scholarly journals Crym Girey I – the founder of the classical theater in the Crimea (on the issue of 257 years experience of the Crimean Tatar`s first theatrical productions of the European type theater)

2020 ◽  
pp. 100-135
Author(s):  
Ismet A. Zaatov ◽  
Keyword(s):  
Formation Process ◽  
Art History ◽  
Xviii Century ◽  
Puppet Theater ◽  
The Crimea ◽  
Round Dance ◽  
S Period ◽  
First Time ◽  
Crimean Tatar

The formation process of the Crimean Tatar theater can be divided into the following periods: medieval – folk theater (the initial round dance and toy puppet theater of shadows “Karagoz”, the theater of one actor “meddah”, the arena theater “orta oyuny”); Khan`s theater in the middle of the XVIII century (penetration into the Crimea of European theater traditions in the era of the Crimean Khan Crym Girey I); the revival of traditions of the Crimean Tatar theater late XIX–XX centuries (the activities of a theater-goers group of the Jadidist Crimean Tatar youth–followers of I. Gasprinsky, under the leadership of J. Meinov – the efforts of the Crimean Tatar noblewoman-myrzachkas under the leadership of A. Taiganskaya; organization of a professional Simferopol Tatar theater troupe under the People’s Commissar of Education of the Crimean ASSR in 1921 and creation and activities of the Crimean Tatar Drama Theater, headed by A. Taigan, and the Crimean Tatar amateur movement in the Crimea, and among the Crimean Tatar foreign diaspora of 1923–1944 (Soviet pre-deportation period); recreation and current activities of the Crimean Tatar theater in the Crimea,1989 (post deportation period). In this article, for the first time in the art history, is revealed the so-called Khan`s period in the formation of the Crimean Tatar theater, discussed the revolutionary activity in the field of Crimean Tatar art, the ascetic activity of the Crimean Khan Crym Girey I to promote the ideas of European theater traditions and create a classical theater in the Crimea. The picture of the actions undertaken by the Crimean ruler in the construction of theater business in the Crimea, as well as his thoughts and statements about the theater, was recreated according to the text published in the XVIII century, memories of personal meetings and conversations with Crym Girey I of European authors: German – von der Goltz, Polish – Pilshtynova, Russian – Nikiforov, Frenchman – de Tott, Austrian – Kleeman. Based on these recollections is built a clear and explicit picture of a role of Crym Girey I as a pioneer in bringing European theater traditions and creation of a classical theater in the culture of the Crimea, the Turkic and Muslim worlds.

Agafonov’s Early Kharkiv Creative Period: Dialogue with the Theatre

2020 ◽  
Vol 2020 (3) ◽  
pp. 82-93
Author(s):  
V. Chechyk ◽  
Keyword(s):  
Art History ◽  
Artistic Practice ◽  
Partial Reconstruction ◽  
Theatrical Space ◽  
Native Art ◽  
History Of ◽  
Artistic Values ◽  
First Time ◽  
History Of Formation

This article is dedicated to the study of the nature of E. Agafonov’s creative ties with the theater – a topic that has been insufficiently covered in the native art history. The author’s field of view is set in the artist’s early Kharkiv period, marked as the years of 1905–1913. The article focuses on the exceptional role of E. Agafonov in the organization and the artistic practice of the first modernist theater “Blakytne Oko” in Kharkiv (1909–1911). Agafonov belonged to the constellation of masters who was very sensitive to the problem of evolving the artistic speech. He viewed the theater as a convincing platform for promoting and approving of the latest artistic values, discovered by Impressionism and Post-Impressionism. Experiments in easel art (with color, plastic, line, techniques, materials, etc.), largely inspired by the work of D. Burliuk (1906–1908), were directly reflected in Agafonov’s stage practice, namely in numerous designs of the modernist productions based on plays by M. Maeterlinkc, A. Schnitzler, S. Pshybyshevsky and O. Blok. In turn, it was established that theatrical motives were reflected in E. Agafonov’s easel art, as well as in the art of the students of his artistic studio – O. Rybnikov, I. Terentyev, M. Sinyakova, and K. Storozhnichenko. In this regard, a special attention is given to the linocuts by F. Nadezhdin. It was found that the program of “total” design of theatrical space (stage and auditorium), as well as the implementation of production ideas in the cabaret theater “Blakytne Oko” were the result of the master’s fascination with the concepts of artistic synthesis, actualized in the era of Modern. Agafonov moved from dramatization of paintings (of A. Beklin, F. Malyavin, and O. Rodin) to staging experimental show-programs like “The Evening of Autumn”, “Visiting Pierrot” and “In the Middle of Nowhere”, partial reconstruction of which was undertaken for the first time by the author of the article. Agafonov was close to the idea of artistic synthesis, identified by him in F. Malyavin’s paintings, in V. Komissarzhevska’s theatre and I. Duncan’s choreography. The study of E. Agafanov’s theatrical art expands the understanding of the history of formation and development of Ukrainian scenography at the beginning of the twentieth century.

