scholarly journals Landscape in the creative work of N. M. Romadin

2016 ◽  
Author(s):  
О.Н. Филиппова
Keyword(s):  
Landscape Painting ◽  
Creative Work ◽  
Special Contribution ◽  
History Of ◽  
Inner World

Становление духовного мира художника немыслимо без любви к природе родной земли. Наиболее ярко выражена она в искусстве пейзажа. История советского пейзажа знает много прославленных имен. Картины А.А. Рылова и Н.П. Крымова, И.Э. Грабаря, К.Ф. Юона, В.В. Рождественского, С.В. Герасимова стали неотъемлемой частью нашей художественной культуры. Свой, особый вклад внес в сокровищницу советской пейзажной живописи и Николай Михайлович Ромадин (1903-1987 гг.). Циклы его пейзажей отличаются большой цельностью. Совершенство природы в соединении с трепетностью чувства художника составляет суть его искусства, не оставляющего зрителя равнодушным. Formation of an inner world of the artist is impossible without love to the nature of the native earth. It is most brightly expressed in art of a landscape. The history of the Soviet landscape knows a lot of the glorified names. Pictures A.A. Rylov and N.P. Krymov, I.E. Grabar, K.F. Yuon, V.V. Rozhdestvensky, S.V. Gerasimov became an integral part of our art culture. His special contribution was made to the treasury of Soviet landscape painting by Nikolai Mikhailovich Romadin (1903-1987). Cycles of his landscapes differ in big integrity. Perfection of the nature in connection with reverence of feeling of the artist makes an essence of his art which does not leave the viewer indifferent.

scholarly journals ANCIENT CIMMERIA IN THE CREATIVE WORK OF K. F. BOGAEVSKY

2018 ◽  
Author(s):  
Ольга Николаевна Филиппова
Keyword(s):  
Eastern Coast ◽  
Landscape Painting ◽  
Creative Work ◽  
The Crimea ◽  
History Of

Известный русский художник, заслуженный деятель искусств РСФСР К.Ф. Богаевский (1872-1943гг.) вошел в историю нашего искусства как выдающийся мастер пейзажной живописи. Неповторимая оригинальность произведений К.Ф. Богаевского отличала его от других пейзажистов, работавших в конце XIX– начале XX века. Он стал создателем героико-романтических картин, посвященных преимущественно восточному побережью Крыма – легендарной стране Киммерии. Источником вдохновения художника служили виды окрестностей древних крымских городов – Феодосии, Керчи, Судака, Бахчисарая. Famous Russian painter, honored artist of the RSFSR K.F. Bogaevsky (1872-1943), was entered in the history of our art, as an outstanding master of landscape painting. Unique originality of the works of K.F. Bogaevsky distinguishes it from other landscape painters who worked in the late of the XIX – early of the XX century. He became the Creator of the heroic-romantic paintings, mainly devoted to the Eastern coast of the Crimea – the legendary country of Cimmeria. The source of inspiration of the artist served the neighborhoods of the ancient Crimean cities – Feodosia, Kerch, Sudak, Bakhchisarai.

scholarly journals PROJECT: SCREENPLAY GOING HOME

K ta Kita ◽  
2017 ◽  
Vol 5 (1) ◽  
pp. 90-94
Author(s):  
Katarina Septi ◽  
Ribut Basuki
Keyword(s):  
Creative Work ◽  
Diverse Group ◽  
Final Project ◽  
The Past ◽  
Past Life ◽  
History Of ◽  
Present Life

This paper explained the process and the result of my final project which is a screenplay entitled Going Home. The screenplay is about Dahlia, a thirteen-year-old girl who was born and grew up in Australia. Then, she has to return to Jakarta, Indonesia and continue her education in Indonesia. She has an assignment about history of Indonesia. She needs to write one of heroic history of Indonesia with her own words and write her reflection about it. Once, she goes to Surabaya for a holiday and stays at Majapahit Hotel Surabaya. In the hotel, she experiences the past life about several historical moments by going back and forth to a past life and present life. After experiencing it, she can feel and understand the spirit of the Indonesian revolutionary heroes. She respects Indonesia heroes more. Also, she can encourage her friends to love Indonesia better and to blend in diverse group of ethnics as strong and one Indonesian who support to improve Indonesia. I would like to show that young generations are now lack the spirit to build their country. They forget to become one; One Land, One Nation, One Language. This creative work focuses on how history of Indonesia can help young generations to gain the spirit of Indonesian revolutionary heroes to love and improve Indonesia. To put this issue into a form of entertainment, I decided to make a screenplay which type of genre is adventure fantasy. 

scholarly journals Ideas of Civil Religion in the Creative Work of Cyril Methodians

2018 ◽  
pp. 53-63
Author(s):  
Leonid Kondratyk
Keyword(s):  
Civil Religion ◽  
Decisive Role ◽  
Religious Language ◽  
Creative Work ◽  
Social Force ◽  
Linear Character ◽  
Starting Point ◽  
History Of ◽  
The Individual ◽  
Main Ideas

