scholarly journals Ukrainian book art: ways of formation and development

2021 ◽  
Author(s):  
Veronika Zaitseva
Keyword(s):  
Intersection Point ◽  
Book Art ◽  
Graphic Art ◽  
Art Deco ◽  
Analysis And Synthesis ◽  
Book Illustrations ◽  
History Of ◽  
Image Creation ◽  
Literature History ◽  
Object Of Study

The purpose of the article is to study the development of the directions of Ukrainian book art, the formation of new creative features in the European cultural space. The research methodology consists in the application of general scientific methods (analysis and synthesis, induction and deduction) and methods of art history (comparative, typological, descriptive). The scientific novelty lies in the study of book art, which has always been important in Ukrainian art. Conclusions. Today, we have a large amount of fine works in the genre of book illustrations. These works reflected both the history of the Ukrainian literature, history of the national graphic art, as well as the history of cultural progress of Ukraine in general. Thus, book art is an extremely fruitful object of study, an intersection point, where the complicated process of interaction of socio-political, spiritual, cultural and artistic and aesthetic factors is underway. Thus, Ukrainian book graphics in different periods reflected all European trends – modernism, symbolism, neo-primitive art, futurism, cubism, expressionism, constructivism, realism, surrealism, Art Deco, neoclassicism. The originality of the artistic language emerged through the use of traditional motifs and vanguard image creation tools. Keywords: research, culture, illustration, book, art, national traditions.  

BOOK CULTURE AND ART IN YAKUTIA

2021 ◽  
Vol 1 (1) ◽  
pp. 164-171
Author(s):  
S. I. Boitunova ◽  
◽  
S. V. Maksimova ◽  
O. V. Shlykova ◽  
◽  
...  
Keyword(s):  
Cultural Practices ◽  
Publishing House ◽  
Scientific Research ◽  
Research Society ◽  
The Arctic ◽  
Book Art ◽  
Graphic Art ◽  
Book Illustrations ◽  
German School ◽  
Publishing Houses

The work reveals the specific features of book art, which integrates the achievements of artistic means and forms, as well as scientific research. The authors focus on the regional Arctic locus of book art. The article traces the origin of Yakut book illustrations from the first attempts of amateur artists on the pages of the periodical press in the 1920s to the activities of various institutions: the scientific research society "Sakha kehskileh" (1925–1930), the cultural and educational societies "Manchaary" and "Sakha omuk" (1920–1930) and The Union of Soviet Artists of Yakutia (since 1940s), that pioneered the accumulation of cultural practices and development of art trends in the region. The characteristics of the first Yakut artists-illustrators are presented: P. P. Romanov, who created illustrations to the image of the heroic Olonkho epos "Byudyuryubet Myuldzu Bege" and G. M. Turalysov, who illustrated the collection of poems and songs by Ilya Chagylgan "The Rise", thus initiating the development of professional graphic art in Yakutia. The creation of the art school in Yakutsk in 1945, the emergence of publishing houses became a new page in the development of the book graphics in the works of the first graduates of the school — E. Shaposhnikov, E. Shestakov, M. Lukin, O. Kovalevsky, V. Petrov and others. Special attention is paid to creativity of E. S. Sivtsev, the founder of Yakut prints. The First (1958) and The Second (1963) All-Union Exhibitions of prints opened to the public the names of Yakut illustrators. Later A. P. Munkhalov exhibited his series of engravings "My North" at the International Exhibition "Intergraphy — 67" in Berlin, and his engraving "Listening to the World" was included in the German school textbooks. The article also reveals the modern stage in the development of book art, from the activities of "Bichik" publishing house to graduate projects of The Arctic Institute of Culture and Arts and The Yakutsk School of Art.

scholarly journals PRESERVATION, STUDY AND POPULARIZATION OF BOOK HERITAGE IN IRKUTSK ("ACADEMIA" PUBLISHING HOUSE COLLECTION)

2020 ◽  
pp. 26-34
Author(s):  
I. P. Bedulina
Keyword(s):  
Capital Punishment ◽  
Publishing House ◽  
Art Museum ◽  
Cultural Value ◽  
Book Art ◽  
Graphic Art ◽  
History Of ◽  
The Government ◽  
Professional Artists ◽  
Almost All