scholarly journals Technology as a factor in the cultural development of mankind: a study of the production nature of primitive culture

2021 ◽  
pp. 57-60
Author(s):  
Tetiana Sovhyra
Keyword(s):  
Art History ◽  
Integrated Approach ◽  
Cultural Development ◽  
Fire Control ◽  
Production Technologies ◽  
The Subject ◽  
Organization Of Production ◽  
First Time ◽  
Metal Melting

Purpose of article. Explore technological progress in the context of the development of a primitive culture. The methodology is based on an integrated approach and relies on analytical (when analyzing philosophical, art history, cultural studies literature on the subject of research), historical (when clarifying the stages of development of primitive culture), and conceptual (when analyzing the role of technology in the cultural development of mankind) research methods. The scientific novelty of the article lies in the fact that for the first time the formative role of technology in the cultural development of mankind is investigated, and also the cooperative nature of the production of artifacts of primitive culture is determined. Conclusions. As a result of the study of archaeological finds of primitive culture, it has been established that in the course of cultural evolution, tools of labor have become cultural artifacts, works of art. The emergence of production technologies (stone processing, fire control, metal melting) radically transformed the specifics of the organization of production activities, and therefore changed the course of cultural development. Therefore, in the course of the study, the formative role of technology in the formation of artistic culture was proved.

scholarly journals Studying the Place of Intertextuality in Iranian Painting (Case Samples: Qajar Era)

2016 ◽  
Vol 10 (12) ◽  
pp. 156 ◽  
Author(s):  
Panahi Siamak ◽  
Farazjou Forough ◽  
Majdi Shima
Keyword(s):  
Art History ◽  
Julia Kristeva ◽  
Roland Barthes ◽  
Community Art ◽  
First Time ◽  
Gerard Genette

Intertextuality studies are as one of the significant approaches in literature and art. This term for the first time was proposed by Julia Kristeva 60s and later it was expanded by persons such as Roland Barthes, Gerard Genette & et al. Nowadays we are living in a world which is full of texts and these texts are born in it, grow and finally give their place to other texts but they aren’t disappeared. These texts are knotted to each other with intertextuality rules and they have interaction with each other. They sometimes deny or confirm each other but any way they influence on each other. In fact existence of sign world and existing texts and their effects in creation of each artistic effect are inevitable.This paper intends to consider the applicable studies of intertextuality in Iranian community art by concentrating on Qajar era painting. And it refers to the role of intertextuality in producing and reading the works by studying the case samples.The methodology in this research with review of art history and due to the analyses done on the works (sample to sample) will be analytic-descriptive according to the allegorical method.

scholarly journals Surrealism and the Reliefs of the Sasanian High Priest Kartir

CLARA ◽  
2021 ◽  
Vol 6 ◽  
Author(s):  
Mohammad Soltani
Keyword(s):  
Art History ◽  
Religious Leader ◽  
High Priest ◽  
Central Figure ◽  
Sasanian Empire ◽  
Iranian Art ◽  
Traditional Construction ◽  
First Time

Kartir was the most important religious leader in early Iran at the time of the Sasanian empire. The rock reliefs and inscriptions left by him contain some important features that occur for the first time in Iranian art history. Specifically, Kartir’s rock reliefs reveal that someone who was not a king could still be influential enough to commission a monument in which he was the central figure. Kartir’s inscriptions appear next to the reliefs of the previous king, or were even inserted into the same panel. In this way, the traditional construction of these reliefs was altered, as were their respective meanings. Furthermore, Kartir describes an imaginary journey to another world in his inscriptions. The article considers the role of dreams in Kartir's art and what influence this had on this new style of composition, comparing it with what we now call ‘surrealism’.

scholarly journals SHAPED CHARGES WITH THIN AND ULTRA-THIN FACINGS

2021 ◽  
Vol 26 (1) ◽  
pp. 133-142
Author(s):  
Vladilen F. Minin ◽  
Igor V. Minin ◽  
Oleg V. Minin ◽  
◽  
Keyword(s):  
Mathematical Modeling ◽  
Wall Thickness ◽  
Formation Process ◽  
Axial Velocity ◽  
Jet Formation ◽  
Detonation Products ◽  
Cumulative Jets ◽  
Modeling And Experiments ◽  
First Time

