scholarly journals Kyiv Metropolitans were in the Artistic Process of the Kyiv-Pechersk Lavra at the End of the 18th – the Early 20th Centuries

2021 ◽  
pp. 128-132
Author(s):  
Maryna Bardik
Keyword(s):  
Art History ◽  
Cultural Analysis ◽  
Mural Painting ◽  
Artistic Process ◽  
Leading Role ◽  
Mural Paintings ◽  
History Of ◽  
Preparatory Stage ◽  
Information Basis ◽  
Artistic Tradition

The purpose of the article is to discover the mechanism of Kyiv Metropolitans influence processes in the monumental painting of the Kyiv-Pechersk Lavra. The research methodology is based on complex using historical and cultural analysis, art study analysis, hermeneutical and biographical methods. Scientific novelty. Based on archival materials the author determines the specific means of Kyiv Metropolitans influence the evolution and preservation of the Kyiv-Pechersk Lavra’s sacral painting in 1786–1917. This influence is investigated in the theoretical and practical aspects. The scheme of the Metropolitans influences the mural painting processes is revealed: the Spiritual Council (preparatory stage) – Metropolitan (decision) – the head of the painting workshop (responsible for fulfillment) − artists (fulfillment). The Metropolitans leading role in forming the painting programs of temples and preserving the Lavra’s artistic tradition has been proved. Conclusions. In theoretical works, reports to the Holy Synod the Metropolitans gave thoughts and facts that entered the art history of the Kyiv-Pechersk Lavra. They directly influenced the artistic process: controlled and directed the processes of evolution and preservation of mural painting, financial and personnel issues. Their influence was implemented in visas and codicils (visas were an information basis for painting dating). Their orders were performed by the head of Lavra’s painting workshop (icon-painting workshop). Metropolitans took care of preserving Lavra’s artistic traditions and artistic features of painting compositions. Heads of the painting workshop ensured the continuity in mural paintings, they followed the imitation principle. The interpretation of the artistic tradition was reflected in new mural paintings. Metropolitans determined the painting programs of Lavra’s churches.

scholarly journals The dynasty of iconographers Rogachevsky-Nikita in the context of the history of the Old Believer Romanian rural localities Zhurilovka and Sarikei

2020 ◽  
pp. 116-123
Author(s):  
Aleksandra Aleksandrovna Boitсova
Keyword(s):  
Art History ◽  
Scientific Discourse ◽  
Cultural Analysis ◽  
Personal Contact ◽  
Way Of Life ◽  
The Family ◽  
History Of ◽  
Local Traditions ◽  
Artistic Heritage ◽  
Rural Locality

This article examines the iconographic heritage of the Old Believer Lipovan Rogachevsky-Nikita family in the context of history of Romanian rural localities. Based on the expedition material, analysis is conducted on the peculiarities of folk icon and local traditions that established in the Old Believer center of Romania. The reviewed documentary sourced were acquired in the course of expeditions and further personal contact with the family. The collected material contains history of the family of iconographers, their lifestyle and customs, conditions for fulfilling the orders that are closely related to the history of this rural locality and way of life of the Nekrasov Cossacks. The research is of applied nature in the area of art history, as well as of interdisciplinary in nature. The article employs the methods of stylistic and historical-cultural analysis; biographical method for reconstruction of biography of the family members and their artistic heritage. New records on the dynasty of Romanian iconographers are introduced, which expands  the information on the Lipovan icon and indicate regional peculiarities of its creation. The author also introduces the new names and monuments of iconography into the scientific discourse that allows clarifying the attribution. The artistic heritage of iconographers of the late XIX – early XX centuries is also introduced into the scientific discourse: Rogachevsky-Nikita; in the XX century – Egor Nikitovich Nikita and Roman Egorovich Nikita.

scholarly journals Vitaly Ilyich Kandyba is the first art critic of Primorye: materials for biography

