scholarly journals Painting as a prayer of the spirit

2020 ◽  
Vol 16 (4) ◽  
pp. 113-132
Author(s):  
Petr Dobrolyubov
Keyword(s):  
Fine Arts ◽  
Work Of Art ◽  
General Process ◽  
Russian School ◽  
Russian Art ◽  
Short Period ◽  
The World ◽  
Artistic Images ◽  
Moscow School ◽  
Artistic Image

The article is devoted to the work of the Russian painter Dobrolyubov Vladimir Petrovich, who in 2020 marks the centenary of his birth. Special attention is paid to the presentation of his ideals, which inspired the artist to create wonderful paintings depicting the world around him, landscapes and landscapes, urban environment, monuments of ancient Russian architecture, decoration and interiors of the oldest churches from Moscow to Yaroslavl, Pereslavl Zalessky, Staraya Ladoga. From the Russian North to the Crimean mountains and Tsemeskiy Bay. Vladimir Petrovich Dobrolyubov (05.07.1920-24.02.1975) - a student of I.I. Mashkov, N.P. Krymov, G.G. Ryazhskiy, K.F. Yuon, V.V. Krainev, P.I. Kotov, V.I. Finogeev, K.G. Dorokchov. Dobrolyubov V.P., was the veteran of the Great Patriotic war (1941-1945), - the 75th anniversary of the Victory which we celebrate this 2020 year. The author analyzes the paintings of V.P. Dobrolyubov - a natural colorist, nugget, artist, philosopher and citizen of his country. His thoughts on the art of painting based on the beauty and traditions of the Russian school of iconography were the Foundation, the spiritual platform, for all of his painting, created in a short period of life. The author's paintings Dobrolyubov V.P. is of well-deserved interest for art studies and make a worthy, significant contribution to it not only by their high appreciation of color, color spot, and lyrical appearance, but also as works of the history of Russian painting and in particular, the Moscow school of painting, 30-60-ies of XX century, of which he was a representative. Also noteworthy is his understanding of art, his creative pictorial, original, author's handwriting, and also an amazing vision of color and color spot, his own, individual. As well as the interpretation of personal perception, the attitude and understanding of the fundamental foundations of realism in the domestic and world fine arts, expressed and approved in their own, no one repeats, coloristic pictorial language. Dobrolyubov V.P. considered icons, the Russian icon, as a work of art, which following the tradition of Byzantine masters of iconography, undoubtedly constitutes the core of the soul of the artistic creative process, and especially the work of iconographers such as Andrei Rublev, Theophanes the Greek, Vladimir-Suzdal, Moscow, Yaroslavl school of icon-painting as an objective reality of the world of spiritual images in their own work. Artistic creativity, in his opinion, as a representative of the Moscow school of painting, is not an abstract search and self-expression of the artist's beliefs and ideas, but the result of a deep, divine transformation of the soul, its path to truth and to the foundations of realistic art, through the perception of artistic images. Russian iconography of the XIV-XVII centuries, brought to Russia from Byzantium, Dobrolyubov V. P. considered the Russian school of iconography the main, unsurpassed, imperishable Foundation and a masterpiece of Russian fine art. Everywhere in his memories, in his understanding of the basics of art, the artist renounces the concept of copying the image and the icon for him is like a conditional historical symbol, indicating the spiritual image of past centuries. An artistic image is born in the soul of the painter and of course exists outside of iconography, but then it can appear in the minds of other people who contemplate the master's canvases, in which the image of the universal universe and the beauty of the universe is encoded, if you want, encrypted in the very deep images of Russian iconography. Therefore, the icon itself, its image and composition, as a work of art created once in the depths of past centuries, is personified in the mind of the author, as grace and inspiration sent from heaven. Dobrolyubov V.P. confirms the aesthetic and spiritual platform created for any person. Therefore, Russian icons created as spiritually and artistically perfect, self-sufficient works of Russian culture are inextricably linked to the General process for Russian art history, its ability to testify to its highest level in the hierarchy of world art. For the artist Dobrolyubov, Russian iconography is an inseparable part of his spiritual platform, and his works of painting – and, temple art, in conjunction with ancient Russian architecture, with the interiors of churches and their decoration, as well as the sacrament of divine services, baptisms, weddings and funerals, and are the most essential foundation, being, as the very artistic image of all his art work and now, in 2020. Today, 45 years after his death in 1975, his artistic paintings are just as beautiful and heartfelt.

