The iconography of the Protection of the Virgin in Ukrainian culture of the XVII-XVIII centuries

2019 ◽  
pp. 102-123
Author(s):  
Елена Александровна Сирая
Keyword(s):  
Distinctive Feature ◽  
Special Kind ◽  
The West ◽  
Cover Type ◽  
Xvii Century ◽  
Indirect Influence ◽  
European Culture ◽  
West European

Статья посвящена одной из актуальных проблем - культурному и духовному взаимодействию Украины и Запада. Поднят и рассмотрен вопрос об опосредованном влиянии западноевропейской культуры в XVII-XVIII вв. на духовную и художественную жизнь Украины на примере появления и развития иконографии образа Богоматери «Покров» типа “Mater Misericordiae”. По европейской композиционной схеме иконописцы заполняли пространство иконы портретными образами казаков и духовенства. Отдельно рассмотрена особая разновидность иконографии «Покров», несущая смысловую нагрузку иконографии «Всех скорбящих Радость». Тут отличительная черта - Богоматерь своим плащом покрывает страждущих, больных, увечных, скорбящих и духовенство. Также рассмотрена иконография праздника «Покров Божьей Матери» и её особенности. Иконография праздника «Покров Божьей Матери» в XVII в. была дополнена рядом иконографических деталей, заимствованных с Запада: Богоматерь в солнечной мандорле; облака, на которых стоят персонажи в верхней части композиции; руки молящихся, сложенные в католическом жесте адорации и экстаза. Представлена общая картина развития иконографии образа Богоматери «Покров» и праздника «Покров Божьей Матери» в XVII-XVIII вв. на примерах икон из музеев и храмов Украины. The article is devoted to one of the topical problems - cultural and spiritual interaction between Ukraine and the West. The question concerning indirect influence of West European culture in the end of the XVII-th century - XVIII-th century on spiritual and art life of Ukraine is being raised and studied. This influence is being revealed due to appearance and development of iconography of the Theotokos “Cover” type of “Mater Misericordiae”. According to the European compositional scheme, icon painters filled the space of the icon with portrait images of Cossacks and clergy. A special kind of iconography “Cover” bearing the meaning of the iconography “Joy of All Who Sorrow” is separately considered. There is a distinctive feature - the Mother of God covers the suffering, the sick, the maimed, the grieving and the clergy with Her cloak. Also, iconography of the celebration “Cover of the Theotokos” and its features is studied. The iconography of the feast “Cover of the Theotokos” in the XVII century was supplemented with a number of iconographic details borrowed from the West: the Virgin in the solar mandorla, clouds on which characters stand at the top of the composition, praying hands folded in a Catholic gesture of adoration and ecstasy. The overall picture of the development of the iconography of the image of the Theotokos “Cover” and the feast “Cover of the Theotokos” in XVII-XVIII centuries is presented for examples of icons from museums and churches of Ukraine.

scholarly journals MOSCOW KINDOM AND THE EUROPEAN INNOVATION OF THE TIME OF TROUBLES

2016 ◽  
pp. 18-28
Author(s):  
T. V. Chernikova
Keyword(s):  
Russian Government ◽  
The West ◽  
Cultural Experience ◽  
Xvii Century ◽  
The Common ◽  
Western European ◽  
Time Of Troubles ◽  
Boris Godunov ◽  
The Military ◽  
West European

The article is devoted to the examination of the issue of Russian borrowing of military and technical as well as cultural experience of the West at the beginning of the Time of Troubles during the reign of Feodor I Ivanovich (1584-1598), Boris Godunov (1598-1605) and Dmitry the Pretender (1605-1606). One of the channels of the Russian contact with the west-European "powder revolution" and culture was foreigners on Moscow service. A lot of them were the military; doctors of the Tsar had a huge power; some merchants (for example, Jerome Horsey) carried out special orders of the Russian government. The article gives the description of western foreigners' position both, at the beginning of the Time of Troubles, when the Moscow government was interested in western innovation, and after 1606, when the situation changed. The author tries to find out in which areas and what kind of foreign experts were used in Russia; what were the reasons for the use of the Western European experts; what were the results of this phenomenon. While analyzing the "Notes" of foreigners, who were on the Russian service at the beginning of the Time of Troubles, the author examines the achievements of the "common revolution" at the beginning of XVII century.

