scholarly journals THE ARTIST A. N. MOKRITSKY IN ITALY IN THE 1840S: LANDSCAPE ART EXPERIENCE

2020 ◽  
Vol 58 ◽  
pp. 289-299
Author(s):  
Elena A. Sharova
Keyword(s):  
19Th Century ◽  
Russian Art ◽  
Landscape Art ◽  
Literary Sources ◽  
Art Works ◽  
History Of ◽  
Imperial Academy ◽  
Characteristic Features ◽  
The 19Th Century ◽  
Art Schools

The paper explores the art works of A. N. Mokritsky, the painter who lived in Italy in the 1840s and had a strong passion for landscape painting. Being taught by A. G. Venecianov first and then graduating from the Imperial Academy of Arts under K. P. Bryullov, he himself followed the path of teaching and became an outstanding person in the Russian Art History of the second third of the 19th century. Mokritsky came to be known as a painter of an average talent who didn’t leave a distinctive mark on the national art. However, it was him who as a presumable representative of the artistic milieu became an indicator of the changes taking place in this art environment. The article provides a picture of years Mokritsky spent in Italy which is the most important period of his professional development and a prominent time of the Roman colony of the Russian artists as well. The author considers the artist’s close interaction not only with members of the Russian colony in Rome, but also with representatives of European art schools. Involving of archival materials and literary sources allowed to substantially supplement information about the life and work of Mokritsky during his trip abroad. Upon analysis of a significantly expanded list of landscape works created by the artist in this period, the author identified a number of characteristic features of the Italian landscape of the 40s of the 19th century taking into account the works of other painters.

scholarly journals Research of the History of Inter-Religious Relations in Ukraine in the Kyiv Theological Academy (Second Half of the 19th – Beginning of the 20th Century)

2021 ◽  
Vol 8 ◽  
pp. 60-79
Author(s):  
Luidmila Pastushenko
Keyword(s):  
20Th Century ◽  
19Th Century ◽  
Legal Aspects ◽  
Systematic Analysis ◽  
Literary Traditions ◽  
The Social ◽  
Academic Researchers ◽  
History Of ◽  
Characteristic Features ◽  
The 19Th Century

The article presents the first attempt of a complete and systematic analysis of historic and theological publications of teachers and pupils of the Kyiv Theological Academy in the second half of the 19th – beginning of 20th century in the field of studying the history of relations of Catholicism and Protestantism with Orthodox on the Ukrainian lands. The specifics of Kyiv academic historians studies was determined by the social and-political circumstances in the middle of the 19th century and denoted by an attempt to comprehend this issue in the perspective of the history of interconfessional relations of two Western Christian traditions with the eastern tradition of Orthodoxy in the historical gap of the 16th – 17th centuries – the period of the largest confrontation in confessional relations in Ukraine. The author clarifies the characteristic features of researching the question of inter-confessional interaction in the 15th – 17th centuries, which are expressed in attempts to describe the coexistence of three denominations as multidimensional and provoking а variety of different interpretations. Historical studies present the attempt to show confessional interaction in the political and legal aspects and to provide historical interpretations to the ground of philosophy of history. The article proves the tendency of Kyiv academic researchers to move away from the established Russian historiography of the 19th century view at confessional relations in Ukraine through the prism of hard confrontation and outline in religious life Ukraine conditions and circumstances of inter-confessional dialogue. Also, historians in their studies repeatedly note the significant educational and outlook influence of Western Christian denominations on the formation of educational, cultural, theological, literary traditions in Ukraine.

scholarly journals Boundaries of Realism: Terminology Issues

2021 ◽  
pp. 92-100
Author(s):  
Ol'ga Kalugina
Keyword(s):  
19Th Century ◽  
Middle Ages ◽  
Political Development ◽  
Large Degree ◽  
Religious Philosophy ◽  
Early Application ◽  
Russian Art ◽  
Plastic Arts ◽  
History Of ◽  
The 19Th Century

