Din istoria şi arta cărţii româneşti vechi: gravura de la Buda (1780 - 1830)
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | Romanian |
| Veröffentlicht: |
Cluj-Napoca
Ed. Mega
2011
|
| Schriftenreihe: | Teze de doctorat
5 |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Abstract |
| Beschreibung: | Literatur- und Linkverz. S. 389 - 429 |
| Beschreibung: | 500 S. Ill. |
| ISBN: | 9786065431881 |
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Datensatz im Suchindex
| _version_ | 1804150641430364160 |
|---|---|
| adam_text | Cuprins
1. Argument
...............................................................................................................7
2.
Istoriografia cărţii româneşti vechi tipărite
la Buda
şi a elementelor sale grafice
................................................................................12
3.
Istoricul Tipografiei Universităţii
din Buda,
cu o privire specială asupra secţiei sale româneşti
........................................27
4.
Tehnicile graficii utilizate în cărţile româneşti
de la Buda (1780-1830)
........................................................................................49
5.
Scurtă privire asupra reprezentărilor religioase existente
în tipăriturile româneşti vechi
...........................................................................58
6.
Ilustraţiile din cărţile de strană sau din cele cu conţinut religios
tipărite
la Buda
(1804-1830)................................................................................65
6.1.
Minei,
1804-1805.................................................................................................65
6.2.
Acatist,
1807.........................................................................................................80
6.3.
Polustav,
1807.......................................................................................................87
6.4.
Psaltire,
1808.........................................................................................................91
6.5.
Octoih,
1811...........................................................................................................94
6.6.
Evanghelie,
1812....................................................................................................97
6.7.
Polyeleul,
1814....................................................................................................102
6.8.
Triod,
1816..........................................................................................................104
6.9.
Strastnic,
1816....................................................................................................106
6.10.
Psaltire,
1817........................................................................................................125
6.11.
Psaltire,
1818........................................................................................................125
6.12.
Salomon
Gessner, Moartea lui Avei,
1818.....................................................127
6.13.
Culegere a multor rugăciuni,
1821..................................................................133
6.14·
Octoih cu Catavasier,
1826...............................................................................134
6.15.
Leopold
Şimani, Pruncii cei părăsiţi,
1830...................................................136
6.16.
Ilustraţii
...............................................................................................................139
7.
Scurtă privire asupra elementelor laice existente în tipăriturile
româneşti vechi
...................................................................................................193
5
8.
Ilustraţiile din cărţile laice
(1810-1830).....................................................199
8.1.
L. Mitterpacher,
învăţătura despre bumbac,
1810......................................199
8.2.
I.
Neuhold, Învăţătură de
a face sirup
şi zahăr,
1812................................200
8.3.
Calendariu...
pre
100
de ani,
1814..................................................................201
8.4.
întâmplările războiului franţozilor,
1814....................................................208
8.5.
I.
D.
F. Rumpf,
Alexandru
1,
1815.....................................................................211
8.6.
Vrednica de pomenire biruinţă,
1815.............................................................212
8.7.
Geografia,
1814-1815..........................................................................................214
8.8.
I.
H.
Kampe,
Descoperirea Americii,
1816......................................................216
8.9.
Genealogia. Calendariu,
1817..........................................................................223
8.10.
P. Blanchard, Plutarh
nou,
1819......................................................................240
8.11.
Voltaire, Tragodia
lui Orest,
1820..................................................................243
8.12.
Biblioteca românească,
1821...........................................................................245
8.13.
I.
Tornici,
Cultura albinelor,
1823..................................................................247
8.14.
învăţătură pentru lucrătorii de tabacă,
1823...............................................248
8.15.
P. Kengyelácz,
Istoria universală,
1824.........................................................249
8.16. Bibüoteca
românească,
1829-1830................................................................250
8.17.
Calendar românesc,
1829
şi Calendar românesc,
1830..............................259
8.18.
Ilustraţii
..............................................................................................................270
9.
Frontispicii şi
viniete
din cărţile tipărite
la Buda (1780-1830)
.............325
9.1.
Frontispicii şi
viniete
cu teme religioase
.....................................................326
9.2.
Frontispicii şi
viniete
cu teme laice
..............................................................342
10.
Din relaţiile tipografiei
de la Buda
cu Ţara Românească şi Moldova....
