Pub Date : 2024-05-01DOI: 10.7256/2454-0625.2024.5.70721
Polina Chebakova
Personifications of territories are a part of rich allegorical language of the Baroque, which entered Russian art in the XVIII century. The personification of Russia attracted attention of researchers, but personifications of the territories of the Russian Empire has been so far largely ignored. In the paper allegorical figures of the territories of the Russian Empire are examined on the material of various kinds of art and with the use of information from printed publications (Honoré Lacombe de Prézel’s "Dictionnaire iconologique, ou introduction à la connoissance des peintures, sculptures, médailles, estampes...", descriptions of court celebrations). Personifications embody both administrative units (cities, fortresses, and viceroyalties) and historical ones, namely the Kazan, Astrakhan, Siberian, and Moscow kingdoms. The latter had the highest status and were of the greatest importance. The article offers analysis of iconography of the personifications of the territories of the Russian Empire, which in most of the cases was a variation of the iconography of the personification of Russia. The main distinguishing feature of such figures was their coat of arms. Unlike personification of the Russian Empire, which always appeared in chaste attire, personifications of territories could be represented semi-naked. Attributes of power, i.e. crowns and royal robes, belonged only to the most significant of them, namely personifications of kingdoms or viceroyalties. Personifications of the kingdoms appeared in works in honour of the events that were paramount for the Russian Empire. Other personifications of territories (historical regions, cities, fortresses) usually appeared in art on the occasion of an addition of territory or in utilitarian objects (maps).
领土拟人化是巴洛克丰富寓言语言的一部分，在十八世纪进入俄罗斯艺术。俄罗斯的拟人化引起了研究人员的关注，但俄罗斯帝国领土的拟人化迄今为止在很大程度上被忽视了。本文根据各种艺术材料，并利用印刷出版物（Honoré Lacombe de Prézel 的 "Dictionnaire iconologique, ou introduction à la connoissance des peintures, sculptures, médailles, estampes......"，宫廷庆祝活动的描述）中的信息，对俄罗斯帝国领土上的寓意人物进行了研究。人物形象既体现了行政单位（城市、要塞和总督辖区），也体现了历史单位，即喀山王国、阿斯特拉罕王国、西伯利亚王国和莫斯科王国。后者地位最高，最为重要。文章对俄罗斯帝国领土的肖像画进行了分析，在大多数情况下，这些肖像画是俄罗斯肖像画的变体。这些人物的主要特征是他们的纹章。俄罗斯帝国的化身总是穿着贞洁的服装，而领土的化身则不同，可以半裸着出现。权力的属性，即王冠和王袍，只属于其中最重要的，即王国或总督的化身。王国的化身出现在纪念俄罗斯帝国重大事件的作品中。其他领土（历史区域、城市、要塞）的化身通常出现在增加领土或实用物品（地图）的艺术作品中。
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Pub Date : 2024-02-01DOI: 10.7256/2454-0625.2024.2.69753
A. Pankratova
This article is part of a larger study of design as a cultural phenomenon. In this part of the study, the author examines the process that is currently taking place in the semiotic structure of design, associated with the active introduction of neural networks into the creation of visual content. Artificial intelligence products stylistically take the design away from the fourth-order simulacrum (from the flat design style) and return the design to using the third-order simulacrum as the main iconic form.The object of the research is the transformation of the semiotic design system. The subject of the study is a return to the third–order simulacrum in modern design. The purpose of the study is to show and try to explain how in modern design there is a return to the use of a third-order simulacrum. The research method is a semiotic analysis of modern design based on the methodology of R. Barth's semiotic analysis. The study is also based on J. Baudrillard's theory of semiosis in hyperreality and three orders of simulacra. The author sees the philosophical justification of the art of neural networks in the concept of flat ontologies. The study of the semiotic structure of design allows us to see that the logic of design development carries this phenomenon through successive stages of semiosis associated with a decrease in meaning and a diminution of being. In its development, the design consistently uses first index signs, a second-order simulacrum, then a third-order simulacrum as the main sign form. Nowadays, the main iconic form in design has become a fourth-order simulacrum. Next, design had to either end as a profession and phenomenon, or move into a new cultural paradigm that was not related to simulation. However, unexpected transformations have begun to occur in design, due to the active involvement of non–human agents - neural networks – in the creation of visual content. Neural network products are a typical example of a third-order simulacrum. Thanks to the use of neural networks, modern design finally acquires the vector of transhumanism and closes in simulation.
