The peculiarities of modern religious painting in the Crimean temple architecture of (on the example of Alexander Nevsky Cathedral in Simferopol and Saint Vladimir Cathedral in Chersonesos)

The traditions followed by people throughout history underlie the development of the culture of monumental art, forming the continuity of generations, memory and traditions of temple architecture of the Crimea. The topic of religious monumental painting draws interest of the researchers. The object of this article is the Crimean religious monumental and decorative art; while the subject is the peculiarities of modern religious painting in Alexander Nevsky Cathedral in Simferopol and Saint Vladimir Cathedral in Chersonesos. The goal is determine the modern artistic-aesthetic form of temple painting carried out by the experts of monumental and decorative art, as well as the command of the unique languages of creative reinterpretation of wholeness. Temple religious painting is explored on the works of the modern artists of monumental religious painting, using the analysis of the academic style of painting, use of classical canons in images of the figures, artistic-stylistic, thematic, unique systems in the ornamental painting. The author determines the characteristics of the image such as material texture and plastic modeling of artistic form, which allows combining the modern wall paintings of the Crimean Orthodox churches of into a holistic system of material and spiritual values. The crucial theoretical-methodological vector of research is interweavement of the methods of culturology and art history, which reveals the techniques and peculiarities of academic painting in temple architecture.

CHINESE NATIONAL PICTURE NIANHUA – A PHENOMENON OF CULTURE OF THE XX CENTURE

Chinese folk painting nianhua (literal translation, “New Year’s picture”) is a kind of Chinese graphic art, which received a wide popularity in the late XIX – early XX centuries. On the eve of the New Year in China everywhere decorated interiors of living rooms with colorful pictures containing New Year’s greetings, they were pasted on windows, doors, gates. Decorative pictures had a utilitarian and cultic purpose: images of mythological characters and gods symbolized happiness, longevity, prosperity, protected from disasters and misfortunes. At the beginning of the 20th century, nianhua was produced in the woodcutting shops in a woodcut way, since the middle of the 20th century have been used modern technologies, including printing. New Year’s paintings significantly different from national academic painting. The philosophical concept of New Year’s painting was to reflect the spiritual life of the people, moral values, and artistic tastes. The images were built on the basis of folklore motifs, a rhythmic combination of bright colors created a decorative effect, so nianhua is a valuable material that demonstrates the aesthetic representations of the Chinese people, their folk traditions and symbols. The themes of the New Year’s paintings are extremely diverse and includes the following: scenes from classical literature, religious and symbolic and benevolent drawings, genre art painting, calendars depicting 12 cyclic signs of animals, agricultural calendars and advertising pictures. During the history of its existence, the New Year’s picture plays an important political and ideological role. Traditional paintings propagated the foundations of the orthodox Confucian ideology about social and ethical relationships, including hierarchy in the family and society: “Wu lun – the five principles of relationships”, “Xiao – filial piety”, “Ren – patience”. In the second half of the XX century, the New Year's picture is developing as an agitational poster. Under the influence of European painting and modern political processes in Chinese society, artists began to use a new artistic method - revolutionary realism on purpose to illuminate sociopolitical events, propagandize government tasks and resolutions. The basic principles of painting the New Year’s picture are the decorative character (the brightness of colors, the rhythmic combination of color spots), the hyperbolism and idealization of images, the folklore basis of plots and the conventional symbolic-metaphoric language.

Mozaikok a tájfestészet és a geográfia kapcsolatából

At the turn of the 18th and 19th centuries, natural sciences supported and drove economic development in a previously not experienced way. Europe created a new “mental image” of nature, scientific ideas with a newly emerging confidence while combining theoretical and practical researches. The Age of Enlightenment is best characterized by A. Humboldt’s discovery travels. The utilitarian approach of the age radically changed the relationship between landscape and people, first in the English speaking countries. This study endeavours to present the interrelations of men and landscape through the changes in landscape painting at the beginning of the 19th century while emphasizing the earlier definition of the geographic environment and indicating geography as an heir of the landscape painting. John Constable broke with the tradition of academic painting and found the idyllic landscape in rural England. In the New World, landscape painting used the European traditions, exemplified by the works of Thomas Cole, the first major American landscape painter. His iconic painting ’Oxbow’ followed the patterns of the traditional European landscape imaging, indicating ideas of the Sublime and the Beautiful of Poussin’ works.

ARTISTIC EMBROIDERY AS A FACTOR OF INTERDISCIPLINARY RELATIONS BETWEEN THE DESIGN AND ARTISTIC MODELING OF CLOTHING

This article discusses the main aspects of intersubject relations of the subject "Modeling and artistic design of clothing" with special disciplines of professional training of bachelors in the field of artistic embroidery – such as" Performing skills in artistic embroidery"," Improving skills in artistic embroidery"," Technology and materials science"," Technical drawing"," General composition"," Design"," Academic painting"," Decorative painting"," Academic drawing"," Decorative drawing","color Science and coloristics". Attention is drawn to the fact that the work programs of academic subjects based on interdisciplinary connections affect the development of independence, conscious activity, and cognitive interests of students.