367
11.
In loc de concluzii
........................................................................................380
Bibliografie
..........................................................................................................389
Lista oraşelor şi a bibliotecilor unde au fost cercetate
cărţile româneşti vechi tipărite
la Buda
........................................................430
Lista cărţilor româneşti
de Buda (1780-1830)
..............................................432
Lista elementelor grafice din cărţile româneşti
de la Buda
.......................443
I.
Ilustraţii
(89
găsite din
90).............................................................................443
II.
Frontispicii şi
viniete
.......................................................................................448
Lista gravorilor
...................................................................................................452
Lista ilustraţiilor
................................................................................................455
On the History and Art of the Old Romanian Books:
The Engravings of
Buda (1780-1830)
(Abstract)
...........................................464
Indice de nume de
persoane
............................................................................473
Indice de
localităţi şi
de
centre
tipografice
..................................................489
Indice de
cărţi româneşti vechi
.......................................................................493
ABSTRACT
On the History and Art
of the Old Romanian Books:
The Engravings of
Buda
(1780-1830)
The special qualities of the graphic arts in the old Romanian
books, particularly of the woodcuts, puncheon prints and lithographs,
insufficiently investigated so far, made me approach this theme. Ever
since
1929,
the famed historian
Alexandru
Busuioceanu pointed out
the artistic and cultural good qualities of the woodcuts in the Roma¬
nian books. An entire chapter, among the most important ones in our
old art, would slightly become rounded off, if from a book to another,
from a typography to another, one followed the new and varied thing
of these engravers . Afterwards, throughout the years some more or
less complex or complete investigations have been made concerning
some typographical centers where the art of engraving was very suc¬
cessful: the
Neamţ
Monastery,
Blaj, Râmnic
or
Sibiu.
It was the Romanian section of the University Typography of
Buda
that held a very important position, at the end of the 18th cen¬
tury and in the first decades of the 19th century, in promoting culture,
science and the Romanian spirituality as well as in safeguarding
the national consciousness (it is worth calling to mind that, for a
while, Samuil Micu, Gheorghe
Şincai
and
Petru Maior
were cen¬
sors and proof readers in
Buda)
which excited my interest. Examin¬
ing attentively a vast bibliography regarding this important center,
I found out that, although the graphic aspect of the books printed
here is interesting and worth considering, it was not enough stud¬
ied. Therefore, I have decided to approach this inciting subject-mat¬
ter in my doctorate paper.
464
The old Romanian writings need a thorough examination from
the philological point of view as well as in the point of the history
of culture, printing and art. In the same way, the graphic art needs
a multidisciplinary approach, namely it should be generally studied
as history is concerned and especially as regards printing,! art, cul¬
ture, science, religion, mythology, literature, philosophy, ethnogra¬
phy, music and so forth.
The limits within which I have carried on my research activ¬
ity being set, that is 1780, the year when the first Romanian book
was printed in
Buda
and
1830
as superior deadline of publishing old
Romanian books, I have tried to attain the following goals: to point
out the contribution of numerous Romanian and foreign research¬
ers to the activity of the typography of
Buda;
to set out the way in
which the Enlightenment influenced the activity of the Romanian
typography from
Buda;
to demonstrate the role of the foreign and
of the Romanian influences on the culture of the city of
Buda;
to
determine the main co-ordinates of the evolution of the typography
of
Buda;
to find out the number of the Romanian books published
in the period of time I refer to in my research work; to establish
how many books contain engravings; to take photos of all engrav¬
ings; to find out what engravings and how many of them exist in
each book; to notice in what way the engravings are repeated in the
writings.
My further interest was in the analysis of each engraving.
Therefore I described all images; I studied the iconography, the style;
I made an attempt to decipher the symbols, which can be religious,
historical, philosophical, Freemasonic etc. If the engraving was not
signed, I tried to compare it with others or to ascribe it to a certain
engraver; whenever I could I compared them with the engravings
from other Romanian or foreign centers and where it was possi¬
ble I found analogies; I determined even the influences which the
engravings in the books of
Buda
had, in their turn, on their hom-
onymous ones from the Romanian area, up to
1830,
and even after
that. Finally I drew the conclusions.
