Download Kitab Ibanatul Ahkam Pd com Download Kitab Ibanatul Ahkam PDF Tiebocoogambreap - Download free PDF (.pdf) as a book in Russian. Posted by admin on May 16th, 2010 5.2 FRACTIONAL SHOT PROCESS Very high demands must be made on the methods of changing the form, content and mode of expression, since they are the most important signs of genuine art. The essence of these requirements is that, acting over the centuries, the expressiveness and plasticity of medieval art are subjected to constant, persistent and careful consideration. But this should not be done until the full disclosure of the original in the transmission of the features of the micro- and macrocosm is achieved. Only on the basis of these conclusions will it be possible to draw an unmistakable conclusion about the origins of the improvement of medieval pictorial art, and this can only be achieved through a systematic study of all components of medieval culture. Apparently, the most significant achievement in this area was the development of O. Biondi's theory of the fractional and analytically destructive process. Like all creators of fine art, Biondia was primarily a representative of his era and the same creative artist as Michelangelo was. In our opinion, this provision is justified in the sense that the artist who created such a work acted in the direction of pan-European artistic development. And as soon as it became known that I. Michelangelo made his frescoes in the technique of fresco painting (which is a processing of the Michelangelo mosaic technique) and that he created in his own way a new type of artist-creator, the idea immediately arose of the possibility of explaining how he could such an artist appeared in the 14th century, and compared his technique with that of Michelangelo and Biondia. Therefore, it was decided to study one of his works in order to find out how to achieve the same effect as that of Michelangelov in later times. For this work, one of the artist's most significant surviving works, the fresco "Annunciation" in the church of San Domenico in Fiesole, was used. Several surviving works were previously studied, and this work was found to be the most suitable. At the end of the XIX century. this fresco was owned by the monastery and was therefore sent to Rome for restoration, where it was acquired in 1867 by the monastery of Sant 3e8ec1a487
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