scholarly journals Art of a Book of D. Stelletsky

2011 ◽  
pp. 62-69
Author(s):  
Galina V. Aksenova
Keyword(s):  
Xxth Century ◽  
Russian Art ◽  
Old Russian ◽  
Graphic Artist ◽  
The Arts ◽  
Stylistic Unity ◽  
The Church ◽  
The Trinity ◽  
Art School ◽  
Art Critics

Dmitry Stelletsky was a sculptor, a painter, a graphic artist and a glorious representative of the Russian retrospectivism at the end of the XIXth — the first quarter of the XXth century that paid his attention to the art of manuscript book. The paper examines one of the most important aspects of his work such as book graphics which received positive enthusiastic reviews of artists and art critics. The papere shows the artist’s career from the studying at the Higher Art School of the Arts Academy and his work in the M.K. Tenisheva atelier till the painting of the church of the Trinity-St Sergius monastery in Paris and the creating of the manuscript masterpiece called «The Lay of Igor’s Warfare».In his book graphic works Dmitry Stelletsky was able to achieve as close as possible to the traditions of ancient Russian art and to revive the old Russian book tradition of compositionally stylistic unity of letters, ornaments and illustrations.

scholarly journals Little Known Russian Church Wooden Sculpture Works of 18th-19th Centuries

2020 ◽  
pp. 93-109
Author(s):  
Анна Леонидовна Павлова
Keyword(s):  
Russian Art ◽  
Old Russian ◽  
Central Russia ◽  
Plastic Arts ◽  
Special Paper ◽  
The Common ◽  
Church Art ◽  
First Time ◽  
Common Character ◽  
The Church

Во время экспедиций по программе Свода памятников выявляется довольно много церковной скульптуры. Однако деревянная пластика рассеяна по разным томам Свода, а краткие тексты и отсутствие достаточного числа фотографий не позволяют судить о характере найденных произведений. В сложившихся условиях возрастает необходимость отдельной статьи, специально посвящённой неизвестным ранее скульптурам. Основная часть произведений, приведённых в статье, находится в храмах Владимирской, Рязанской, Тверской и Калужской областей. Практически все они впервые вводятся в научный оборот. Изучение данной скульптуры расширяет представление о развитии не только церковного, но всего отечественного искусства Нового времени. Публикуемые памятники отражают разнообразные стилистические направления, технические и художественные приёмы мастеров Центральной России, несмотря на общность процессов искусства в России того времени. Одной из основных задач публикации стало стремление внести ясность в многообразие направлений регионального искусства, что может способствовать более точной атрибуции. Среди богатства направлений условно выделяются несколько основных, зачастую связанных между собой и пронизанных древнерусскими реминисценциями, - тяготеющее к примитиву, барочное и классицистическое. В статье приводятся шесть Распятий и три Усекновенные главы Иоанна Предтечи, каждая из которых по-своему уникальна и заслуживает отдельного исследования в будущем. Знакомство с данными памятниками русского резного искусства даёт возможность провести параллели с широко известными произведениями. In the course of the expeditions undertaken within the Code of monuments project many works of church sculpture were revealed. However, the plastic arts pieces are dispersed over the different volumes of the Code, moreover, the short descriptive texts and the lack of sufficient number of photographs do not allow us to properly estimate the significance of the works found. This situation necessitates a special paper devoted to the previously unknown sculptures to be prepared. The main part of the works described in the paper is from the churches of Vladimir, Ryazan, Tver and Kaluga regions. Practically all of them are introduced for scientific use for the first time. The study of the sculptures broadens our knowledge about the development not only of the church art but of the whole Russian art of New time. The monuments being published reflect different stylistic trends, the technical and artistic devices of the Central Russia masters despite the common character of the artistic processes in Russia of that time. One of the major tasks of the publication is striving to put in order the regional art trends diversity that is to provide for the more exact attribution. Within the wealth of stylistic trends it is possible to conditionally distinguish several basic ones - those next to primitivism, in baroque and classicistic - often closely associated with each other and all permeated with the Old Russian reminiscences. There are six Crucifixions and three Heads of St. John the Forerunner described in the paper each of which is unique in its own way and deserves a separate study in future. Getting to know the introduced monuments of the Russian carved arts makes it possible to draw a parallel between them and well-known works of art.