The sensitive poet Tudor Arghezi states: Living in poverty and
defamation, the man succeeded to be redeemed and to surpass him¬
self, as he invented writing, and finally the book... Look, thousands
of hearts and minds live close to you, on your shelves... Before the
465
books the cemetery only could bear testimony. It was overcome by
the library. You have got rid of the grave... . Therefore, the book has
the power of defeating the death, as the author s spirit still contin¬
ues to exist, to survive in it. Both the European and Romanian sup¬
porters of the Enlightenment understood that the purpose of the
book is to be used by all the people, in order to enlighten them, to
lead them to happiness.
At the end of the 18th century and the beginning of the 19th cen¬
tury, within the Romanian section of the typography of
Buda,
there
gravitated the
élite
whose enlightening or Romantic beliefs ardent¬
ly served their country s interests, first of all by printing books that
promoted the progressive ideas of the time.
Their belief was that through culture the people acceded to
a better economic, social and political position, the same as other
nations from the
Habsburg
Empire or Europe did.
Samuil Micu, Gheorghe
Şincai, Petru Maior,
loan Molnar-
Piuariu, Grigore Obradovici, Paul Iorgovici, Nicolae Horga-Popovici,
Dimitrie Tichindeal, Gheorghe
Constantin
Roja,
Gheorghe
Montan,
loan
Teodorovici, Alexandru Teodorovici, Vasile Coloşi,
loan Cor¬
nell, loan Tincovici, Gheorghe
Munteanu, Naum Petrovici,
Zaharia
Carcalechi, Eufrosin Dimitrie
Poteca, Constantin Diaconovici-Loga,
Alexandru
Beldiman, loan
Tornici, Toma Popovici,
Paris Mumulea-
nu, Dinicu Golescu,
Theodor
Aaron, Damaschin T.
Bojincă, Ştefan
P.
Niagoe, Moysi
Bota,
loan
Ciocârlan, Moise Suciu, Petru Moaler,
Ghe¬
orghe Mutso, Eftimie
Murgu,
Nicola
Nicolau,
Pavel Vasici-Ungurian,
Emanuil Gojdu etc. wrote, translated, edited, distributed or spon¬
sored Romanian books which were printed in
Buda.
Their lofty and disinterested convictions are suggestively
expressed, for instance, in the translation of Gessner s work, Abel s
Death done for readers, by
Alexandru
Beldiman. Vibrating respects
are paid here to reason: one can call the reason out of darkness
to enlighten one s soul; it can forcibly order to the tumult to keep
silent; it can analyze any desire, any appetite, any foaming passion;
and then the ashamed passion keep silent, the vain desires disap¬
pear like the morning fog in front of the sun .
The productivity of the printing press classifies it among the
Romanian typographies which carried on their activity between
1508
and
1830,
holding the third place after Bucharest and Iasi and
466
the first place, if the statistics refer to the years 1780-1830. It is
not only the number of books, about
240,
that is significant, but
also their intrinsic value which is quite uncommon. At the request
of the church (both the Greek-Catholic and the Orthodox), of the
Romanian frontier guard regiments, of the authorities or of cer¬
tain private persons there were printed historical, philological, phil¬
osophical, theological, didactic, economic, geographical and literary
books which were successfully used by the Romanian readers from
everywhere, eager to acquire knowledge. The number of copies
printed in
Buda
was large, sometimes more than
1,000,
as one can
see in the lists of subscribers.
Buda, a
cosmopolitan center, where the flow of ideas came
from various directions, particularly from the western countries
caused a famous cultural center to develop here
-
due to the Uni¬
versity, to the Library and Typography, which published books in
16
languages, of which numerous peoples, including the Romanians,
took advantage. This explains why in the large Hungarian city on
the Danube, the books were decorated not only with woodcuts, a
technique used almost exclusively in the typographic centers within
the Romanian area, but also with puncheon prints and lithographs.
Examining the books printed in
Buda
I noticed that most of
them comprise decorative elements, particularly frontispieces and
vignettes,
36
of them being decorated with
90
distinct illustrations.
This special care for the aesthetics of the books is without doubt
due to the staff of the typography as well as to the sleeping partners.
My scientific approach is meant to point out the artistic value
of the Romanian writings from
Buda
-
value which was conferred,
first of all, by the engravings (illustrations, frontispieces, vignettes)
accomplished in the three techniques mentioned above
-
as well as
the way in which tradition and innovation go together in these images.