2021 ◽  
pp. 118-125
Author(s):  
А.А. Даценко
Keyword(s):  
Art History ◽  
Far East ◽  
Amur Region ◽  
Soviet Period ◽  
Khabarovsk Krai ◽  
Artistic Process ◽  
The Far East ◽  
History Of ◽  
Eastern Institute ◽  
Far Eastern

Виталий Ильич Кандыба (1943–2016) — первый и на протяжении десятилетий единственный искусствовед в Приморском крае, преподаватель истории искусств в Дальневосточном институте искусств, арт-критик, разносторонне и глубоко погруженный в художественный процесс современного ему регионального искусства. Он не только представлял художников Дальнего Востока на всероссийском и всесоюзном уровне в советскую эпоху, но и в какой-то мере указывал направление развития дальневосточного искусства. Виталий Кандыба — автор книг об истории возникновения и путях развития изобразительного искусства Приморья, Хабаровского края, Амурской области с 1860-х до 1930-х годов, об образовании и деятельности Приморской организации Союза художников России, до сих пор являющихся обязательным источником для искусствоведов, посвятивших себя изучению творчества художников региона. Тем не менее его жизнь и творчество до настоящего времени недостаточно изучены. В статье делается попытка представить очерк творческой биографии В.И. Кандыбы, дать оценку роли и значения его деятельности. Vitaly I. Kandyba (1943–2016) is the first and for decades the only art critic in Primorye, a teacher of art history at the Far Eastern Institute of Arts, versatile and deeply immersed in the artistic process of contemporary regional art. He not only represented artists of the Far East at the All-Russian and All-Union level during the Soviet period, but also to some extent indicated the direction of development of Far Eastern art. Vitaly Kandyba is the author of books about the history of the emergence and development of fine art of Primorye, Khabarovsk Krai, Amur Region from the 1860s to the 1930s, about the formation and activities of the Primorye Organization of the Union of Artists of Russia, which are still a mandatory source for art historians who have devoted themselves to studying the creativity of artists of the region. Nevertheless, his life and work have not been sufficiently studied to date. The article attempts to present an outline of the creative biography of V.I. Kandyba, to assess the role and significance of his activities.

scholarly journals To the Issue Concerning a Byzantine Iconostasis in the Kyiv-Pechersk Lavra, the 19th – Beginning of the 20th Centuries

2021 ◽  
Author(s):  
Maryna Bardik
Keyword(s):  
Dominant Role ◽  
Cultural Analysis ◽  
Mural Painting ◽  
Artistic Style ◽  
Byzantine Art ◽  
Mural Paintings ◽  
Baroque Art ◽  
Church Decoration

The purpose of the article is to discover the issue of creating the Byzantine iconostasis in the artistic decoration of the Kyiv-Pechersk Lavra in the 19th – early 20th centuries a case study of the Great Pechersk Church (the Dormition Cathedral). The methodology is based on complex using historical and cultural analysis, and art study analysis. Scientific novelty. Milestones of creating the Byzantine style iconostasis in the Dormition Cathedral during the 19th – Early 20th centuries have been discovered. The cultural and artistic basis for implementing the idea of Byzantine iconostasis in 1845–1847, 1890–1900s has been revealed according to the text and visual records introduced into scientific circulation. The dominant role of the main iconostasis for the image of side-altars’ new iconostasis has been determined. The conservatism of religious personages who wanted to preserve the features of the previous iconostasis (height, number of tiers, the old icons, etc.) has been proved. It is determined that the sacred value of some icons was more important as a stylistic priority and it barely led to the replacement of the material of the iconostasis (silver instead of marble that traditional for Byzantine iconostases). Published photos of the Big iconostasis and the approved draft of the main iconostasis with the author of autographs (photos from the collection of the National Reserve “Kyiv-Pechersk Lavra”). It has been found out distinguished Ukrainian art historian H. Pavlutskyi in one of them. The autonomy of the iconostases style of the mural paintings style in the Great Pechersk Church decoration has been proved. Conclusions. The attempt to realize the idea of the Byzantine iconostasis in the Kyiv-Pechersk Lavra’s Great Church in 1845–1847 created a precedent of the inconsistency of the artistic style of iconostasis and mural painting. The Byzantine style iconostasis hypothetically could exist in the spacious Baroque plastic art. Conversely, the complex of Baroque iconostases existed independently of the wall form performed in accordance with the Byzantine tradition at the turn of the 19th and the 20th century. The polemic pointed around the main iconostasis, a new іmage of other iconostases designed in a complex with it. The baroque tradition was implemented in the new iconostasis projects. The monks perceived a change in mural paintings but they considered some icons by sacral constants in the Great Church. The Big iconostasis without upper tiers with the Byzantine cross was the victory of the Baroque tradition. The preservation of Baroque iconostases was a testimony of their stylistic autonomy from the mural painting decorated in Byzantine style. Key words: sacral culture, Orthodoxy, Byzantine art, Baroque art, iconostasis, sacral mural painting, KyivPechersk Lavra, Dormition Cathedral.

