Philosophical Poetry Nature and Genesis

Research relevance: philosophical poetry expands the level of not only the poet, but also the reader, enriches his inner world, and teaches him to short, clear, figurative speech, showing the power of verbal art. Research purpose: is to consider the features of philosophical poetry, the relationship between philosophy and philosophical poetry. Philosophical poetry focuses on the philosophical meaning of being, man and the philosophical views of the lyrical character. Research methods and materials: attempts are being made to study worldview orientations and philosophical problems on the basis of their artistic heritage. The article also characterizes the nature and basis of philosophical poetry. Philosophical anthropological concepts, views and ideas of poets are studied. The article deals with the difference from philosophy, philosophical lyricism expresses the poet's artistic perception of the poetic world. Research results: direct contact between the author and the reader, as an old friend who shares good and evil, joy and sadness with him, creates a close and trusting atmosphere between them. Conclusions: Despite this universality, philosophical lyricism reflects the fundamental features and national worldview.

An Expressionist Painter of the Fourteenth Century

Theophanes the Greek was one of the well-known artists of exceptional personality who lived in the second half of the 14th century. His talent stood out on account of the expressionist manner in which he portrayed his art creations and their impact on the school of Russian religious painting. His artistic talent, “swift brush” painting manner and life adventure can be compared with those of Doménikos Theotokópoulos (El Greco), another famous Greek painter, who brought the Cretan dramatic and expressionistic style to the West, influencing the Spanish Renaissance two hundred years after Theophanes. The artistic heritage of Theophanes stands between the short vibrant period of the Palaeologan Renaissance when the Byzantine Empire went through a terminal crisis, and the European Proto-Italian Renaissance. The artist seized the opportunity to unleash his creative work in the ancient Russian cities, unfolding his talent in the creation of large mural paintings. Characterized by his contemporaries as “Theophanes the Greek, icon painter and philosopher”, he enjoyed a high reputation in medieval Russian society. Present article questions Theophanes’ belonging to the hesychast movement and the attribution of the Muscovite icons and manuscripts to the painter. Considering the impact of Theophanes on Russian visual art, D. Talbot Rice stated: “It was thanks to the teaching of Greek immigrants like Theophanes that a sound foundation was established Russian painting, and it was on this basis that local styles were founded.” And it was in the Russian principalities that Theophanes developed his very distinctive style, enjoying carte blanche from the princes and boyars (aristocracy) to apply his creativity in various domains.

Media Culture as the Information Age Phenomenon

The article raises the issues of scientific reception of such a phenomenon as media culture. The authors offer their interpretation of media culture as a special type of culture of the information society in the broadest understanding of this phenomenon. The authors consider the concepts of media and culture and establishes their functional corresponddence. The contemporary stage of media development is characterized by a combination of communication and information intentions: classical media and mass communication media, including new media, blogs, social networks, as well as digital copies of non-network artifacts and their network modifications. The result of these media communications is a media text in the broadest interpretation of this concept. According to the authors concept, contemporary media culture realizes itself in two main aspects. In the applied sense, a media culture is a form of representation and digitalization of classical and network cultural units. In the global sense, media culture is understood as an aesthetic and axiological sphere of societys life, in which culture combines the value and artistic heritage, using the information and communication channels of the media for its representation in politics, education, and culture itself.

Book Review: Barry Cunliffe, The Scythians: Nomad Warriors of the Steppe. Oxford: Oxford University Press, 2019.

The Scythians is an expansive study of a lost civilization with everlasting characteristics and a rich cultural and artistic heritage. It provides a sympathetic account of a nomadic civilization encompassing a wide variety of sources. Most significantly, it utilizes interdisciplinary methodology to exemplify a model of how to research a nomadic culture doing justice to its historical understanding. The book is arranged into twelve chapters, each focusing on a different aspect of the Scythians: its people, geography, culture, military, art, and history. Rather than following a chronological format, Cunliffe focuses on tracing the evidence in historical records as well as archeological findings in compiling a picture of the Scythians as complete as possible with available material. The book is rich with visual material: pictures, illustrations, maps, images of objects and crafts, as well as an addendum gallery with ten objects presented and interpreted in detail providing depictions of the Scythian life.