After having studied (in many libraries in Romania and abroad,
and on the basis of specialized bibliography) the books decorated
with the engravings done in
Buda
between
1780
and
1830
I found
out that beside the woodcut
-
traditional for the Romanian books
and perpetuated for a long time (up to
i860
at the
Neamţ
Monas¬
tery)
-
the puncheon print was also used on a large scale, superior
and diversified as compared with that existent in the books pub¬
lished on the Romanian territory.
467
As regards lithographs, the first one printed in a Romanian
book, seems to have appeared in
Buda.
The woodcuts (excepting
frontispieces and vignettes) can be found only in religious books,
while the puncheon prints were used both in religious and sec¬
ular ones, and lithographs only in those with profane contents.
The engravers from
Buda,
generally trained in Vienna, permanent¬
ly tried to keep pace with the artistic novelties in the capital of the
empire.
* * *
Both iconographically and stylistically the xylographs and
the puncheon prints found in the religious books were achieved
according to the Byzantine
-
Balkan and Byzantine
-
Russian tradi¬
tion to which were added some elements of Occidental art, partic¬
ularly of the Renaissance, of the Baroque and of the Neoclassicism.
Among the elements of Byzantine type I mention: a certain concern
for stylizing; decorative effects and symmetry; the frontal position
of figures and their hierarchical rendering; the isocephaly (placing
the heads of figures on the same level); the landscape and architec¬
tures are more or less conventional; the compression of plans or the
reduced perspective. In this respect the following books are edifying:
Minei,
1804-1805;
Polustav,
1807;
Octoih, 1811;
Triod
and Strastnic,
1816;
etc., on the whole decorated with tens of engravings. They treat var¬
ied themes of which I mention: The Three Visitors at Mamre, The
Crucifixion, The Annunciation, The Forty Martyrs,
Constantine
and Helen, The Assumption, The Life Giving Spring, Jesus in
Glory, Emmanuel in Chalice, St. Nicholas, St. John of Damascus,
Christ s Descent into Limbo (frontispiece), The Publican and the
Pharisee, The Raising of Lazarus, Jesus Entering into Jerusalem,
The Descent from the Cross etc. (xylographs), and the Seraphs
Anthem, The Annunciation, Jesus High Bishop on the Clouds,
Emmanuel in Chalice (puncheon prints).
Some religious engravings are of occidental manner in which
the plasticity of forms, the rendering of perspective, the appearance
of gorgeous buildings are pointed out. I refer to the representa¬
tion of David in the Psalter of
1808, 1817, 1818,
to the four evange¬
lists: John, Mathew, Lucas and Marcus, in the Gospel,
1812,
to the
scenes representing Adam, Eve, Cain, Abel, in Abel s Death by Salo¬
mon Gessner,
1818.
468
The woodcuts are not signed excepting Jesus in Glory,
Acatist,
1807,
belonging to
Hederich
from
Buda. He
is also the author of the
illustrations from
Minei
according to the documents of the typog¬
raphy. Carolus Fridericus
Hederich was
a self-made man and that
explains why the artistic quality of his engravings does not reach
the artistic level of similar images which appeared on the Romanian
territory
(Blaj
or
Râmnic).
On the other hand, the unsigned xylo¬
graphs (which do not belong to
Hederich
according to style) in the
Triod
and Strastnic seem to be better accomplished.
Among the puncheon prints the best ones are those signed by
the engravers of European importance from
Buda or
Vienna:
János
Fülöp
Binder, David s author from the Psalter,
1808,
and
Johann
Wenzel Engelmann,
who achieved the evangelists from the Gos¬
pel,
1812.
In this sample of illustrations we also find the following
engravers: Gottfried
Prixner
(who signed David in the Psalter,
1818),
Andreas
Geiger
(the author of the engraving Adam and Eve in Avel s
Death by Salomon Gessner,
1818)
and Samuel Lehnhardt (signer of
the image Woman and Children Praying in The Abandoned Children
by Leopold
Şimani),
all of them, together with Binder, authors of
engravings with secular themes.
