scholarly journals The Engraving «Burning Bush, View of the Monastery of St. Catherine, Sinai» is a Unique Masterpiece from The Moscow Theological Academy Museum

2021 ◽  
pp. 352-365
Author(s):  
Анна Леонидовна Краснова
Keyword(s):  
Comparative Analysis ◽  
Semantic Analysis ◽  
Electronic Database ◽  
Byzantine Art ◽  
Art Historians ◽  
History Of ◽  
Identical Composition ◽  
Other World ◽  
Technical Features ◽  
Selection Of

Цель данной статьи - максимально раскрыть уникальность и своеобразие ксилографии «Неопалимая Купина, вид монастыря св. Екатерины. Синай» из собрания Музея Московской духовной академии. В результате сравнительного анализа известных нам собраний по базам каталогов греческой гравюры и в работе непосредственно с фондами было выявлено всего несколько поздних оттисков идентичной композиции созданных на Синае, что говорит о редкости этого произведения. На основании гравюроведческого анализа оттиска были высказаны предположения о возможной датировке листа. Автором предпринята попытка всестороннего описания памятника, его истории, изобразительных и технических особенностей изготовления, атрибуции, истории бытования, семантики образа и иконографии сюжета. Во второй части статьи был сделан подробный иконографический анализ ксилографии с подбором круга родственных памятников. Сюжет гравюры-кислографии был подвергнут семантическому анализу с учетом исследований искусствоведов и богословов, изучавших символику образа «Неопалимой купины». Дополнительно проводился поиск цитат по электронной базе данных греческих текстов с целью выявить самые ранние упоминания и толкования святых отцов о чуде Неопалимой Купины. Памятник вписан в ряд родственных образцов, участвовавших в генезисе иконографии сюжета, которая оказалась традиционной для византийского искусства с добавлением оригинальных «местных» включений, таких как вид Синайского монастыря, изображения синайских святых. Удалось подтвердить уникальность единственного в российских собраниях листа, не встречающегося в других мировых коллекциях по древности оттиска. The purpose of this article is to reveal as much as possible the uniqueness and originality of the woodcut «Burning Bush, view of the monastery of St. Catherine. Sinai» from the collection of the Museum of the Moscow Theological Academy. As a result of a comparative analysis of the most famous collections based on catalogs of Greek engravings and on work directly with the funds, were revealed only a few late prints of an identical composition created at Sinai, which indicates the rarity of this work. Based on the engraving analysis of the print, assumptions were made about the possible dating of the engraving.The author tried to comprehensively describe the monument, its history, pictorial and technical features of manufacturing, attribution, history of existence, semantics of the image and iconography of the plot. In the second part of the article was made a detailed iconographic analysis of woodcuts with a selection of a range of related monuments.The plot of the engraving-xylography was subjected to a semantic analysis considering the researches of art historians and theologians who studied the symbolism of the image of the Burning Bush. Additionally, a search was carried out for citations in the electronic database of Greek texts in order to identify the earliest mentions and interpretations of the Holy Fathers about the miracle of the Burning Bush.The masterpiece is inscribed in a number of related samples that participated in the genesis of the iconography of the plot, which turned out to be traditional for Byzantine art with the addition of original «local» inclusions, such as the view of the Sinai monastery, images of Sinai saints. It was possible to confirm the uniqueness of the only sheet in the Russian collections, which is not found in other world collections due to the antiquity of the print.

scholarly journals Semantics and Ideography of Dostoevsky's Handwritten Text: from Handwriting to Meaning

2020 ◽  
Vol 7 (4) ◽  
pp. 222-291
Author(s):  
Nataliya Tarasova ◽  
Tatyana Panyukova
Keyword(s):  
Comparative Analysis ◽  
Scientific Work ◽  
Handwritten Text ◽  
Russian State ◽  
Art Collection ◽  
True Meaning ◽  
History Of ◽  
Storage Units ◽  
Selection Of

The paper analyzes the material from two workbooks (1864–1867) that belonged to Feodor Dostoevsky (Russian State Archive of Literature and Art. Collection 212, inventory 1, storage units 4 and 5). The research was conducted in three main areas: selection of information for the letter style alphabet; comparative analysis of sources (manuscripts and publications of handwritten text) for the purpose of identifying and correcting errors in its reading; a review of calligraphy and graphics of Feodor Dostoevsky. The alphabet of letter styles allows to establish typical and atypical letter styles in the handwriting of Feodor Dostoevsky. This made it possible to compile a classification of letters, describe their features, and use this information in the study of difficult-to-read and previously undecipherable records. The latter may contain valuable information that allows to clarify the facts in the creative history of the works of Feodor Dostoevsky, biographical information, chronology of the creative process, and so on. The second area of research includes the comparative analysis of manuscript sources and their published versions — is of particular value for ascertaining the original author's text and eliminating the inaccuracies of research interpretations that often appear in the process of manuscript publishing. There is a direct connection between these areas of analysis — the letter style alphabet is a tool that allows to read the handwritten text more accurately and correct the mistakes of the publishers. The third direction, dedicated to the study of calligraphy, expands the range of tasks related to the study of graphics in the writer's texts and allows to draw preliminary conclusions about the nature of its function in the handwritten text. The scientific novelty of the work consists in the systematization of data on the writer's handwriting in manuscripts of the specified period, on the features of his creative work, and in correcting the errors made by publishers of handwritten materials and restoring the true meaning of the author's notes. The practical value of the work consists in collecting information about the writer's handwriting, which is relevant for the textual analysis of his works, publication of his texts, and use of the collected information for subsequent scientific work.

