scholarly journals WORK OF NIKOLAI TSIVCHINSKII: CONTRIBUTION OF THE BOYCHUK SCHOOL TO THE ART OF KAZAKH TAPESTRY

2021 ◽  
pp. 103-118
Author(s):  
Sergali Suraganov ◽  
Zubaida Suraganova
Keyword(s):  
Arts And Crafts ◽  
Methodological Innovation ◽  
Avant Garde ◽  
New Information ◽  
Biographical Approach ◽  
Significant Phenomenon ◽  
History Of ◽  
The Republic ◽  
Life Path ◽  
Art School

The purpose of the research is to introduce the creative achievements of N. Tsivchinskii into scientific use in the context of the formation of the art school of the Ukrainian avant-garde of Mykhailo Boychuk. The study’s objectives are to determine the origins of the formation of the muralist and arts and crafts master N. Tsivchinskii’s work, his contribution to the shape of the history of the Kazakh professional tapestry. His work reflects the penetration and deep insight into the significance of traditional cultural identity, the Boychuk school’s monumentalism inherent. One of the few surviving Boychukists who were scattered to the four corners of the earth by fate, N. Tsivchinskii developed the versatile skills, artistic language, and tradition of the Boychuk school also became one of the brightest figures in the Kazakh decorative and applied arts. The life path and work of N. Tsivchinskii reflect the most critical and tragic chapters of the country development thoroughly, which is no longer on the map. The research methods used are biographical, source-based, and historical. The methodological innovation of the research is the use of the biographical approach along with the historical one in the framework of the “new comparative history” as an effective tool for studying the artistic heritage of Kazakhstan and Ukraine in the Soviet era. The scientific novelty of the study is determined by the introduction of new information about the artist, whose work was only mentioned in the context of the Boychuk school scholars’ activities, a significant part of whose followers were destroyed during the years of the Red Terror. Conclusions. The work of N. Tsivchinskii is considered in the context of the activity of the art school of M. Boychuk, where he became an arts and crafts master. In the 1930s, in Kazakhstan, N. Tsivchinskii continued the traditions of the Boychukists, became the founder of the first carpet cooperative craft society, which became a truly significant phenomenon in the history of the formation of professional decorative and applied art in the republic.

scholarly journals FROM THE HISTORY OF THE UNION OF ARTISTS OF KAZAKHSTAN

2020 ◽  
Vol 64 (1) ◽  
Author(s):  
N. Ashimjan ◽  
Keyword(s):  
Public Organization ◽  
Professional Skills ◽  
Political Sciences ◽  
Socialist Realist ◽  
History Of ◽  
The Creation ◽  
The Republic ◽  
Executive Body ◽  
National Style ◽  
Art School

The Union of Soviet Artists of Kazakhstan was created in 1933. He is one of the first allies in the republic as a public organization uniting the Union of Artists of Kazakhstan, artists and artists. The Union promotes the creation of works of high artistic level of its members and the constant development of professional skills. The management body and Executive body of the Board held 12 congresses. The artists justified the national style and style, embodying the spirit of the time. The theme of the socialist realist system is shown in his works. The art school continued its work with many difficulties in 1937 and 1938, gradually becoming the basis of the first special art school.The article will describe the first stage of the creation of the Union of Artists of Kazakhstan. Downloads pdf (Русский) How to Cite Ашимжан , Н. 2021. FROM THE HISTORY OF THE UNION OF ARTISTS OF KAZAKHSTAN. BULLETIN Series «Historical and socio-political sciences». 1, 64 (May 2021). More Citation Formats Issue Vol. 1 No. 64 (2020): Series «Historical and socio-political sciences» Section RESEARCH OF YOUNG SCIENTISTS Language

Het portret van Jacobus Hendriksz. Zaffius door Frans Hals

1993 ◽  
Vol 107 (1) ◽  
pp. 84-96
Author(s):  
Pieter J.J. Van Thiel
Keyword(s):  
Catholic Church ◽  
Financial Capital ◽  
The Past ◽  
New Information ◽  
History Of ◽  
Genealogical Data ◽  
Family Connections ◽  
The Republic ◽  
Made In