本文是对作为一种文化现象的设计进行的更广泛研究的一部分。在这部分研究中，作者探讨了目前在设计的符号学结构中发生的与神经网络积极引入视觉内容创作有关的过程。人工智能产品在风格上将设计从四阶仿真（扁平化设计风格）中剥离出来，使设计回归到使用三阶仿真作为主要标志形式。研究对象是现代设计中三阶拟像的回归。研究的目的是展示并试图解释现代设计是如何重新使用三阶拟像的。 研究方法是基于 R. Barth 的符号学分析方法对现代设计进行符号学分析。研究还基于 J. Baudrillard 的超现实符号学理论和三阶拟像。作者从平面本体概念中看到了神经网络艺术的哲学依据。通过对设计的符号学结构的研究，我们可以看到，设计发展的逻辑将这一现象带入了与意义的减少和存在的减弱相关联的符号学的连续阶段。在其发展过程中，设计始终首先使用索引符号、二阶模拟符号，然后使用三阶模拟符号作为主要符号形式。如今，设计中的主要标志形式已经变成了四阶拟像。接下来，设计要么作为一种职业和现象终结，要么进入一种与模拟无关的新文化范式。然而，由于非人类媒介--神经网络--积极参与视觉内容的创作，设计领域开始出现意想不到的转变。神经网络产品就是三阶仿真的一个典型例子。由于神经网络的使用，现代设计最终获得了超人类的载体，并在模拟中完成。
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Pub Date : 2024-02-01DOI: 10.7256/2454-0625.2024.2.69800
Anastasiya Vladimirovna Mironova
The object of the research is performance as a theoretical and methodological basis for the preservation of folk songs in the modern world. The subject of this work is a variety of tools for translating sources through the use of interpretation through vocal arrangements. The purpose of this study is to find performance techniques for comprehending the folklore of the Kuban Cossack song, illustrative popularization of the real listener through a new reading of the original source. In identifying the substantial foundations of song performance, special attention is focused on the music collections of folklorists V. G. Zakharchenko (born 1938), A. D. Bigdai (1855-1909), G. M. Kontsevich (1863-1937), who made a significant contribution to the foundations of the Kuban Cossack folk singing art. Along with this, the analysis of a wide range of vocal arrangements in the practice of professional and amateur vocalists provides a postulation about the ambiguity of interpolation in the formation of an original reading of folklore documents. The theoretical justification of this study is based on the tactics of analyzing endemic folklore singing concepts in the context of the art history dynamics of modern research. The methodological core of the work identifies the elements of preserving traditional performance through the vocally processed embodiment of Kuban Cossack folk songs. The author's direction has been developed in the complex of the constituent elements of the arranging performance, based on the personality of the vocalist, containing an individual interpretation of the performing plurality. The performing techniques of folklore Cossack sources has been formed. Exceptional accents are identified in the analysis of musical folklore sources (selectively) to establish new technical characteristics of performance. The scientific novelty of the research lies in the genesis of Cossack culture for the author's constructive orientation of ways to preserve and transform musical material to a modern listener. The characteristics of the song material according to the genre-performing component, expressed by the system of mechanisms of performance by vocal-performing solutions, are revealed. The derived orientation of the translation mechanisms opens up new facets of the performance of Kuban Cossack folk songs for the preservation of traditions with multifaceted options for the transformation of folklore documents for subsequent generations.
