scholarly journals Icon-Pendant with an Image of the Saint Warrior-Horseman from the Excavation of the Mangup’s Palace. Old Rus’ or Byzantium?

2021 ◽  
Vol 26 (6) ◽  
pp. 83-95
Author(s):  
Valery Naumenko ◽  
Keyword(s):  
Art History ◽  
Historical Context ◽  
Cultural Layer ◽  
Traditional Methods ◽  
Research Site ◽  
History Analysis ◽  
Applied Art ◽  
History Of ◽  
Byzantine Period ◽  
Made In

Introduction. The article is devoted to the icon-pendant with the image of the horseman St. George the Warrior, discovered in 2020 in the cultural horizon of the late 13th–14th centuries at the research site of the Mangup’s Princely Palace. Methods. The study is complex. The traditional methods of art history analysis and the method of analogies, widely used in archaeological science, are used in the description and attribution of the sign icon. The dating of the product is established using one of the most important stratigraphic methods in archaeology. In explaining the historical context of the find, the available data from archaeological and narrative sources on the history and culture of Mangup at the end of the 13th–14th centuries are used. Analysis. The value of the icon, in addition to its clear archaeological context and the iconographic type of the holy rider-triumphant, which is rare for Byzantine applied art, lies in the expansion of our source base on the spread of the cult of St. George in the Late Byzantine period of the history of South-Western Crimea, represented before that mainly by the churches of Eski-Kermen and Mangup. Results. Despite the general proximity of the iconography and the technique of making the Mangup find and numerous similar products from the territory of Old Rus, there is no reason to consider it as an icon-pendant of Ancient-Russian origin. The conducted research definitely indicates a weak study of this category of Christian objects of personal piety on the territory of Byzantium, the lack of their cataloging and the study of special issues. In this regard, the conclusion that the icon belongs to the number of finds of the Byzantine circle from the cultural layer of the Mangup settlement, made in one of the provincialbyzantine centers, seems to be the most objective.

scholarly journals MODERN SEARCHES IN DECORATIVE-APPLIED ART OF INDEPENDENT KAZAKHSTAN (BASED ON JEWELRY ART)

Keruen ◽  
2020 ◽  
Vol 4 (69) ◽  
Author(s):  
A.T. Yespenova ◽  
Keyword(s):  
National Identity ◽  
Art History ◽  
Modern Art ◽  
Arts And Crafts ◽  
History Analysis ◽  
National Values ◽  
Applied Art ◽  
History Of

Craft is a unique tool that defines national identity and culture. The history of the Kazakh arts and crafts goes back centuries. The article considers the reflection in the modern art of Kazakhstan of jewelry art as one of the branches of applied art. The direction of the development of jewelry is revealed thanks to the work of jewelers. For example: an art history analysis is conducted on the example of the work of artists, jewelers S. Bashirov, A. Mukazhanov, S. Rysbekov, M. Kalilaev, L. Shklyaev, A.Kadyrbaev. Thus, the author determines the significance of national values.

Soil classification in New Zealand - Legacy and lessons

Soil Research ◽  
1992 ◽  
Vol 30 (6) ◽  
pp. 843 ◽  
Author(s):  
AE Hewitt
Keyword(s):  
New Zealand ◽  
Historical Context ◽  
Soil Classification ◽  
Soil Taxonomy ◽  
Regional Correlation ◽  
Reconnaissance Survey ◽  
Soil Landscape ◽  
History Of ◽  
Intensive Land Use ◽  
Made In

A brief review of the history of soil classification in New Zealand is made in order to place the most recent work in its historical context. The first comprehensive system was inspired by the Russian concepts of zonality, and was published as the New Zealand Genetic Soil Classification by Taylor in 1948. It may be regarded as a grand soil-landscape model that related soil classes to environmental factors. Although successful in stimulating the reconnaissance survey of New Zealand soils, it failed to support the requirements of more intensive land use. Soil Taxonomy was tested as an alternative modem system for a period of 5 years but was found to make inadequate provision for important classes of New Zealand soils. The New Zealand Soil Classification was developed using many of the features of Soil Taxonomy while preserving successful parts of the New Zealand Genetic Soil Classification. Historical lessons include the increasing importance of electronic databases and regional correlation, the importance of nomenclature, the necessity of a national system and the divorce of soil classification from soil-landscape modelling.

scholarly journals Some aspects of city archaeology in historical context (on the example of Prymorskyj Boulevard in Odesa)

2019 ◽  
Vol 23 ◽  
pp. 183-198
Author(s):  
Svitlana Ivanova
Keyword(s):  
Historical Context ◽  
The State ◽  
Original Position ◽  
Archaeological Sites ◽  
Cultural Layer ◽  
Modern Cities ◽  
History Of Construction ◽  
Stratigraphic Position ◽  
History Of ◽  
A Site