"Gebt mir eine Wand"

2020 ◽  
Author(s):  
Conny Dietrich
Keyword(s):  
Mural Painting ◽  
German Empire ◽  
New Town ◽  
Mural Paintings ◽  
History Of ◽  
The University ◽  
University Of Leipzig ◽  
First Time ◽  
The City ◽  
Source Materials

With the mural paintings in the auditorium of the University of Leipzig, in the city councillors’ assembly hall of the New Town Hall in Chemnitz as well as the unrealised painting of the staircase in the Museum of Visual Arts in Leipzig, Conny Dietrich for the first time addresses the so far neglected group of works of German artist Max Klinger (1857–1920). In her comprehensive study the renowned Klinger expert describes his path to mural painting, portrays the making of the three projects, analyses them in depth and puts them in the context of monumental painting in the German Empire. The study is based upon extensive source materials and is a major contribution to the history of mural painting in the years of the emergence of modernity.

scholarly journals Relationel komparatisme

2019 ◽  
Vol 47 (127) ◽  
pp. 29-50
Author(s):  
Anne Ring Petersen ◽  
Karen-Margrethe Simonsen
Keyword(s):  
Comparative Literature ◽  
Case Studies ◽  
Art History ◽  
Cultural Analysis ◽  
Olaudah Equiano ◽  
National Cultures ◽  
History Of ◽  
Globalized World

This article addresses a question crucial to contemporary cultural analysis: the question of how to compare and what to compare in a globalized world. Modern comparativism has effectively undermined the very foundation of historical comparativism, i.e. the idea of confined and segregated (national) cultures and Eurocentric perspectives and perceptions of what is historically significant, and what is not. The article opens with a discussion of some important critical revisions of comparative methodologies in the fields of comparative literature and art history, and then moves on to call for a relational comparativism that is attentive to three aspects: context, dynamics/agency and circulation. To indicate what the implications of a relational comparativism might be, we conclude with two case studies of the autobiography The Interesting Narrative of the Life of Olaudah Equiano (1789) and the commemorative sculpture I Am Queen Mary (2018) by artists Jeannette Ehlers and La Vaughn Belle. Both works are related to the history of slavery; a history that in significant ways points to the need for rethinking comparativism.

Introduction

2020 ◽  
pp. 1-20
Author(s):  
Allison Margaret Bigelow
Keyword(s):  
Latin America ◽  
Early Modern ◽  
History Of Science ◽  
Art History ◽  
Historical Analysis ◽  
Cultural Analysis ◽  
Colonial Latin America ◽  
New Approach ◽  
History Of ◽  
P Mining

Mining in colonial Latin America and the early modern Iberian empire has been studied from a variety of disciplinary perspectives, including archaeology and archaeometallurgy; philosophy; art history, visual studies, and material cultural analysis; literary studies; social, labor, legal, and economic histories; and the history of science. This book adopts a language-centered approach that incorporates methods of all of these fields, especially discursive, visual, and historical analysis. The introduction reviews current scholarship in the study of mining and argues for the importance of a new approach to the history of metals – one that centers the knowledges of Indigenous, African, and South Asian miners, refiners, and mineralogists.