The major objective of this publication is to trace the formation of the term “realism” both in the plastic arts and European artistic culture in general. The need for such an analysis is determined by the current terminology applied to various phenomena in the history of European art, which results in a large degree of ambiguity with respect to the conceptual range. Although the origins of the concept “realism” date back to the scholastic religious philosophy of the Middle Ages, its application in Art Studies has entirely different backgrounds and can actually be traced back to the middle of the 19th century. As far as the Western European art is concerned, this concept is first used with respect to the artistic works by Courbet. In the history of the Russian Art in general and art criticism in particular, the term is commonly used with reference to the emergence and development of the “Natural School” literary movement. At the same time, a thorough analysis of, inter alia, the epistolary and artistic-critical legacy of the leading figures of the Russian culture in the middle and the second half of the 19th century, such as Belinsky, Turgenev, Tolstoy, Stasov, and others, explicitly reveals a rather early application of this term, but mainly in the field of literary rather than artistic criticism. This situation can be explained by the total predominance of literary centrism in the 19th century Russian Art, which, in its turn, was determined by the specific aspects of our country’s social and political development. The explicit translation of this concept into the plastic arts domain was at the same time associated with the use of terminological qualifiers such as “critical”, “didactic”, and “socialist” with respect to the word realism, which resulted in even greater conceptual ambiguity. There is no doubt that the analysis of historical formation and that of characteristics of the figurative-plastic system of realism as a creative method should finally be subject to a comprehensive review, which can allow avoiding its excessively broad terminological interpretation.

scholarly journals Destroyed and Forgotten: Revisiting the History of the Library of the Russian Academy of Sciences’ Magneto-Meteorological Observatory in Beijing in the 20th Century

2021 ◽  
pp. 45-56
Author(s):  
Tatiana Yu. Feklova ◽  
Keyword(s):  
Social History ◽  
19Th Century ◽  
Statistical Processing ◽  
Social Institutions ◽  
Meteorological Observatory ◽  
Archival Documents ◽  
History Of ◽  
Imperial Academy ◽  
Academy Of Sciences ◽  
The 19Th Century

The article is to study the history of formation and development of the unique library of the Beijing Magnetic Meteorological Observatory governed by the Russian Imperial Academy of Sciences. Nowadays, researchers increasingly focus their attention not just on history of institutes themselves, but also on history of their communications with and incorporation into the scientific institutional community. Studying the library of the Beijing Magnetic Meteorological Observatory (BMMO) and its books provide a better understanding of its place in the network of magnetic meteorological observatories of the 19th century Russian Empire, which has determined the novelty of the work. The author has introduced into scientific use new archival documents and data from the St. Petersburg branch of the Archive of the Academy of Sciences and from the Russian National Library. The article analyzes activities and history of the Observatory, which was located on the territory of the Russian Orthodox mission in Beijing (China) from 1848 to 1914. For the first time in Russian and international historiography, not only the formation history of the library of the Beijing Observatory has been analyzed, but also the contents and structure of the library stock and its uniqueness. The author has demonstrated variety of its scientific life. As the library was destroyed in the Yihetuan Movement in 1900 and the 1917 Revolution in Russia, the article covers the second half of the 19th century. Its methodological basis modern basic principles of historical research (scientific objectivity, historicism, consistency, historical-genetic approach, etc.), as well as methods of social history of science (relationship between the science and the state, between the science and other social institutions, etc.). It uses the methods of statistical processing of large databases (the sampling method and the method of grouping and summarizing the materials of statistical observation) to analyze the books in library. The research fills the gaps in scientific knowledge on 19th century China and introduces data on the activities of the Imperial Academy of Sciences institutions (Magnetic Meteorological Observatory as well as its library as auxiliary apparatus). Studying the history of scientific research in China can enrich the scientific ties between two countries and allow us to rethink the historical legacy of Russia and China.

scholarly journals Greek composers of the Ionian islands in Italian musical life during the 19th century