AbstractThe bust of Jacobus Zaffius (figs. 1 and 2) in Haarlem's Frans Hals Museum was discovered in 1919. Since that time it has been regarded as a fragment of a large portrait of Zaffius painted by Hals in 1611 and believed to be lost. Jan van de Velde made a print of the missing portrait in 1630 (fig. 3). Recently it emerged that the panel on which the bust is painted is bevelled all round, and that the ground and paint continue over the edges. This means that it cannot be a fragment. The theory that Hals himself painted the copy is untenable. The weak design and indifferent pictorial quality suggest that the painting is a contemporary anonymous copy. An attempt to identify the companion portraits of a man and a woman in Birmingham and Chatsworth (figs. 4 and 5), variously dated as 1610/11 and 1617/18, with a view to establishing their true dates, has failed. It was hoped that if discovered to have been painted in or around 1611, they might have served as material for a stylistic comparison. The investigation yielded only a few supplementary heraldic (fig. 6) and genealogical data. Research in the Haarlem municipal archives uncovered new information pertaining to Zaffius' financial capital and family connections. As archdeacon of the diocese of Haarlem and provost of the Haarlem chapter, Jacobus Hendriksz. Zaffius (Amsterdam 1534-1618 Haarlem) experienced the turbulent history of the Dutch Catholic church during the birth of the Republic. Towards the end of his life he added a few houses to a recently founded bofje of almshouses (fig. 9). Van de Velde's print was made in 1630, when Catholicism had established itself in the Dutch archdiocese and embarked on the documentation of its own history in the form of, among others, portraits of prominent figures of the past.

scholarly journals NAIB OF IMAMAT AND ADVISOR OF SHAMIL HAJI YUSUF: BIOGRAPHY IN THE CONTEXT OF CRITICISM OF AUTOBIOGRAPHY

2021 ◽  
Vol 17 (2) ◽  
pp. 330-351
Author(s):  
Makhach A. Musaev
Keyword(s):  
Ottoman Empire ◽  
The Black Sea ◽  
Scientific Biography ◽  
New Information ◽  
Black Sea Coast ◽  
History Of ◽  
Level Of Knowledge ◽  
Life Path ◽  
The Village ◽  
Home Teacher

A Turkish citizen of Chechen origin, Haji Yusuf played a significant role in the formation of the administrative and military institutions of the Imamat, the construction of fortifications, in communications with officials of the Ottoman Empire; he is considered one of the important figures of the Shamil era, "the behind-the-scenes mind of the imam."Several studies of different times have been devoted to the fate of Haji Yusuf, but quite a lot of time has passed since their publication, new information has been revealed that make it possible to clarify the details of his life path and describe in more detail the biography of this remarkable personality. His scientific biography helps to raise the level of knowledge of the life of a particular person, to recreate the history of a person in connection with historical realities and social reality, to characterize time against the background of a person.For this, his autobiographical information was used, as well as an array of identified sources and materials, the analysis of which was made in comparison. The results obtained demonstrate the stages of the life of Haji Yusuf in chronological order: birth in the village. Aldy; the family moved to the Ottoman Empire, received an education there and then served in the army of the Egyptian Pasha (until 1834); return to the Caucasus, work as a home teacher for the Kabardian prince (1834 - 1839); desire to return to Turkey and departure to the Black Sea coast of Circassia (1839 - 1841); establishing contacts and moving to Imam Shamil (1841); activity in the service of the Imamat - naib, adviser, engineer (until 1854); exile for attempting to discredit the imam (1854 - 1856); flight to the Russians (1856). In addition, the study publishes the legacy of Haji Yusuf - maps and diagrams drawn by him to inform the officials of the Ottoman Empire about the Imamate.

scholarly journals Contemporary Artistic Enamel: Stylistic and Innovative Development Trends

2020 ◽  
Vol 10 (4) ◽  
pp. 586-608
Author(s):  
Irina Yu. Perfilyeva ◽  
Keyword(s):  
Three Dimensional ◽  
Arts And Crafts ◽  
Russian Art ◽  
Avant Garde ◽  
Decorative Art ◽  
Three Dimensional Objects ◽  
Plastic Arts ◽  
Art Objects ◽  
History Of ◽  
The Creation

Artistic enamel from the 1920s to the 2010s, has experienced a difficult path of development. In the early twentieth century, it represented a variety of techniques in regard to the artistic processing of metals. Today, it is an independent type of plastic arts, which synthesized both technical and technological innovations, as well as stylistic features of contemporary art and current artistic practices. In the history of artistic enamel several stages are clearly visible. The beginning of the process lies in the penetration of the principles of easel art into decorative art, which occurred in the first post-revolutionary decade due to the participation of leading masters of the Russian avant-garde in the creation of enamel works. During the second stage, the artists of the next generation attempted to combine the principles of easel painting with the national traditions that prevailed in the centers of folk arts and crafts. The third stage was inspired by the entry into the process of monumentalists and the active participation of Russian artists in international creative enamel symposia. In the fourth stage, the role of a structuring factor in the development of domestic enamel art was played by individual creative workshops that opened in different regions of Russia. Easel enamel of the 2010s is characterized by the multidimensionality of the artistic space, the creation of enamel works at the junction of different types of characteristics: both traditional and contemporary. These are classic “paintings”, panels and easel three-dimensional objects in which enamel is combined with other materials, but also monumental and decorative art objects and digital painting in enamel. Contemporary Russian art enamel represents an independent type of plastic arts, in which, in addition to traditional ones, there are numerous innovative author’s technical and technological techniques as well as methods of work.