"Academia" Publishing House (1922–1937) books are an example of high publishing culture.For many years, the products of the publishing house have been the subject of close attention on the part of bibliophiles and collectors in many countries of the world. The reason for this interest is literary impeccability and excellent decoration. To reach unprecedented artistic heights became possible thanks to the work of the best Soviet professional artists. All the existing printing methods, the best printing houses, and graphic art techniques were used while creating these books. The history of the publishing house, covered in rare publications, alongside with triumphal events, victories at international book competitions, is full of dramatic and even tragic pages. It can be called the publishing house of repressed editors, authors, and books.Almost all the managers of Academia, many employees were subjected to repressions, were sentenced to capital punishment. Their names were extorted from the output of the entire book circulation; introductory articles were cut out, publications were discontinued, sometimes, entire print runs of books were destroyed. In modern libraries, copies of such "repressed" books have been miraculously preserved. That is why it is difficult to overestimate their historical and cultural value – genuine documentary witnesses of historical events of almost a century remoteness.The history of the Academia Publishing House is intertwined with Irkutsk, since the stuff included people whose fate related to the city on the Angara: the last head of the “Academia”, Yakov Davidovich Yanson, after the October revolution held leadership positions in the government in Irkutsk; the founder of the Soviet school of folklore and anthrax studies, Irkutsk professor Mark Konstantinovich Azadovsky also collaborated with the publishing house “Academia”.The article is the first to observe the questions of valuable collections formation and preservation in the Irkutsk Regional Universal Scientific Library named after I. I. Molchanov-Sibirsky (IRSUSL), the former library of the Irkutsk Pedagogical Institute and the library of the Irkutsk Regional Art Museum named after V. P. Sukatchev (IRAM). Collecting bit-by-bit book masterpieces, librarians study, popularize them at exhibitions, presentations, lectures, showing the authentic Russian book art culture.

Bibliographische Arbeit der SÄchsischen Landesbibliothek Dresden auf dem Gebiet der bildenden kunst

1986 ◽  
Vol 11 (1) ◽  
pp. 28-29
Author(s):  
Hans-Joachim Kunz
Keyword(s):  
German Democratic Republic ◽  
Democratic Republic ◽  
Fine Arts ◽  
Book Art ◽  
Graphic Art ◽  
Daily Press ◽  
Applied Art ◽  
History Of Art ◽  
History Of ◽  
Bildende Kunst

The Bibliographie Bildende Kunst has come out annually since 1973. It records literature of various kinds about painting, graphic art, plastic art, architecture, applied art, book art, design, folk art, artistic photography as well as theory and history of art. The compilation comprises monographs, periodical essays and important contributions from the daily press. Every yearly volume contains an index of authors and an index of subjects. Every five years a cumulated index is published. Since 1973 the Bibliographie Illustrierte Bucher der Deutschen Demokratischen Republik has come out. It lists GDR publications containing artistic illustrations. Every yearly volume is made accessible by means of an index of authors and subject titles. Index cumulations are published every five years. In 1984 a list concerning the location of periodicals and serials about Fine Arts in libraries of the German Democratic Republic was published. It contains titles from the 18th mid-century onward up to the present, including information on the particular ownership of GDR libraries. These publications are obtainable from Sächsische Landesbibliothek Dresden, GDR-8060 Dresden, PSF 467/468.

From the History of the Tatar Soviet Children’s Book Art

2010 ◽  
pp. 56-60
Author(s):  
Aislu R. Abdulkhakova
Keyword(s):  
Soviet Period ◽  
Book Art ◽  
Book Design ◽  
Children's Book ◽  
History Of ◽  
Printed Sources

In this article the national origins of Tatar children’s book art formation and the influence of Russian traditions of book design are considered. The history of Tatar children’s book design art development in the Soviet period covers the field briefly. The author succeeded in eliciting some facts in the field of children’s book design in the local archival and printed sources, and these facts are produced in the article. The names of some graphic artists are mentioned.

