspect of a computer-designed work, which depends primarily on the parameters of brightness, contrast, and saturation of the creative software used, as well as the parameters chosen for printing. Since this aspect is the same as for a traditional work reproduced in printed form, from a purely artistic point of view, a digital work can resemble a traditional work in every way if it borrows elements from it, such as hand-painted or digitally drawn textures. Moreover, when traditional techniques are combined with digital techniques, creative ways are likely to multiply because of the variety of techniques. Consideration is given to the use of correction tools to facilitate modification of the composition.

The Mannerism of Giulio Romano: Innovation and dramatic imagery

Giulio Romano was a prominent Italian Mannerist architect from Mantua of the Late Renaissance who made a significant contribution to the development of architectural processes and proposed methods of interpreting the order system used in the modern era. The research aims to present the architect's activity as a natural step in the development of the classical order system. The methods of systematisation, comparative and synchronic analyses were used. The study analyses from the artistic point of view the most significant realised objects by Giulio Romano: Palazzo del Te, Cavalerizza in Palazzo Duccale, and the architect's house in Mantua. It is shown how the artist interpreted the order system to form an individual architectural style, full of drama and tension in composition. The study proposes a concept that explains the reason for the emergence of Mannerism, which is based on the Renaissance architects' perception of their place in the historical process. It is shown that the architects' understanding of their time as superior to the masters of antiquity and the awareness of the idea of permanent development as the basis of the historical process created a methodological and methodological prerequisite for Mannerism, which can be described by the term "stylisation". The study also proves that the methods of interpreting the order system proposed during the Late Renaissance were developed in the practice of postmodernism and have not lost their relevance in the present

„Jak zachwyca, kiedy nie zachwyca?”

“HOW IS IT DELIGHTFUL WHEN IT IS NOT?”: ON THE TRANSLATIONS OF THE 55TH SURA OF THE KORAN AR-RAḤMĀN – THE MERCIFUL The Koran is not only the holy book of Islam, but also one of the most important literary works of classical Arabic literature. Muslims and people who know Arabic emphasize the extraordinary beauty of this text, written in rhymed and rhythmic prose. 55 sura of the Koran, Ar-Raḥmān (The Merciful) is widely regarded, both in Muslim and Orientalist circles, as one of the most beautiful, if not the most beautiful, sura of the Koran from the artistic point of view. This is mainly due to the presence of a kind of “refrain” in this sura, which, of course, also has a semantic role in the context of the content of this fragment of the holy book of Muslims. The subject of the article is, first of all, a comparative analysis of the translation of this sura, and first of all of the refrain, in selected translations of the Koran into Polish, German, French and Russian. The analysis focuses not on the way of presenting the content, but on whether the authors of the translations tried to reflect the undoubted beauty of the sound of the Koranic text, which is supposed to delight not only with its content, but also its form, and translators usually have huge problems with this. The conclusions resulting from this analysis have a broader meaning, because analogous problems also arise in the case of ancient Arabic poetry and some other literary genres, primarily maqāma.

Criticism of the Philosophy of Dual Isomorphism of Explicit and Implicit and Its Evolution Law: An Interpretation of Yang Jiyong's Thesis and Works from Literary and Artistic Viewpoints

To evaluate whether the book "Literary Aesthetics from the Perspective of Explicit and Implicit Philosophy" and its related papers have academic rationality and theoretical value, this article relates to theoretical foundations of Liu Xie's "Wen Xin Diao Long", Taoist thought in the pre-Qin period, classics in the Han Dynasty and Wei and Jin Dynasties, and The Six Dynasties Metaphysics and so on. Adopting specific methods such as induction and deduction, analogy analysis and synthesis, and the combination of theory and history, it is discovered that the theory of explicit and implicit binary isomorphism (as well as its evolution and hidden theoretical composition), the view that it emphasizes the way things are spoken and the pursuit of clarity must also be based on the hidden as the source, the aesthetic diagram of the relationship between life vitality and the hidden, the research methods that emphasizes the metamorphosis of metaphoric light and dark, embodying the real possibility of poetry, and confirming the invisible origin of all things are related to modern natural science do have certain theoretical and practical enlightenment value. For example, it shows that it has theoretical significance for exploring, arguing, summarizing, and inheriting the clues of Chinese traditional culture and the essential characteristics of history, and it has the highlight and enlightenment of the essence of historical philosophy; so, it can be seen that the academic circles highly value this monograph, indicating that attention to and in-depth criticism are both very necessary.

Representation of Karo Culture in the Early 20th Century in P. A. J Moojen’s Paintings

cultural and artistic point of view with a cultural studies approach. The results of the study show that Moojen's paintings represented the belief systems, social stratification systems, and art systems of Karo culture in the early 20th century. In conclusion, Moojen's paintings are able to provide an overview of the reality of the life of the Karo people who lived in the early 20th century that cannot be separated from elements of traditional Karo buildings.