scholarly journals Psychoneurology in the province: works and days of Mikhail Dobrokhotov at the edge of the centuries

2018 ◽  
Vol 8 (2) ◽  
pp. 17-24
Author(s):  
S. B. Manyshev ◽  
K. B. Manysheva
Keyword(s):  
Civil War ◽  
Central State ◽  
Department Of Health ◽  
Number Of Patients ◽  
University Professor ◽  
History Of ◽  
The Republic ◽  
State Archives ◽  
Life Path ◽  
The University

The article is devoted to the unexplored period of life of the famous Russian neurologist and psychiatrist of the first half of the 20th century Mikhail Sergeyevich Dobrokhotov (1878–1952). Based on the first time archived materials brought into scientific circulation from the funds of the State Archives of the Rostov Region, the Central State Archives of the Republic of Dagestan, the archive of the Dagestan State Medical University, the milestones of the life path of the privat-docent M.S. Dobrokhotov in the city of Rostov-on-Don, where he lived and worked during the Civil War. The authors consider the multifaceted activity of M.S. Dobrokhotov in the Don University. For the period of the Civil War, the most difficult years occur in the history of the medical faculty, at the department of psychoneurology of which the university professor M.S. Dobrokhotov. The authors focus on the functioning of the health care system of the Don region in the period under review. A separate place is given to the history of the department and the clinic of psycho-neurology of the University, since after the First World War the number of patients with psycho-neurological disorders increased sharply. In addition, on the basis of archival materials, the history of the Don Traumatology Institute is being reconstructed, the director of which was M.S. Dobrokhotov. It was in this institution that the combatants were provided with specialized medical care: the treatment of fractures, contractures, paralysis, neuroses, and lesions of the central and peripheral nervous system. The article reveals the history of the creation of the Rostov Society of Doctors-Psycho-Neurologists, whose members were famous Russian scientists A.I. Yushchenko, S.N. Davidenkov, K.S. Agadzhanyants, V.V. Brailovsky, N.M. Itsenko, N.M. Krol’ and others. A certain place is also given to M.S. Dobrokhotov in the post of head of the psychiatric section of the Don Regional Department of Health.

scholarly journals Folk Costume traditions in the modern culture of the Volga-Ural Tatars

2021 ◽  
Vol 6 (1) ◽  
pp. 96-105
Author(s):  
Svetlana V. Suslova ◽  
Keyword(s):  
Cultural History ◽  
Arts And Crafts ◽  
Graphic Arts ◽  
Modern Culture ◽  
Avant Garde ◽  
Festive Culture ◽  
History Of ◽  
Cultural Code ◽  
The Individual ◽  
Academy Of Sciences

The article is based on the materials of the Historical and Ethnografic Atlas of the Tatar People (volume “Folk Costume”) prepared at the Institute of History of the Tatarstan Academy of Sciences. In the pre-national period of the Tatar’s history there were many various local, ethno-confessional and other complexes of costume. Its formation was closely linked to the characteristic properties of the complex ethno-cultural history of the local groups of Tatars (the Kazan Tatars, the Mishar Tatars, and the Christian Tatars or Kryashens), as well as their religion (Islam, Christianity, Heathenism). In the late 19th – early 20th centuries, during the development of economic and cultural communications between Tatars of Russia’s separate regions, the common national Tatar costume was formed. City traditions of the Kazan Tatars have lie at the core of its formation. These traditions were distinguished by the style of a costume tendency to change – from archaic monumental national forms to more refined, corresponding to directions of the all-European fashion of that time. The “secondary folklore forms” characterize the present stage of transformation of the Tatar national costume as a whole – the aspiration of professionals to use national traditions in professional culture (graphic, arts and crafts arts, theatre, scenic folklore, modern modeling, museum expositions as a symbol of reconstruction of ethnic identity). Several trends present folk costume traditions in the modern festive culture of the Volga-Ural Tatars: the ethnographic (authentic) Tatar costume; the folkloristic (neo-folklore) variation of traditional costume; the so-called symbolical national sign the avant-garde costume. As the element of the ethnic culture, the national costume is the most important related to the individual. It represents a symbolical sign-category, an original social-cultural code and transmits the ethnic information from the past to the future.

