Remembering Oleksandr Pronin: the Stained Glass Art Laboratory of KSADA in 1980–2000s

2021 ◽  
Vol 2021 (02) ◽  
pp. 363-382
Author(s):  
M. Radomsky ◽  
Keyword(s):  
Glass Industry ◽  
Main Character ◽  
Stained Glass ◽  
Industry Analysis ◽  
Decorative Art ◽  
Direct Student ◽  
The Times ◽  
Glass Art ◽  
Scientific Value ◽  
Creative Life

The material covers the years of creative life of a famous Ukrainian artist-monumentalist, O. Pronin (1934–2002), associated with his leadership of the Department of Monumental Painting of the Kharkiv State Academy of Design and Arts and the development of stained glass as a technique and a form of monumental and decorative art in education. The author focuses on the formation of a school of artistic stained glass in Kharkiv, the founders of which were professors Oleksandr Pronin and his wife Galyna Tishchenko. The article has some features of autobiography and is presented in the form of memoirs about the activities of the stained glass workshop of KSADA – Kharkiv Art and Industry Institute, and life of the author and the main character of the story, O. Pronin, and his students, around this workshop. These are the times of formation of the laboratory, certain stages of gaining experience in the stained glass industry, analysis of works of art and the spread of stained glass art through the work of the head of the department and laboratory and his many followers. Documentary and illustrative materials on the activities of the stained glass workshop, which was created by O. Pronin in 1967 and is still developing thanks to the efforts and activities of the author of the article, who is a direct student and a follower of the master, mention significant for Kharkiv and all Ukraine monumental art projects, behind which O. Pronin stood as the author or leader. The facts and memoirs presented by the author of the article have historical and scientific value, since the author himself took part in the creation of the stained glass laboratory of KSADA as its head. Although the emphasis is made on the 1980–2000s, which was the period of the heyday of the laboratory, the author also cites the modern works of O. Pronin’s and his own students, showing the continuity of the traditions in the Kharkiv school of stained glass.

Stained glass painting during the second half of the 20th century in Latvia, its tendency development in nowadays

2012 ◽  
pp. 162
Author(s):  
Vineta Groza
Keyword(s):  
20Th Century ◽  
Historical Review ◽  
Float Glass ◽  
Decorative Arts ◽  
Stained Glass ◽  
Creative Imagination ◽  
Decorative Art ◽  
Glass Panels ◽  
The 1960S ◽  
Glass Art

Stained glass painting during the second half of the 20th century in Latvia, its tendency development in nowadays. The stained glass panel ranks among the most interesting fields of monumental decorative art. In Soviet glass art history Latvian stained glass artists occupy the foremost places in this technique. The classical stained glass technique was combined with painting and sandblasting elements, which were incorporated into geometric monumental compositions. Latvian stained glass artists still followed classical stained glass traditions. The use of painting on glass declined. The dynamism of the composition was achieved through lead calm line rhythms. The other innovation in Latvian stained glass was introduced by many glass artists who used float glass in their stained glass panels in the middle of the 1960s. The first Latvian stained glass exhibition was held in 1971 and represented new glass technical perfection and creative imagination with the works of Latvian stained glass artists. In various publications, books, magazines and newspapers in Latvia, statements may be found on the theory of arts and significance of decorative art. In this area, surveys on development of glass painting in Latvia have been made by T. Grasis and I. Audere. Area of stained glass painting has not been sufficiently explored and systemized. The purpose and the task of this paper shall be preparing of a historical review on trends in the development of stained glass painting in the area of decorative arts in Latvia during the second half of 20th century and nowadays. Analysis of visual expression of the stained glass from the perspective of monumental painting. To explore contribution and significance of stained glass artists of the enterprise Māksla (1945) in the development of the area of stained glass painting. To assess tuition methods in the Department of Glass Arts of the Art Academy in the context of development of the Latvian decorative arts (stained glass painting). Methods of the paper are cultural, comparative and structural. The outcomes of the paper actualize significance of the glass painting from the perspective of modern arts.