研究对象是作为现代世界民歌保护的理论和方法基础的表演。这项工作的主题是通过声乐编排使用诠释来翻译来源的各种工具。本研究的目的是找到理解库班哥萨克歌曲民间传说的表演技巧，通过对原始资料的新解读对真正的听众进行说明性普及。在确定歌曲表演的实质性基础时，特别关注民间音乐家 V. G. Zakharchenko（1938 年出生）、A. D. Bigdai（1855-1909 年）、G. M. Kontsevich（1863-1937 年）的音乐集，他们为库班哥萨克民间歌唱艺术的基础做出了重大贡献。与此同时，通过对专业和业余歌唱家实践中的各种声乐编配进行分析，可以推测在形成对民间文学文献的原创性解读时，插叙的模糊性。本研究的理论依据是在现代研究的艺术史动态背景下分析地方性民俗歌唱概念的策略。作品的方法论核心是通过对库班哥萨克民歌的声乐加工体现，确定保留传统表演的要素。作者的研究方向是以声乐家的个性为基础，在编排表演的构成要素综合体中发展起来的，包含了对表演多元性的个性化诠释。哥萨克民间传说的表演技巧已经形成。在分析民间音乐素材时（有选择地）确定了特殊的重音，以建立新的表演技术特征。该研究的科学新颖性在于哥萨克文化的起源，这为作者向现代听众保存和转换音乐素材提供了建设性的方向。通过声乐表演解决方案的表演机制系统，揭示了歌曲材料在体裁表演部分的特征。翻译机制的衍生方向开辟了库班哥萨克民歌表演的新面貌，为后代保存传统和改造民俗文献提供了多方面的选择。
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Pub Date : 2024-02-01DOI: 10.7256/2454-0625.2024.2.69800
Anastasiya Vladimirovna Mironova
The object of the research is performance as a theoretical and methodological basis for the preservation of folk songs in the modern world. The subject of this work is a variety of tools for translating sources through the use of interpretation through vocal arrangements. The purpose of this study is to find performance techniques for comprehending the folklore of the Kuban Cossack song, illustrative popularization of the real listener through a new reading of the original source. In identifying the substantial foundations of song performance, special attention is focused on the music collections of folklorists V. G. Zakharchenko (born 1938), A. D. Bigdai (1855-1909), G. M. Kontsevich (1863-1937), who made a significant contribution to the foundations of the Kuban Cossack folk singing art. Along with this, the analysis of a wide range of vocal arrangements in the practice of professional and amateur vocalists provides a postulation about the ambiguity of interpolation in the formation of an original reading of folklore documents. The theoretical justification of this study is based on the tactics of analyzing endemic folklore singing concepts in the context of the art history dynamics of modern research. The methodological core of the work identifies the elements of preserving traditional performance through the vocally processed embodiment of Kuban Cossack folk songs. The author's direction has been developed in the complex of the constituent elements of the arranging performance, based on the personality of the vocalist, containing an individual interpretation of the performing plurality. The performing techniques of folklore Cossack sources has been formed. Exceptional accents are identified in the analysis of musical folklore sources (selectively) to establish new technical characteristics of performance. The scientific novelty of the research lies in the genesis of Cossack culture for the author's constructive orientation of ways to preserve and transform musical material to a modern listener. The characteristics of the song material according to the genre-performing component, expressed by the system of mechanisms of performance by vocal-performing solutions, are revealed. The derived orientation of the translation mechanisms opens up new facets of the performance of Kuban Cossack folk songs for the preservation of traditions with multifaceted options for the transformation of folklore documents for subsequent generations.