* * *
It is worth mentioning that very interesting puncheon prints,
some of them well -performed, appeared in secular books. Related
to the Romanian area these books are original both regarding the
theme and the manner of being treated, of occidental type. These
images cut in metal are more minutely rendered sometimes consist¬
ing of ample compositions with figures in motion, which express
varied psychological feelings, laying emphasis on conveying the vol¬
ume and the perspective.
In this respect I quote some examples of books containing
such images. The Calendar for
100
Years,
1814,
The Inconstant World s
Wheel and its Perilous Waves (signed
Prixner
se.
Pest); The Events
in the War of the French,
1814,
Crossing of the Berezina River; I. D.
F. Rumpf,
Alexander I, the Emperor of the Whole Russia,
1815,
Alexan¬
der I, The Tsar of the Whole Russia (signed
Ehrenreich
Iunior);
Trie Victory Worth Mentioning,
1815,
The Pyramid of Cannons in Mos¬
cow; I. H.
Kampe,
The Discovery of America,
1816,
having
4
images:
Columbus s Arrival on America s Coast; Columbus s Departure
469
from Spain (signed A.
Geiger
del.
et
sculp.); The Terrible Storm
at Sea; Columbus s Arrival on the Beautiful Coast of America
(signed
Prixner
se);
Genealolgy. Calendar, 1817, with engravings hav¬
ing mythological themes and other six moral subjects of which we
mention only the one entitled The Great Dignitaries and the Man¬
kind (signed A.
Geiger
sculpsit); Pierre
Blanchard,
The New Plutarh,
1819,
which contains more plates, each having
6
portraits of impor¬
tant historic personalities (one of them signed Lenhardt sc. Pest).
As I have shown above Columbus s Departure from Spain was not
only engraved but it was also devised (deliniavit) by A.
Geiger.
Sim¬
ilarly the title sheet of the Romanian Calendar from
1829
had both a
creator (S.P. Niagoe) and an engraver
(scobit
de I. Colman).
The large-sized technical plates placed at the end of some
books treating economic themes should also be taken into account:
L. Mitterpacher, Knowledge about Cotton,
1810
(engraving signed Bind¬
er sc), I. Neuhold, Knowledge about Making Syrup and Sugar,
1812 (2
engravings signed
Wokál
sc), loan
Tornici,
The Culture of Bees (engrav¬
ing signed by Lehnhardt Sc. Pest) and Advice for the Tobacco Workers,
1823
(unsigned engraving), and also two versions of a map (one of
them signed
Prixner
jun.
sculp. Pest. Anno
1824),
added at the end
of the World History by Pavel
Kengyllácz,
1824.
It seems important for me to point to the presence of litho¬
graphs in the secular books from
Buda
which are among the first
images of this type in the old Romanian writings. In this respect I
draw the attention to the portraits of princes in the Romanian Library,
1829-1830,
attributed to
Constantin
Lecca
from Wallachia and to
the four plates comprising allegorical images in the Romanian Calen¬
dars of
Ştefan
P. Niagoe from
1829
and
1830.
Although only one of
them is signed J.
Höschl
in
Pesta,
I consider that the other three are
made by the same lithographer.
The lay puncheon prints and the lithographs existent in the
books printed in
Buda
represent not only artistic productions, but
they also made their contributions to better knowledge of history,
geography, ethnography and of other domains. The authors of these
engravings bearing well-known names, up to the present time, are
of foreign origin (excepting
Constantin
Lecca),
who mostly studied
in Vienna, which demonstrate the well-marked occidental influence
in their works.
470
Besides the
45
distinct engravings, with religious themes (some
of them present for several times in the same book or repeated in
others), and other
45
with secular themes (one of them has not been
found yet) the Romanian books from
Buda are
decorated with many
frontispieces and vignettes most of them woodcuts.
Their themes, shapes and sizes are varied. Some of them are
signed by
Gritner, an
engraver whose works were widespread in
Central Europe, particularly in Slovakia, but also in France and Italy.
It is interesting to emphasize that there are elements that can
have some connections with Freemasonry. I refer here to render¬
ing the setsquare and the compasses
-
the most representative sym¬
bols of this group
-
or of the beehive with bees swarming about
(often seen in frontispieces and vignettes). Stefan P. Niagoe s lith¬
ographs, showing the moment when the Freemason is initiated to
light (Janus) and the affirmation of the truth found by enlightening
(From Darkness to Light), belong to the same category. It should
be emphasized that symbols specific to the Enlightenment (such as
the sun), one of their favourite metaphors are often used by Free¬
masons. All these are explainable if we take into account that loan
Molnar-Piuariu, Dinicu Golescu, and perhaps
Petru Maior
(Molnar s
good friends) were members of such secret societies.