Muzikologija ◽  
2003 ◽  
pp. 57-63
Author(s):  
Christina Vergadou-Mavroudaki
Keyword(s):  
19Th Century ◽  
Major Step ◽  
Considerable Part ◽  
Musical Life ◽  
Ionian Islands ◽  
Leading Role ◽  
Literary Sources ◽  
Musical Works ◽  
History Of ◽  
The 19Th Century

During the 19th century most of the Ionian islands played a leading role in the Greek musical life. The vicinity of the islands with Italy combined with the Venetian domination were two facts that helped the creation of strong links between the Ionian islands' and the Italian cultures. The phenomenon of the visits of Greek composers to Italy during the 19th century in order to study at the principal conservatories of the country is one of the most interesting aspects of the history of Ionian music. The relations of individual composers with Italian composers, professors and music institutions are considered together with relevant aspects of Greek and Italian musical ties. The traveling of Greek composers to Italy for educative purposes is regarded not only as a historic phenomenon but also as a major step in their career. References are made regarding their contacts with distinguished Italian composers and intellectuals. Furthermore, the success of Greek composers in Italy is an undoubtful fact. A considerable part of Greek composers' musical works was performed and published in Italy. Facts indicating the success and the effect of Greek composers' work on the Italian musical life are given with references to primary music and literary sources.

scholarly journals الشيخ محمد نووي البنتني الجاوي المكي وجهوده الدعوية في القرن التاسع عشر الميلادي

2018 ◽  
Vol 1 (01) ◽  
pp. 139-154
Author(s):  
Dzulkifli Hadi Imawan
Keyword(s):  
20Th Century ◽  
19Th Century ◽  
Golden Age ◽  
Islamic World ◽  
Present Generation ◽  
Literary Sources ◽  
History Of ◽  
The 19Th Century

This paper is about to discuss a scholar of Nusantara in Haramain who has a major role in the development of da’wah and intellectuals in the Islamic world in the 19th century ADthe 19th-20th century AD was the golden age of the scholar of Nusantara in Haramain because of the quantity and quality of those who did not exist before or since. But the traces of their da’wah are not widely known by the present generation like Shaykh Muhammad Nawawi al-Bantani. Therefore, thisstudy will discuss the history of one of Nusantara scholar in Haramain, Shaykh Muhammad Nawawi al-Bantani by taking the focus of his study of dakwah and his intellectual contribution in the Islamic world.The study used is a study of literature on the biography of Haramain scholars, especially the literary sources that discussed Shaykh Nawawi al-Bantani. the results of this study suggest that Shaikh Muhammad Nawawi al-Bantani was a great Haramain scholar who came from the archipelago, and he was well known by the Haramain scholars of his time. he has spent his life to preach both verbally (ta’lim), writings (kitabah), and examples (qudwah) by clinging to al-sunnah waal-jamaah’s manhaj in aqidah, Shafi’s school in Sharia and Sunni tasawuf. From the influence of his da’wah, he has given birth to many great scholars and many helpful Islamic repertoire both materially and intellectually.

scholarly journals The Image of the Snow Maiden in the Sketches of Costumes for the Russian Theater of the Late 19th Century: Paths of Evolution

2021 ◽  
pp. 54-66
Author(s):  
С.К. Зауст
Keyword(s):  
19Th Century ◽  
Late 19Th Century ◽  
Historical Method ◽  
Biographical Research ◽  
Russian North ◽  
Accurate Expression ◽  
History Of ◽  
Characteristic Features ◽  
Peasant Women ◽  
The 19Th Century