研究对象是作为现代世界民歌保护的理论和方法基础的表演。这项工作的主题是通过声乐编排使用诠释来翻译来源的各种工具。本研究的目的是找到理解库班哥萨克歌曲民间传说的表演技巧，通过对原始资料的新解读对真正的听众进行说明性普及。在确定歌曲表演的实质性基础时，特别关注民间音乐家 V. G. Zakharchenko（1938 年出生）、A. D. Bigdai（1855-1909 年）、G. M. Kontsevich（1863-1937 年）的音乐集，他们为库班哥萨克民间歌唱艺术的基础做出了重大贡献。与此同时，通过对专业和业余歌唱家实践中的各种声乐编配进行分析，可以推测在形成对民间文学文献的原创性解读时，插叙的模糊性。本研究的理论依据是在现代研究的艺术史动态背景下分析地方性民俗歌唱概念的策略。作品的方法论核心是通过对库班哥萨克民歌的声乐加工体现，确定保留传统表演的要素。作者的研究方向是以声乐家的个性为基础，在编排表演的构成要素综合体中发展起来的，包含了对表演多元性的个性化诠释。哥萨克民间传说的表演技巧已经形成。在分析民间音乐素材时（有选择地）确定了特殊的重音，以建立新的表演技术特征。该研究的科学新颖性在于哥萨克文化的起源，这为作者向现代听众保存和转换音乐素材提供了建设性的方向。通过声乐表演解决方案的表演机制系统，揭示了歌曲材料在体裁表演部分的特征。翻译机制的衍生方向开辟了库班哥萨克民歌表演的新面貌，为后代保存传统和改造民俗文献提供了多方面的选择。
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Pub Date : 2024-02-01DOI: 10.7256/2454-0625.2024.2.69753
A. Pankratova
This article is part of a larger study of design as a cultural phenomenon. In this part of the study, the author examines the process that is currently taking place in the semiotic structure of design, associated with the active introduction of neural networks into the creation of visual content. Artificial intelligence products stylistically take the design away from the fourth-order simulacrum (from the flat design style) and return the design to using the third-order simulacrum as the main iconic form.The object of the research is the transformation of the semiotic design system. The subject of the study is a return to the third–order simulacrum in modern design. The purpose of the study is to show and try to explain how in modern design there is a return to the use of a third-order simulacrum. The research method is a semiotic analysis of modern design based on the methodology of R. Barth's semiotic analysis. The study is also based on J. Baudrillard's theory of semiosis in hyperreality and three orders of simulacra. The author sees the philosophical justification of the art of neural networks in the concept of flat ontologies. The study of the semiotic structure of design allows us to see that the logic of design development carries this phenomenon through successive stages of semiosis associated with a decrease in meaning and a diminution of being. In its development, the design consistently uses first index signs, a second-order simulacrum, then a third-order simulacrum as the main sign form. Nowadays, the main iconic form in design has become a fourth-order simulacrum. Next, design had to either end as a profession and phenomenon, or move into a new cultural paradigm that was not related to simulation. However, unexpected transformations have begun to occur in design, due to the active involvement of non–human agents - neural networks – in the creation of visual content. Neural network products are a typical example of a third-order simulacrum. Thanks to the use of neural networks, modern design finally acquires the vector of transhumanism and closes in simulation.
本文是对作为一种文化现象的设计进行的更广泛研究的一部分。在这部分研究中，作者探讨了目前在设计的符号学结构中发生的与神经网络积极引入视觉内容创作有关的过程。人工智能产品在风格上将设计从四阶仿真（扁平化设计风格）中剥离出来，使设计回归到使用三阶仿真作为主要标志形式。研究对象是现代设计中三阶拟像的回归。研究的目的是展示并试图解释现代设计是如何重新使用三阶拟像的。 研究方法是基于 R. Barth 的符号学分析方法对现代设计进行符号学分析。研究还基于 J. Baudrillard 的超现实符号学理论和三阶拟像。作者从平面本体概念中看到了神经网络艺术的哲学依据。通过对设计的符号学结构的研究，我们可以看到，设计发展的逻辑将这一现象带入了与意义的减少和存在的减弱相关联的符号学的连续阶段。在其发展过程中，设计始终首先使用索引符号、二阶模拟符号，然后使用三阶模拟符号作为主要符号形式。如今，设计中的主要标志形式已经变成了四阶拟像。接下来，设计要么作为一种职业和现象终结，要么进入一种与模拟无关的新文化范式。然而，由于非人类媒介--神经网络--积极参与视觉内容的创作，设计领域开始出现意想不到的转变。神经网络产品就是三阶仿真的一个典型例子。由于神经网络的使用，现代设计最终获得了超人类的载体，并在模拟中完成。
