IMAGES OF A BULL IN ROCK ART OF THE ANGARA

Изучение древнего наскального искусства требует междисциплинарного подхода. Cотрудничество исследователей петроглифов и палеозоологов позволяет провести реконструкцию состава палеофауны региона, помогает в интерпретации териоморфных образов. Предметом изучения данной статьи являются похожие на быков изображения в наскальном искусстве р. Ангара. Многие изображения датируются эпохой неолита - ранней бронзы. Причины их появления в таежном наскальном искусстве могли быть различными: влияние художественной традиции окуневской культуры с юга; стилизация образа лося или оленя; мифологизация образов таежных животных; наличие для древнего художника реальной натуры - дикого быка. Согласно данным палеозоологии в эпоху голоцена на Ангаре обитали реликтовые животные - бизоны, туры. Возможно, они обитали и на Среднем Енисее. Это позволило высказать предположение, что в наскальном искусстве изображен дикий бык, на которого охотился древний человек. The study of ancient rock art requires an interdisciplinary approach. Active cooperation of rock art researchers and paleozoologists makes it possible to reconstruct the composition of the paleofauna, to interpret theriomorphic images. The subject of the article is images similar to bulls in rock art on the Angara River. Many of the images date back to the Neolithic - early Bronze Age. The reasons for their appearance in taiga zone rock art could be diff erent: the infl uence of artistic tradition of the Okunev culture from the South; stylization of the image of an elk or a deer; mythologization of the images of taiga zone animals; the presence of a real animal in the nature - a wild bull. According to paleozoological data of the Holocene Epoch the Angara River valley was inhabited by relict animals - bisons, tours. Perhaps, they also lived in the Middle Yenisei. Therefore, we suggest that some petroglyphs depict a wild bull, which was hunted by an ancient man.

Symbolism and semantics of the Ob Ugrians festive costume

Статья посвящена исследованию символики и семантики праздничного костюма обских угров (народности ханты и манси). Использованы описательный и компаративный методы. Отмечается, что цветовой «словарь» данных народностей максимально конкретен и основан на непосредственном восприятии, поэтому «образы» цветов реалистичны и мифологичны одновременно. Соответственно, каждый цвет несет особую смысловую нагрузку, что детально рассмотрено на примере коллекции вышитой праздничной одежды остяков (ханты) «Узоры Конды». Показано, что костюм можно воспринимать как текст, прочитав который можно понять смысл его цветовой, орнаментальной, архитектурной текстуры. Резюмировано, что праздничный костюм обских угров — не только самобытное явление художественной традиции Западной Сибири, но и итог многовековой коммуникации между соседними народами. The article is devoted to the study of the symbolism and semantics of the festive costume of the Ob Ugrians (the Khanty and Mansi peoples). Descriptive and comparative methods were used. It is noted that the color "vocabulary" of these ethnic groups is as specific as possible and based on direct perception, therefore, the "images" of colors are realistic and mythological at the same time. Accordingly, each color carries a special semantic load, which is examined in detail on the example of the collection of embroidered festive clothes of the Ostyaks (Khanty) "Kondy Patterns". It is shown that the costume can be perceived as a text, after reading which one can understand the meaning of its color, ornamental, architectural texture. It is summarized that the festive costume of the Ob Ugrians is not only an original phenomenon in the artistic tradition of Western Siberia, but also the result of centuries-old communication between neighboring peoples.

Groteska kroppar i folkhemmets sverige

Grotesque bodies in the Swedish folkhem: Improper aesthetic and rhetoric in the magazine PUSS 1968–1974 In an analysis of the Swedish satirical magazine PUSS (1968–1974) this article explores what is considered as improper rhetoric and aesthetic in the public sphere. It draws on theories of representation and the culture of carnival laughter and the grotesque as well as research on the Swedish folkhem and satire and democracies. I coin the concept demogrotesque-atic in order to capture how PUSS, by using comics, grotesque bodies and carnivalesque, improper rhetoric and aesthetics, makes visible fundamental challenges to democratic societies. I argue that the magazine’s representational practices highlight the function of what is often considered ‘filth’ in the public sphere and the central role the grotesque body plays in upholding – and breaking – boundaries of propriety. I interpret this as important democratic work, and demonstrate that while the satire in PUSS is situated in a specific time and place, it is also part of a longstanding literary and artistic tradition.