scholarly journals Alexander Samokhvalov's picture frames : tradition and innovation

Secreta Artis ◽  
2021 ◽  
pp. 6-26
Author(s):  
Oksana Aleksandrovna Lysenko
Keyword(s):  
Comparative Analysis ◽  
Works Of Art ◽  
Art Historians ◽  
Historical Reliability ◽  
The One ◽  
Original Picture ◽  
Considerable Body ◽  
Selection Of ◽  
Art Critics

In recent years, two contradictory trends related to the study and display of picture frames have emerged in Russian museums. On the one hand, these works have at last caught the attention of scholars leading to publications on the evolution of art framing in Russia. However, the framing of paintings in museums is still not carried out on the basis of conducted research. In the light of a rapidly developing frame market, art historians and art critics have been increasingly replacing historical frames with massproduced ones, while disregarding historical reliability and authenticity of the frames, or the need to follow the author’s conception. Meanwhile, it is known that artists of different eras, as a rule, paid great attention to the selection of picture frames, with some among them, like A. N. Samokhvalov, creating their own. Thus, the purpose of the article is to examine the frames made by Samokhvalov, as well as to draw attention to the question of the author’s original picture framing. Samokhvalov’s frames are characterized by their unique design, which greatly affects the perception of the painting. Despite the fact that there exists a considerable body of art historical studies dedicated to the artist’s work, none of the researchers took notice of the problem of the picture framing. The article is the first to provide a scholarly introduction of designs and drawings of Samokhvalov’s frames, as well as works of art created on their basis. The artist’s frames from the collections of various museums have been attributed according to a comparative analysis. Likewise, traditional and innovative features in the works of Samokhvalov have been revealed as a result of stylistic assessment and comparison of frames produced by the artist with picture frames of the 17th – 20th centuries. The article illuminates the unexplored facet of the artist’s work presenting it in a new light. The research will not only allow to further preserve the unique frames of Samokhvalov in Russian museums, but also exhibit his works in accordance with the author’s intention.

scholarly journals The past in the present: experience of structural-semantic analysis of the image of Lady Destiny in Hegel's "Phenomenology of Spirit"

2021 ◽  
pp. 73-84
Author(s):  
Vyacheslav Ivanovich Korotkikh
Keyword(s):  
Comparative Analysis ◽  
Semantic Analysis ◽  
Conceptual Structure ◽  
Historical Consciousness ◽  
Phenomenology Of Spirit ◽  
The Past ◽  
Present Experience ◽  
History Of ◽  
History Of Culture

This article explores the Hegelian concept of cognition of the history of culture reflected in the “Phenomenology of the Spirit” in the image of Lady Destiny. Therefore, the author offers a new translation version of one of the fragments of Hegel's “Phenomenology of Spirit”, which is of fundamental importance for understanding the message of the work and its structure. Special attention is given to the Hegelian perspective on historical cognition, peculiarities of the language of “Phenomenology of Spirit”, and the role of imagery in describing the “experience of consciousness”. The author substantiates the statement that recognition of the universal correlations and integrity of history serves as the prerequisite for its comprehensibility. The article indicates the dependence of the developed by Hegel concept of nature and purpose of the philosophy on his doctrine of historical consciousness. A detailed analysis is conducted on the image of Lady Destiny and its role within the conceptual structure of the “Phenomenology of the Spirit”. The author describes the role of this image in the Hegelian concept of cognitions of the history of culture, analyzes the place of imagery means in describing the experience of consciousness, adjusts the traditional representations on the nature and peculiarities of the system of Hegel's philosophy. Emphasis is placed on the importance of personal aspect in the Hegelian concept of historical cognition and it correlation with the central for Hegel’s philosophy intuition of history as a complete whole. The research employs a set of historical-philosophical methods, as well as comparative analysis of the historical-cultural phenomena. In translation of the Hegelian text, the author resorts to etymology for clarification of the available Russian translations.

scholarly journals Narrating the Past and the Future: The Position of the religions orientales and the mystères païens in the Evolutionary Histories of Religion of Franz Cumont and Alfred Loisy

2018 ◽  
Vol 20 (1) ◽  
pp. 157-182
Author(s):  
Annelies Lannoy ◽  
Corinne Bonnet
Keyword(s):  
Roman Empire ◽  
Comparative Analysis ◽  
Distinct Type ◽  
Ancient History ◽  
The Past ◽  
Mystery Religions ◽  
Theories Of Religion ◽  
History Of Religions ◽  
History Of ◽  
Selection Of