Kondratyk L. "Ideas of Civil Religion in the Creative Work of Cyril Methodians". The author is based on the fact that the civil religion is such a sociocultural phenomenon in which, through the prism of a peculiar religious language and specific practices, the necessity of acquiring and establishing a national state is substantiated, which originates in the need of the community to find the sacral in the activity that is inherent in the transcendent, eternally -linear character and which is rooted in the history of the territory. It is proved that the soil on which the ideas of the Cyril and Methodius civil religion originated is Western European romanticism, religiosity, the starting point of which was the idea of religion as the focus of the spiritual world of the individual and community, the idea of the Higher Reason that sets the directions for historical development, Christianity a decisive role in the spiritual and moral and social renewal of mankind, the view of Ukraine as an independent cultural and historical and social force, the influence of creativity T. Shevche gt; The main ideas of the civil religion of the Cyril Methodians are as follows: the messianism of the Ukrainian spirit manifests itself in the ability to unite the Slavs in the best way, because Ukraine is inspired by self-sacrifice with the Christian spirit and has apostolic intercession; Kiev - the capital of the resurrected from the oppression of the Slavs, the city - in which the courts prevail, truth, equality; concepts "temple", "truth", "righteous judgment", "freedom", "brotherhood", "equality", "love", "Kiev", "Kiev mountains" - the basic concepts-symbols of the Ukrainian civil religion; in the Ukrainian community with the need to coincide Christian values and moral standards, which dominate it.

scholarly journals Vyacheslav Lipinski about the peculiarities of nation-building and the role of religion in this process

2002 ◽  
pp. 45-54
Author(s):  
Z.V. Shved
Keyword(s):  
Nation Building ◽  
Religious Studies ◽  
The State ◽  
Creative Work ◽  
History Of ◽  
Role Of Religion

Over the last decade, interest in the heritage of such national thinkers who have worked in the space of sociocultural and religious studies has become relevant. That is why, in our opinion, the appeal to Vyacheslav Lipynsky's creative work is justified. Today, his legacy can be used not only to understand the history of society and the state, but also to understand some aspects of our present. Therefore, you should listen more carefully to the thoughts of this thinker.

scholarly journals Ballerina Sofia Fedorova II in the Russian Sculpture of the Silver Age (Stepan Erzia, Marina Ryndzyunskaya, Natalya Danko)

2020 ◽  
Author(s):  
И.В. Клюева
Keyword(s):  
World War I ◽  
Semantic Content ◽  
Cultural Analysis ◽  
World War ◽  
Silver Age ◽  
Saint Petersburg ◽  
History Of ◽  
Inner World ◽  
Vyacheslav Ivanov ◽  
Professional Critics

Цель статьи – культурологический и искусствоведческий анализ трех портретных изображений выдающейся балерины Серебряного века русской культуры Софьи Федоровой 2-й (1879–1963), созданных С.Д. Эрьзей, М.Д. Рындзюнской и Н.Я. Данько. Материалом исследования являются архивные документы, отечественная периодика 1910-х гг., отзывы критиков и воспоминания современников о балерине. На основе использования сравнительно-исторического, биографического и семиотического методов представлена характеристика личности и творчества Федоровой 2-й, реконструирована ее биография; прослежена история создания трех скульптур, выявлены их художественные особенности и смыслоSвоенаполнение. Автор заключает, что Н. Я. Данько и М.Д. Рындзюнская изображают «дневную» Федорову, главным в их работах является демонстрация красоты и выразительности движений балерины. С.Д. Эрьзя запечатлел «ночную» Федорову: сосредоточив внимание на лице артистки, он сумел в своей скульптуре отразить ее сложный внутренний мир. The main aim of the article is to present an art historical and cultural analysis of three portrait images of Sofia Fedorova II(1879–1963), the outstanding ballerina of the Silver Age of Russian culture, created by masters of Russian sculpture Stepan Erzia (portrait bust, 1915, marble), MarinaRyndzyunskaya (statue, 1916, marble) and Natalya Danko (figurine, 1921, porcelain). The research materials are previously unpublished documents from the archives of Moscow, Saint Petersburg, Saransk, as well as articles from Russian periodicals of the 1910s; reviews of professional critics and memories about the ballerina. Based on the use of comparative historical, biographical, and semiotic methods, the article reconstructs Fedorova’s biography, considers various aspects of the reception of her personality and work by contemporaries: figures of literature (Vyacheslav Ivanov), theater (S. Giatsintova, E. Gogoleva, K. Stanislavsky, V. Telyakovsky), ballet (S. Grigoriev, B. Nizhinskaya), art critics and historians of ballet (Yu. Belyaev, P. Liven, S. Mamontov), other representatives of the humanitarian intelligentsia (S. Grigorov). Sofia Fedorova is known as an unsurpassed performer of characteristic dances in ballet and opera performances, as well as a ballerina who embodied the images of the innovative choreography of A.A. Gorsky and M.M. Fokin. Vyacheslav Ivanov claimed that the ballerina had “two faces”: the “daytime”, “galloping” Fedorova and the “nighttime” Fedorova, whose sphere was the “dark mysticism of the soul”. The author of the article traced the history of the creation of the three sculptures and revealed their artistic features and semantic content. The three sculptors created completely different sculptural images of Fedorova: a monumental marble figure (Ryndzyunskaya), an easel marble bust (Erzia), and a decorative porcelain figurine (Danko). According to the findings of the author of the study, Danko portrays Fedorova as “daytime” and “galloping” (nevertheless, she manages to create an ethereal image). Ryndzyunskaya also shows Fedorova as“daytime”, the sculptor is attracted by the ballerina’s grace, the beauty and expressiveness of her movement: portraying it, she focuses on purely plastic problems. Erzia is the only sculptor of the three who managed to see and capture the “nighttime” Fedorova. He is not interested in the ballerina’s dance, but in her complex deep inner world: he reflects the “dark mysticism” of her soul, conveys the state of tensity and anxiety that engulfed the woman, revealing not only signs of her incipient mental illness, but also her keen sense of the catastrophic state of the world (during World War I and the impending revolution).

