TO THE QUESTION OF SPACE ORGANIZATION OF BOOK ILLUMINATION OF LATE ANTIQUITY AND EARLY MIDDLE AGES (IV – VII CENTURY)

The article focuses on peculiarities of spatial organization of book miniature paintings of late antique and early medieval manuscripts (IV – VII centuries). The author analyses the problem of conveying illusion of depth in illustration in context of gradual transmission from roll to codex, which took place in antique book culture between the II and the V centuries. By analyzing survived fragments of illuminated rolls author displays characteristic features of their spatial organization and observes influence which had tradition of roll illustration on the development of codex. Nevertheless, precisely the miniatures of the codices that have come down to our time are in focus of the author’s attention. The stages of development of the text page, the peculiarities of interaction of text and images in codices are compared with the principles of space organization in miniatures. The article makes an attempt, relying on the monuments that have survived to our time, to consider the development of spatial constructions in the period of late Antiquity and early Middle Ages as a continuous process of evolution of the language of book painting. The author assumes that the development of spatial constructions in miniature painting does not imply sharp breaks or regression. Each new stage of the evolution arises from the previous one and makes it possible to expand the arsenal of artistic means which are necessary for solving artistic problems of the time. In accordance with this approach, the article concentrates not only on compositions in which a spatial illusion is created, but also miniatures that are in character more plane. As a result, the author reveals the main types of spatial constructions, considering all surviving monuments of miniature painting of that time. For each type of space organization, the author identifies the basic principles and artistic techniques that allow the artist to convey a sense of depth on the plane of page. The author pays special attention to the comparison of illusionistic tendencies in the late antique book miniature and “reverse perspective”, features of which are present in the monuments of the era. The author casts doubt on the need for a sharp contrast between these two approaches to space organization in the monuments of book miniatures of the era. He analyzes the reasons for the appearance of such features of space organization in miniature paintings of late antique and early medieval manuscripts, which are so important for the formation of artistic language of medieval book illumination.

The history of the creation of the Lipetsk lacquer miniature (the problems of the school and production crisis)

Рассматривается и анализируется ранее не изученная часть истории русской лаковой миниатюрной живописи, которая началась более двухсот лет назад, но не все её страницы изучены и освещены. В статье выявляется уникальный опыт и проблема кризиса школы и производства. Данные, полученные в рамках представленного научного исследования, основанного на изучении истории возникновения и развития производства художественного промысла, анализа кризиса и причины упадка школы в их стереотипных и индивидуальных ассоциативных связях, закрепленных конкретными выводами об уникальном опыте создания художественного промысла в отрыве от мест бытования и причинах его утраты, позволяют понять, как избежать многих проблемных моментов внутри системы художественных промыслов и тенденции их современного развития. Исследовательский характер работы выражается в предложенных взглядах и выводах, опирающихся на архивную базу. В целом, выводы данного научного исследования содействуют систематизации анализа исторического опыта, результаты которого могут представлять интерес в пространстве русской национальной культуры и быть использованы как в учебных курсах в области декоративно-прикладного искусства, так и в художественно-производственной деятельности. This work analyzes a previously unexplored part of the history of Russian lacquer miniature painting, which began more than two hundred years ago, but not all of its pages have been studied and elucidated. Few people know that from the seventies of the twentieth century until 2000 there was an artistic craft of the Lipetsk miniature lacquer painting, the founders of which were the miniaturists of Kholui. The paper reveals the unique experience and the school and production crisis. The data obtained in the framework of the presented scientific research were based on the study of the history of the emergence and development of the production of artistic handicrafts, analysis of the crisis and the reasons for the decline of school in their stereotypical and individual associative connections, fixed by specific conclusions about the unique experience of creating artistic handicrafts in isolation from the places of existence and the reasons of its loss. The obtained data make it possible to understand how to avoid many problematic moments within the system of artistic crafts and the tendencies of their modern development. The research nature of the work is expressed in the proposed views and conclusions that draw upon the archival base. In general, the conclusions of this scientific study contribute to the systematization of the analysis of historical experience, the results of which may be of interest in the space of Russian national culture and be used both in educational courses in the field of decorative and applied arts and in artistic and production activities.