Guardian of Eden, Guardian of the City: The Lost Mosaic of the Archangel Michael in Hagia Sophia of Constantinople

This contribution aims to shed light on the lost mosaic of the Archangel Michael with a drawn sword once set, according to Niketas Choniates, in a πρόναος of the Hagia Sophia in Constantinople. After an overview of previous hypotheses, I will argue for a position just outside of the south-west vestibule of the church in the 10th century. Such a location and dating would be in line with the connotation of the Archangel as defender of a sacred space, perceived as a sort of Eden in Byzantine textual and visual sources. The spread of similar representations confirms the role of a reference point that the mosaic soon acquired by virtue of its position at the ceremonial entrance of the most important church of the Empire, not to mention its political importance. The ideological character of the Archangel went a step further during the last centuries of the Empire. A unique use of the First Arab Siege of Constantinople as a stage for St. Michael’s role as sword-wielding guardian in a 14th century Serbian painting is more broadly reflective of a theme throughout Byzantine artistic tradition in varied media. This representation reflected the duty of the Archangel not just as guardian of Hagia Sophia, but also of the emperor, Constantinople and the Empire in a broader sense.

Leroi-Gourhan and the Evolution of Forms

The prehistorian André Leroi-Gourhan envisages technological behaviour along a continuum of manual activity extending to artistic production. His work on Palaeolithic cave art, which dominates the final phase of his career, builds on parameters set out in the 1950s and 1960s, and indeed early works on figuration ( Bestiaire du bronze chinois (1936) and Documents pour l'art comparé (1943)) already use the methodology which characterizes his Préhistoire de l'art occidental (1965). Nevertheless, there is a qualitative shift in Leroi-Gourhan's post-war work in response to structuralism and in dialogue with his work on human evolution. Le Geste et la Parole (1964–5) represents an important point of mediation, describing the physiological foundations of aesthetic experience and the stages of development which precede figuration. Leroi-Gourhan argues for the normality of Palaeolithic art as an artistic tradition while insisting on its absolute otherness. The mind in the cave is capable of the most abstract and esoteric variations of form and content, but also represents an alternative world to our own.

Kyiv Metropolitans were in the Artistic Process of the Kyiv-Pechersk Lavra at the End of the 18th – the Early 20th Centuries

The purpose of the article is to discover the mechanism of Kyiv Metropolitans influence processes in the monumental painting of the Kyiv-Pechersk Lavra. The research methodology is based on complex using historical and cultural analysis, art study analysis, hermeneutical and biographical methods. Scientific novelty. Based on archival materials the author determines the specific means of Kyiv Metropolitans influence the evolution and preservation of the Kyiv-Pechersk Lavra’s sacral painting in 1786–1917. This influence is investigated in the theoretical and practical aspects. The scheme of the Metropolitans influences the mural painting processes is revealed: the Spiritual Council (preparatory stage) – Metropolitan (decision) – the head of the painting workshop (responsible for fulfillment) − artists (fulfillment). The Metropolitans leading role in forming the painting programs of temples and preserving the Lavra’s artistic tradition has been proved. Conclusions. In theoretical works, reports to the Holy Synod the Metropolitans gave thoughts and facts that entered the art history of the Kyiv-Pechersk Lavra. They directly influenced the artistic process: controlled and directed the processes of evolution and preservation of mural painting, financial and personnel issues. Their influence was implemented in visas and codicils (visas were an information basis for painting dating). Their orders were performed by the head of Lavra’s painting workshop (icon-painting workshop). Metropolitans took care of preserving Lavra’s artistic traditions and artistic features of painting compositions. Heads of the painting workshop ensured the continuity in mural paintings, they followed the imitation principle. The interpretation of the artistic tradition was reflected in new mural paintings. Metropolitans determined the painting programs of Lavra’s churches.

