scholarly journals Eucharistic Themes in Ukrainian Art of the XVII-XVIII centuries: A Review of the Monuments

2019 ◽  
pp. 124-141
Author(s):  
Татьяна Владимировна Денисюк
Keyword(s):  
Comparative Analysis ◽  
Jesus Christ ◽  
Fine Arts ◽  
Art Museum ◽  
National Museum ◽  
Grape Vine ◽  
First Time ◽  
Atoning Sacrifice

Статья посвящена изучению евхаристической тематики в украинском искусстве XVII-XVIII вв. Впервые сделан обзор памятников украинского изобразительного искусства на тему символико-аллегорического изображения темы Евхаристии. В статье приведены примеры икон и картин из собрания Национального музея в Львове, Музея волынской иконы (г. Луцк, Украина), Национального художественного музея Украины (г. Киев), Национального Киево-Печерского историко-культурного заповедника. Анализ композиций позволил выделить и систематизировать символические сюжеты евхаристического содержания. В статье подробно рассматриваются иконы: «Христос Виноградная Лоза», «Христос в точиле», «Христос в чаше», «Недреманное око»; картины: «Пеликан», «Соглядатаи земли Ханаанской», а также другие памятники изобразительного искусства, которые раскрывают христианский догмат Евхаристии, искупительную жертву Христа. Эти сюжеты были широко распространены в иконописи, скульптуре, лицевом шитье, гравюре, резьбе, керамике. Также описаны редкие случаи использования символических сюжетов «Недреманное око» и «Христос Виноградная Лоза» в стенописи. В статье отмечены иконографические особенности каждого сюжета, подробно описаны и проанализированы изображения, проведён сравнительный анализ разных икон с изображением одинакового сюжета, изучен контекст и значение некоторых композиций. The article is devoted to the study of the Eucharistic theme in the Ukrainian art of the XVII-XVIII centuries. For the first time made the review of the monuments of Ukrainian art on the theme of symbolic and allegorical image of the Eucharist theme. The article presents examples of icons and paintings from the collection of the National Museum in Lviv, the Museum of Volyn Icon (Lutsk, Ukraine), the National Art Museum of Ukraine (Kiev), the National Kiev-Pechersk Historical and Cultural Reserve. The analysis of the compositions made it possible to identify and systematize the subjects of the Eucharistic content. The article describes in detail the: “Jesus Christ the Grape-Vine”, “Christ in the winepress”, “Christ in the bowl”, “Undreaming Eye”; pictures: “Pelican”, “The Spies of the land of Canaan” and other monuments of the fine arts, that reveal the Christian dogma of the Eucharist, the atoning sacrifice of Christ.These subjects were widely distributed in icon painting, sculpture, sewing, engraving, carving, and ceramics. The rare instances of the use of the symbolic plots “Undreaming Eye” and “Jesus Christ the Grape-Vine” in murals are described. The iconographic features of each subject are also noted in the article, images are described and analyzed in detail, a comparative analysis of different icons with the image of the same subject was carried out, the context and meaning of some compositions were studied.

Anton Grigoryevich Rubinstein and his Russian Publishers

2021 ◽  
Vol 18 (3) ◽  
pp. 284-298
Author(s):  
Elena M. Shabshaevich
Keyword(s):  
Comparative Analysis ◽  
Creative Process ◽  
Historical Research ◽  
National Museum ◽  
Archival Documents ◽  
History Of ◽  
Publishing Houses ◽  
The 19Th Century ◽  
First Time ◽  
Extensive List

The article presents a focused look at the professional relations of the composer and pianist Anton Grigoryevich Rubinstein (1829—1894) with his main Russian publishers — V.V. Bessel and P.I. Jurgenson. The article is based on musical and historical research concerning the history of the Bessel and Jurgenson publishing houses, works on copyright, A.G. Rubinstein’s epistolary, and archival documents from the Russian National Museum of Music. For the first time in music science, there are revealed some pages of the history of personal and business contacts of the three named persons, primarily the conflicts related to the rights to publish the composer’s works in Russia. The first documented contract for the publications of A.G. Rubinstein was received by P.I. Jurgenson (for op. 82, 1868). However, the contract of A.G. Rubinstein with the trading house “Bessel and Co.”, concluded in 1871 (though Rubinstein’s first work had been published by Bessel two years earlier), was much more extensive and significant. Under this contract, it was supposed to publish more than fifty A.G. Rubinstein’s works of various genres, so in the 1870s, V.V. Bessel became the main Russian publisher of the composer. However, in 1879, A.G. Rubinstein unexpectedly changed his main publisher in Russia. This position was taken by P.I. Jurgenson, whose trading house also published an extensive list of Rubinstein’s compositions, as well as his literary works. This is evidenced by several notarized contracts, stored in the Russian National Museum of Music, between Rubinstein and “P.I. Jurgenson” company. Thus, the two leading Russian publishers of A.G. Rubinstein legally formalized their relations with the composer, which allows us to follow, in a reasoned and substantive way, the process of maturation of the institution of copyright for music publications in Russia in the last third of the 19th century.Using the example of A.G. Rubinstein, in comparison with the position of M.A. Balakirev, the article also raises the issue of granting copyright to a publisher not only in Russia, but also “forever and for all countries”. The comparative analysis of publications of the same composer by different publishing companies is also new to Russian musicology, this helps identify certain accents that publishers put in popularizing A.G. Rubinstein’s works. The publication of the composer’s works by various publishers also highlights new aspects in his creative process, in the history of the creation, receipt of the opus number, and the titles of some of his works.