The study on archaeological sites has some peculiarities when undertaken inside the territories of modern cities. And the reason behind it is not only the usual situation when parts of a site are covered by present-day constructions or cut by communication trenches. Sometimes a stratigraphic position and/or a level of recovery for ancient artefacts are blurred by inherent ambiguity. This is exactly the case, which can be traced for the settlement of ancient times on the Primorsky Boulevard of Odessa. The variability of the level of occurrence of the cultural layer and the virgin soil can be explained by referring to historical documentation. During the design and preparation of the territory for the landing of trees and construction, preparatory work was carried out. The area was cleared and leveled down. In addition, one should keep in mind the relief of the terrain, the presence of slopes, the elevation drop, the leveling of which led to the present ambiguous stratigraphic situation. The cultural layer was also damaged when some soil was withdrawn from its original position from the territory of the former military barracks, which were located here at the beginning of the XIX century in order to strengthen the slopes of the boulevard. These works are recorded in archival data stored in the State Archive of Odessa region. The construction of numerous communications also contributed to the inevitable alterations in the state of the settlement's preservation. Given the available historical information, it is possible that individual archaeological sites can be discovered during the reconstruction of existing buildings located on Primorsky Boulevard. The history of construction and subsequent re-building on the Primorsky Boulevard is linked with the material remains that are stored underground. Consideration of this aspect provides the necessary information on the identification of objects that can be found in archaeological sites situated underneath the modern buildings. There is an obvious and urgent necessity of archaeological supervision for all types of reconstruction or building works, in accordance with existing legislation. This conclusion is relevant not only to the territory of the ancient settlement, but also to its surveillance zone. The construction works should be suspended until the final archaeological research, if archaeological sites would be identified. Key words: Classical age, city archaeology, cultural layer, Prymorskyj Boulevard.

scholarly journals The Concept of a Romantic Hero in the Sculpture of Argentina in the 20–40s of the 20th Century

2020 ◽  
pp. 140-145
Author(s):  
Nataliya Abramovna Rozenberg
Keyword(s):  
20Th Century ◽  
Art History ◽  
Remote Region ◽  
Huge Number ◽  
Original Population ◽  
Romantic Hero ◽  
History Analysis ◽  
History Of ◽  
The Russian Federation

The interest in the history and culture of Argentina in the Russian Federation today has a special char-acter. It is believed that the presence of a huge number of immigrants from Europe, including from Russia, distinguishes Argentina culturally from oth-er countries of the New World, makes its culture more understandable. There is a perception that this is the most Europeanized country in South America. To a large extent, this ideologeme is the result of foreign policy pursued by Argentina itself. At the same time, the process of the formation of national identity in here was complicated and did not end until the 40s of the 20th century. The relevance of the study is to reveal the inconsistency of this process on the material of sculpture as a document of the era, to show the rejection by masters from a remote region of the country, the province of Chaco, the prevailing ideas about the barbarity and savagery of the Indians and Gauchos, the original population of this province and part of other territories of the state. The novelty lies in the comparative compari-son of the positions of the academic art history of Argentina and academic art in the understanding of Indian themes and in how it was interpreted by re-gional masters – K. Dominguez (died in 1969), C. Schenone (1907–1963), J. de la Mena (1897–1954), as well as in the art history analysis of significant works of the considered problematic and the roman-tic tendencies manifested in them. It is advisable to correlate the process of “Europeanization” of Indi-ans, bloody and long-term hostilities in order to expel the gaucho and Indians from their ancestral lands with the understanding of who was the true hero of history in the creations of their descendants. The works of the sculptors Chaco, romantic in spirit, are related to the great J. Hernandez’s poem “Martin Fierro”. Today they are kept not only in the capital of Chaco, Resistencia, but also in museums in Buenos Aires and foreign collections

scholarly journals ТЕХНОЛОГІЧНІ ПРОЦЕСИ У ВИГОТОВЛЕННІ ХУДОЖНІХ ВИРОБІВ З МЕТАЛУ: ІСТОРИЧНИЙ КОНТЕКСТ ТА ШЛЯХИ ВІДРОДЖЕННЯ

2021 ◽  
pp. 96-104
Author(s):  
A. В. Варивончик ◽  
І. С. Бондар ◽  
Б. М. Мазур ◽  
І. В. Швець
Keyword(s):  
Art History ◽  
Historical Context ◽  
Practical Significance ◽  
Stylistic Analysis ◽  
Internal Factors ◽  
Existing Problems ◽  
Applied Art ◽  
Methods And Techniques ◽  
Metal Products ◽  
Metal Processing