Abstract:In their grand narratives on the ancient history of religions, the Belgian historian of religions, Franz Cumont (1868 – 1947) and his French colleague and correspondent, Alfred Loisy (1857 – 1940) both assigned a prominent place to the so-called pagan mystery religions. This paper seeks to identify the specific theories of religion and the deeper motivations underpinning Cumont’s and Loisy’s historiographical construction of the mystery cults as a distinct type of religion within their evolutionary accounts of the history of religions. Through a comparative analysis of their rich correspondence (1908 – 1940) and a selection of their publications, we demonstrate how their historical studies of the religious transformations in the Roman Empire, their in-depth dialogues in the troubled times in which they lived, and their philosophical views on the overall history and future of religion, were in fact mutually constitutive.

Apocrypha from the History of the Jewish Military Union and its Authors

2008 ◽  
pp. 147-176
Author(s):  
Dariusz Libionka
Keyword(s):  
Comparative Analysis ◽  
Critical Analysis ◽  
Communist Regime ◽  
Research Approach ◽  
Warsaw Ghetto ◽  
History Of

This article is an attempt at a critical analysis of the history of the Jewish Fighting Union (JFU) and a presentation of their authors based on documents kept in the archives of the Institute of National Remembrance in Warsaw. The author believes that an uncritical approach and such a treatment of these materials, which were generated under the communist regime and used for political purposes resulted in a perverted and lasting picture of the history of this fighting organisation of Zionists-revisionists both in Poland and Israel. The author has focused on a deconsturction of the most important and best known “testimonies regarding the Warsaw Ghetto Uprising”, the development and JFU participation in this struggle, given by Henryk Iwaƒski, WΠadysΠaw Zajdler, Tadeusz Bednarczyk and Janusz Ketling–Szemley.A comparative analysis of these materials, supplemented by important details of their war-time and postwar biographies, leaves no doubt as to the fact that they should not be analysed in terms of their historical credibility and leads one to conclude that a profound revision of research approach to JFU history is necessary.

Conclusion: What is Speculative Empiricism?

2018 ◽  
Author(s):  
Didier Debaise
Keyword(s):  
Social Groups ◽  
Speculative Philosophy ◽  
System P ◽  
History Of ◽  
Selection Of

Process and Reality ends with a warning: ‘[t]he chief danger to philosophy is narrowness in the selection of evidence’ (PR, 337). Although this danger of narrowness might emerge from the ‘idiosyncrasies and timidities of particular authors, of particular social groups, of particular schools of thought, of particular epochs in the history of civilization’ (PR, 337), we should not be mistaken: it occurs within philosophy, in its activity, its method. And the fact that this issue arises at the end of Process and Reality reveals the ambition that has accompanied its composition: Whitehead has resisted this danger through the form and ambition of his speculative construction. The temptation of a narrowness in selection attempts to expel speculative philosophy at the same time as it haunts each part of its system.

Imaging Protestant Piety: The Icons of Warner Sallman

1993 ◽  
Vol 3 (1) ◽  
pp. 29-47 ◽  
Author(s):  
David Morgan
Keyword(s):  
Original Intent ◽  
Biographical Research ◽  
Authorial Intent ◽  
Art Historians ◽  
History Of ◽  
Humanist Tradition

Traditionally, art historians have relied on iconography, biography, and connoisseurship as the fundamental means of studying images. These approaches and methods stress the singularity of an image, its authenticity, and its authorship; therefore, they reflect an enduring debt to the humanist tradition of individualism. The image is understood principally as the product of the unique and privileged inspiration of an individual artist and is regarded as a measure of this individual's genius. Iconographical and biographical research secure authorial intent; connoisseurship authenticates the work. While this scholarly apparatus certainly offers the art historian indispensable tools, it is important to understand that its commitment to original intent is singularly ill-equipped to assess the reception of images, the ongoing history of response that keeps images alive within a culture from generation to generation.

Displace of Documentary Heritage from the Soviet Union to Poland during the Third Decade of the XXth Century

2014 ◽  
Vol 3 ◽  
pp. 127-137
Author(s):  
Tatsiana Hiarnovich
Keyword(s):  
Soviet Union ◽  
International Agreements ◽  
Peace Treaty ◽  
Actual Process ◽  
Xxth Century ◽  
The Third ◽  
The Soviet Union ◽  
History Of ◽  
Selection Of

The paper explores the displace of Polish archives from the Soviet Union that was performed in 1920s according to the Riga Peace Treaty of 1921 and other international agreements. The aim of the research is to reconstruct the process of displace, based on the archival sources and literature. The object of the research is those documents that were preserved in the archives of Belarus and together with archives from other republics were displaced to Poland. The exploration leads to clarification of the selection of document fonds to be displaced, the actual process of movement and the explanation of the role that the archivists of Belarus performed in the history of cultural relationships between Poland and the Soviet Union. The articles of the Treaty of Riga had been formulated without taking into account the indivisibility of archive fonds that is one of the most important principles of restitution, which caused the failure of the treaty by the Soviet part.

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