{"title":"The visual content of neural networks as a return to the third-order simulacrum","authors":"A. Pankratova","doi":"10.7256/2454-0625.2024.2.69753","DOIUrl":"https://doi.org/10.7256/2454-0625.2024.2.69753","url":null,"abstract":"\u0000 This article is part of a larger study of design as a cultural phenomenon. In this part of the study, the author examines the process that is currently taking place in the semiotic structure of design, associated with the active introduction of neural networks into the creation of visual content. Artificial intelligence products stylistically take the design away from the fourth-order simulacrum (from the flat design style) and return the design to using the third-order simulacrum as the main iconic form.The object of the research is the transformation of the semiotic design system. The subject of the study is a return to the third–order simulacrum in modern design. The purpose of the study is to show and try to explain how in modern design there is a return to the use of a third-order simulacrum. The research method is a semiotic analysis of modern design based on the methodology of R. Barth's semiotic analysis. The study is also based on J. Baudrillard's theory of semiosis in hyperreality and three orders of simulacra. The author sees the philosophical justification of the art of neural networks in the concept of flat ontologies. The study of the semiotic structure of design allows us to see that the logic of design development carries this phenomenon through successive stages of semiosis associated with a decrease in meaning and a diminution of being. In its development, the design consistently uses first index signs, a second-order simulacrum, then a third-order simulacrum as the main sign form. Nowadays, the main iconic form in design has become a fourth-order simulacrum. Next, design had to either end as a profession and phenomenon, or move into a new cultural paradigm that was not related to simulation. However, unexpected transformations have begun to occur in design, due to the active involvement of non–human agents - neural networks – in the creation of visual content. Neural network products are a typical example of a third-order simulacrum. Thanks to the use of neural networks, modern design finally acquires the vector of transhumanism and closes in simulation.\u0000","PeriodicalId":184304,"journal":{"name":"Культура и искусство","volume":"639 ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139824027","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-12-01DOI: 10.7256/2454-0625.2023.12.69255
Aleksandr Georgievich Sechin, D. Abdullina
Author consider a number of works that have been identified by various researchers as portraits of D. A. Golitsyn, a prominent statesman of the Russian Empire in the second half of the 18th century. The Prince's interest in art determined his special role in the artistic world of Europe, as well as in the formation of the Hermitage collection and in attracting foreign artists to the country. The subject of research is the connection of existing portrait images with the milestones of the fate of Golitsyn and in the context of interaction with the artistic world of the 18th century. Despite the prince’s close contacts with painters, sculptors, and graphic artists, few portraits of him are currently known. Research method used in the article is the iconographic elucidation of the main features of Prince Golitsyn's appearance, which allow to identify his images. The scientific novelty of the study consists in the systematization of the iconographic series of images of D. A. Golitsyn available today, as a result of which his well-known silhouette portrait turned out to be created by a modern graphic artist I. V. Golitsyn based on an engraving depicting the son of the prince, a priest of the Catholic Church D. D. Golitsyn. The attribution of one of D. A. Golitsyn's portraits from the collection of his daughter's heirs, the German aristocrats Salm-Salm, is recognized as erroneous, since it is a copy of the work of the French painter of the first half of the 18th century from the Coypel family and depicts another person. The circle of absolutely indisputable images of Prince has been determined. Golitsyn, which include sculptural portraits by French artist Marie-Anne Collot, one of which is now in a private collection in Moscow, as well as a profile drawing by her husband Pierre-Etienne Falconet.