Theological Transformation of the Symbols of the Ever-Virgin Mary in Symbols of the Immaculate Conception of the Virgin Mary on the Example of Iconography «Tota Pulchra»

2020 ◽  
pp. 225-243
Author(s):  
Евгения Юрьевна Суворова
Keyword(s):  
Virgin Mary ◽  
The West ◽  
European Culture ◽  
Immaculate Conception ◽  
West European

Статья посвящена одной из актуальных проблем - иконографическому, культурному и богословскому развитию догмата о непорочном зачатии Девы Марии в западноевропейской культуре. автор статьи поднимает и изучает вопрос о происхождении и развитии иконографии девы марии «Tota Pulchra» и «Tota Pulchra с символами литании» в XV-XVII вв. в культуре Европы. сначала подробно описывается иконографический памятник «Часослов девы Марии» и его гравюра «Tota Pulchra», получившая широкое распространение во фламандской и испанской живописи с XVI в., а затем даётся описание символических изображений, сопровождавших образ «Tota Pulchra». автор изучает развитие иконографии «Tota Pulchra с символами литании» в Испании, Франции, а также в Италии, развитие осмысления символических библейских изображений в период критики католичества и реформации вплоть до формулировки концепции и рассматривает включение этих изображений во вновь создаваемый образ «Непорочного зачатия Девы Марии». The article is devoted to one of the topical problems - the iconographic, cultural and theological development of dogma of the Immaculate Conception of the West European culture in the XV - XVII centuries. The author of the article studies the question about the origin of a new iconography of the Virgin «Tota Pulchra» and «Tota Pulchra with the symbols of the Litany» of the European culture in the XV - XVII centuries.

Comparative Analysis of Ahmet Hamdi Tanpinar’s Travels to European Countries

2017 ◽  
Vol 5 (1) ◽  
pp. 78
Author(s):  
Aysel KAMAL ◽  
Sinem ATIS
Keyword(s):  
Social History ◽  
Young Lady ◽  
The Other ◽  
European Countries ◽  
Cultural Relations ◽  
The West ◽  
Literary Works ◽  
European Culture ◽  
Turkish Literature ◽  
Art And Architecture

Ahmet Hamdi Tanpinar (1901-1962) is one of the most controversial authors in the 20th century Turkish literature. Literature critics find it difficult to place him in a school of literature and thought. There are many reasons that they have caused Tanpinar to give the impression of ambiguity in his thoughts through his literary works. One of them is that he is always open to (even admires) the "other" thought to a certain age, and he considers synthesis thinking at later ages. Tanpinar states in the letter that he wrote to a young lady from Antalya that he composed the foundations of his first period aesthetics due to the contributions from western (French) writers. The influence of the western writers on him has also inspired his interest in the materialist culture of the West. In 1953 and 1959 he organized two tours to Europe in order to see places where Western thought and culture were produced. He shared his impressions that he gained in European countries in his literary works. In the literary works of Tanpinar, Europe comes out as an aesthetic object. The most dominant facts of this aesthetic are music, painting, etc. In this work, in the writings of Tanpinar about the countries that he travelled in Europe, some factors were detected like European culture, lifestyle, socio-cultural relations, art and architecture, political and social history and so on. And the effects of European countries were compared with Tanpinar’s thought and aesthetics. Keywords: Ahmet Hamdi Tanpinar, Europe, poetry, music, painting, culture, life

The Souls of Muslim Folk

2012 ◽  
Vol 29 (4) ◽  
pp. 63-86
Author(s):  
Abdelwahab El-Affendi
Keyword(s):  
African Americans ◽  
Race Relations ◽  
Cultural Difference ◽  
Traumatic Experience ◽  
Recent History ◽  
Current Debate ◽  
Dark Phase ◽  
The West ◽  
European Culture

The current debate on the vices of multiculturalism and the merits of integration, of problematizing cultural difference, appears to miss important lessons from recent history in the treatment of minorities. In this paper, I start by questioning the celebration of Barack Obama’s election as a “breakthrough” for multicultural inclusiveness. I argue that the “Obama phenomenon” highlights the limits of democratic inclusiveness and sheds light on the traumatic experience of African Americans, who have been victimized precisely for seeking to assimilate. European Jews, especially in Germany, could not be accused of any reluctance to integrate either, and their contributions to European culture are legendary. But they also suffered grievously for their pains. Thus when the same xenophobic political trends traditionally hostile to the integration of minorities begin to vociferously demand that Muslims should integrate, this must be seen as a warning that we may be heading toward a very dark phase of race relations in the West.