PARTICULARITY OF ARTWORKS BY VASYL KORCHOVYI VASYL

This article explores Vasyl Korchovyi’s artistic heritage, his unparalleled style, and notable manner of working. Vasyl Korchovyi is a Ukrainian sculptor, graduate from National Academy of Fine Arts and Architecture, representative of the Academic school of sculpture creation. This sculptor has not been neglected today and is an often and widely recognizable guest and/or participant of/in numerous exhibitions, art competitions, and sculpture symposiums including the latest one, the Xth Kaniv International Sculptural Symposium (September–October, 2021). Despite that, his artworks have been discussed in a quite occasional and random way in artistic articles and other kind of publications. This is the reason of why this study focuses on the major subjects and gentres used by Korchovyi for his artworks, as well as on his manner and techniques for working with stone. The studу is one of the first-ever attempts to use the art criticism approach to evaluate three sculpture works by Korchovyi: with two of them being complete and one piece still unfinished: the work from the Kaniv sculptural symposium above. First, Altar of Dionysus, an indoor sculpture, carved of sandstone, is discussed. It depicts a bacchante, a woman who holds a bowl and a grapevine, with her hair ingrown in the branches and the two goat heads that flank the composition on both sides; the attributes associated with fer­tility, sweet delight and also with wild Dionysian origin, while calm or even being asleep at the moment. Second sculptural work is the tombstone of Vasyl Korchovyi’s father, Ivan Sobko. For this reason, its design is marked with Korchovyi’s personal feelings and sentiments. The composition of the sandstone-made sculptural part of the tombstone represents an angel with outstretched wings, inscribed in the area of a trefoil cross. The openwork pattern of weaves of winding shoots with remains of leaves in some places adds depth to the background framed with smoothly polished parts of the surface, where the figure of angel is located, and carefully surround the upper part of the medallion with a photo of the deceased one; the composition that brings the feeling of a deep anguish and imminence, the painful emotions to be eventually accepted.

Kerala´s Ancient Mizhavu Drum: Transformations and Sustainability

The Kerala state in India offers a huge assemblage of various percussion eccentricities. Each percussion instrument sustains and preserves its own attributes: some drums accompany visual arts, others create a vibrant world of percussion music, and a few maintain both attributes. Almost all instruments are related to ceremonial pursuance and worship customs. Mizhavu is a single-headed drum from Kerala that employs these kinds of ceremonial pursuance. The purpose of the instrument, which had also been used in temples in Tamil Nadu, is to accompany the Kūṭiyāṭṭam and Kuttu performances in the great temples (mahakshetras) for the pleasure of God’s souls and the invocation of their powers. Kūṭiyāṭṭam and Kuttu – Kerala’s Sanskrit drama performing art forms – have been recognized as Intangible Cultural Heritage due to 2000 years of tradition. As ‘visual sacrifice’ staging scenes from the Ramayana and Mahabharata, they combine dance with theatre performance, Sanskrit verses (slokas), and percussive music in a ritualistic context. The main supporting percussion instrument (mizhavu) serves as deva vādyam – an instrument for the deities. Its classification as a one-headed drum covered with skin (avanaddha vadya of the dardura type) goes back to the Natya Shastra of Bharatamuni – some 2000 years ago. Definitions as kettledrum (bhanda vadya) trace it back to Kautilya’s Arthasastra. The Buddhist Pali Tripitaka refers to pot drums (kumba toonak). Tamil epics mention a muzha or kuta muzha drum. Publications in recent decades nearly mention that drum. Production methods, forms, and material of the drum have changed over the ages. Attached to the artistic heritage of a certain Brahmin caste – the Nampyar – the drum has spent a long period in the environment of temple theatres. Since 1966, it has been taught to pupils of all castes at the Kerala Kalamandalam, Thrissur District. P.K.K. Nambiar worked as the first mizhavu teacher in the later added Kūṭiyāṭṭam department. He was followed by his pupil K. Eswaranunni, the first mizhavu guru from another caste, fighting for acceptance among members of Chakyar and Nampyar families. As a passionate master with numerous awards and performance experience all over the world, K. Eswaranunni has trained most of the contemporary mizhavu percussionists, who are still performing all over India as well as abroad. This paper gives an overview of the instrument and shows how the mizhavu is described by both gurus in their books written in Malayalam and by both authors including their personal relations to the drum.