SPIRITUAL HAPPINESS IN MALWA MINIATURE PAINTINGS STYLE

English - All the arts are result of human nature & Beauty. one of the ancient primitive art and the cultured art and on the other hand, the development of folk art takes place. Folk art often consists of religious narratives, religious traditions, religious symbols and a part from fictional mythological events, social festivals and social beliefs are based on the background. Art is incomplete without each other in terms of folk art and classical art. These two forces are complementary to each other. This most of the paintings of our Indian miniature painting style are based on poems and literature. The miniature paintings of Malwa are for spiritual enjoyment, it is a reflection of its civilization and culture, in which The people there are not able to see the spirit of life. important various elements of Malwa miniature painting style of folk art For many subjects (literature) such as Kalpasutra, Ramayana, Mahabharata, Devi Mahatmaya, Bustan of Saadi are based on. that are spiritual and historical respectively. Pictures based on poems are made on enchantment/affairs (Radha Krishna) and Nayika Bhed respectively. In The subjects of the pictures are like- Rasik Priya, Barhamasa, Ragamala, Rasaveli. In which we get the elements of art, human figures, nature Illustrations are visible through colour, line, form, tone, texture, space in architectural marking. Bhakti and yoga in Indian Art along with this, special emphasis was placed on the expression of emotion, due to which the art of Malwa remained intact. Folk art traditions contained in Malwa Miniatures are still prevalent in villages and cities and in many museums. It is safe and people have unwavering faith in these folk traditions. Hindi - सम्पूर्ण कलाऐं मनुष्य की सौन्दर्यवृत्ति का परिणाम है। प्राचीन आदिम कला में से एक ओर सुसंस्कृत कला का और दूसरी ओर लोककला का विकास होता है। लोककला प्रायः धार्मिक आख्यानों, धार्मिक परम्पराओं, धार्मिक प्रतीकों एवं काल्पनिक पौराणिक प्रसंगों के अतिरिक्त सामाजिक त्यौहारों तथा सामाजिक मान्यताओं की पृष्ठभूमि पर आधारित होती है। लोककला और शास्त्रीय कला दोनों ही कला एक दूसरे के बिना अधूरी है। ये दोनों ही एक दूसरे के पूरक है। इसी सन्दर्भ में हमारी भारतीय लघु चित्रशैली के अधिकांश चित्रों के विषय काव्यों तथा साहित्य (ग्रन्थों) पर आधारित है। मालवा की लघु चित्रकला आध्यात्मिक आनन्द को लिए हुए है, उसकी सभ्यता और संस्कृति का वह प्रतिबिम्ब है, जिसमें वहाँ के जन जीवन की आत्मा के दर्शन होते हैं। मालवा लघुचित्र शैली के चित्र लोककला के विभिन्न महत्वपूर्ण तत्व लिए कई विषय (साहित्य) जैसे- कल्पसूत्र, रामायण, महाभारत, देवी महात्मय, बुस्तान आफ सादी पर आधारित है। जो क्रमशः आध्यात्मिक और ऐतिहासिक है। काव्यों पर आधारित चित्र क्रमशः प्रेमकथाओं तथा नायिका भेद पर बने है। इन चित्रों के विषय जैसे- रसिक प्रिया, बारहमासा, रागमाला, रसवेली है। जिसमें हमें लोककला के तत्व मनुष्याकृतियों, प्रकृति चित्रण, स्थापत्य अंकन में रंग, रेखा, रूप, तान, पोत, अन्तराल के द्वारा दृष्टिगोचर होते है। भारतीय कला में भक्ति एवं योग के साथ-साथ भाव की अभिव्यक्ति की ओर विशेष जोर दिया गया, जिसके कारण मालवा की कला भी अक्षुण बनी रही। मालवा लघुचित्रों में समाहित लोककला परम्परायें आज भी गाँव व शहरों में प्रचलित हैं और कई संग्रहालयों में सुरक्षित है तथा इन लोक परम्पराओं पर लोक मानस की अटूट श्रृद्धा है।

Non-Invasive Technical Investigation of English Portrait Miniatures Attributed to Nicholas Hilliard and Isaac Oliver

This study presents the results of the technical investigation carried out on several English portrait miniatures painted in the 16th and 17th century by Nicholas Hilliard and Isaac Oliver, two of the most famous limners working at the Tudor and Stuart courts. The 23 objects chosen for the analysis, spanning almost the entire career of the two artists, belong to the collections of the Victoria and Albert Museum (London) and the Fitzwilliam Museum (Cambridge). A non-invasive scientific methodology, comprising of stereo and optical microscopies, Raman microscopy, and X-ray fluorescence spectroscopy, was required for the investigation of these small-scale and fragile objects. The palettes and working techniques of the two artists were characterised, focusing in particular on the examination of flesh tones, mouths, and eyes. These findings were also compared to the information written in the treatises on miniature painting circulating during the artists’ lifetime. By identifying the materials and techniques most widely employed by the two artists, this study provides information about similarities and differences in their working methods, which can help to understand their artistic practice as well as contribute to matters of attribution.

A full catalogue and analysis of Indian painted photographs at Royal Ontario Museum's South Asian photographic collection

This thesis is based on a photographic collection of Indian painted photographs from the South Asian Photographic collection at the Royal Ontario Museum (ROM). There are fifty-four photographic objects created by various makers and photographers with dates ranging from the 1880's to the 1990's. For the most part the objects are examples of studio portraiture. Most of them are photographic images with applied colour, however, there are some examples of paintings in this group that were executed in the tradition of photographic studio portraiture, but have no evidence of a photosensitive material underneath. The paintings, as well as the painted photographs, employ different media, such as watercolour, gouache and oil paints. The objects I investigated and catalogued fall under three categories: prints made by contact printing, by enlargement, and finally paintings produced using a photograph as a model. Tinting of photographs was a well-known Western tradition in the nineteenth century, while the process that Indian artists developed was a synthesis of their long practiced tradition of miniature painting and the newly developed technology of photography. Finally this thesis unveils the means of production of Indian painted photographs, and tries to find the reason for Indian artists employing opaque medium in their colourings.