My Dad. Life and Art of Teacher and Artist Sergiy Solodovnyk

2021 ◽  
Vol 2021 (02) ◽  
pp. 329-344
Author(s):  
S. Solodovnyk ◽  
Keyword(s):  
Personality Traits ◽  
Subject Matter ◽  
Fine Arts ◽  
Work Of Art ◽  
Artistic Creation ◽  
Talented People ◽  
The World ◽  
The Subject ◽  
Life Path

This article dwells upon the life path and the art of an artist and teacher, professor of Kharkiv Art and Industrial Institute (now Kharkiv State Academy of Design and Fine Arts) – Sergiy Solodovnyk (1915–1991) – my Dad. It is described in what way important events or important meetings with talented people can influence the development of personality, the formation of the artist’s and teacher’s views upon the methods of teaching and drawing and imagery in Arts, also the choice of the subject matter and genre. In artistic creation, both innate personality traits and those acquired in the process of studying the world, through which the artist passes in the process of creating a work of art and his formation as a person, as a lecturer or Teacher, are of great importance. The influence of his personality upon the students of several generations. His great importance in my life as a wise, delicate and caring dad. It is underlined in this article that good, honest deeds, love to people, homeland and to his direction in Art, sensitive attitude to the youth will always find reflection in human souls.

scholarly journals The Image of the Goddess Umay in the Contemporary Fine Art Culture of Kazakhstan

2021 ◽  
Vol 13 (1) ◽  
Author(s):  
Malik F. Mukanov ◽  
◽  
Gulfiya T. Meldesh ◽  
Ayaulym M. Hurbekova
Keyword(s):  
Visual Culture ◽  
Doctoral Students ◽  
Art Criticism ◽  
Fine Arts ◽  
Teaching Staff ◽  
Artistic Practice ◽  
Artistic Images ◽  
Artistic Image ◽  
Cultural Experts ◽  
Contemporary Artists

The article examines the ethnographic and art-history aspects of the reflection of the artistic image of the ancient Turkic goddess Umay in the modern visual culture of Kazakhstan. The image of this goddess is one of the most widespread in the work of modern Kazakhstani artists, who refer to the symbolism of Tengrian culture in their works. Each of the masters, due to their individual worldview and creative style, interprets it in their own way, thereby enriching the modern visual culture of independent Kazakhstan. It is also necessary to mention that the embodiment of symbols and artistic images of the ancient Turkic Tengrian culture by contemporary artists of Kazakhstan in the visual arts reflects the desire to preserve and rethink the national identity in the context of globalisation processes. The study is an attempt at art criticism analysis based on the application of the hermeneutic methodology of numerous author’s interpretations of the artistic image of the goddess in the fine arts of modern Kazakhstan. The study of the problem of finding and embodying artistic images of the Goddess Umay, reflecting the sacred and mythological aspects of the Tengrian worldview, traditional for the nomadic peoples of the Great Steppe, in the visual culture of modern Kazakhstan, has an important theoretical and educational and methodological value. The conclusions of this study can be used and continued not only in the historical and theoretical works of art historians, cultural experts but also in research and educational-methodical works, when creating courses on the history and theory of fine and applied arts, scientific projects of the teaching staff, students, undergraduates and doctoral students, as well as in the artistic practice and creative activity of contemporary artists.

scholarly journals The Phenomenon of World Image in Fine Arts

2021 ◽  
pp. 14-17
Author(s):  
Natal’ya L. Varova
Keyword(s):  
Creative Process ◽  
Fine Arts ◽  
Self Awareness ◽  
Modern Times ◽  
The World ◽  
The Creation ◽  
The Mind ◽  
Artistic Image ◽  
Material Form ◽  
World Image

The article shows that the basis of the achievements of the Modern Times art is the formation of the idea of the world in the mind of the artist. The attractor, the assemblage point of the phenomenon is the completeness of the experience of the multidimensional composition of being. The phenomenon of the image of the world is formed in voluntary acts of self-awareness throughout the artist’s life. In the creative process, the development of an ideal artistic image and the creation of a material form of its embodiment occur in relation to the phenomenon of the image of the world.

“Dreaming of Russia”

Experiment ◽  
2019 ◽  
Vol 25 (1) ◽  
pp. 189-206
Author(s):  
Olga Davydova
Keyword(s):  
National Identity ◽  
Cultural Memory ◽  
Art Nouveau ◽  
Global Development ◽  
Russian Art ◽  
The Past ◽  
The World ◽  
Artistic Images ◽  
The Individual ◽  
Local Traditions

Abstract The National-Romantic trend in Russian Art Nouveau is characterized by a lyrical approach to the past, including imagery from folklore. This tendency is also identifiable within the global development of Art Nouveau, each country expressing its national identity in highly characteristic forms in design and architecture. Art Nouveau coincided with the zenith of Symbolism and, therefore, transmitted both its universal ideas and the unique creative psychology of the individual artist, who often based personal quest upon local traditions and innate cultural memory. This article analyzes the poetics of this style in Russia. The lyrical and mythological approach towards artistic images, influencing design, form, and meaning, is studied through an examination of the works of artists close to the Abramtsevo circle and the innovative experiments of the World of Art group (1898-1904).