A.V. KHUDYASHEV (1885–1927): BIOGRAPHICAL FEATURES AND ANALYSIS OF THE ARTIST’S CREATIVE HERITAGE

2021 ◽  
pp. 253-261
Author(s):  
Elena I. Darius ◽  
◽  
Mikhail Yu. Shishin ◽  
Keyword(s):  
Fine Arts ◽  
Art Museum ◽  
The State ◽  
Early Years ◽  
State Archive ◽  
Design Activities ◽  
History Of ◽  
Organizational Work ◽  
Museum Of Fine Arts ◽  
First Time

Alexander Khudyashev is a sculptor, painter, teacher, organizer who played a prominent role in the artistic life of two Siberian cities - Tomsk and Barnaul in the 10–20s of the twentieth century. This article, based on the documents found, represents for the first time the main stages of his life and work, active participation in the All-Siberian Association of Artists «New Siberia». Until recently, very little was known about the life and work of this artist. The authors of the article, relying on archival materials, restored the biography of A. Khudyashev, in particular, more fully covered the Barnaul period of his life. On the basis of the documents found in the State Archive of the Altai Krai, the facts of the early years of the master's biography, the period of study at the Kazan Art School, and studies at private art studios in Moscow became known. The article describes his organizational work in Tomsk: on the board of the Tomsk Society of Art Lovers, participating in annual periodic art exhibitions, organizing a number of exhibitions («Exhibition of paintings and sculptures by local artists» and «Autumn exhibition of local and non-resident authors»). In Novonikolaevsk (now Novosibirsk), together with the assistant of the Leipzig Royal Academy of Arts, Czech artist F. Havelka, he participated in the preparation of the first in the history of the city art exhibition of Tomsk and Novikolaevsk professional artists and students of the Tomsk Real School and private studio F. Havelka. The pedagogical activity of the master is noted: in parallel with the creative and organizational work, Khudyashev taught sculpture in F. Havelka’s private drawing classes, drawing in the theological schooland first city women’s school, as well as in the Mariinsky female gymnasium. In 1918, the artist returned to Barnaul, where, according to A. Khudyashev's questionnaire recently discovered in the State Archive of the Altai Territory, he continued his teaching activities at the Barnaul Pedagogical Technical School and at the Workers' Faculty, and also worked in the Altai provincial department of public education. In addition, the artist was engaged in design activities. Becoming a member of the AllSiberian Society of Artists «New Siberia», he took part in the First All-Siberian exhibition of painting, sculpture, graphics and architecture, opened by members of the "New Siberia" in 1927 in Novosibirsk. The history of the Museum of Fine Arts in Barnaul, the first art museum in Altai, is connected with the name of A. Khudyashev. In difficult historical times, the change of the social and political system, the civil war, the introduction of the New Economic Policy A.V. Khudyashev sought to save a unique collection of the first art museum in Altai, understanding the importance and necessity of his work for future generations. The article introduces for the first time into the scientific parlance and analyzes three of his remaining paintings, now stored in the State Art Museum of the Altai Krai, tells about the composition and fate of the collection of the Museum of Fine Arts in Barnaul.

scholarly journals Paintings by Yuri Pimenov in the collection of the State Art Museum of Altai Krai

2020 ◽  
pp. 179-186
Author(s):  
T.N. Kanaryova
Keyword(s):  
Comparative Analysis ◽  
Ussr Academy ◽  
Art Museum ◽  
The State ◽  
Apple Trees ◽  
Railway Station ◽  
Great Patriotic War ◽  
Post War ◽  
Color Scheme ◽  
First Time