scholarly journals Alexandre Dumas’s Works in the Art of Alexandre Benois

2019 ◽  
Vol 16 (2) ◽  
pp. 184-195
Author(s):  
Anna E. Zavyalova
Keyword(s):  
Formal Analysis ◽  
Creative Work ◽  
Court Culture ◽  
Louis Xiv ◽  
Artistic Process ◽  
Alexandre Dumas ◽  
Literary Source ◽  
Literary Sources ◽  
History Of ◽  
Louis Xv

The article studies the problem of interpretation of literary source in visual creative work of A.N. Benois. There are identified and analyzed new sources of his works — historical novels by A. Dumas, père. The question about the role of the novels by Alexandre Dumas devoted to the history of France of the 17th and 18th centuries in creative work of Alexandre Benois has never become the object of research. The re­levance of this article is determined by this fact. The scientific novelty of this article lies in revea­ling new literary sources of creative work of A. Benois — Dumas’s novels “Joseph Balsamo (Doctor’s Notes)” (1846—1848), “Louis XIV and his Century” (1844), “Louis XV and his Epoch” (1849) — and determining parallels between them and art practice of the artist: painting, graphics and art of book. The author analyses content of the ar­tist’s memories, his literary works, diaries, as well as diaries by E. Lanceray, and complements these information details by a comparative textological analysis of Benois’s memoirs and Dumas’s no­vels in Russian translations. This method allows to deepen the formal analysis of A. Benois’s works (primarily the two Versailles series) and partially reveal the mechanism of complex figurative synthesis in the artistic consciousness at the turn of the 19th—20th centuries, on the basis of which they were created, to expand the existing perceptions about the literary sources of the artist’s creative work. The author concludes that the no­vels by Dumas “Joseph Balsamo”, “Louis XIV and his Century” had an influence on the artist’s perception of the theme of court culture and Versailles in the historical, cultural and natural aspects. It was reflected in the appeal to the plot of “fish feeding” in the late 1890s, in the formation of the images of Versailles and King Louis XIV in old age. The article also finds that the novel “Joseph Balsamo” had an influence on Benois’s creation of Trianon’s everyday image in the past. At the same time, the artist turned to the interpretation of the image of Marquise de Pompadour as “sultana” under the influence of Dumas’s novel “Louis XV and his Epoch”. In addition, the three musketeers — characters of Dumas’s novel with the same name — are placed in the drawing of the title page of Benois’s “Versailles” album. It is important that it does not come about direct illustration of the novels, but about an artistic process of creating a figurative system of images and forming the artist’s stylistics.

Abraham Joshua Heschel's Philosophy of Man

1970 ◽  
Vol 6 (1) ◽  
pp. 59-68
Author(s):  
Waldemar Szczerbiński
Keyword(s):  
New York ◽  
The United States ◽  
Martin Buber ◽  
Jewish Studies ◽  
Creative Work ◽  
Theological Seminary ◽  
Philosophy Department ◽  
History Of Art ◽  
History Of ◽  
The Subject

The subject of the following discourse is, as the title itself points out, the anthropology of Heschel. Considering the fact that Heschel is in general unknown in Poland, I shall take the liberty to make known, in short, some pieces of information about him. Heschel was born in Warsaw, Poland on January 11th 1907. After graduating from the Gymnasium in Wilno he started his studies at Friedrich Wilhelm Universität, Berlin. At the Berlin University he studied at the Philosophy Department and, additionally, he took up studies in the sphere of Semitic Philosophy and History of Art. In 1937 Heschel was chosen by Martin Buber as his successor at Mittelstelle für Jüdische Erwachsenen-Bildung in Frankfurt on the Main. In October he was arrested by the Gestapo and deported to Poland together with all the Jews of Polish nationality. After returning to Warsaw he taught philosophy and biblical sciences at the Institute of Jewish Studies. Six weeks before the German aggression against Poland he left for England and then for the United States where he stayed until his death. He was the Professor at the Jewish Theological Seminary in New York. Except for his didactical activity, our philosopher did not neglect creative work. As time went on he was becoming a more and more well-known and appreciated intellectualist and social worker in America. His activity went far beyond the boundaries of the Jewish world.

Sign in / Sign up

Export Citation Format

Share Document