scholarly journals Artistic stylization as the main means of expression in different genres of fine arts

2021 ◽  
pp. 165-169
Author(s):  
Veronika Zaitseva
Keyword(s):  
Art History ◽  
Visual Art ◽  
Fine Arts ◽  
Fine Art ◽  
Scientific Methods ◽  
The World ◽  
Analysis And Synthesis ◽  
General Scientific ◽  
Artistic Images ◽  
Comprehensive Study

The purpose of the article is to analyze the essence of the method of stylization and determine its creative and expressive role in various genres of fine arts. Based on the experience of the world and domestic visual art to explore the practical use of methods and techniques of artistic stylization. The methodology consists of the application of general scientific methods (analysis and synthesis, induction and deduction) and methods of art history (comparative, typological, descriptive). The scientific novelty of the work consists in a comprehensive study and identification of the features of expressive means of artistic stylization of a pictorial composition in different genres of modern fine art. Conclusions. Exploring the expressive means of artistic stylization of composition in various genres of fine arts, it can be noted that leading foreign and domestic artists in their work have widely used a variety of techniques and methods of creative stylization of artistic images. The analysis of the experience of the world and domestic visual art of fine stylization should promote better visual perception and creation of subject-spatial stylized compositions and is, therefore, an extremely fruitful object of research.

scholarly journals “THE COLLECTIVE LAPSE INTO DEMENTIA IS AN UNREMITTING SOURCE FOR THE ARTIST”

2020 ◽  
Vol 2020 (4) ◽  
pp. 7-16
Author(s):  
Valery Nistratov ◽  
Ekaterina Maksimova
Keyword(s):  
New York ◽  
Everyday Life ◽  
New York Times ◽  
Forest Steppe ◽  
Documentary Photography ◽  
The New York Times ◽  
Russian Art ◽  
The World ◽  
Moscow School ◽  
The Guardian

Valery Nistratov is a documentary photographer, one of the most famous representatives of Russian art-documentary photography working with “The New York Times”, “The Guardian”, “Newsweek”, “Le Monde”, and other media. He teaches at the Rodchenko Moscow School of Photography and Multimedia. He is the author of the books “Risse im Patriarchat. Frauen in Afghanistan” (2003), “Forest-steppe” (2008), “Title Nation” (2011), and “Lost Horizon trilogy” (2017). In this issue of P&I Valery Nistratov talks about how the world of photography is penetrated by a new ethic, while Russian everyday life is imbued with a chthonic stuff. Interview by Ekaterina Maksimova.

scholarly journals COLORONYMS AND LUXONYMS AS A MEANS OF CREATING ARTISTIC IMAGE IN HISTORICAL PROSE BY V. IPATOVA AND V. KARATKEVICH

2021 ◽  
pp. 157-162
Author(s):  
Mikhail Shevchenko
Keyword(s):  
Work Of Art ◽  
Color Palette ◽  
Frequency Of Use ◽  
The World ◽  
Associative Connection ◽  
Color Combinations ◽  
The Individual ◽  
Style Of Writing ◽  
Artistic Image ◽  
Color And Light

The article examines the color and light vocabulary, with the help of which the authors create a figurative system of artistic text. It is a universal tool for creating a figurative and expressive characteristics of a real, ethnocultural space. The use of coloronyms and luxonyms in the historical prose of the authors, their linguistic interpretation indicates the determination of the individual author’s specificity of the perception of color by the writer and the adequate associative connection of color combinations arising from the reader. Creating a masterfully figurative picture or model of a certain ethnic group in the context of a work of art is an important task of every writer who conveys his vision of the world through different semantic groups of words as elements of artistic imagery. This also applies to the corresponding group of vocabulary denoting color and light. The semantic group of words denoting color is used in any work of art: in one the frequency of use of color designations is greater, in the second - less. Selected literary works on historical themes by V. Ipatova and V. Korotkevich are widely saturated with color vocabulary, which deserves a multifaceted analysis. The perception of the artistic word is an individualized phenomenon and is unique in the history of national literature and culture in general. The writers virtually penetrated into ancient events, rites and customs, skillfully described their heroes, national color, ethnic culture, social and spiritual life not only of Belarusians but also of other nations. The authors have made extensive use of the color palette, which involuntarily attracts the attention of readers and affects their figurative imagination. The peculiar style of writing of each author, the lexical and systemic organization of their texts, which organically include coloronyms, give the opportunity to vividly imagine the verbal picture of the world created by the writer. It should be noted that when describing a broad historical panorama, the authors often use color in the lexical microsystem as a means of creating a highly artistic text. Language in works of art of the historical genre acts not only as a means of communication, but also as a carrier of artistic imagery.