Alexander Melamid’s Portraiture of the 2010s

The article focuses on a comprehensive study of Alexander Melamid’s portraiture included in his first independent project after thirty years of collaborative creativity with Vitaly Komar. Throughout the entire thirty-year period of cooperation, the painters signed their works with the Komar and Melamid trademark making it difficult to determine the artists’ individual characters. A detailed analysis of the solo works of the 60-70s, before the beginning of collaborative creativity, is presented; it helps us to detect individual traits in the works of the duet and to better identify the artists’ personalities, to reconstruct the technical features of each artist’s painting style. In 2007, Alexander Melamid began creating a large-scale series of paintings which would become his new conceptual line of creative work; later, in 2009, the artist developed and supplemented the series with portraits of Italian clergy and Russian oligarchs. Characteristic features of the Holy Hip Hop! portrait series, exhibited at the Detroit Museum of Modern Art in 2008, are studied in the article. The artist paid special attention to the psychological characters of the portrayed, the entire series is painted in one color scheme, within one scale. The pictorial series is an integral conceptual statement. The purely plastic qualities of the paintings fade into the background. They are not so important for Alexander Melamid - he uses academic painting as a tool to convey more accurately the psychology of the portrayed whom he treats with ironic interest. It is important to note that Alexander Melamid erases the line between the classical and the marginal art, just as Francois Millet did in his time. The article succeeded in updating sociocultural issues with the help of contextual comparison with portraiture by Diego Velazquez and contemporary American artist Kehinde Wiley whose creative life has deeply integrated into the socio-political realities of the United States of the beginning of the 21st century and the African-American cultural tradition. Kehinde Wiley is known for his realistic large-scale portrayals of African-Americans in poses borrowed from works of classical European painting of the 17-19th centuries. The artist openly propagandizes, deliberately emphasizing the didactic function of his paintings. It is in the context of contemporaries’ works and the political situation in the USA of the 2000-2010s that Alexander Melamid’s work should be considered.

Boris Schatz, Abel Pann and the Bezalel School of Arts and Crafts in Jerusalem

This essay discusses the early Bezalel School of Arts and Crafts in Jerusalem (1906–1929), highlighting the connection to Vilnius of its founder Professor Boris Schatz and of one of its teachers, Abel Pann. While Prof. Schatz represents a more academic painting style, Abel Pann is a representative of a modernist style.

NATURE OF THE RUSSIAN NORTH IN THE CREATIVE WORK OF E.E. VOLKOV (1844–1920)

It is known that the landscape in Russian painting is formed quite late – only in the last quarter of the XVIII century. The first Russian landscape painters – F.Y. Alekseev, F.M. Matveev, M.N. Vorobyov, Semyon Fedorovich and Sylvester Feodosievich Shchedrin, etc. – focused mainly on the nature of Italy, cultivated Russian landscapes (noble estates and parks) and urban panoramic views. The flowering of the Russian landscape, the hero, becomes the nature of the Central and Northern Russia, second half XIX century – this time is the work of artists, the Wanderers, A.K. Savrasov, E.E. Volkov, I.I. Shishkin, F.A. Vasiliev, A.I. Kuindzhi, I.I. Levitan... Their paintings of the 1870-ies and 1880-ies were exempt from academic canons and established realistic principles. Particular attention was paid to the theme of the swamp, which could probably be explained by the aesthetic attitude common to different types of art to the image of the ordinary and ordinary. However, the opening of the swamp theme does not belong to Peredvizhniki. The first swamp was written in 1863 by P.A. Sukhodolsky (1835-1903), an artist who consistently adhered to the canons of academic painting in composition, drawing, and the General tone of his works. This is especially noticeable in his painting: «Swamp». It is difficult to determine what time of day is depicted-early morning or evening, we can also assume that the darkness is forced by a thundercloud. The feeling of anxiety is enhanced by the color scheme – a General dark color. The painting by P.A. Sukhodolsky clearly bears traces of mythological ideas about the danger that the swamp is fraught with. Motifs associated with swamp mysticism are also found in other artists (A.K. Savrasov and A.I. Kuindzhi, E.E. Volkov). So, in the picture of E.E. Volkov: "Swamp in autumn" (1871) the swamp is shown as a reality of peasant life. This is a familiar and habitable space: poor, thatched huts, bald clumps of bushes, stunted birches and lush swamp vegetation, ducks swim peacefully, on the right you can see the figure of a woman with a sheaf of reeds, expanding the side space of the picture. All these details seem to be embraced by the darkening sky, but there is no sense of anxiety, rather a sense of everyday calm. This is a kind of pictorial story about the difficult peasant life, in the spirit of the democratic mood of the time, expressed in literature. This type of landscape can also be attributed to a later painting by E.E. Volkov: «Landscape. Swamp» (1880-ies). The artist makes the figure of a man on a horse as the compositional center, but keeps in view the vast distance, the viscous swamp soil, and the sky with rare blue gaps repeated in the water. Thus, E.E. Volkov has a special predilection for the theme of the swamp, which is diverse and varies in its landscapes.