The article presents the results of research on a number of previously undescribed works by Yuri Pimenov, an academician of the USSR Academy of arts and people's artist of the USSR. The author for the first time carried out a comparative analysis of three paintings from the collection of the State Art Museum of Altai Krai – “Railway station”, “Apple Trees in the rain” and “Decorating the column”. Here coloristics, composition and plot of paintings are studied. The author analyzes the motif of the way and road, the characters of each painting, and describes the color scheme of the paintings. Similar features and motives have been identified in paintings belonging to the pre-war, post-war periods and the time of Great Patriotic war. The described paintings deepen the idea of Yuri Pimenov as an artist of the war years. Статья посвящена исследованию ряда ранее не описанных работ академика Академии художеств СССР, народного художника СССР Юрия Ивановича Пименова. Впервые проведен сравнительный анализ трех картин, находящихся в коллекции Государственного художественного музея Алтайского края: «Железнодорожная станция», «Яблони в дождь» и «Украшение колонны». Автор исследует колористику, композицию и сюжет живописных произведений. Проанализирован мотив пути-дороги, разобраны герои каждого полотна, описано цветовое решение картин. Выявлены схожие черты и мотивы в произведениях, принадлежащих к довоенному, военному и послевоенному периодам. Описанные картины углубляют представление о Юрии Пименове как художнике военных лет.

scholarly journals Origin, Types, and Functioning of Chandeliers with Serpent Arms: From the Netherlands to Lithuania

2019 ◽  
Vol 15 (1) ◽  
pp. 5-20
Author(s):  
Alantė Valtaitė-Gagač
Keyword(s):  
The Netherlands ◽  
Western Europe ◽  
Art Museum ◽  
National Museum ◽  
The Subject ◽  
Western European ◽  
Reconstructive Analysis ◽  
First Time

Summary Chandeliers with serpent arms held at the National Museum of Lithuania and the Lithuanian Art Museum are among the earliest found in Lithuania. Previous efforts to find chandeliers of similar décor in Latvia or Poland while collecting material on lighting fixtures in Lithuania and the neighbouring countries were unsuccessful. Due to that reason, it was thought that the spread of these chandeliers of extraordinary décor was limited to the territory of Lithuania. A closer and more thorough look into collections of Western European museums has revealed that the motif of an elegantly coiled snake on chandelier arms should be related to Hans Rogiers, a founder who worked in Amsterdam in 1598–1638. In the article, the origin of chandeliers with serpent arms in Western Europe and the ways they could have possibly reached Lithuania are traced back for the first time. Specimens that survived or did not survive in Lithuania, their development and problems of dating are analysed. Their functioning space is explored and the subject of their symbolism is addressed. The article aims to present and evaluate the surviving chandeliers with serpent arms in Lithuania. In the research, instruments of formal, comparative, iconographic, and reconstructive analysis were used.

scholarly journals The creative work of Grigory Gurkin and Vasily Sheshunov as students of Ivan Shishkin

2020 ◽  
pp. 91-104
Author(s):  
O.N. Filippova
Keyword(s):  
Comparative Analysis ◽  
Significant Influence ◽  
Far East ◽  
Art Museum ◽  
Creative Work ◽  
Art Gallery ◽  
Imperial Academy ◽  
First Time ◽  
Professional Artist ◽  
Artistic Manner

The article contains a comparative analysis of the work of two artist-students of I.I. Shishkin: Grigory Gurkin (Altai) and Vasily Sheshunov (Far East). Both painters went through the school of the great Russian landscape painter at the Imperial Academy of Arts in St. Petersburg. Grigory Gurkin became one of the most significant masters of Russian realistic landscape in the first third of the 20th century, the first professional artist of Altai. Vasily Sheshunov had an equally significant influence on the formation of the artistic life of Ussuriisk and the entire Primorye. In the context of the continuity of Ivan Shishkin's art school, the genre-thematic originality, artistic manner, and creative method of these two masters are compared for the first time. The material for the study was the paintings of artists from the collections of the Sukachev Irkutsk Regional Art Museum, the Primorye State Art Gallery, the State Art Museum of the Altai Krai, the Tomsk Regional Art Museum. Статья посвящена сравнительному анализу творчества двух художников-учеников И.И. Шишкина: алтайского — Г.И. Гуркина и дальневосточного — В.Г. Шешунова. Оба живописца прошли школу великого русского художника-пейзажиста в Императорской Академии художеств в Санкт-Петербурге. Григорий Иванович Гуркин стал одним из самых значительных мастеров русского реалистического пейзажа первой трети XX века, первым профессиональным художником Алтая. Василий Григорьевич Шешунов оказал столь же существенное влияние на становление художественной жизни Уссурийска и всего Приморья. В контексте преемственности художественной школы И.И. Шишкина жанрово-тематическое своеобразие, художественная манера, творческий метод этих двух мастеров сравниваются впервые. Материалом для исследования послужили живописные полотна художников из собраний Иркутского областного художественного музея им. В.П. Сукачева, Приморской государственной картинной галереи, Государственного художественного музея Алтайского края, Томского областного художественного музея.