scholarly journals The formation of the art of socialistic realism in Mongolia: the main stages, the role of the Russian art school

2021 ◽  
pp. 170-187
Author(s):  
Д. Уранчимэг ◽  
Ян Гоу Чин
Keyword(s):  
Contemporary Art ◽  
Art History ◽  
Fine Arts ◽  
Socialist Realism ◽  
Buddhist Art ◽  
Russian School ◽  
Russian Art ◽  
History Analysis ◽  
Art School

Статья посвящена стилю социалистического реализма в изобразительном искусстве Монголии. Выделены основные этапы становления и факторы его формирования: революционные события и утверждение идеологии социализма; поддержка нового направления правительством Монголии, а также влияние российской художественной школы. Показана роль Российской академии художеств, Института им. И.Е. Репина, Института им. В.И. Сурикова в обучении и передаче художественных традиций и навыков монгольским художникам. Отмечено своеобразие монгольского варианта стиля соцреализма, синтезировавшего приемы и методы российской школы живописи с народными формами художественного творчества и буддийским искусством; показана непреходящая значимость и востребованность данного стиля в современном искусстве Монголии. Охарактеризовано творчество ведущих монгольских художников, и проведен искусствоведческий анализ ряда произведений. The article is devoted to the style of socialistic realism in the fine arts of Mongolia. The main stages of formation and factors of its formation are highlighted: revolutionary events and the establishment of the ideology of socialism; support of the new authorities of Mongolia, as well as the influence of the Russian art school. The role of the Russian Academy of Arts, the I.E. Repin St. Petersburg State Academic Institute of Painting, Sculpture and Architecture, the Moscow State Academic Art Institute named after V.I. Surikov in teaching and transferring artistic traditions and skills to Mongolian artists is shown. The peculiarity of the Mongolian version of the style of socialist realism, which synthesized the techniques and methods of the Russian school of painting with folk forms of art and Buddhist art, is noted; the enduring importance and relevance of this style in the contemporary art of Mongolia is shown. The work of leading Mongolian artists is characterized and an art history analysis of a number of works is carried out.

scholarly journals The role of categories of space and time in creation of artistic worldview in the works of Buryat writers (on the example of tales by Baradiĭ Mungonov “Call of the Ancestors and Sounds of the Forthcoming” and Dorji Erdyneev “Toonto”

2020 ◽  
pp. 56-64
Author(s):  
Mariya Danilovna Danchinova
Keyword(s):  
Literary Text ◽  
Value Of Life ◽  
The Other ◽  
Space And Time ◽  
The World ◽  
Artistic Vision ◽  
The Subject ◽  
Artistic Images ◽  
Artistic Image

This article explores the worldview in tales of the Buryat writers. The subject of this research is the role of categories of space and time in the architectonics of artistic image of the world in tales “Call of the Ancestors" by B. Mungonov and “Toonto” by D. Erdyneev. These works have not previously become the object of research in Buryat literary studies from perspective of significance of space-time interrelation. This defines the novelty of this article, and allows revealing other aspects of artistic vision in the works of Buryat writers. The key methods for studying the categories of space and time in a literary text include descriptive, comparative, and mythopoetic. It is demonstrated that the categories of space and time are localized in various artistic images, symbols and meanings, contain the concepts of endlessness, infinity, relativity and discreteness, as well as allow creating a vivid unique palette of artistic vision of the world in tales of the Buryat writers. Analysis is conducted on the artistic architectonics through the prism of correlation between the categories of space and time in tales of B. Mungonov “Call of the Ancestors and Sounds of the Forthcoming” and D. Erdyneev “Toonto”. Peculiarity of the categories of space and time in the artistic picture of Buryat writers is reflected in Eastern outlook upon the world, which is based on the models of cyclicity and substantiality. In the tale of B. Mungonov prevails the category of time. In the artistic worldview, one stems from the other. In the tale of D. Erdyneev “Toonto” dominates the by category of space. Toonto is translated from Buryat as a particular space, birthplace of a man, where him and his ancestors have roots. Tales of B. Mungonov and D. give thoughts on the value of life and chances to repair past mistakes.

Art Market and Its Investment Capacity

2010 ◽  
pp. 65-78
Author(s):  
A. Sarkisyants
Keyword(s):  
Art Market ◽  
Rate Of Return ◽  
Russian Art ◽  
The World ◽  
Market Trends ◽  
Russian Art Market ◽  
Investment Capacity ◽  
Comparative Rate

The article investigates the world art market trends. It considers the main market indicators, comparative rate of return and the prospects of the market as well as the problems of art banking. Special attention is paid to the Russian art market.

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