scholarly journals «Black-and-white and coloured» (notes from Tatiana Ashkinazi's personal exhibition)

2017 ◽  
Author(s):  
О.В. Сидорова
Keyword(s):  
Art Museum ◽  
The State ◽  
Professional Skills ◽  
Black And White ◽  
Graphic Artist ◽  
The Arts ◽  
Made In ◽  
Art School

Татьяна Ашкинази – известный в Сибири художник-график. Профессиональное мастерство она совершенствовала в художественной студии В.Ф. Рублёва, в Домах творчества СХ СССР. «Черно-белое и цветное» – персональная выставка Татьяны Викторовны Ашкинази, открывшаяся летом 2017 года в Художественном музее Алтайского края. В экспозицию вошли графические наброски, сделанные в студии Рублева, портретные зарисовки художников с творческих дач, детские портреты, серия литографий «Идиллия».  Рядом с черно-белой графикой были представлены работы, выполненные темперой, маслом, акрилом. Выставка продемонстрировала творческое многообразие автора, показала, что Татьяна Викторовна Ашкинази – интересный, ищущий, развивающийся художник. Tatiana Ashkinazi is a famous graphic artist in Siberia. She perfected her professional skills in V.F. Rublev's art school and in the Arts Centres of the Union of Artists of the USSR. «Black-and-white and coloured» is a personal exhibition of Tatyana Viktorovna Ashkinazi, which was opened in the State Art Museum of the Altai Territory this summer. The exposition includes graphic sketches, which were made in Rublev's art school, portrait sketches from artistic meetings, children's portraits and a series of lithographs «Idyll». Next to black-and-white graphics, works made with the help of tempera, oil and acryl were demonstrated. The exhibition showed us creative diversity of the author and proved that Tatiana Viktorovna Ashkinazi is an interesting, searching, developing artist.

scholarly journals Fresco Paintings of Southwest Crimea Cave Churches According to Igor Grabar

2021 ◽  
pp. 116-130
Author(s):  
Yuriy Mogarichev ◽  
Alena Ergina
Keyword(s):  
Full Text ◽  
The State ◽  
Art Conservation ◽  
Russian Art ◽  
Old Russian ◽  
Mural Paintings ◽  
The Crimea ◽  
Points Of View ◽  
The Temple ◽  
The Church

Introduction. Today, the remains of fresco paintings are preserved in six cave churches of Taurica: the temple of the Southern Monastery (Mangup); church in the field of Kielse-Tubu (district of Mangup); the temple of the Assumption and the Three Horsemen (Eski-Kermen); the Donators Temple (district of Eski-Kermen); the church number 12 on Zagaytansky rock (Inkerman). Authors of the 19th – early 20th centuries left descriptions of the now lost murals of six more monuments. Methods. Frescos of Crimean cave churches in historiography received insufficient comprehension. Only one monograph was published on this issue (1966). Analysis. Opinions and comments regarding the mural paintings of the cave churches of Crimea, expressed by reputable art historians and specialists in fresco paintings, are relevant. These include Igor Grabar. He was in Crimea in 1927, as the head of the Central Art Conservation Center by Glavnauka of the RSFSR. The Manuscript Department of the State Tretyakov Gallery stores leaflets from the notebook “Igor Grabar’s trip notes in the Crimea and about Old Russian art”. Authors publish the full text of Igor Grabar’s notes concerning the murals of cave churches: the temple of the Assumption and the Three Horsemen (Eski-Kermen); the Donators Temple (district of Eski-Kermen); the temple of the Southern Monastery (Mangup). Results. Igor Grabar’s notes help us clarify many points of view in the study of frescos of cave temples in Crimea. The study of the murals of the temple of the Three Horsemen by Igor Grabar allows us to justifiably discard the versions of “three Georges” and “portraits of real local figures”. There are images of three holy warriors: Dmitry, Theodore (Stratilates or Tyrone), and George in the cave temple. The study of the Mangup Church fresco by Igor Grabar allowed us to develop a periodization of the formation of fresco paintings of this monument.