A full catalogue and analysis of Indian painted photographs at Royal Ontario Museum's South Asian photographic collection

This thesis is based on a photographic collection of Indian painted photographs from the South Asian Photographic collection at the Royal Ontario Museum (ROM). There are fifty-four photographic objects created by various makers and photographers with dates ranging from the 1880's to the 1990's. For the most part the objects are examples of studio portraiture. Most of them are photographic images with applied colour, however, there are some examples of paintings in this group that were executed in the tradition of photographic studio portraiture, but have no evidence of a photosensitive material underneath. The paintings, as well as the painted photographs, employ different media, such as watercolour, gouache and oil paints. The objects I investigated and catalogued fall under three categories: prints made by contact printing, by enlargement, and finally paintings produced using a photograph as a model. Tinting of photographs was a well-known Western tradition in the nineteenth century, while the process that Indian artists developed was a synthesis of their long practiced tradition of miniature painting and the newly developed technology of photography. Finally this thesis unveils the means of production of Indian painted photographs, and tries to find the reason for Indian artists employing opaque medium in their colourings.

History of Azerbaijani carpets with classical composition

The article provides information about the historical review of Azerbaijani carpets and examines its stages. The 16th century is characterized as the Golden Age of Azerbaijani history and culture. The carpet weaving of that time combined the subtlety and wonder of miniature painting, the decorative-plan solution of traditional motifs, a magnificent color palette reflecting all the colors and diversity of nature. Key words: carpet, pattern, color, Islam, miniature painting, sufism, seljuk, component

Տիտղոսաթերթերի գեղարվեստական ձևավորումները Թորոս Տարոնացու արվեստում (1307թ․ Եսայի Նչեցու Ավետարան)

The article is dedicated to the title pages by Toros Taronatsi, a miniaturist of the first half of the XIV century of Gladzor University. Many authors, such as S. Ter-Nersesyan, L. Durnovo, A. Avetisyan, E. Korkhmazyan, V. Ghazaryan, speaking about the Gladzor School of miniature, in their works referred to the art of Toros Taronatsi:. But his legacy has not been thoroughly explored to this day yet. Our choice fell on studying the art of Taronatsi for this very reason. The artist's art is interesting and attractive because it reflects the traditions of various schools miniature painting. The main objective of the article is the analysis of the main components that make up the title pages illustration system: rectangular illuminations, titles, initials, rubrics, marginals. The study used complex methods of artistic analysis. Studying the title pages of Taronatsi, we came to the conclusion, that there is an Armenian pre-Cilician and Cilician elements in the work of the master. Drawing parallels with the Cilician manuscripts, we made sure that the title pages contain especially Roslin elements. Comparison of the works by Toros Taronatsi and Toros Roslin allows us to call them “two brilliant Toroses” of medieval Armenian art.

THE ILLUSTRATIONS OF MIRAJ (ASCENSION) IN NISABURI’S (SA’LEBI) KISAS-I ENBIYA MANUSCRIPTS

In this paper, five different illustrations with the theme of ‘Prophet Muhammed’s Miraj (Ascension)’ found in two illustrated copies of Nîsâbûrî's literary work titled Kısas-ı Enbiyâ dated 16th century, are examined in terms of composition and figures. Two of these illustrations are included in the Kısas-ı Enbiyâ, produced in Shiraz in the second half of the 16th century, registered in the 'Diez A fol.3' collection of Staatsbibliothek zu Berlin (Berlin State Library). The other three illustrations are included in the Kısas-ı Enbiyâ, produced in Kazvin between 1570-1580, registered in the ‘Keir3’ collection of the Dallas Museum of Art (Dallas Art Museum). In the Islamic tradition, the ‘Miraj’ (Ascension) narrates the journey of Muhammad from Mecca to Jerusalem and from there to the skies. In Islamic book arts, manuscripts with Miraj depictions produced between the 15th and 19th centuries show that Miraj is a popular and accepted subject. In the illustrations examined within the scope of this study, the same composition setup was followed. Due to the subject of Miraj, the common figures seen in illustrations are Muhammed, Burak, Gabriel and other angels. These figures, which are defined as ‘Heavenly Servant Angels’ in the text of Kısas-ı Enbiyâ, can be classified as the ones carrying incense burners; carrying the bowl of light filled with fire; carrying the beverage bowls offered to Muhammad and the ones that prostrate and carry the Quran page. Accordingly, each figure is evaluated in terms of its place in the composition, features of form and style; comparisons are made about the common and different aspects of the figures. In addition, the figures are drawn individually, independent of the composition, in order to present a detailed analysis of their form. The aim of this paper is to investigate the formal features of figures and other visual elements in the depiction of the ‘Mi'raj’ and to evaluate the contribution of visual expression to cultural and symbolic repertoire through illustrations. Keywords: Nîsâbûrî (Sa’lebi), Qisas al-Anbiyâ, Miraj, sngel figure, srt of miniature painting