The foundations and prerequisites of imagology

2021 ◽  
pp. 65-74
Author(s):  
Valerii P. Trykov ◽  
Keyword(s):  
Social Engineering ◽  
Dominant Strategy ◽  
The Other ◽  
Special Role ◽  
The West ◽  
European Culture ◽  
Post War ◽  
The 1960S ◽  
The One ◽  
Eu Project

The article examines the conceptual foundations and scientific, sociocultural and philosophical prerequisites of imagology, the field of interdisciplinary research in humanitaristics, the subject of which is the image of the “Other” (foreign country, people, culture, etc.). It is shown that the imagology appeared as a response to the crisis of comparatives of the mid-20th century, with a special role in the formation of its methodology played by the German comparatist scientist H. Dyserinck and his Aachen School. The article analyzes the influence on the formation of the imagology of post-structuralist and constructivist ideological-thematic complex (auto-reference of language, discursive history, construction of social reality, etc.), linguistic and cultural turn in the West in the 1960s. Shown is that, extrapolated to national issues, this set of ideas and approaches has led to a transition from the essentialist concept of the nation to the concept of a nation as an “imaginary community” or an intellectual construct. A fundamental difference in approaches to the study of an image of the “Other” in traditional comparativism and imagology, which arises from a different understanding of the nation, has been distinguished. It is concluded that the imagology studies the image of the “Other” primarily in its manipulative, socio-ideological function, i.e., as an important tool for the formation and transformation of national and cultural identity. The article identifies ideological, socio-political factors that prepared the birth of the imagology and ensured its development in western Humanities (fear of possible recurrences of extreme nationalism and fascism in post-war Europe, the EU project, which set the task of forming a pan-European identity). It is concluded that the imagology, on the one hand, has actualized an important field of scientific research — the study of the image of the “Other”, but, on the other hand, in the broader cultural and historical perspective, marked a departure not only from the traditions of comparativism and historical poetics, but also from the humanist tradition of the European culture, becoming part of a manipulative dominant strategy in the West. To the culture of “incorporation” into a “foreign word” in order to understand it, preserve it and to ensure a genuine dialogue of cultures, the imagology has contrasted the social engineering and the technology of active “designing” a new identity.

My Reference Is Prejudiced: David Lamelas's Publication

ARTMargins ◽  
2013 ◽  
Vol 2 (3) ◽  
pp. 31-62
Author(s):  
Daniel R. Quiles
Keyword(s):  
Buenos Aires ◽  
Conceptual Art ◽  
Close Reading ◽  
The West ◽  
Critical Mode ◽  
Written Responses ◽  
Art Form ◽  
West European

This article addresses David Lamelas's 1970 work Publication, arguing that it represents a subtle critique of the internationalization of conceptual art by a recent entrant into the West European milieu. Exhibited at Nigel Greenwood Gallery in London after the artist's 1968 relocation from Argentina, Publication consists of thirteen written responses to three statements about the possible use of “language as an Art Form” that were sent by Lamelas to international figures in conceptual art such Daniel Buren, Gilbert and George, Lucy Lippard, and Lawrence Wiener. A close reading of this and others of Lamelas's experiments works leading up to this moment reveals affinities with earlier artistic experiments in Buenos Aires, the artist's original context, that have anything but membership in a preexisting movement or the adoption of an established genre as their goal. Between the years 1965 and 1968, Lamelas was part of a group of artists associated with the Torcuato di Tella Institute and the writer Oscar Masotta, who advocated an analytical and antagonistic “dematerialization,” in which prevailing tendencies were to be systematically examined, voided from within, and superseded. In Buenos Aires, Lamelas experimented with breaking his works into sections as a way of calling attention to given objects of attention—a practice of “signaling” that is also present in Publication. Invariably, these works were positioned in critical relationship to those of his peers, applying Masotta's model to each new milieu. In what follows, I compare select works of Lamelas with his contemporaries in Buenos Aires and abroad between 1964 and 1970, contending that Publication represents one of the first appearances of a specifically Argentine, and highly critical, mode of conceptualism in the international art field.

Sign in / Sign up

Export Citation Format

Share Document