作者认为一些作品被不同的研究人员认定为 18 世纪下半叶俄罗斯帝国著名政治家 D. A. 戈利岑的肖像。亲王对艺术的兴趣决定了他在欧洲艺术界、冬宫收藏的形成以及吸引外国艺术家来俄罗斯的特殊作用。研究课题是将现有肖像画与戈利岑命运的里程碑以及与 18 世纪艺术界的互动联系起来。尽管这位王子与画家、雕塑家和平面艺术家交往密切，但目前所知的他的肖像画却寥寥无几。文章采用的研究方法是对戈利岑王子外貌的主要特征进行图标阐释，从而识别他的肖像。这项研究的科学新颖性在于对目前可获得的 D. A. 戈利岑的肖像系列进行了系统化，结果发现他著名的剪影肖像是由现代图形艺术家 I. V. 戈利岑根据描绘王子的儿子、天主教会牧师 D. D. 戈利岑的雕刻创作的。D. A. 戈利岑的一幅肖像画出自他女儿的继承人--德国贵族萨尔姆-萨尔姆的收藏，但这幅画的归属被认为是错误的，因为它是 18 世纪上半叶科伊佩尔家族法国画家作品的摹本，描绘的是另一个人。绝对无可争议的王子画像的范围已经确定。戈利岑，其中包括法国艺术家玛丽-安-科洛特（Marie-Anne Collot）的雕塑肖像（其中一幅现在莫斯科的私人收藏中），以及她的丈夫皮埃尔-艾蒂安-法尔科内（Pierre-Etienne Falconet）的侧面素描。
{"title":"Touches to the iconography of Prince Dmitry A. Golitsyn: the search for portraits","authors":"Aleksandr Georgievich Sechin, D. Abdullina","doi":"10.7256/2454-0625.2023.12.69255","DOIUrl":"https://doi.org/10.7256/2454-0625.2023.12.69255","url":null,"abstract":"\u0000 Author consider a number of works that have been identified by various researchers as portraits of D. A. Golitsyn, a prominent statesman of the Russian Empire in the second half of the 18th century. The Prince's interest in art determined his special role in the artistic world of Europe, as well as in the formation of the Hermitage collection and in attracting foreign artists to the country. The subject of research is the connection of existing portrait images with the milestones of the fate of Golitsyn and in the context of interaction with the artistic world of the 18th century. Despite the prince’s close contacts with painters, sculptors, and graphic artists, few portraits of him are currently known. Research method used in the article is the iconographic elucidation of the main features of Prince Golitsyn's appearance, which allow to identify his images. The scientific novelty of the study consists in the systematization of the iconographic series of images of D. A. Golitsyn available today, as a result of which his well-known silhouette portrait turned out to be created by a modern graphic artist I. V. Golitsyn based on an engraving depicting the son of the prince, a priest of the Catholic Church D. D. Golitsyn. The attribution of one of D. A. Golitsyn's portraits from the collection of his daughter's heirs, the German aristocrats Salm-Salm, is recognized as erroneous, since it is a copy of the work of the French painter of the first half of the 18th century from the Coypel family and depicts another person. The circle of absolutely indisputable images of Prince has been determined. Golitsyn, which include sculptural portraits by French artist Marie-Anne Collot, one of which is now in a private collection in Moscow, as well as a profile drawing by her husband Pierre-Etienne Falconet.\u0000","PeriodicalId":184304,"journal":{"name":"Культура и искусство","volume":"106 ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139024252","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-12-01DOI: 10.7256/2454-0625.2023.12.68776
A. Pankratova
The object of the study is modern design as a cultural phenomenon. The subject of the study is design as a metalanguage of the modern information space – hyperreality. The relevance of the research is determined by the globalization of communication, characteristic of the modern socio–cultural situation: today communication takes place in hyperreality, which makes national languages a special case of communication - the whole world begins to communicate in a metalanguage understandable anywhere in the world, and today design becomes such a universal language. The novelty of the research is due to the very formulation of the question: until now, design has not been considered as a metalanguage of hyperreality. In addition, the study reveals the problems of modern design associated with the modern stage of its functioning in hyperreality.The purpose of the study is to show that in the conditions of globalized hyperreality, design becomes a metalanguage, a semiotic system built on top of the semiotic system, which is the modern information and communication space. The main method of research is the semiotic analysis of the design environment. The research is mainly based on the material of modern flat design, which is the most representative form of the existence of design at the present time. The main conclusions of the study: the socio-cultural environment of modern man is hyperreality. Hyperreality is a metalanguage in relation to primary reality. But hyperreality itself uses a metalanguage as the main language, this metalanguage is design. Design builds a system of images and connotations over the world of things, thus creating a metalanguage, or semiotic system of design. Modern design uses simulacra signs as the main sign form, since hyperreality in its development tends to distance itself from the primary reality, and develops its syntactic and paradigmatic structure, which is fundamentally different from the primary reality. The uniqueness of design as a metalanguage lies in the use of simulacra, signs that are fundamentally not expressive, not adapted for adequate transmission of information.