The Inheritance and Development of Dunhuang Dance to the Musical Dance Art of Dunhuang Frescoes

2021 ◽  
Vol 2 (3) ◽  
Author(s):  
Shuqin Li ◽  
Tingting Li
Keyword(s):  
Information Age ◽  
Structural Hierarchy ◽  
Interactive Display ◽  
Continuous Progress ◽  
Rich Material ◽  
The Times ◽  
Scientific Value ◽  
Material Information ◽  
Visual Interface ◽  
Information Database

Dunhuang frescoes carry the essence of millennia of civilization and are rich in historical and scientific value. In the continuous progress of history, the artistic styles of different eras have merged, and finally formed the very charming Dunhuang musical dance art, which has been widely welcomed. Under the background of the information age, people integrate digital technology with the Dunhuang fresco art of musical dance, which not only improves the preservation time of Dunhuang frescoes, but also allows this art to be presented to people and allows Dunhuang culture to be spread and inherited. The elements in the Dunhuang frescoes in our country are very rich and can be applied to all aspects. Many professionals have gradually realized its importance, and by transforming its creative vehicle, users can deeply understand and further appreciate the Dunhuang musical dance art and learn the knowledge of frescoes while experiencing the product. At the same time, based on the existing frescoes and restoration drawings created by researchers, combined with the special design principles of the product, a visual interface with a sense of structural hierarchy was designed. The classic Dunhuang fresco musical dance images are sorted out to build a rich material information database. At the same time, the interactive display is divided into different modules according to the research content of Dunhuang fresco musical dance art, and the content of the characteristics of the times, music meaning and dancing image are designed. Finally, Unity3D is used to realize the interactive display design of Dunhuang fresco musical dance art.

“Instant old man” in Konstantin Vaginov’s novel “Garpagoniana” (“returned youth” as a plot of the socialist reconstruction era)

2021 ◽  
pp. 109-118
Author(s):  
Ya. D. Chechnev ◽  
Keyword(s):  
Main Character ◽  
Financial Status ◽  
Reconstruction Era ◽  
The Future ◽  
The Times

The paper examines the image of Lokonov, a character in Konstantin Vaginov’s novel “Garpagoniana,” a “mechanical citizen” of the socialist reconstruction era who wants to regain his youth. Starting from the text of “The returned youth” by Zoshchenko, Vaginov creates a double of the main character on the principle of mirroring. This idea is supported by several facts: similarity of characters names, opposite ages, social and financial status, portrait characteristics. Unlike Volosatov (“The returned youth”), striving to follow the trends of the era and keep up with the times, Lokonov makes a number of unsuccessful attempts to rejuvenate himself in order to regain subjectivity. In the desire to regain his youth, Lokonov refuses a retrospective image of himself as he considers the projection reflected in the diaries as well as the possibility of nuancing memories through things to be unsatisfactory. Deliberately cutting off his past, Lokonov bets on the present: through his love for Yulenka, he hopes to regain his youth, but he does not succeed. Failures accompany Lokonov because he consciously emasculates his own past, remains inactive in the present, and, according to the author, cannot count on the future. For Lokonov, being young is a vague ideal of feeling young. He tries to “resurrect” these feelings by means of others without understanding the reasons.

scholarly journals Subjectivity and adaptability of modern youth: possibilities of measuring (examining) non-physical quantities

2021 ◽  
Vol 4 ◽  
pp. 38-46
Author(s):  
Sergey Borisov ◽  
Keyword(s):  
Young People ◽  
Cognitive Model ◽  
Psychological Adaptation ◽  
Young Person ◽  
Standard Value ◽  
The Subject ◽  
The Times ◽  
Physical Quantities ◽  
Adaptive Activity ◽  
Creative Life

It should be noted that the current situation in Russia with regard to the socio-psychological adaptation of young people (age 17—25) to the changing digital environment does not find a proper theoretical and practical solution. Therefore, representatives of the socio-humanitarian sciences need their own methodology for measuring the adaptability of young people as the basis of their creative life. We believe that the key strategic line in the development of adaptability is to support of a young person formation as a subject of his own life. Despite the challenges of the times, the problem of adaptation in the aspect of subjectivity is limited to the spread of “myths” about the digital society and the declarative statements arising from them without a proper strategic and tactical scientific program. In this regard, the fundamental scientific result of our project will be developing, testing and evaluating the effectiveness of the methodology for measuring the socio-psychological adaptation of young people, developed on the basis of digital anthropology and metrology, which can be used as an interdisciplinary model of socio-humanitarian examination of subjectivity and adaptability. The assessment scale can be based on the idea of a standard (value, meaning), which form subjectivity, are formulated by the subject, determine the direction of his activity, his abilities, the project of his being. The model of this complex non-physical quantity can be represented through the concept of supervenience. Supervenience enables us to explain reductively through functional analysis. By explaining how functions are performed, we will explain the phenomenon. The cognitive model of subjectivity is such an abstractly causally organized system, the mechanisms of which are sufficient for implementing the corresponding functions. Then this model becomes logically possible, and, therefore, empirically confirmed (or refuted). Thus, it becomes possible to theoretically substantiate and experimentally prove that subjectivity is the basis of adaptability (strong option) or adaptability is closely related to subjectivity (weak option) and that for each type of adaptive activity the basis is a certain type of subjectivity. On the basis of this, an interdisciplinary model of socio-humanitarian examination of subjectivity and adaptability will be developed.