The aim of the research is to study the formation of cumulative jets in charges with cumulative facings with a wall thickness of the order of the thickness of the jet-forming layer in classical charges. Based on mathematical modeling and experiments, it is shown that in such charges, the detonation products of explosives can play the role of an additional body that affects the axial velocity of the lin-ing throwing and leads to a collapse angle of more than 180 degrees. In this process, the mass of the jet is greater than the mass of the pestle. For the first time, corrugations were experimentally detected on the surface of the lining during its explosive compression. Corrugations may occur on the surface of the lining, leading to instability of the cumulative jet formation process. As a result of the study, it was found that the minimum wall thickness of the cladding is mainly determined by the instability of its surface (the appearance of corrugations on its surface).

scholarly journals Крымский период жизни Басана Городовикова

2021 ◽  
Vol 14 (3) ◽  
pp. 469-478
Author(s):  
Vladimir E. Polyakov ◽  
Keyword(s):  
Soviet Union ◽  
The North ◽  
The Soviet Union ◽  
Wide Range ◽  
The Crimea ◽  
History Of ◽  
The Military ◽  
First Time ◽  
Events Data

Introduction. The article deals with the Crimean period (August 1941 – June 1942) in the life of Basan Badminovich Gorodovikov, Hero of the Soviet Union and a major military and political figure of Kalmykia. The present article aims at describing and analyzing this less-known period of his biography, which was significant and full of dramatic events. Data and research methods. For the purposes of this research, the author has used a wide range of archival materials, as well as memoirs of participants of the partisan movement in the Crimea (including unpublished papers). Results. The author describes the first battles in the north of the Crimea in which Gorodovikov’s regiment was engaged; then, its retreat into the mountains and transition to partisans, the creation of a partisan detachment and the actions behind enemy lines. The activities of Gorodovikov’s detachment are shown against the general background of the partisan movement in the Crimea; special attention given to the discussion of warfare under the specific conditions on the peninsula. The article focuses on the role of the military personnel, especially at the first stage of the partisan movement, revealing, among other things, the problems in the relationship between the command staff of the 48th cavalry division and the partisan leaders in the Crimea. For the first time, the article sheds light on the history of awarding Gorodovikov with the Order of the Red Banner, which was the first award of the Crimean partisans. The dramatic story of his evacuation from the partisan forest to the “Bol´shaia zemlia” is also documented in detail; with previously unknown documents and materials introduced in this paper. The undertaken research allows to conclude that the Crimean period in the life of Gorodovikov was one of the most dramatic in his biography. During a difficult period for the Crimea, he became the commander of one of the most successful partisan detachments, which after he left was officially named after him, its first commander. Notably, Gorodovikov was among the first Crimean partisans to be awarded a military order and to get a promotion in rank and in office.

scholarly journals “Troops without Banners”: History of 5th Infantry Corps of Russian Army during Reign of Nicholas I

2021 ◽  
pp. 249-271
Author(s):  
S. V. Andriainen
Keyword(s):  
Russian Empire ◽  
Military Operations ◽  
Crimean War ◽  
The Crimea ◽  
History Of ◽  
Entire History ◽  
The Russian Empire ◽  
The Moment ◽  
First Time

The history of the 5th Infantry Corps of the Russian Imperial Army in 1831—1853 is considered in the article. The novelty of the research lies in the fact that for the first time a comprehensive analysis of the entire history of the 5th Corps, from the moment of its formation to the beginning of the Crimean War, was carried out. The author notes that the 5th corps solved the widest range of problems. The question is raised that the 5th corps carried out the tasks of the strategic reserve of the Russian Empire on the southern borders. The role of corps units in construction work in the Crimea, participation in the landing forces on the Bosporus, military operations in the Caucasus and Transylvania are analyzed. The author notes that in the early 1830s the corps had a dubious reputation. In particular, the infantry regiments of the fifth corps were accused of “Polish spirit” and cowardice in the battles of the Russian-Polish war of 1830—1831. It is emphasized that the reputation of the corps in the eyes of Emperor Nicholas I was gradually improving. The author claims that since the 1840s, the 5th Corps was already a reliable army unit in the eyes of the emperor. The author argues that the involvement of the “bad reputation” corps in solving strategic problems demonstrates the limited resources of the Russian Empire in the 1830s and 1840s.

scholarly journals Меценатство и коллекционирование в провинции: на примере галереи искусств М.Ф. Коннова в Оренбурге

2021 ◽  
pp. 76-91
Author(s):  
O.I. Kober
Keyword(s):  
Art History ◽  
Present Stage ◽  
Art Gallery ◽  
Art Galleries ◽  
Cultural Center ◽  
Educational Activities ◽  
The 1960S ◽  
First Time ◽  
The City