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Pub Date : 2023-12-01DOI: 10.7256/2454-0625.2023.12.69311
Aleksei Borisovich Eshchenko
The object of the research is the works of Soviet composers for the non-register bayan (non-register accordion). The subject of the research is the sonorous technique. The aim of the study is to examine the specific application of sonorism in the works of Soviet composers for the non-register bayan. The author identifies the types of sonorous soundings and the ways they are formed; considering their textural, dramatic, and depictive significance. The materials of the article can be used for the professional activities of bayanists and composers, and can be included in the courses. The methodological basis of the research includes a comprehensive approach, which incorporates scientific methods of induction and deduction, typology, comparative, structural, systemic, and historical approaches. The scientific novelty of the research lies in the fact that the sonorism in compositions for the non-register bayan is specifically explored for the first time. As a result of analyzing works of Soviet composers for the non-register bayan (original compositions, arrangements of folk melodies, adaptations), the author of the article concludes that sonorous technique is not frequently used in them, and the sonorous soundings employed (lines, spots, and stripes) are generally consist of a small number of sounds and brief. Nevertheless, by selecting the representative examples from the works of the renowned Soviet composers to illustrate, the author of the article demonstrates that sonorous soundings are employed in crucial dramatic moments, serve various depictive functions, and provide a background for the melodically leading voices. Identified applications of sonorous technique in works of Soviet composers for the non-register bayan represent a preparatory evolutionary stage leading to the "flourishing" of sonorism in music for the cassotto-сonverter instrument in the second half of the 20th century and the first half of the 21st century.
{"title":"Sonorism in Compositions by Soviet Composers for Non-Register Button Accordion","authors":"Aleksei Borisovich Eshchenko","doi":"10.7256/2454-0625.2023.12.69311","DOIUrl":"https://doi.org/10.7256/2454-0625.2023.12.69311","url":null,"abstract":"\u0000 The object of the research is the works of Soviet composers for the non-register bayan (non-register accordion). The subject of the research is the sonorous technique. The aim of the study is to examine the specific application of sonorism in the works of Soviet composers for the non-register bayan. The author identifies the types of sonorous soundings and the ways they are formed; considering their textural, dramatic, and depictive significance. The materials of the article can be used for the professional activities of bayanists and composers, and can be included in the courses. The methodological basis of the research includes a comprehensive approach, which incorporates scientific methods of induction and deduction, typology, comparative, structural, systemic, and historical approaches. The scientific novelty of the research lies in the fact that the sonorism in compositions for the non-register bayan is specifically explored for the first time. As a result of analyzing works of Soviet composers for the non-register bayan (original compositions, arrangements of folk melodies, adaptations), the author of the article concludes that sonorous technique is not frequently used in them, and the sonorous soundings employed (lines, spots, and stripes) are generally consist of a small number of sounds and brief. Nevertheless, by selecting the representative examples from the works of the renowned Soviet composers to illustrate, the author of the article demonstrates that sonorous soundings are employed in crucial dramatic moments, serve various depictive functions, and provide a background for the melodically leading voices. Identified applications of sonorous technique in works of Soviet composers for the non-register bayan represent a preparatory evolutionary stage leading to the \"flourishing\" of sonorism in music for the cassotto-сonverter instrument in the second half of the 20th century and the first half of the 21st century.\u0000","PeriodicalId":184304,"journal":{"name":"Культура и искусство","volume":"348 2","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139022009","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-12-01DOI: 10.7256/2454-0625.2023.12.69175
Ekaterina Vasilevna Bykova