دیرو خاخر ٹی سائرعزیز نا عروضی تجربہ غاک

The analysis of Brahui poetry in terms of prosody is a new topic. Propositional analysis of Brahui Ghazal discusses the technique of versal weight (perameter). Proposition is the knowledge related to poetry which explains the difference between weighted (Bawazn) and weightless (Bewazan) poetry. The main difference between poem and prose is weight, proposition is the scale in which the meter of poetry is measured. Weightless poetry is considered a defect. Sair Aziz is an influential and mature poet, in terms of prosody. there is no flaw of meter in his poetry. There are more than 40 prosodic verses. Some prosodical experiments seem to be the most unique and quite difficult. These are “Fahalatuma, Fahalatuma and “Fahalatun Fahal, Fahalatun Fahal. Same as there are four more unique prosodical experiments which are done for the first time in Brahui Ghazal. Beside this, the prosodic experiences of Sair's Mustazad Ghazals are also noticable as an artistic point of view. This paper also reveals the un-resolved difficult meters of Sahir, how he changes the form of the words according to his will. the actual pronunciation of the word is important, while Sair sometimes ignores this.

CREATIVE ENDEAVOUR IN THE CONTEMPORARY KAZAKH POETRY (ON THE WORK OF Y. ZHUNIS)

A genre of lyrics in modern Kazakh literary criticism is being studied in a complex way. Many scientific works have been written on the history of the poetry development and lyric poetry. There is always a place for a poetry in the literature; there is a place for lyricism in the poetry. With the advent of new trends and manners in Kazakh poetry, a role of a lyrical hero changes from time to time. In this article, for the first time, mentality of modern Kazakh lyrics becomes an object of a scientific research. The study examines a history of development of Kazakh poetry on the example of the works of the following famous poets: M. Rayymbek, T. Tolkynkyzy, A. Elgezek, A. Temirbai, A. Isadil, Y. Zhunis. With the help of a comprehensive scientific analysis, the authors of the article explore significant changes and innovations in the artistic text in modern Kazakh poetry in order to identify traditional mentality. The authors explore work of Yerlan Zhunis, which contributed to the rise of modern Kazakh lyrics to a qualitatively new level: development of poetry in line with modern trends, improvement of artistic content. They examine poet’s philosophical approach and poetic mastership, his civil and love lyrics from the artistic point of view. Thus, the authors are trying to identify the elements of creative endeavor and the innovative contribution of the poet Y. Zhunis in Kazakh poetry.

IMAGES OF TURKISH ETHNOCULTURE IN KAZAKH DECORATIVE ART

The article examines the essence and content of folk decorative crafts in the system of art education, which is implemented in the country on the basis of such programs as “Cultural Heritage”, “Spiritual Revival”, “Seven Facets of the Great Steppe”. The manifestations of centuries-old Turkic culture in Kazakh decorative crafts are considered in detail, its character in the theories of Turkic ethnoculture is analyzed from historical, spiritual, artistic points of view. On the basis of the Turkic knowledge, the stylistic, symbolic and figurative features of some handicrafts, especially headdresses, such as saukele, takiya, and the use of ornaments in them, characterizing the features of the Turkic ethnoculture, are analyzed. The similarities of folk crafts of the Kazakh and other Turkic peoples in the Turkic ethnoculture are shown, as well as evidence that the development of folk crafts is in close connection with the worldview, beliefs, way of life, economy of the peoples. National ornaments, symbolic images, motifs in the crafts of the Turkic peoples are compared, their semantic features are described as signs of the Turkic ethnoculture. The special place of Kazakh crafts in the Turkic ethnoculture as a direct successor of nomadic traditions on the land of the Great Steppe is determined, historical, ethnographic and artistic scientific explanations are given to them.

POETRY IN THE WORK OF THE MEDIEVAL POET M.H. DULATY «TARIKH-I RASHIDI»

The article tells in detail about the work of the public figure, the first Kazakh historian Mohammed Haydar Dulaty. Various genres were explored that were written in the direction of poetry in the famous work of the thinker and scientist «Tarih-i Rashidi» («The history of those who are on the way to the Almighty»). Also, poems written in the rubai genre are analyzed in depth. Each of them is differentiated from a meaningful, artistic point of view. Rubai is a one-syllable type of verse. The peculiarity of the genre is that even one verse has a deep meaning. Ancient philosophers, sages, and ruling bi-orators conveyed their wise thoughts through this genre. The article focuses on the etymology, and specifics of the development of this genre. Poems by M.H. Dulaty are systematized by content in several forms and examples are given, and his poems by construction, content, meaning are also analyzed in depth. Many literary genres are reflected in the classical work of the great scientist. Absolutely each of the works will give a person joy and warmth. The poetry itself in this work of the poet is partially divided into several contents. Rubayats of M.H. Dulaty are written in two big motifs. The first motif is philosophical, the second is lyrical. The article provides a comprehensive analysis of these areas.

Facciate parlanti. Per un’introduzione

Since antiquity, buildings have carried inscriptions on their surface. In particular, the habit of decorating façades with epigraphs spread in early modern Europe, in keeping with the all’antica revival. This issue of the journal investigates the role of new and ancient inscriptions (i.e. spolia) in secular and religious architecture from an aesthetic, political, literary and artistic point of view. Expression of the patron’s ambition and culture, the facciate parlanti engaged in a close dialogue with public spaces and their audience. While the inscriptions could be in different languages and media (carved on stone, graffitied or painted), they always retained a particular relationship with the building itself, as well as with the social and urban context.