THE TIMURID PERIOD FROM THE HISTORY OF THE FINE ARTS

2019 ◽  
Vol 19 (2) ◽  
pp. 28-33
Author(s):  
Ulug'bek Kuryazov ◽  
Keyword(s):  
Comparative Analysis ◽  
Fine Arts ◽  
The World ◽  
History Of

The article examines the works of scholars in the study of the history of fine arts, in particular miniatures of the Amir Temur era and temurids. Special attention is paid to the history of the creativity of Mirak Nakkosh and the outstanding miniaturist Kamoliddin Behzod. A comparative analysis of several miniature works is given. As well as analyzed some miniatures stored in the collections of museums and libraries of the world

Rekonstruktion des Ursprungs und Neudatierung zweier magischer Gemmen mit Hilfe einer Zauberzeichensequenz

2020 ◽  
Vol 147 (2) ◽  
pp. 153-163
Author(s):  
Kirsten Dzwiza
Keyword(s):  
Comparative Study ◽  
Fine Arts ◽  
17Th Century ◽  
The State ◽  
Roman Period ◽  
16Th Century ◽  
New Findings ◽  
State Museum ◽  
Museum Of Fine Arts ◽  
First Time

SummaryThere are only a few sequences of ancient magic signs known to us today that have been preserved on multiple artefacts. A previously unnoticed sequence of 17 signs on a gem in the Museum of Fine Arts in Vienna occurs with minor but significant variations on two other gems in the State Museum of Egyptian Art in Munich. The Viennese gem is dated to the 16th century and is documented as a drawing in a 17th century publication. The first Munich gem has been assigned to the Graeco-Roman period. The second gem, which, according to the inventory card of the museum, also belongs to the Graeco-Roman period, is published here for the first time. A comparative study of the three gems and the drawing has lead to a number of new findings, including the re-dating of the Munich gems.

Intuitionistic fuzzy two-factor variance analysis of movie ticket sales

2021 ◽  
pp. 1-11
Author(s):  
Velichka Traneva ◽  
Stoyan Tranev
Keyword(s):  
Comparative Analysis ◽  
Real Data ◽  
Intuitionistic Fuzzy Sets ◽  
Real Numbers ◽  
Data Set ◽  
Important Method ◽  
Ticket Sales ◽  
Intuitionistic Fuzzy ◽  
The One ◽  
First Time

Analysis of variance (ANOVA) is an important method in data analysis, which was developed by Fisher. There are situations when there is impreciseness in data In order to analyze such data, the aim of this paper is to introduce for the first time an intuitionistic fuzzy two-factor ANOVA (2-D IFANOVA) without replication as an extension of the classical ANOVA and the one-way IFANOVA for a case where the data are intuitionistic fuzzy rather than real numbers. The proposed approach employs the apparatus of intuitionistic fuzzy sets (IFSs) and index matrices (IMs). The paper also analyzes a unique set of data on daily ticket sales for a year in a multiplex of Cinema City Bulgaria, part of Cineworld PLC Group, applying the two-factor ANOVA and the proposed 2-D IFANOVA to study the influence of “ season ” and “ ticket price ” factors. A comparative analysis of the results, obtained after the application of ANOVA and 2-D IFANOVA over the real data set, is also presented.

Comparative analysis of the effect of epibrassinolide and 6-benzylaminopurine on the key components of the glutathione complex in the roots of wheat seedling under salinity.

Biomics ◽  
2021 ◽  
Vol 13 (1) ◽  
pp. 20-26
Author(s):  
D.R. Maslennikova ◽  
F.M. Shakirova
Keyword(s):  
Comparative Analysis ◽  
Wheat Seedling ◽  
Glutathione System ◽  
Glutathione S Transferase ◽  
Wheat Seedlings ◽  
Comparable Level ◽  
Endogenous Cytokinins ◽  
Main Components ◽  
First Time

The study carried out a comparative analysis of the effect of 24 epibrassinolide (EB) and 6-benzylaminopurine (BAP) on the growth and state of the main components of the glutathione system in the roots of wheat seedlings under the action of 2% NaCl, which for the first time revealed the ability of these phytohormones to similarly stabilize stress-induced decrease GSH / GSSG ratio, positively regulate the activity of glutathione reductase and glutathione-S-transferase. A comparable level of protective effect of BAP and EB on root length was revealed. The data obtained indicate that endogenous cytokinins may play the role of hormonal intermediates in the implementation of the protective.

Sign in / Sign up

Export Citation Format

Share Document