Collecting works of art in the modern Russian provinces is still a poorly studied topic of art history. The relevance of the study is determined by considering the main activities of private art galleries in Orenburg, which is being done for the first time. The author points out the factors that led to the collection of works by Orenburg artists, who was influenced by the graduates of the Moscow State Academic Art Institute named after V.I. Surikov since the 1960s. Changes in the methodological work of art galleries with viewers and buyers at the present stage are noted. The object of the analysis is the art gallery “On Pushkinskaya” as an example of exhibition, information and educational activities. The study emphasizes the role of the personality of the gallery owner M. F. Konnov, a collector, philanthropist and artist, thanks to whom the art gallery has become a cultural center of the city. Коллекционирование произведений искусства в современной российской провинции остается малоизученной темой искусствоведения. Актуальность исследования обусловлена рассмотрением основных направлений деятельности частных художественных галерей Оренбурга, что делается впервые. Указываются факторы, предопределившие собирание картин коллектива оренбургских художников, сформировавшегося под влиянием выпускников Московского художественного института им. В.И. Сурикова, приехавших в степной город в 1960-е годы. Отмечаются изменения в методической работе арт-галерей со зрителями и покупателями на современном этапе. Объектом анализа является галерея искусств «На Пушкинской» как образец выставочной, информационной, образовательной и просветительской деятельности по приобщению зрителей к современному искусству. В исследовании подчеркивается роль личности владельца галереи М.Ф. Коннова, коллекционера, мецената и художника, благодаря которому галерея искусств превратилась в культурный центр города.

Culturological survey of primitive art artifacts

2021 ◽  
pp. 181-186
Author(s):  
Tetiana Sovhyra
Keyword(s):  
Cultural Evolution ◽  
Art History ◽  
Technological Progress ◽  
Integrated Approach ◽  
Cultural Development ◽  
Aesthetic Form ◽  
The Subject ◽  
The Aesthetic ◽  
First Time

The purpose of the article is to explore technological progress in the context of the development of a primitive culture. The methodology is based on an integrated approach and relies on analytical (when analyzing philosophical, art history, cultural studies literature on the subject of research), historical (when clarifying the stages of development of primitive culture), and conceptual (when analyzing the role of technology in the cultural development of mankind) research methods. The scientific novelty of the article lies in the fact that for the first time the formative role of technology in the cultural development of mankind is investigated, and also the cooperative nature of the production of artifacts of primitive culture is determined. Conclusions. As a result of the study of archaeological finds of primitive culture, it has been established that in the course of cultural evolution, tools at hand have become cultural artifacts, and in the end – and works of art. The introduction of technological inventions has radically changed the specifics of the manufacture of art products. Consequently, as a result of the transformation of technological devices and understanding the logic of the organization of the production process, there is not only a decrease in the form of artifacts but also an improvement in the aesthetic form.

scholarly journals И.С. Глазунов — меценат, коллекционер, основатель музея Российской академии живописи, ваяния и зодчества

2021 ◽  
pp. 206-219
Author(s):  
E.A. Skorobogacheva
Keyword(s):  
National Culture ◽  
Art History ◽  
Educational Process ◽  
Museum Collections ◽  
Artistic Value ◽  
History Analysis ◽  
History Of ◽  
The Russian Federation ◽  
First Time

The article is devoted to the Museum of the Ilya Glazunov Russian Academy of Painting, Sculpture and Architecture. With the help of a comprehensive analysis, the history of the foundation of the museum by Ilya S. Glazunov in the 1980s and 1990s, the stages of enriching the Museum's collections in the 2000s and 2010s are studied. The purpose of the study is to characterize the activities of the Academy's museum, to justify the importance, the value of Museum collections, primarily in the educational process in mastering the skills of the realist school. The combination of historical, problem-logical, typological-systemic methods made it possible to evaluate the samples of professional art, to give their interpretation against the background of the general historical situation and the processes that determine the development of the national culture of the present time. For the first time among the rarities of the Academy's museum, more than 20 works of painting and graphics of the 19th — first half of the 20th century, included in the state part of the Museum Fund of the Russian Federation, are marked, their art history analysis is given, and their artistic value is revealed. The study revealed the role of I.S. Glazunov as an outstanding public figure, philanthropist, collector. В статье посредством применения комплексного анализа изучена история основания И.С. Глазуновым музея Российской академии живописи, ваяния и зодчества в 1980–1990-х годах, этапы пополнения музейных коллекций в 2000–2010-е годы. Цель исследования — охарактеризовать деятельность музея академии, обосновать актуальность, значение музейного собрания, прежде всего, в учебном процессе — в овладении навыками реалистической школы. При сочетании исторического, проблемно-логического, типологически-системного методов оценены образцы профессионального искусства, дана их интерпретация на фоне общей исторической ситуации и процессов, определяющих развитие отечественной культуры настоящего времени. Впервые среди раритетов академического музея обозначено более 20 произведений живописи и графики XIX – первой половины ХХ века, включенных в государственную часть Музейного фонда Российской Федерации, дан их искусствоведческий анализ, раскрыта художественная ценность. В результате исследования выявлена роль И.С. Глазунова как выдающегося общественного деятеля, мецената, коллекционера.

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