The Silent Witness of Montrelais

Moreana ◽  
2003 ◽  
Vol 40 (Number 156) (4) ◽  
pp. 41-64
Author(s):  
Kevin Eastell
Keyword(s):  
Primary Source ◽  
The Political ◽  
Henry Viii ◽  
Stained Glass ◽  
Power Struggles ◽  
Political Situation ◽  
Charles V ◽  
The Times ◽  
The Church

The writing of Thomas More’s A Dialogue of Comfort against Tribulation is set against the background of the complex political situation of Europe in the early 16th century. In this survey, the internal European power struggles are explored and the external Muslim threat is discussed. Using the stained-glass east window within the church of Montrelais, France, as an illustration, the author examines the detailed commentary provided by this primary source evidence, installed within the building in 1535. The exploration includes the political and theological elements present in the work, along with the compositional significance of its artistic design. An appreciation is made of this remarkable window about the times of tribulation its construction witnessed, with its depictions of François I, Charles V, Suleiman the Magnificent and Henry VIII.

Glass Art Department at Lviv National Academy of Arts: unique centre of contemporary glassmaking

2019 ◽  
pp. 53-56
Author(s):  
Nataliia Beniakh
Keyword(s):  
Glass Melting ◽  
Melting Furnace ◽  
Glass Melting Furnace ◽  
State Institute ◽  
Decorative Art ◽  
The World ◽  
History Of ◽  
Experimental Workshop ◽  
Small Department ◽  
Glass Art

The preconditions for the emergence of professional art education in the field of art glass in Lviv and Galicia are considered. The history of artistic glass and its influence on the development of the modern center in Lviv on the basis of the Lviv National Academy of Arts is analyzed. The history of the Department began in 1961 with an experiment, when at Lviv State Institute of Applied and Decorative Art (today Lviv National Academy of Arts) a small department of plastic and glass art was opened. Full formation of the unit took place in 1963–1964 and corresponded to the needs of provision with the specialists of experimental workshop of glass art of Lviv Experimental Ceramic and Sculpture Factory of those times. The curriculum of basic art disciplines is formed in accordance with the specificity of the material – glass art and is focused on consideration of the importance of imaginative or constructive thinking, according to selected specialized direction. For decades, the staff of the Glass Department keep contact with glass artists in the whole world, participates in organization of international symposiums and exhibitions, meetings with students, lectures, workshops with the participation of the most famous artists in the world. Since 1989, the teachers and staff of the Department have been actively participating in the organization of International Symposiums of Blown Glass that are the most long-lasting continuous forums of glass artists in the world nowadays. On the base of the Department, mini-symposiums for students took place, and in 2013 and 2016, a scientific and creative workshop (glass-melting furnace) became the main base for the work of famous glass artists from different countries of the world. Every three years the students have an opportunity to observe the work of the most world well-known glass artists from various countries, participate in workshops and lectures. The purpose of the article is to analyze the activities of the Department of Art Glass of the Lviv National Academy of Arts in the modern studio movement.

The Culture Memory of the Times — In Urban Redevelopment Should Strengthen the Historical Building Protection

2011 ◽  
Vol 361-363 ◽  
pp. 1166-1169
Author(s):  
Wei Mo ◽  
Yao Qi Wang
Keyword(s):  
Economic Value ◽  
Modern Technology ◽  
Cultural Value ◽  
Space Environment ◽  
Low Carbon ◽  
Historical Building ◽  
Balanced Development ◽  
History Of ◽  
The Times ◽  
Scientific Value

Every city has its own history , every nation has its own unique culture . Historical and cultural city as the ancient city of outstanding representative , has important history, culture, art and scientific value . But urban development to the pluralism and urgency of urban construction and historical and cultural heritage protection contradiction . The traditional culture and the modern technology homozygous coexistence , mutual coordination , protect reuse historical building needs government , professional and public unity . The urban culture memory the visual sense except image, and the imagination of space environment around feeling, from ancient to modern, step by step, the change of records of history, environment evolution. So we protection is not isolated cage, but far concept and shall touch, but feel history of memories, and precipitate social function, make it play to bring cultural value and urban economic value, achieve a low carbon cities balanced development.

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