* * *
I have also made an attempt to bring to life the diffusion route
of the engravings. With that end in view I had to find out the sourc¬
es of inspiration of the engravings in the old Romanian books, pub¬
lished in
Buda, as
well as the impact they had on their homonyms in
the Romanian space, namely the way in which the engravings from
Buda
influenced, in their turn, the illustrations in the three Roma¬
nian countries.
Therefore I have remarked that in case of the religious books
they most often followed similar models printed on the Romanian
territory
(Râmnic, Blaj, Sibiu, Braşov, Buzău)
as regards both the
text and the illustrations. I have noticed that some images from the
above-mentioned Romanian centers followed, in their turn, Ukrai¬
nian models (Kiev, Lviv) or Russian ones (Moscow). There are some
exceptions as well, when the source of inspiration of the image
from
Buda
comes from the Occident, especially from Vienna. As
471
regards
the decoration with engravings of the secular books, they
used only foreign models, particularly Hungarian and Austrian
ones. As a proof, when the engravers sign, they reveal their belong¬
ing to the nations mentioned above. On the other hand, examining
the books printed on the Romanian area I was surprised to find in
Oradea, Braşov, Sibiu, Buzău
and the
Neamţ
Monastery graphic ele¬
ments which derived from the religious books printed in
Buda.
Consequently, I can say that a regular route was created:
Vienna-Buda-the Romanian area and vice versa, where the Roma¬
nian books and their engravings used to circulate. The reciprocal
change of ideas, information, people and craftsmen, their role as
well as the appearance of a new
élite on
the artistic plan, contribut¬
ed to the development of art, culture and to promotion of progres¬
sive ideas, which led to the coagulation of the Romanian national
consciousness.
* * *
The management of the typography of
Buda,
the typographers
and the engravers tried hard for more decades not only to offer
the readers ever thirstier for knowledge, books with varied contents,
rich in ideas, but also to confer them a pleasant aspect.
In conclusion if the conservative woodcuts in the church
books are still used having slight tendencies to modernity, the pun¬
cheon prints existing less in the religious books and more frequent¬
ly in the secular ones are more realistic regarding the themes and the
manner of interpreting that constitute certain innovation which the
typography of
Buda,
situated closer to Occidental Europe, brings to
the old Romanian writings. As regards the lithography, the typog¬
raphy of
Buda
seems to have published the first lithographs in the
Romanian books, which sometimes are imaginative, but they repre¬
sent documents of history, of national culture and civilization. That
offers an obvious proof of the innovating role that this center of
culture spread among all the Romanians.
Translation: Ana
Tatai
472
|
| any_adam_object | 1 |
| author | Tatay, Anca Elisabeta 1982- |
| author_GND | (DE-588)1028165226 |
| author_facet | Tatay, Anca Elisabeta 1982- |
| author_role | aut |
| author_sort | Tatay, Anca Elisabeta 1982- |
| author_variant | a e t ae aet |
| building | Verbundindex |
| bvnumber | BV041210038 |
| ctrlnum | (OCoLC)856870243 (DE-599)OBVAC10506262 |
| era | Geschichte 1780-1830 gnd Geschichte gnd |
| era_facet | Geschichte 1780-1830 Geschichte |
| format | Book |
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| geographic | Rumänien (DE-588)4050939-4 gnd Buda (DE-588)4137173-2 gnd |
| geographic_facet | Rumänien Buda |
| id | DE-604.BV041210038 |
| illustrated | Illustrated |
| indexdate | 2024-07-10T00:42:09Z |
| institution | BVB |
| isbn | 9786065431881 |