Misreading Egypt

2018 ◽  
Author(s):  
Jesse Schotter
Keyword(s):  
New Media ◽  
Narrative Form ◽  
Experimental Film ◽  
Tower Of Babel ◽  
Avant Garde ◽  
Sergei Eisenstein ◽  
History Of ◽  
The One ◽  
The Relationship ◽  
Modern Technologies

The first chapter of Hieroglyphic Modernisms exposes the complex history of Western misconceptions of Egyptian writing from antiquity to the present. Hieroglyphs bridge the gap between modern technologies and the ancient past, looking forward to the rise of new media and backward to the dispersal of languages in the mythical moment of the Tower of Babel. The contradictory ways in which hieroglyphs were interpreted in the West come to shape the differing ways that modernist writers and filmmakers understood the relationship between writing, film, and other new media. On the one hand, poets like Ezra Pound and film theorists like Vachel Lindsay and Sergei Eisenstein use the visual languages of China and of Egypt as a more primal or direct alternative to written words. But Freud, Proust, and the later Eisenstein conversely emphasize the phonetic qualities of Egyptian writing, its similarity to alphabetical scripts. The chapter concludes by arguing that even avant-garde invocations of hieroglyphics depend on narrative form through an examination of Hollis Frampton’s experimental film Zorns Lemma.

Sea Urchins and Circuses: The Modernist Natural Histories of Jean Painlevé and Alexander Calder

2018 ◽  
Vol 13 (2) ◽  
pp. 187-211
Author(s):  
Patricia E. Chu
Keyword(s):  
New Media ◽  
Sea Urchins ◽  
Life Sciences ◽  
Three Dimensional ◽  
Machine Age ◽  
Avant Garde ◽  
History Of ◽  
And Performance ◽  
The One ◽  
Natural Historian

The Paris avant-garde milieu from which both Cirque Calder/Calder's Circus and Painlevé’s early films emerged was a cultural intersection of art and the twentieth-century life sciences. In turning to the style of current scientific journals, the Paris surrealists can be understood as engaging the (life) sciences not simply as a provider of normative categories of materiality to be dismissed, but as a companion in apprehending the “reality” of a world beneath the surface just as real as the one visible to the naked eye. I will focus in this essay on two modernist practices in new media in the context of the history of the life sciences: Jean Painlevé’s (1902–1989) science films and Alexander Calder's (1898–1976) work in three-dimensional moving art and performance—the Circus. In analyzing Painlevé’s work, I discuss it as exemplary of a moment when life sciences and avant-garde technical methods and philosophies created each other rather than being classified as separate categories of epistemological work. In moving from Painlevé’s films to Alexander Calder's Circus, Painlevé’s cinematography remains at the forefront; I use his film of one of Calder's performances of the Circus, a collaboration the men had taken two decades to complete. Painlevé’s depiction allows us to see the elements of Calder's work that mark it as akin to Painlevé’s own interest in a modern experimental organicism as central to the so-called machine-age. Calder's work can be understood as similarly developing an avant-garde practice along the line between the bestiary of the natural historian and the bestiary of the modern life scientist.

The Legal Status of Local Government in South Africa under the New Constitutional Dispensation

2018 ◽  
Vol 33 (2) ◽  
Author(s):  
Mbuzeni Mathenjwa
Keyword(s):  
South Africa ◽  
Local Government ◽  
Legal Status ◽  
Case Law ◽  
The Status ◽  
History Of ◽  
The Republic ◽  
First Time

The history of local government in South Africa dates back to a time during the formation of the Union of South Africa in 1910. With regard to the status of local government, the Union of South Africa Act placed local government under the jurisdiction of the provinces. The status of local government was not changed by the formation of the Republic of South Africa in 1961 because local government was placed under the further jurisdiction of the provinces. Local government was enshrined in the Constitution of the Republic of South Africa arguably for the first time in 1993. Under the interim Constitution local government was rendered autonomous and empowered to regulate its affairs. Local government was further enshrined in the final Constitution of 1996, which commenced on 4 February 1997. The Constitution refers to local government together with the national and provincial governments as spheres of government which are distinctive, interdependent and interrelated. This article discusses the autonomy of local government under the 1996 Constitution. This it does by analysing case law on the evolution of the status of local government. The discussion on the powers and functions of local government explains the scheme by which government powers are allocated, where the 1996 Constitution distributes powers to the different spheres of government. Finally, a conclusion is drawn on the legal status of local government within the new constitutional dispensation.

National Institute of Art and Design named after Kamoliddin Behzod

2019 ◽  
Vol 5 (4) ◽  
pp. 104-108
Author(s):  
Dilzoda Alimkulova
Keyword(s):  
20Th Century ◽  
Art And Design ◽  
Avant Garde ◽  
History Of ◽  
20Th Century Art

The art of Uzbekistan of the first decade of 20th century (1920-30s) is worthily recognized as the brightest period in history of Uzbek national art. We may observe big interest among the artwork which was created during the years of Independence of Uzbekistan towards the art of 20th century and mainly it may be seen in form, style, idea and semantics. Despite the significant gap between the 20th century art tendencies and Independence period, there is very big influence of avant-garde style in works of such artists as Javlon Umarbekov, Akmal Ikramjanov, Alisher Mirzaev, Tokhir Karimov, Daima Rakhmanbekova and others.

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