Discussion on the Humanistic Landscape after the Transformation of Jingdezhen Old Porcelain Factory

History contains memories and homesickness. In urban development, we should innovate ideas, protect and make good use of them, integrate with the new pace of urban development and meet the growing cultural needs of the broad masses of the people. Jingdezhen Old Porcelain Factory, as a historic building, played an important role in the development of ceramic industrialization in the last century. How to effectively transform, present a suitable and livable cultural landscape, and make effective use of the left Industrial Relics is particularly important.

Architect and engineer Nikolai Alexandrovich Poturaev. Notes on creative work

Currently, one of the most important tasks of research activity is the task of collecting information, identifying and publishing the names of architects, sculptors and artists who are still unknown, the circumstances of their life and work, which will allow more objective presenting of Russian art of the second half of the 19th – early 20th centuries. In particular, this concerns a study of the field of construction of industrial facilities, where the names of most project authors still remain unknown. This paper is to study the work of one of such architects and engineers — Nikolai Alexandrovich Poturaev. To this end the authors explore some of the construction activities of the Brothers A. and N. Poturaev Trading House in Moscow, as well as identify a number of addresses related to the placement of workshop, technical office and other services of this Trading House. Addressing to archival documents made it possible to establish that the Trading House of brothers A. and N. Poturaev actively collaborated with the M. S. Kuznetsov Partnership and carried out construction work at the Riga Porcelain-Faience Factory, Dulevsky Porcelain Factory, Tver Porcelain Factory in the village of Kuznetsovo. The factory buildings under construction included carefully elaborate heating system as well as the first ventilation and air humidification system installed. The most modern technical solutions and materials were used for construction. It should be noted that the merits of buildings of purely utilitarian purpose are due in no small part to elements of decor, generally characteristic of Russian industrial architecture of the late 19th – early 20th centuries. The authors analyze Poturaev's architectural projects, considering stylistic features of neoclassical buildings with the introduction of Art Nouveau elements, as well as other historical styles. Poturaev's architecture is distinguished by rationality, the desire to develop interesting layouts, convenient and practical. In the composition of the building, he always highlights its structural basis, as a rule, emphasized by decorative elements. The surviving buildings of N. A. Poturaev provide additional connotations to the characteristic of development of a domestic architecture of the late 19th – early 20th centuries.

TRAINING OF DECORATIVE AND APPLIED ARTS SPECIALISTS IN EDUCATIONAL INSTITUTIONS OF UKRAINE: HISTORICAL ASPECT

The paper examines the historical aspects of the development specialists in decorative and applied arts training in Ukraine on the example of porcelain production (late 18th century - today) and its current state abroad. In line with the issue of introduction of this direction of decorative and applied art in our country, examples of its flourishing in the cities of Koret (production of baroque Meissen porcelain), Baranivka, Hrodnytsia, Dovbysh (Iliinskyi Manufactory, Markhlov Factory, Dovbysh Porcelain Factory, Polonsky Porcelain Factory); Poltava, Boryslav, Sumy, Ternopil (opening of porcelain factories in 1965) are characterized. It has been found that along with the foundation and development of porcelain industries there were professional schools focused on training skilled craftsmen to work in the factory, in particular schools in Kyiv, Lviv, Kharkiv; Myrhorod Art and Industrial School in Poltava region, etc.). Training of specialists in pottery and porcelain, teachers of graphic arts and painting, masters of artistic decoration of products, etc., who were ready to perform significant amounts of physical work, namely making tiles, bulk utensils, decorating the facades of churches, houses, fireplaces, sculptures, ornaments, and exterior, is analyzed. Activities of famous artists such as S. Maslenikov, O. Slastion, V. Krychevsky are described; characteristics of outstanding works and participation in exhibitions are revealed. It is determined that the best traditions of training specialists are preserved in modern Ukraine. But porcelain production has declined and is virtually absent; products made in small businesses are souvenirs, they can not always be conveniently used as utensils. A conclusion has been made on the need to use European manufacturers who have maintained mass porcelain production and train a significant number of skilled workers.

