"ETIQUETTE" IN OLD RUSSIAN ART AS AN ARTISTIC SYSTEM

2017 ◽  
pp. 98-105
Author(s):  
Valentin D. Chernyj ◽  
Keyword(s):  
Russian Art ◽  
Old Russian

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 V.F. Odoyevsky and public music education: the background of the problem and the reception of the scholar’s ideas in Russian folklore

2021 ◽  
pp. 70-84
Author(s):  
Irina Popova
Keyword(s):  
Music Education ◽  
Numerical Technique ◽  
Female Education ◽  
Russian Society ◽  
Russian Art ◽  
Old Russian ◽  
Social Initiatives ◽  
Scientific Ideas

The author of the article thinks through the views of an outstanding writer, musician, scholar, collector and music folklore and the Old Russian art of singing researcher, Prince Vladimir Fyodorovich Odoyevsky on public music education. The author considers Odoyevsky’s opinion about the education of the lowest tiers of Russian society and female education and the possible ways of public music education. The research is based on Odoyevsky’s letters and diaries, and three articles about primary music education methods and the peculiarities of giving solfegio classes to broad public. The author focuses on the role of “numerical technique” in the development of Russian folklore music notating.The scientific novelty of the research consists in the understanding of Odoyevsky’s contribution to the popularization of the music notating system created by Émile-Joseph-Maurice Chevé. The author of the research is the first to establish Odoyevsky’s priority in developing and supporting government and social initiatives in the field of public music education. The author demonstrates the universal character of approaches of the Russian enlightener to solving educational problems and explains the reception of some scientific ideas of the scholar in Russian folklore milieu. The author uses the examples of typologically homogeneous terms of the theory of music applied by Odoyevsky and still used by folklore musicians.   

scholarly journals GIOTTO IN RUSSIAN POETRY: NEGATIVITY, DESIGN AND CONSTRUCTION OF SOCIETY

2020 ◽  
Vol 18 (1) ◽  
pp. 170-181
Author(s):  
Alexander V. Markov ◽  
Keyword(s):  
Art History ◽  
Russian Literature ◽  
Careful Analysis ◽  
Russian Philosophy ◽  
Russian Art ◽  
Old Russian ◽  
Real Place ◽  
Russian Poetry ◽  
History Of ◽  
Writing Practice

The perception of Giotto’s heritage in Russian literature and culture has always been directly linked not only with the concept of the Renaissance and the development of Western culture, but with a special interest in writing practice and in the ambition of the narrative presented as innovative style to create communities. The main topic of the poetic thought was the transition from community to society, in other words, from community to church, so Giotto's status as a genius was always supported with statements about other geniuses who directly, but rather indirectly, made this transition. Despite the scarcity of references to the name Giotto, Russian poetry did not so much reflect the current art history conception, but anticipates or correctsconclusions of art historians. My careful analysis of the statements about Giotto in Russian poetry (V.Komarovsky, S.Soloviev, A.Voznesensky) in comparison with the conclusions of Russian philosophy and humanities (P.Florensky, P.Muratov, P.Bitsilli, V.Lazarev)explains plots of the poems related to picturesque impressions. The technique of chiaroscuro in Giotto, who first began to convey plausible depth through the illusory distribution of light, was understood as a technique primarily of hint and reflection, anegative, in comparison with which later Italian painting looks like a colorful positive. Such concept did not correspond to Giotto's real place in the history of art, but it did make it possible to correlate Giotto with Byzantine and Old Russian art using a golden background, emphasizing in the legacy of the Italian artist not credibility, but ability to create own art project relevant other projects.

scholarly journals Icon Samples in the Meeting of the Museum Named After Andrey Rublev. Collection Overview

2020 ◽  
pp. 57-69
Author(s):  
Светлана Александровна Кирьянова
Keyword(s):  
Russian Art ◽  
Old Russian ◽  
Technical Performance

Статья посвящена обзору коллекции прорисей и иконописных образцов из собрания Музея древнерусского искусства имени Андрея Рублёва. Автор рассматривает сюжеты и особенности технического исполнения иконных образцов. Подробно говорит о наиболее интересных и ранних образцах. Особое внимание уделяет записям на иконных образцах, позволяющих судить не только о работе иконописцев, но и их быте. The article is devoted to the review of the collection of prorisy and icon-painting samples from the collection of the Museum of Old Russian Art named after Andrei Rublev. The author considers the plots and features of the technical performance of icon samples. Details about the most interesting and early samples. He pays special attention to the recordings on iconic samples, which make it possible to judge not only the work of icon painters, but also their life.

scholarly journals From the Experience the Scientific Library N.I. Lobachevsky of the Kazan Federal University and the State Museum of Fine Arts of the Republic of Tatarstan Cooperation: Joint Projects With the Department of Old Russian Art

2020 ◽  
Vol 23 (5) ◽  
pp. 914-922
Author(s):  
Anna Kalina
Keyword(s):  
Fine Arts ◽  
The State ◽  
Joint Work ◽  
Russian Art ◽  
Old Russian ◽  
State Museum ◽  
Museum Of Fine Arts ◽  
Rare Books ◽  
The Republic ◽  
The City