scholarly journals The Great Pechersk Church’ Mural Paintings of the Late 19th Century as the Interpretation of Its Old Russian Image

2021 ◽  
Author(s):  
Maryna Bardik
Keyword(s):  
19Th Century ◽  
Cultural Analysis ◽  
Mural Painting ◽  
Preliminary Design ◽  
Late 19Th Century ◽  
Old Russian ◽  
Mural Paintings ◽  
Monastic Life ◽  
National Preserve ◽  
The Church

The purpose of the article is to discover the mural paintings of the Great Pechersk Church as the version of theology and academic sacred mural painting of the late 19th century. The research methodology is based on complex using historical and cultural analysis, art study analysis, and biographical method. Scientific novelty. It is determined that the process of creating the Old Russian image in the Great Pechersk Church (the Dormition Cathedral) began in 1880.  The photo of the drawing of the ancient part of the Church made by the order of A. Prakhov in 1893, has been introduced into scientific circulation. The author studied the painting decoration as a synthesis of the academic theological thought and academic sacred mural painting, discovered its implementation in choosing topics, plots, and placement of compositions. The author gave a characteristic of the source corps on the paintings from the collection of the National Preserve “Kyiv-Pechersk Lavra”. The author researched the transformation of painting preliminary design and Byzantine Canon of the 11–12th centuries on behalf of the Holy Mother of God theme and observed the connection of the composition “Ascension of Panagia” on the tradition of monastic life in the Kyiv-Pechersk Lavra. The topical and plotlines have been improved namely Christianize Old Russian is determined by one more leading topic. Conclusions. The process of creating a new mural painting in the Great Pechersk Church began still yet 1880. The detection of the ancient part of the Church contributed to the change in its painting decoration. This change was the result of the academic theological program implemented by means of academic sacred mural painting. The tradition of previous painting decoration preserved in the preliminary design end reflected one of the traditions of monastic life in the Kyiv-Pechersk Lavra. The witness in Pechersk Paterikon of the compositions in the Great Church has been implemented in mural paintings. However, the academic theological opinion of the late 19th century was subordinated to the canon of 11–12th centuries not complete. The theme of the introduction of Christianity was presented in mural painting as one of the leading topics.

From Propaganda to Scholarship: Dr Joseph Schechtman and the Origins of Israeli Polemics on the Palestinian Refugees

2004 ◽  
Vol 2 (2) ◽  
pp. 188-197 ◽  
Author(s):  
Nur Masalha
Keyword(s):  
Right Wing ◽  
Population Transfer ◽  
Arab Population ◽  
Palestinian Refugees ◽  
Leading Role ◽  
Archival Documents ◽  
History Of ◽  
Arab States ◽  
Refugee Problem ◽  
Secret History

In 1948 an official ‘Transfer Committee’ was appointed by the Israeli Cabinet to plan the Palestinian refugees' resettlement in the Arab states. Apart from doing everything possible to reduce the Arab population in Israel, the Transfer Committee sought to amplify and consolidate the demographic transformation of Palestine by: preventing the Palestinian refugees from returning to their homes; the destruction of Arab villages; settlement of Jews in Arab villages and towns; and launching a propaganda campaign to discourage Arab return. One of the Transfer Committee's initiatives was to invite Dr Joseph Schechtman, a right-wing Zionist Revisionist leader and expert on ‘population transfer’, to join its efforts. In 1952 Schechtman published a propagandists work entitled The Arab Refugee Problem. Since then Schechtman would become the single most influential propagator of the Zionist myth of ‘voluntary’ exodus in 1948. This article examines the leading role played by Schechtman in promoting Israeli propaganda and politics of denial. Relying on newly-discovered Israeli archival documents, the article deals with little known and new aspects of the secret history of the post-1948 period.

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