The folk-art center as a phenomenon of ethnic artistic tradition

The research of folk-art centers is based on the materials of the ethnic artistic tradition of the Ukrainian folk costume beaded decor. The folk-art center is presented as a unique place with a strong energy field. In such places, several artistic traditions are often born and developed. The birth of each new artistic tradition is always associated with the need for works of art as in the means for the realization of socially significant functions. In particular, the artistic practices within the tradition of the Ukrainian folk costume beaded decor have always been an effective means of ethnic self-identification. During the 1950s–1970s, the tradition of the Ukrainian folk costume beaded decor had been in the phase of extinction (reverberation), thus a significant part of knowledge had been lost. Nowadays, in the context of globalization, this tradition faces new challenges, such as the danger of cultural unification. The joint annual meetings of amateur and professional folk artists, organized on the basis of the traditional folk-art centers could become an effective means for the preservation and revival of the unique nature of such centers. An important condition for the success of such measures must be the participation as curators of the professional researchers of folk art, knowledgeable of local traditions.

Золотное шитье калмыков в контексте развития прикладного искусства монгольских номадов

The article is devoted to the study of Kalmyk embroidery, identification of prerequisites and factors of its development, ethnic peculiarities of execution. Based also on the artistic and expressive means of Kalmyk, the author considers gold sewing in the system of Kalmyk folk costume in the prism of the plastic worldview of the ethnic group. Embroidery as a fundamental component of the decor of the Kalmyk costume reflects the traditions of the Mongol-speaking peoples in the Eurasian vector of their development. The study emphasizes the authenticity of the sign system of the Oirat-Kalmyk costume in the conditions of the changed habitat of the ethnic group. The integrity of spiritual and material culture, as the utilitarian and artistic basis of the applied art of Kalmykia — is the basis of the analysis in the interpretation of the material. The results of the study show a developed Central Asian artistic tradition in the processing of textiles. The traditional decoration system of the Kalmyk costume reveals the preservation of the endemic tradition and its transformed development in the new conditions of the people’s resettlement and the expansion of ethnic and cultural contacts. Статья посвящена рассмотрению калмыцкой вышивки, выявлению предпосылок и факторов ее развития, этнических особенностей исполнения. Опираясь на совокупность художественно-выразительных средств калмыцкой вышивки, автор рассматривает золотное шитье в системе калмыцкого народного костюма сквозь призму пластического мировоззрения этноса. Вышивка как основополагающий компонент декора калмыцкого костюма отражает традиции монголоязычных народов в евразийском векторе их развития. В исследовании подчеркивается аутентичность знаковой системы ойрат-калмыцкого костюма в условиях измененной среды обитания этноса. Целостность духовной и материальной культуры как утилитарно-художественной основы прикладного искусства Калмыкии — основа анализа в трактовке материала. Результаты исследования показывают развитую центральноазиатскую художественную традицию в обработке текстиля. В традиционной системе декора калмыцкого костюма обнаруживается сохранение эндемичной традиции и ее трансформированное развитие в новых условиях расселения народа и расширения его этнокультурных контактов.

Memoria de un espacio en trance de sumersión: Análisis iconográfico de la imagen de “El joven saltador ante los puentes”, fotografía de Wifredo López Vecino (año ante quem 1969)