The article describes the exhibitions prepared by the Department of Old Russian Art of the State Museum of Fine Arts of the Republic of Tatarstan together with the Department of Manuscripts and Rare Books of the Scientific Library N.I. Lobachevsky of the Kazan Federal University in the period from 2013 to 2016. These projects reflect only a small part of the joint work of the State Museum of Fine Arts of the Republic of Tatarstan with the Department of Manuscripts and Rare Books of the Scientific Library N.I. Lobachevsky, all of them became significant events in cultural life of the city and the republic.

scholarly journals Древняя Русь в отечественном декорационном искусстве конца ХIХ – начала ХХ века

2019 ◽  
Author(s):  
O.N. Prokaeva
Keyword(s):  
Practical Significance ◽  
Set Design ◽  
Culture Methods ◽  
Stage Design ◽  
Russian Culture ◽  
Russian Art ◽  
Old Russian ◽  
Decorative Art ◽  
Rite Of Spring ◽  
The World

Настоящая статья посвящена декорационному искусству конца ХIХ начала ХХ в., характеризующемуся обращением к культуре прошлых эпох, в частности Древней Руси. В указанный период в качестве декораторов сцены выступали многие отечественные живописцы первого ряда. Автор статьи, изучив образцы декорационного творчества таких художников, как В. М. Васнецов, М. А. Врубель, Н. К. Рерих, И. Я. Билибин и Н. С. Гончарова, попыталась разобраться в том, почему источником вдохновения для них стало именно древнерусское искусство, а также указала на общие черты и специфику их художественных подходов к сценическому оформлению театральных произведений. В итоге автор пришла к выводу, что русское декорационное искусство конца ХIХ начала ХХ в., явившее зрителю эпоху Древней Руси на сцене, представляет для нас не только культурно-историческую ценность, но также имеет практическую значимость для современных сценографов, в связи с чем требует серьёзного дальнейшего изучения.This article is devoted to the decorative art of the late 19th early 20th centuries, characterised by an appeal to the culture of past eras, in particular, Ancient Russia. During this period, many domestic artists of the first row acted as stage decorators. The author of the article, having studied samples of decorative art by a number of Russian artists, investigated the question of the reason for choosing Old Russian art as a source of inspiration for them, and also pointed out the general features and specifics of their artistic approaches to the stage design of theatrical works. The approaches of V.M. Vasnetsov to creating sets and costumes for the play The Snow Maiden to the music of N.I. Rimsky-Korsakov were studied, as well as the artists experience of turning to ethnographic material, which made it possible to embody the authentic national ornament and traditional clothing of the Eastern Slavs on the stage. The scenographic work of M.A. Vrubel was studied, which was no longer a stylisation of the authentic forms of ancient Russian culture, methods and expressive means of folk art, but their rethinking and free interpretation. Vrubels stage ideals were embodied in Rimsky-Korsakovs plays The Tsars Bride and The Tale of Tsar Saltan. When creating the composition, Vrubel focused the attention of the viewer on the kinship of Russian culture with nature, that is, with that world of reality from which fantastic folk performances poured. The author also analysed the sets and costumes created by N.K. Roerich for the productions of The Snow Maiden and I.F. Stravinskys ballet The Rite of Spring in various theatres in the world. It is emphasised that Roerichs decorative art was imbued with the ideas of the unity of nature and man, a sense of infinity and greatness of nature, shown with a deep philosophical meaning. At the other extreme of the decoration interpretation of the Old Russian theme in the late 1900s and 1910s, there was the design of the opera The Golden Cockerel by Rimsky-Korsakov, solved by I.Ya. Bilibin as a painted graphic stylisation for a Russian folk picture, and the set design of N. S. Goncharova, presented as a free, temperamental pictorial fantasy in the spirit of popular print. As a result of the study, the author came to the conclusion that Russian decorative art of the late 19th early 20th centuries, which showed the audience the era of Ancient Russia on the stage, not only is of cultural and historical value for us, but also has practical significance for modern scenographers, and thus requires a serious further study.

ON THE QUESTION OF CLASSICAL THEMES IN THE ART OF PRE-MONGOL RUSSIA

2021 ◽  
pp. 152-183
Author(s):  
Olga E. Etinhof ◽  
◽  
Keyword(s):  
Western Europe ◽  
Narrow Range ◽  
Close Contact ◽  
Alexander The Great ◽  
Russian Culture ◽  
Russian Art ◽  
Old Russian ◽  
General Orientation ◽  
Applied Art ◽  
Romanesque Art

A narrow range of Byzantine texts, primarily chronographic ones, containing classical themes and images, were translated in Russia starting from the 11th century.These texts became the literary basis of secular and ecclesiastic art. Several iconographic motifs from mythological stories and the “Ascension of Alexander the Great” entered the art of pre-Mongol Russian. Byzantium was the main source of the antique elements in Old Russian culture. Some motifs were also adopted in Old Russia from Romanesque art, through close contact with Western Europe. The tradition of using ancient subjects for the decoration of churches in relief, which was widespread both in Byzantine and in Romanesque art, was continued in Russian monuments. Сlassical subjects on the walls of churches served as apotropaic images, but their symbolism could also include other aspects. Antique motifs are encountered even in the frescoes of monastery churches which followed a strict, ascetic iconographic programme in spite of the general orientation of Old Russian art towards the monastic culture of Byzantium. The author deals with the problem of specific samples. It is unlikely that objects of applied art could have served as models for church sculpture.

Sign in / Sign up

Export Citation Format

Share Document