Mesyatseslovs memory of the Russian Orthodox Church

2020 ◽  
pp. 160-198
Author(s):  
Макарий Веретенников
Keyword(s):  
Russian Orthodox ◽  
Orthodox Church ◽  
Russian Orthodox Church ◽  
Analysis And Synthesis ◽  
Liturgical Texts ◽  
History Of ◽  
Complete Form ◽  
Characteristic Features ◽  
Heaven And Earth ◽  
The Church

Статья посвящена содержанию, общим принципам построения и характерным особенностям календаря, или месяцеслова, Русской Православной Церкви. Автор использует методы анализа и синтеза. В итоге делаются нижеследующие обобщения. Месяцеслов был принесён на Русь из Византии в достаточно завершённом виде, однако в процессе исторического развития он дополнился особенными русскими праздниками. Календарь-месяцеслов - это грандиозный собор святых, подвизавшихся в разных местах на протяжении веков, единение Церкви Небесной и земной, история святости и история нашей Церкви. Месяцесловным памятям посвящены составленные гимнографами богослужебные тексты, которые поются и читаются в храмах. Традиционно почитается день кончины угодников Божиих, память открытия мощей святых, перенесения их святых мощей или же день канонизации угодников Божиих, реже - день их рождения. Фенологические наблюдения русского народа связаны с повседневной деятельностью и увязаны с месяцесловом, что свидетельствует о его проникновении в повседневную жизнь русского человека. The article is devoted to the content, General principles of construction and characteristic features of the calendar, or mesyatseslov, of the Russian Orthodox Church. The author uses methods of analysis and synthesis. As a result, the following generalizations are made. The mesyatseslov was brought to Russia from Byzantium in a fairly complete form, but in the course of historical development it was supplemented with special Russian holidays. The calendar-mesyatseslov is a grandiose council of saints who have labored in different places over the centuries, the unity of the Church of Heaven and earth, the history of holiness and the history of our Church. Liturgical texts composed by hymnographers, which are sung and read in churches, are dedicated to the mesyatseslovs memory. Traditionally, the day of the death of saints, the memory of the discovery of the relics of saints, the transfer of their Holy relics, or the day of the canonization of saints, less often - the day of their birth are honored. Russian people’s phenological observations are related to their daily activities and are linked to mesyatseslov, which indicates its penetration into the daily life of the Russian people.

The Image of Petrushka in Russian Children’s Books of the 1920s — Early 1930s

2021 ◽  
Vol 18 (4) ◽  
pp. 424-435
Author(s):  
Dmitry V. Fomin
Keyword(s):  
Complete Loss ◽  
National Character ◽  
Children's Books ◽  
Main Character ◽  
Children’S Books ◽  
Book Art ◽  
Russian Culture ◽  
Source Studies ◽  
History Of ◽  
Visual Range

The image of Russian puppet theater’s main character, Petrushka, played an important role in the history of Russian culture and embodied some important features of the national character. His images are quite widely and variously represented on the pages of children’s books. At the beginning of the 20th century and in the first post-revolutionary years, publications about the adventures of Petrushka fulfilled an important mission: they recorded characteristic examples of folk art, preserved the memory of farcical performances, and supported the tradition of the art of “Petrushka makers”. The books served as manuals for novice puppeteers.In the 1920s — early 1930s, Petrushka continued to be one of the most popular characters of children’s books and aroused interest of many Russian writers and graphic artists. This indicates their desire to find a basis and support in the popular laughter culture, to continue its traditions, to bring elements of theatrical aesthetics into books.Using a complex of methods of book, art and source studies, the article aims to consider the transformation of the image of Petrushka in children’s books of the 1920s — early 1930s.The author draws attention to the significant differences between the literary component of such publications and their visual range. Writers, as a rule, sought to “re-educate” the areal joker and brawler, to ennoble his manners, modernize his appearance, and involve the popular character in solving actual ideological and pedagogical problems. Artists were more careful about the canonical, historically formed image of Petrushka, resisted too radical reinterpretation of it. Of particular interest in this regard are the illustrative cycles of I.S. Efimov, A.I. Sokolov-Asi, A.A. Radakov, V.M Konashevich, L.V. Popova, F.F. Kondratov.The best writers and artists of those years managed to preserve the most essential features of the character, breathe new life into him, save him from oblivion, from complete loss of identity, and pass him on to new generations of creators and readers of children’s books.