La voz femenina en Albacete. Sopranos destacadas en la segunda mitad del siglo XX

This research is devoted to the recovery of the musical artistic heritage in the recent history of the city of Albacete. Thus, this paper sought to find out which were the most outstanding female figures in the city during the second half of the 20th century; specifically, the soprano singers. To this end, a series of relevant female singers has been selected. These singers were born in Albacete or have developed their professional career in this city, contributing with their careers in different professional fields to maintain and increase the musical legacy of Albacete.

Progetto Aumentiamo la realtà con il QR-code

With reference to art. 9 of our Constitution “The Republic promotes development and scientific and technical research. Protects the landscape and the historical and artistic heritage of the nation “and art. 6 “The Republic protects linguistic minorities with special rules”, the project “Let’s increase reality with the qr-code” wanted to enhance the school as a community open to the territory in which it operates and develop skills in the field of active and democratic citizenship. Two paths have been taken: researching historical sources to learn about the country’s past and experimenting with the use of a Quick Response Code to combine the past with the present and leave a trace in the future.

THE ART OF STAINED GLASS IN THE ARCHITECTURE OF TEMPLE BUILDINGS OF THE RENAISSANCE PERIOD IN LVIV

The stained glass art of temples and chapels of the Renaissance period occupies a special place in the fine arts of Lviv. Special attention is drawn to the stained glass windows of Lviv's sacred buildings, which impress with their aesthetics, composition, colours, and artistic expressiveness. In the process of studying stained glass windows in the decoration of Renaissance churches and chapels in Lviv, the manufacturing technology, compositional solution, their colour scheme were analyzed and the main features of their artistic and figurative expression were revealed. Renaissance stained glass windows have not survived, all stained glass windows of Lviv temple buildings were made in the XIX-early XX centuries. The stained glass compositions of the Church of the Assumption are marked by a simple and at the same time refined composition and picturesque colours in light tones in contrast to the Gothic patterns. Ornamental stained glass compositions were used in the interiors of the chapels. Ukrainian artists of monumental art used the latest progressive technologies of making stained glass. Professional foreign artists - connoisseurs of stained glass art - were invited to make stained glass window compositions of Lviv Renaissance temple buildings. All stained glass windows of Lviv's sacred buildings are highly artistic decorative works and belong to Ukrainian artistic heritage.

Noticias artísticas de la ciudad de murcia bajo el prisma de un ilustrado: correspondencia entre Diego Antonio Rejón de Silva y José Vargas Ponce

El siguiente artículo propone mostrar el interés generado desde la óptica ilustrada por los elementos patrimoniales mediante las redes epistolares. En concreto, exponemos un ejemplo sobre el intercambio mantenido por Diego Antonio Rejón de Silva y José Vargas Ponce. Hombres ilustrados que contribuyeron al asentamiento de las Bellas Artes en España por medio de sus diversas aportaciones teóricas y también demostraron su interés por conocer y valorar el patrimonio español. A través de una de las cartas fruto de la relación de intercambio intelectual entre ambas personalidades se arroja más luz sobre los intereses de Vargas Ponce en el patrimonio artístico de la ciudad de Murcia. The following article proposes to show the interest generated from the perspective illustrated by the patrimonial elements through epistolary networks. Specifically, we present an example of this circumstance generated by Diego Antonio Rejón de Silva and José Vargas Ponce. Enlightened men who collaborated in the establishment of the Fine Arts in Spain through their various theoretical collaborations and also showed their interest in knowing and valuing the Spanish heritage. Through one of the letters resulting from the relationship of intellectual exchange between both personalities sheds more light on the interests of Vargas Ponce in the artistic heritage of the city of Murcia.