The aim of the work is to clarify the peculiarities of the development of Ukrainian art metal products in a historical context and to determine the ways of reviving artistic metalworking in the XXI century. Methodology. The research is based on culturological, historical and art history methods of analysis; applied historical-analytical, cultural-historical and the method of figurative-stylistic analysis of the means of artistic and decorative expressiveness of products. Results. The article examines the main stages in the development of technological processes in the execution of artistic metal products. The main techniques of artistic metal processing are analyzed: "lost wax", filigree, engraving, casting, forging, diffusion, electroplating, etc. The influence of external and internal factors in the development of artistic metal processing in Ukraine is studied. Identified the existing problems in the manufacture of art items from metal. Scientific novelty. The facts of the development of technologies for artistic metal processing in Ukraine are revealed and the ways of reviving the production of metal products as a type of decorative and applied art are determined. Practical significance. In the art of artistic metal processing, we highlight the issues of the revival and preservation of the industry in modern Ukraine through the study of technologies, traditions, the search for new forms, methods and techniques of working with materials.

scholarly journals Archeology of the New Time in the Republic of Mari El: Works in the Yurinsky estate

2021 ◽  
Vol 16 ◽  
pp. 167-169
Author(s):  
E. G. Shalakhov ◽  
Keyword(s):  
Material Culture ◽  
Cultural Layer ◽  
Xviii Century ◽  
History Of ◽  
The Republic ◽  
Under Construction ◽  
Main House ◽  
Made In ◽  
New Time

The article is devoted to the study of random finds made in the Sheremetev estate in August 2020. At the site of the stadium under construction near the northern facade of the Main House of the Sheremetev Castle, we have recorded a few clothing materials (mainly fragments of ceramics) originating from the destroyed cultural layer of the New Time. The remains of material culture should be attributed to the pre-Sheremetev period of the history of the Volga village of Yurino (the second half of the XVIII century)

scholarly journals The Great Patriotic War in the fate of the Leningrad artist I.V. Varzar

2020 ◽  
pp. 171-178
Author(s):  
E.I. Darius
Keyword(s):  
Systematic Study ◽  
Art History ◽  
Methodological Approach ◽  
Archival Research ◽  
Soviet Art ◽  
History Analysis ◽  
Great Patriotic War ◽  
History Of ◽  
First Time ◽  
Artistic Heritage

The main purpose of the article is to present the art and biography of the artist Irina Varzar, who worked in the field of book and easel graphics. Her works are well known to Soviet art historians, but a systematic study of the artist's biography and work has not yet been done. This article for the first time lays the foundations for a detailed study of the artistic heritage and biography of I.V. Varzar. The novelty of the work lies in the fact that on the basis of archival sources, an important stage of the artist's life in Barnaul during the great Patriotic war (1941–1945) is restored. There she was evacuated from besieged Leningrad. For the first time, the graphic works of the artist created in Altai are described in detail. The article uses a comprehensive methodological approach — the main art history analysis is expanded through archival research and the method of historical and biographical reconstruction. The main results include the introduction into the scientific and art history of a number of works by Irina Varzar, a systematic presentation of the main stages of the artist's creative biography. For the first time, her works of the period of the Great Patriotic War are analyzed in detail and the main techniques of the artistic method are shown. Основная цель статьи состоит в том, чтобы представить искусство и биографию художницы Ирины Васильевны Варзар, работавшей в области книжной и станковой графики. Ее работы хорошо известны историкам искусства советского времени, но системного исследования биографии и творчества художницы еще не сделано. Настоящая статья впервые закладывает основы подробного изучения художественного наследия и биографии И.В. Варзар. Новизна работы заключается в том, что на основании архивных источников восстанавливается важный этап жизни художницы в Барнауле в период Великой Отечественной войны (1941–1945 гг.). Туда она была эвакуирована из блокадного Ленинграда. Впервые подробно описываются графические работы художницы, созданные ею на Алтае. В статье применен комплексный методологический подход — основной искусствоведческий анализ расширен за счет архивоведческих изысканий и метода историко-биографической реконструкции. К основным результатам стоит отнести введение в научный и искусствоведческий оборот ряда произведений Ирины Варзар, систематическое изложение основных этапов творческой биографии художницы. Впервые подробно анализируются ее работы периода Великой Отечественной войны и показываются основные приемы художественного метода.

scholarly journals Alan Mozley: An American malacologist in Siberia (1932–1933)