Azim Azimzada’s attitude towards poetry of Mirza Alakbar Sabir

2021 ◽  
Vol 66 (05) ◽  
pp. 140-144
Author(s):  
Nəzrin Novruz qızı Məmmədova ◽  
Keyword(s):  
Key Words ◽  
World Literature ◽  
Strong Influence ◽  
Fine Art ◽  
Vital Role ◽  
Creative People ◽  
Graphic Art ◽  
Book Illustrations ◽  
Almost All ◽  
As If

The heritage that Mirza Alakbar Sabir left for us has always been a source of inspiration for creative people throughout ages. People who are engaged in fine art have always highly appreciated this work too. It requires too much responsibility to address Mirza Alakbar Sabir’s poetry, one of the most famous literary figures in world literature. As if the artists who addressed this patriotic writer’s poetry, feel the poet and created unique works with an inspiration that they got from him. It is undeniable that Azim Azimzada played a vital role in publicity of Mirza Alakbar Sabir’s poetry. Azim Azimzada’s all illustrations are engraved in people’s memory. Average spectators can perceive artist’s illustrations too. By looking through illustrations, it is possible to guess almost all poems that they are dedicated to. Educating people who are indifferent to education and waking them up from this ignorance was Azim Azimzada’s main goal. Artist’s illustrations differentiate with its harsh ironic spirit which is the main peculiarity of Sabir’s poetry. We can definitely see the strong influence of Sabir’s poetry in Azim Azimzada’s works. This is the reason why Azim Azimzada is usually called as Sabir of fine art. Literary approach of artists towards Sabir’s poetry has still been ongoing so far. Addressing Sabir’s poetry by most artists is the sign of love, respect and curiosity to Sabir’s works and life. Key words: Mirza Alakbar Sabir, book illustrations, Azim Azimzade, “Hophopname”, Azerbaijani graphic art, master of caricature

scholarly journals THE APPROACHES OF THE ROMANIAN AUTHORS REGARDING THE CSR CONCEPT

2020 ◽  
Vol 5 (2) ◽  
pp. 63-71
Author(s):  
Nicoleta-Daniela Milu
Keyword(s):  
Corporate Social Responsibility ◽  
Social Responsibility ◽  
Research Methodology ◽  
Business Environment ◽  
Significant Progress ◽  
Analysis And Synthesis ◽  
History Of ◽  
Corporate Social ◽  
Development Prospects ◽  
Great Development

In Romania, large companies, most of which are multinationals, have made significant progress in integrating the concept of corporate social responsibility (CSR) into their activity. The concept of CSR in small and medium-sized companies is still in the early stages of reporting, but with great development prospects. Romanian companies have gradually begun to develop their own culture in terms of social responsibility. The main objective of this article is to analyze how Romanian authors approach CSR theories in their research. The CSR action is seen by the authors as an interdependent relationship between corporations and society. Social requirements are generally considered to be a way in which society interacts with the business environment and gives it a certain legitimacy and prestige. Given that the history of the concept of CSR is long and diverse, I must emphasize that this article focuses on the publications of Romanian authors who based their work on a theory of CSR, providing an original perspective and understanding of the concept of CSR. The research methodology approached involves analysis and synthesis appeal. The study shows that integrative theories are the most common, based on the papers of Romanian authors regarding the concept of CSR. Most articles are based on the idea that the business depends on society to continue its activity and to develop, there is an interdependent relationship between the company and society.

scholarly journals Historical stages in the formation of the scientific knowledge system in a theoretical and methodological context

2021 ◽  
Vol 5 (S2) ◽  
pp. 96-107
Author(s):  
Leonid Griffen ◽  
Nadiia Ryzheva ◽  
Dmytro Nefodov ◽  
Lyudmila Hryashchevskaya
Keyword(s):  
Modern Society ◽  
Specific Weight ◽  
Social Nature ◽  
The Social ◽  
Scientific Principles ◽  
History Of ◽  
Natural Result ◽  
Systemic Nature ◽  
Object Of Study

Current tendencies question the role of science in modern society, force returning to the processes of formation of the scientific paradigm. The latter was complex and nonlinear, and the formation of scientific principles of cognition was their natural result. Throughout human history, the knowledge about the objective world has been acquired and used in various, historically necessary forms – both in the methodology of cognition and in the method of systematisation, which was determined by the level of their accumulation. The accumulation of knowledge took place in different ways: in the process of direct practical activity, on the basis of supposedly “foreign” contemplation and as a result of conscious influence on an object of study (experiment) with their different “specific weight” at different historical stages. As for the systematisation, the need for which was determined by systemic nature of an object of knowledge and the social nature of knowledge, throughout the history of mankind its forms differed considerably, but, in the end, were reduced to three main ones. 

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