В исследовании на основе эскизов костюмов для постановок пьесы «Снегурочка» А. Н. Островского выявляются основные тенденции эволюции образа главной героини на протяжении последней четверти XIX в. Художественное изучение эскизов русских художников-станковистов этого периода и обращение к результатам исследований в области истории народного и сценического костюма, этнографии, биографическим изысканиям позволило рассмотреть изменение облика костюма Снегурочки от первых постановок пьесы (1873) до врубелевского воплощения (1890). Анализируемый образ развивался путем отказа от «художественного подхода», присущего русскому академизму (М. Клодий), последующего обращения к интерпретации В. М. Васнецова, в которой Снегурочка оказалась наиболее точным выражением идеала русской красоты, а затем – к народной романтизации, проявившейся в эскизах Н. К. фон Бооля и М. А. Врубеля. Трактовка В. М. Васнецова установила новый «сказочный канон», сохраняемый в театральном и киноискусстве до сих пор. The aim of the study is to identify the ways and features of the transformation of the fairytale image of the Snow Maiden (the main heroine of the play of the same name by Alexander Ostrovsky) in the conditions of the Russian stage of the late 19th century. The work was carried out on the basis of sketches of stage costumes created by Russian easel painters of the late 19th century. Other important sources were studies in the field of the history of Russian painting and scenography, the history of folk and stage costumes, ethnography; biographical research on Viktor Vasnetsov; Ostrovsky’s diaries. The core of the research was an evolutionary approach, which eventually made it possible to achieve the aim of the study. A comparative historical method was used for discovering the similarity between the motives reflected in the images of the Snow Maiden in the analyzed sketches and Russian folk ornaments of the 19th century that decorated the traditional costumes of Russian peasant women. In the course of the study, the appearance of the Snow Maiden’s costume was analyzed. From how it was shown in the sketches for the first productions of Ostrovsky’s play in the Bolshoi and Maly Theaters (sketches by M. P. Klodt) to the image of the heroine captured in the relief drawing by Mikhail Vrubel. Particular attention was paid to Vasnetsov’s interpretation, in which the image was successfully correlated with the traditional motives that existed in the folk ornament and embroidery of the Russian North. The characteristic features of the image of later authors (Nikolay von Bool and Mikhail Vrubel) were revealed. The later incarnations of the image were studied (for example, in Soviet cinema at the end of the 20th century). It has been established that a sketch of a stage costume solves the problem of the structure of the embodied image, it is an illustration of the author’s artistic beliefs and (in the case of reaching a certain level of artistic perfection) is a guideline for determining the technology of creating a costume. It has been determined that sketches made by old masters of Russian theatrical costume have a special artistic value and expressiveness. The leader among the masters, according to the author, is Vasnetsov, the creator of the authentic, perfect graphics of the Russian folk costume. The image of the Snow Maiden on the Russian stage of the late 19th century developed from the “artistic approach” characteristic of Russian academism and implemented in the works of M. P. Klodt to the most accurate expression of the ideal of Russian beauty embodied by Vasnetsov and further towards popular romanticization (von Bool and Vrubel).

CAPRICCIOʼS GENRE IN MANDOLIN MUSIC AT THE END OF THE 19th – THE EARLY OF THE 20th CENTURIES (for example of the concert pieces by С. Munier)

2019 ◽  
pp. 60-71
Author(s):  
N. V. Bashmakova ◽  
K. V. Kravchenko
Keyword(s):  
19Th Century ◽  
Analytical Methods ◽  
17Th Century ◽  
Point Of View ◽  
Historical Approach ◽  
The Creation ◽  
Characteristic Features ◽  
Concert Works ◽  
In The Beginning ◽  
The 19Th Century

The purpose of this article is process of analyzing in reference to concert capriccio by C. Munier for mandolin with piano («Bizzarria», op. 201, Spanish сapriccio, op. 276) from the point of view of their genre specificity. Methodology. The research is based on the historical approach, which determines the specifics of the genre of Capriccio in the music of the late 19th and early 20th centuries and in the work of C. Munier; the computational and analytical methods used to identify the peculiarities of the formulation and the performing interpretation of the original concert pianos for mandolins with piano that, according to the genre orientation (according to the composerʼs remarks), are defined as capriccio. Scientific novelty. The creation of Florentine composer,61mandolinist-vertuoso and pedagog C. Munier, which made about 300 compositions, is exponential for represented scientific vector. Concert works by C. Munier for mandolin and piano, created in the capriccio genre, were not yet considered in the art of the outdoors, as the creativity and composer’s style of the famous mandolinist. Conclusions. Thus, appealing to capriccio by С. Munier, which created only two works, embodied in them virtually all the evolutionary stages of the development of genre. In his opus of this genre there are a vocal, inherent in capriccio of the 17th century solo presentation, virtuosity, originality, which were embodied in the works of 17th – 18th centuries and the national color of the 19th century is clearly expressed. Thus, the Spanish capriccio is a kind of «musical encyclopedia» of national dance, which features are characteristic features of bolero, tarantella, habanera, and so forth. The originality of opus number 201 – «Bizzarria», is embodied in the parameters of shaping (expanded cadence of the soloist in the beginning) and emphasized virtuosity, which is realized in a wide register range, a variety of technical elements.