THEORIES OF THE MISSIONARY VOCATION OF THEOLOGICAL EDUCATION IN POST-SOVIET PROTESTANTISM

2020 ◽  
pp. 78-92
Author(s):  
Valentyn Syniy
Keyword(s):  
21St Century ◽  
Theological Education ◽  
Educational Activity ◽  
Spiritual Education ◽  
General Recognition ◽  
The Church ◽  
The Trinity ◽  
Formal Construction

It is emphasized that the involvement of missionary theology in the discussion of ways to develop spiritual education allowed post-soviet Protestantism to successfully overcome differences in the vision of the formal construction of education, and then move on to discussions about its content. There was a gradual overcoming of modern individualism, the growing role of communities, the replacement of monologue models of mission with dialogical ones. The idea of the seminary as a community that is not self-sufficient, but serves the church as a community, has gained general recognition. The church also came to be understood as serving an eschatological ideal community similar to the Trinity community. The formation of community and dialogical models of missionary and educational activity allows Ukrainian Protestantism to effectively adapt to the realities of the beginning of the 21st century and to be proactive in today's society.

scholarly journals A Body of Authority: Reorienting Gender and Power in Julian of Norwich’s Revelations

Humanities ◽  
2021 ◽  
Vol 10 (1) ◽  
pp. 30
Author(s):  
Phillip Goodwin
Keyword(s):  
Feedback Loop ◽  
Religious Studies ◽  
Religious Authority ◽  
Gender Performativity ◽  
Time And Space ◽  
14Th Century ◽  
And Gender ◽  
The Church ◽  
The Trinity ◽  
Spatial Logics

The 14th century mystic Julian of Norwich’s theology, dissolving gender binaries and incorporating medieval constructs of the female into the Trinity, captivates scholars across rhetorical, literary, and religious studies. A “pioneering feminist”, as Cheryll Glenn dubs her, scholarship attempts to account for the ways in which Julian’s theology circumvented the religious authority of male clerics. Some speculate that Julian’s authority arises from a sophisticated construction of audience (Wright). Others situate Julian in established traditions and structures of the Church, suggesting that she revised a mode of Augustinian mysticism (Chandler), or positing that her intelligence and Biblical knowledge indicate that she received religious training (Colledge and Walsh). Drawing from theories on space and gender performativity, this essay argues that Julian’s gendered body is the generative site of her authority. Bodies are articulated by spatial logics of power (Shome). Material environments discipline bodies and, in a kind of feedback loop, gendered performance (re)produces power in time and space. Spaces, though, are always becoming and never fixed (Chavez). An examination of how Julian reorients hierarchies and relations among power, space, and her body provides a hermeneutic for recognizing how gender is structured by our own material cultures and provides possibilities for developing practices that revise relations and create new agencies.

A theology of gratitude for rising generations

2021 ◽  
Vol 103 (3) ◽  
pp. 347-359
Author(s):  
Stephanie Townes
Keyword(s):  
Popular Culture ◽  
Gift Giving ◽  
Practical Theological ◽  
The Church ◽  
The Trinity

Rising generations (Millennials and Gen Z) already have a solid understanding of gratitude from gratitude’s pervasiveness in popular culture, and because of this, gratitude is an opportunity for the Church to reach rising generations where they already are. To do this, the Church should underscore a theological why of gratitude and a practical theological how of gratitude. The theological why of gratitude is based on Kathryn Tanner’s gift-giving nature of God, from her book Jesus, Humanity, and the Trinity. The practical theological how of gratitude will rise up from our holy habits of gratitude, both personal and collective, reinforced by the Eucharist, and taught through discipleship and practices of stewardship.

Yahweh, Women, and the Trinity

1975 ◽  
Vol 32 (3) ◽  
pp. 234-242
Author(s):  
Jay G. Williams
Keyword(s):  
Holy Spirit ◽  
New Age ◽  
The Third ◽  
The Holy Spirit ◽  
Third Person ◽  
The Third Person ◽  
The Church ◽  
The Trinity

“Might it not be possible, just at this moment when the fortunes of the church seem to be at low ebb, that we may be entering a new age, an age in which the Holy Spirit will become far more central to the faith, an age when the third person of the Trinity will reveal to us more fully who she is?”

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