El fotógrafo rural Wifredo López Vecino se ha convertido en el testigo gráfico por excelencia de la transformación geomorfológica del Vado de Alconétar, en el río Tajo a su paso por la provincia de Cáceres, en la década de los años 60. Más allá del documento gráfico que ofrecen sus imágenes, fue capaz de recrear de manera autodidacta una poética de la composición muy personal, que aplicó a sus retratos y a los paisajes. Entre estos últimos, una de sus fotografías más emblemáticas es la del “El joven saltador ante los puentes”, de la que en el presente estudio se ofrece un detallado análisis iconográfico en consonancia con otras fotografías características de su producción y con otras obras de la tradición artística occidental y de la fotografía contemporáneas que constituyen referentes que permiten comprender el tratamiento de personas, paisajes y símbolos presentes en la imagen examinada. The rural photographer Wifredo López Vecino has become the graphic witness par excellence of the geomorphological transformation in the sixties of the Vado de Alconetar of the Tajo river as it passed through the province of Caceres. Beyond the graphic document offered by his images, he was able to recreate, in a self-taught way, a very personal poetics of composition, which he applied to his portraits and landscapes. Among the seconds, one of his most emblematic photographs is that of "The Young Jumper before the Bridges", of which this study offers a detailed iconographic analysis in line with other characteristic photographs of his production and with other works of Western artistic tradition and contemporary photography that constitute references that allow us to understand the treatment of people, landscapes and symbols present in the image examined.

ТРАДИЦИЯ И ХУДОЖЕСТВЕННАЯ ПРЕЕМСТВЕННОСТЬ

Мақалада Ұлытау – Жезді өңірінде бой көрсеткен ақындық өнердің қайнар – бастауларына, арғытүп белгілеріне жіті назар аударылып, жан – жақты талдау жұмыстары жасалған. Көне дәуірден бастау алатын жыршылық, әншілік, жыраулық дәстүрдің Қожабай ақын шығармашылығында сабақтаса жалғасуының ерекшеліктері жүйелі қарастырылған. Әдебиет әлемінде құбылыс болған тұлғалардың ой – пікірлері мен қазақтың би – шешендері қалдырған ой – толғам, философиялық түйіндер бір өркениеттің, нақтырақ айтқанда, қазақтың өмір сүру ғұрпы қалыптастырған бір дүниетанымның жемісі екендігі дәлелденеді. Сонымен қатар Қожабайдың ақындық қабілетінің шыңдалып,өзіндік бет-әлпетінің айқындалуынаәдеби ортаның тигізген әсер-ықпалы да байыпты талдаудың өзегіне алынған. В статье дается всесторонний анализ истоков и особенностей поэтического искусства Улытауского региона. Рассмотрены исследования Кожабая Токсанбайулы, стоявшего в авангарде поэтического искусства в этом регионе, в его творческом развитии. Его творчество в развитии жырау – поэтической традиции, восходящей к античности, рассматривается в контексте продолжения художественной традиции и иллюстрируется конкретными примерами. Особенности продолжения его творчества в связи с узбекской литературой также являются результатом систематического анализа. Подробно еще рассматриваются попытки Кожабая учиться на примере выдающихся казахских поэтов и жырауов, его поиски развития творческого искусства, а также влияние на его поэтические способности. Заученные слова танцоров и ораторов также считаются источником вдохновения. Будут даны ответы на вопросы о том, что он узнал от них и как он узнал от них. В результате всего этого анализируется и обсуждается творческий потенциал Кожабая для развития поэтического искусства. В статье также отмечается, что пример великого Абая был школой обучения и укрепления Кожабая, и эти особенности реализуются в результате анализа творчества Кожабая. The article provides a comprehensive analysis of the origins and features of the poetic art of the Ulytau region. The article considers the research of Kozhabai Toksanbaevich, who was at the forefront of poetic art in this region, in his creative development. His work in the development of the Zhyrau-poetic tradition, dating back to antiquity, is considered in the context of the continuation of the artistic tradition and illustrated with concrete examples. The peculiarities of the continuation of his work in connection with Uzbek literature are also the result of a systematic analysis. Kozhabai's attempts to learn from the example of outstanding Kazakh poets and poetesses, his search for the development of creative art, as well as the influence on his poetic abilities are also discussed in detail. The learned words of dancers and speakers are also considered a source of inspiration. Questions will be answered about what he learned from them and how he learned from them.As a result of all this, Kozhabai's creative potential for the development of poetic art is analyzed and discussed. The article also notes that the example of the great Abai was a school of training and strengthening of Kozhabai, and these features are realized as a result of the analysis of Kozhabai's creativity.