2020 ◽  
Vol 28 (4) ◽  
pp. 326-336
Author(s):  
Maxim V. Vinarski
Keyword(s):  
Historical Context ◽  
Taxonomic Status ◽  
Smithsonian Institution ◽  
Type Specimens ◽  
Northern Asia ◽  
History Of ◽  
Siberian Species ◽  
Made In

The history of malacological exploration of Siberia, made in 1932 and 1933 by the malacologist Alan Mozley, then affiliated with the Smithsonian Institution, USA, is given, with a discussion of his contribution to the knowledge of taxonomy, biogeography and ecology of freshwater and terrestrial molluscs of Northern Asia. The type specimens of the Siberian species and subspecies, described as new by Mozley, are illustrated, with remarks on the current taxonomic status of these taxa. A social-historical context of Mozley’s trip to Stalin’s Russia is also provided, including its connection to the prosecution of Nikolay Vavilov, a key opponent of “Lysenkoism”.

THE HISTORY OF THE CHURCH VENERATION OF THE ICONS OF ST. NICHOLAS «RATNY» AND THE STUDY OF THE MEDIEVAL ICON «NIKOLA OF MOZHAISKY»

2021 ◽  
Vol 10 (1) ◽  
pp. 82-100
Author(s):  
M.A. KOMOVA ◽  
Keyword(s):  
Art History ◽  
Cultural Context ◽  
Local History ◽  
Comprehensive Method ◽  
History Analysis ◽  
History Of ◽  
The Subject ◽  
The Right ◽  
First Time ◽  
The Church

The purpose of the article is to present the history veneration of icons-copies of St. Nicholas the Wonderworker, who was located in the fortress of Mozhaisk. The iconography of «Nikola Mozhaisky» or «Nikola the Feat» was distin-guished by the image of a sword in the right hand of the Saint. The historical and cultural study of the icon «Nikola Mozhaisky, the Miracle of Nicaea» from the collection of the Orel museum of local history is being conducted for the first time. The author offers a comprehensive method of historical and art history research with a combination of the method of art history analysis of the subject.The author dates the subject to the last third of the 16-th century, defines the historical and cultural context of this subjectorigin and existence, and also considers the historical and artistic sources of and similar objectsoriginin late medieval Russian culture.

The Vereinigte Staatsschulen für freie und angewandte Kunst and the Mainstem of German Modernism

2009 ◽  
Vol 52 ◽  
pp. 233-269
Author(s):  
William Owen Harrod
Keyword(s):  
Twentieth Century ◽  
Historical Context ◽  
Reform Movements ◽  
German Empire ◽  
Applied Art ◽  
History Of ◽  
English Speaking ◽  
English Speaking World ◽  
The One ◽  
Modern Movement

In 1936, Nikolaus Pevsner asserted at the Royal Society of Arts in London that the Weimar Republic had produced two great modern schools of art: Walter Gropius’ Bauhaus and Bruno Paul’s Vereinigte Staatsschulen für freie und angewandte Kunst (Unified State Schools for Fine and Applied Art) in Berlin. Pevsner was outspoken in commending the ‘atmosphere of youth, conquest, thrill’ that pervaded the Bauhaus in emulation of the passionate and revolutionary spirit of its founder. But he was troubled by the shortcomings of its programme. By contrast, Pevsner praised the Vereinigte Staatsschulen for restoring the essential ‘balance between painting and sculpture on the one hand, and handicraft and design on the other’ (Fig. 1). Unlike the Bauhaus, Pevsner concluded, the Vereinigte Staatsschulen ‘represented a success in almost every respect’. Yet, despite its importance to the dissemination of the Modern Movement, the Vereinigte Staatsschulen has been largely forgotten in the English-speaking world, while the Bauhaus has been long been regarded as the epitome of twentieth-century modernism, and, particularly in popular culture, even of the very concept of modernity. Nevertheless the interwoven stories of the Vereinigte Staatsschulen and the Bauhaus, and of their directors, serve to illuminate the complexity of the unwritten history of the Modern Movement.The Vereinigte Staatsschulen and the Bauhaus were, as Pevsner noted, parallel developments. Both emerged from the artistic reform movements that characterized the final years of the German Empire, and which found their culmination in the Deutscher Werkbund. The faculty of Vereinigte Staatsschulen sustained the unbroken history of its progenitor institutions, reflecting a broad and inclusive Modern Movement that echoed the often-contentious composition of the Werkbund itself. The Bauhaus faculty sought, ultimately unsuccessfully, to effect a clear and decisive break from a similar historical context. Notwithstanding its brilliant achievements, the Bauhaus ultimately represents but a single, exclusive branch of the history of the Modern Movement. The Vereinigte Staatsschulen reflects the broader currents that engendered twentieth-century modernism.

Sign in / Sign up

Export Citation Format

Share Document