| language | Romanian |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-026184757 |
| oclc_num | 856870243 |
| open_access_boolean | |
| owner | DE-12 |
| owner_facet | DE-12 |
| physical | 500 S. Ill. |
| publishDate | 2011 |
| publishDateSearch | 2011 |
| publishDateSort | 2011 |
| publisher | Ed. Mega |
| record_format | marc |
| series | Teze de doctorat |
| series2 | Teze de doctorat |
| spelling | Tatay, Anca Elisabeta 1982- Verfasser (DE-588)1028165226 aut Din istoria şi arta cărţii româneşti vechi gravura de la Buda (1780 - 1830) Anca Elisabeta Tatay Cluj-Napoca Ed. Mega 2011 500 S. Ill. txt rdacontent n rdamedia nc rdacarrier Teze de doctorat 5 Literatur- und Linkverz. S. 389 - 429 Zsfassung. in engl. Sprache u.d.T.: On the history and art of the old romanian books Geschichte 1780-1830 gnd rswk-swf Geschichte gnd rswk-swf Grafik (DE-588)4021845-4 gnd rswk-swf Buchdruck (DE-588)4008598-3 gnd rswk-swf Illustration (DE-588)4123412-1 gnd rswk-swf Druckwerk (DE-588)4013134-8 gnd rswk-swf Illustriertes Buch (DE-588)4136134-9 gnd rswk-swf Rumänisch (DE-588)4115807-6 gnd rswk-swf Rumänien (DE-588)4050939-4 gnd rswk-swf Buda (DE-588)4137173-2 gnd rswk-swf Rumänien (DE-588)4050939-4 g Druckwerk (DE-588)4013134-8 s Illustriertes Buch (DE-588)4136134-9 s Illustration (DE-588)4123412-1 s Geschichte 1780-1830 z DE-604 Buda (DE-588)4137173-2 g Rumänisch (DE-588)4115807-6 s Buchdruck (DE-588)4008598-3 s Grafik (DE-588)4021845-4 s Geschichte z Teze de doctorat 5 (DE-604)BV039751027 5 Digitalisierung BSB Muenchen 2 application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=026184757&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB Muenchen 2 application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=026184757&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Tatay, Anca Elisabeta 1982- Din istoria şi arta cărţii româneşti vechi gravura de la Buda (1780 - 1830) Teze de doctorat Grafik (DE-588)4021845-4 gnd Buchdruck (DE-588)4008598-3 gnd Illustration (DE-588)4123412-1 gnd Druckwerk (DE-588)4013134-8 gnd Illustriertes Buch (DE-588)4136134-9 gnd Rumänisch (DE-588)4115807-6 gnd |
| subject_GND | (DE-588)4021845-4 (DE-588)4008598-3 (DE-588)4123412-1 (DE-588)4013134-8 (DE-588)4136134-9 (DE-588)4115807-6 (DE-588)4050939-4 (DE-588)4137173-2 |
| title | Din istoria şi arta cărţii româneşti vechi gravura de la Buda (1780 - 1830) |
| title_auth | Din istoria şi arta cărţii româneşti vechi gravura de la Buda (1780 - 1830) |
| title_exact_search | Din istoria şi arta cărţii româneşti vechi gravura de la Buda (1780 - 1830) |
| title_full | Din istoria şi arta cărţii româneşti vechi gravura de la Buda (1780 - 1830) Anca Elisabeta Tatay |
| title_fullStr | Din istoria şi arta cărţii româneşti vechi gravura de la Buda (1780 - 1830) Anca Elisabeta Tatay |
| title_full_unstemmed | Din istoria şi arta cărţii româneşti vechi gravura de la Buda (1780 - 1830) Anca Elisabeta Tatay |
| title_short | Din istoria şi arta cărţii româneşti vechi |
| title_sort | din istoria si arta cartii romanesti vechi gravura de la buda 1780 1830 |
| title_sub | gravura de la Buda (1780 - 1830) |
| topic | Grafik (DE-588)4021845-4 gnd Buchdruck (DE-588)4008598-3 gnd Illustration (DE-588)4123412-1 gnd Druckwerk (DE-588)4013134-8 gnd Illustriertes Buch (DE-588)4136134-9 gnd Rumänisch (DE-588)4115807-6 gnd |
| topic_facet | Grafik Buchdruck Illustration Druckwerk Illustriertes Buch Rumänisch Rumänien Buda |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=026184757&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=026184757&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
| volume_link | (DE-604)BV039751027 |
| work_keys_str_mv | AT tatayancaelisabeta dinistoriasiartacartiiromanestivechigravuradelabuda17801830 |