Crimean Tableaux of Catherine II’s Court as the Visual Record of the Russian Empire’s Southern Expansion

Yelena Severina
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Abstract

This article analyzes celebrations of Russian military victories over the Ottoman Turks during Catherine II’s reign on the examples of pictures (tableaux) featured in fireworks, illuminations, triumphal arches, processions, and instances of live theater. Performing the Crimean conquest via these artistic displays, from the early 1770s—the time when Crimea first begins to appear in them—and until Catherine’s final years, served as a way of incorporating the peninsula as a part of the imperial design and of announcing the Crimean Tatar as the latest member of the Russian Empire’s supporting cast. This paper argues that Crimea’s changing status in the ceremonial culture of Catherine’s court is reflected in these tableaux with their focus on the territory (Crimea) as opposed to its people (Crimean Tatars).  
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叶卡捷琳娜二世宫廷的克里米亚画面作为俄罗斯帝国向南扩张的视觉记录
本文分析了叶卡捷琳娜二世统治时期俄罗斯对奥斯曼土耳其人的军事胜利的庆祝活动,以烟火、彩灯、凯旋门、游行和现场戏剧为特色的图片(场面)为例。从18世纪70年代早期——克里米亚第一次出现在他们的作品中——到叶卡捷琳娜的最后几年,通过这些艺术表演来表现克里米亚的征服,作为一种将半岛纳入帝国设计的一部分,并宣布克里米亚鞑靼人成为俄罗斯帝国配角的最新成员的方式。本文认为,克里米亚在叶卡捷琳娜宫廷礼仪文化中的地位变化反映在这些以领土(克里米亚)为重点而不是其人民(克里米亚鞑靼人)的场景中。
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