Images of Leningrad in Soviet porcelain art of the 1930s – early 1950s

В статье автор ставит целью проследить эволюцию репрезентации образа Ленинграда в фарфоре 1930-х – начала 1950-х годов на материале произведений мастеров Государственного фарфорового завода им. М.В. Ломоносова из собрания Государственного Эрмитажа (отдел «Музей Императорского фарфорового завода»). В 1930-х – начале 1950-х годов виды Ленинграда привлекают внимание таких художников, как В.П. Фрезе, Т.Н. Безпалова-Михалева, М.А. Брянцева, И.И. Ризнич, Л.И. Лебединская, Е.П. Кубарская, А.Ф. Большаков, Г.Д. Зимин, А.И. Быстров. В фарфоре 1930-х годов складывается советская «иконография» Ленинграда, подчеркивающая его значение как «колыбели революции» и города с богатым культурно-историческим наследием. В произведениях военного периода, посвященных блокадному Ленинграду, находят отражение трагические события в жизни города, переданные с особенным драматизмом и высокой степенью достоверности. В то же время художники стремятся подчеркнуть величие города и мужество его защитников. Во второй половине 1940-х – начале 1950-х годов образ города-героя Ленинграда приобретает особую величественность и монументальность, характерную для стиля «Победа» в советском декоративно-прикладном искусстве. In the article, the researcher investigated the evolution of the Leningrad image representation in the art porcelain of the 1930s – the early 1950s. The author considered the pieces of porcelain artists of the State Porcelain Factory named after M. V. Lomonosov from the collection of the Museum of the Imperial Porcelain Factory of the State Hermitage. In the 1930s – the early 1950s such porcelain artists as Varvara Freze, Tamara Bezpalova-Mikhaleva, Maria Briantseva, Ivan Riznich, Larisa Lebedinskaia, Elena Kubarskaia, Andrey Bol’shakov, Grigory Zimin, Aleksandr Bystrov interpreted the image of Leningrad in their works. The researcher underlined that in the 1930s the artists created the Soviet “iconography”, emphasizing its importance as the “cradle of the revolution” and a city with a rich cultural and historical heritage. In the works of the war period, dedicated to besieged Leningrad, the artists reflected the tragic events in the life of the city with a special drama and a high degree of reliability. At the same time, the artists aimed to emphasize the greatness of the city and the courage of its defenders. In the second half of the 1940s – the early 1950s the image of the Hero-City of Leningrad acquired a special grandeur and monumentality in the works of the porcelain artists. These tendencies were generally typical for the “Victory style” (“Pobeda style”) dominating in the Soviet decorative and applied art after the Second World War.

Ceramic art of Russian Primorye

The goal of this work is determination of the development stages of ceramic art in Russian Primorye, as well as their specificity. It is established that the history of ceramic art of this region alongside its current stage are insufficiently studied. The evolution of ceramic art of Primorye is viewed in the context of its manufacture and production. The author examines the role of the three major factories – Vladivostok Porcelain Factory, Artemovsk Porcelain Factory, and Spassky Plant in development of ceramic art of Russian Primorye. The  two main development stages of ceramic art in Primorye are determines. The first one includes the activity of porcelain factories in Vladivostok and Artem, as well as pottery plant in Spassk-Dalny, which resulted in the inflow of certified specialists in the area of decorative-applied arts and formation of a unique style of the regional ceramic art. The second one includes the forms of existence of ceramic art in Primorye after closing the factories and creation of private workshops that developed the ceramic branch of decorative-applied art, namely souvenirs, use of pottery and porcelain objects in landscape and interior design, as well as involvement of ceramics in inclusive education.  

Alexey Pesegov. The porcelain master

Статья посвящена 95летию со дня рождения Алексея Семеновича Песегова старейшего члена Приморского отделения ВТОО Союз художников России, заслуженного художника РФ, художникакерамиста, вложившего свою творческую энергию в создание первого фарфора в советском Приморье. По первоисточникам исследуется биография А.С. Песегова, история его профессиональной деятельности и его окружения в художественной мастерской Артемовского фарфорового завода (19641988 гг.), выставочная деятельность, комплектование коллекции Приморской государственной картинной галереи авторскими произведениями мастера. Впервые в научный оборот вводится большой массив биографических сведений. The article is devoted to the 95th anniversary of the birth of Alexey Semyonovich Pesegov is the oldest member of the Primorsky branch of the Union of artists of Russia, honored artist of Russian Federation, ceramic artist who invested his creative energy in the creation of the first porcelain in the Soviet Primorye. The author used primary sources for research of biography of A.S. Pesegov and the story of his work on Artem porcelain factory (19641988), also exhibition activities, artworks of the master in the collection of Primorye state gallery. For the first time a large array of Pesegovs biographical information is introduced in scientific use.