DOI Page / Citation link:
https://doi.org/10.11588/diglit.47077#0054
None of the above-presented criteria, whether individually or even as a sum (due to
Various mutual contradictions), can warrant a satisfactory definition of the phenomenon.
Thus, the term „Sarmatian portrait” is inexact and not precisely stated, which has indu-
ced disferent authors to ascribe to it Various meanings, unconsciously or depending on
their own attitude. Yet, it does not constitute an exception, as a number of other terms
in art history are not Very sharp. On the other hand it seems useful, since it allows us
to describe arbitrarily a certain artistic phenomenon in Central and East Europe that
has no other generally accepted name. To conclude, when using the term „Sarmatian
portrait”, we should be conscious of its conventionality and ambiguity, as this awareness
will help us to avoid misunderstandings that have occurred so far.
Various mutual contradictions), can warrant a satisfactory definition of the phenomenon.
Thus, the term „Sarmatian portrait” is inexact and not precisely stated, which has indu-
ced disferent authors to ascribe to it Various meanings, unconsciously or depending on
their own attitude. Yet, it does not constitute an exception, as a number of other terms
in art history are not Very sharp. On the other hand it seems useful, since it allows us
to describe arbitrarily a certain artistic phenomenon in Central and East Europe that
has no other generally accepted name. To conclude, when using the term „Sarmatian
portrait”, we should be conscious of its conventionality and ambiguity, as this awareness
will help us to avoid misunderstandings that have occurred so far.