MASJID BESAR RAJA HAJI ABDUL GHANI PULAU BURU KEPULAUAN RIAU

2018 ◽  
Vol 3 (2) ◽  
Author(s):  
Nurman Kholis
Keyword(s):  
Qualitative Research ◽  
Research Methods ◽  
19Th Century ◽  
Qualitative Research Methods ◽  
District Level ◽  
History Of ◽  
Chinese Buddhists ◽  
The Right ◽  
The 19Th Century ◽  
Level Government

Abstract. Many Muslims in the Riau Islands do not know the history of the development of Islamic theory from the center of power to spread to various corners. This is as the existence of the Great Mosque of Raja Haji Abdul Ghani (MBRHAG) on Buru Island, Karimun. Thus, to uncover the existence of this mosque, qualitative research methods are used so that history, architecture, and socio-religious functions can be known. Based on the results of the study it was concluded that the establishment of MBRHAG was initiated by Raja Haji Abdul Ghani. He was the first Amir (sub-district level government) of the kingdom of Riau-Lingga on Buru Island, in the 19th century. The architecture is a Chinese. Therefore, on the right side of this mosque is around 200 m, there is also the Sam Po Teng Temple and the Tri Dharma Dewa Bumi. Thus, the close location of the mosque with Chinese and Confucian worship houses's shows a harmonious relationship between Malay Muslims and Chinese Buddhists. In fact, in the continuation of this relationship there was information that a Chinese Buddhist had joined a Muslim friend to fast for half a month of Ramadan.Keywords: Mosque, Malay Muslims, Chinese Buddhists/Confucians, Harmonious RelationsAbstrak. Umat Islam di Kepulauan Riau banyak yang tidak mengenal sejarah perkembangan ajaran Islam dari pusat kekuasaan hingga tersebar ke berbagai pelosok. Hal ini sebagaimana keberadaan Masjid Besar Raja Haji Abdul Ghani (MBRHAG) di Pulau Buru, Karimun. Dengan demikian, untuk mengungkapkan keberadaan masjid ini digunakan metode penelitian kualitatif  agar dapat diketahui sejarah, arsitektur, dan fungsi sosial keagamaannya.  Berdasarkan hasil penelitian diperoleh kesimpulan bahwa pendirian MBRHAG diprakarsai oleh Raja Haji Abdul Ghani. Ia adalah Amir (pemerintah setingkat kecamatan) pertama kerajaan Riau-Lingga di Pulau Buru, pada abad ke-19. Adapun arsitekturnya adalah seorang Tionghoa. Karena itu, di sebelah kanan masjid ini sekitar 200 m juga terdapat Kelenteng Sam Po Teng dan cetya Tri Dharma Dewa Bumi. Dengan demikian, dekatnya lokasi masjid dengan rumah ibadah umat Tionghoa dan Khonghucu ini menunjukkan hubungan yang harmonis antara muslim Melayu dengan Budhis Tionghoa. Bahkan, dalam kelangsungan hubungan ini terdapat informasi seorang Buddhis Tionghoa pernah ikut temannya yang beragama muslim untuk berpuasa selama setengah bulan Ramadhan.Kata Kunci: Masjid, Muslim Melayu, Buddhis/Khonghucu Tionghoa, Hubungan Harmonis

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