The subject of the study is the peculiarities of carving of the iconostasis wooden sculpture of the XVIII century, made by the masters of Veliky Ustyug, as well as local artisans under their influence. The purpose of the work is to attribute and introduce into scientific circulation - iconostasis wooden sculpture, four figures of angels from the collection of the Slobodsky Museum and Exhibition Center. The paper makes an assumption about the source of receipt and origin of the sculpture, as well as a comparative analysis with Velikoustyuzhsky and Perm iconostasis carvings and wooden plastics. The wooden iconostasis sculpture, while preserving the traditions of Russian Orthodox art, absorbs the features of European art, while at the same time it corresponds to folk art and reflects the features of the Baroque style in local variants. The methodology of the work is based on the principle of stylistic and technological analysis in art history, as well as the principle of historicism in the study of wooden plastics in the context of the development of art in the Russian North. The scientific novelty of the research lies in the fact that four monuments of wooden plastics of the XVIII century from the collection of the Slobodsky Museum are introduced into scientific circulation, their detailed description and stylistic analysis are made. Two paired figures of angels were in the iconostasis and held a frame with a Crucifix, were made by Ustyug craftsmen in the first half of the XVIII century. Two other figures of angels in prayer were made by local craftsmen at the end of the XVIII century, under the influence of Ustyug masters. Further study of the collection of church art of the Slobodsky Museum will allow make reconstructions of the interiors of temples for the museum exposition.
{"title":"Iconostasis sculpture of the XVIII century churches of the Slobodsky district of the Vyatka province from the collection of the Slobodsky Museum and Exhibition Center","authors":"Ekaterina Vasilevna Bykova","doi":"10.7256/2454-0625.2023.12.69175","DOIUrl":"https://doi.org/10.7256/2454-0625.2023.12.69175","url":null,"abstract":"\u0000 The subject of the study is the peculiarities of carving of the iconostasis wooden sculpture of the XVIII century, made by the masters of Veliky Ustyug, as well as local artisans under their influence. The purpose of the work is to attribute and introduce into scientific circulation - iconostasis wooden sculpture, four figures of angels from the collection of the Slobodsky Museum and Exhibition Center. The paper makes an assumption about the source of receipt and origin of the sculpture, as well as a comparative analysis with Velikoustyuzhsky and Perm iconostasis carvings and wooden plastics. The wooden iconostasis sculpture, while preserving the traditions of Russian Orthodox art, absorbs the features of European art, while at the same time it corresponds to folk art and reflects the features of the Baroque style in local variants. The methodology of the work is based on the principle of stylistic and technological analysis in art history, as well as the principle of historicism in the study of wooden plastics in the context of the development of art in the Russian North. The scientific novelty of the research lies in the fact that four monuments of wooden plastics of the XVIII century from the collection of the Slobodsky Museum are introduced into scientific circulation, their detailed description and stylistic analysis are made. Two paired figures of angels were in the iconostasis and held a frame with a Crucifix, were made by Ustyug craftsmen in the first half of the XVIII century. Two other figures of angels in prayer were made by local craftsmen at the end of the XVIII century, under the influence of Ustyug masters. Further study of the collection of church art of the Slobodsky Museum will allow make reconstructions of the interiors of temples for the museum exposition.\u0000","PeriodicalId":184304,"journal":{"name":"Культура и искусство","volume":" 44","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138614360","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-12-01DOI: 10.7256/2454-0625.2023.12.41049
Ke Chen'
In this article, the author analyzes the Portuguese colonial architecture in the countries of South Asia in the period from the XVI to XVIII centuries. The author examines the military, civil and religious architecture built by the Portuguese during their presence in the South Asian colonies. Special attention is paid to the Portuguese colonial architecture of India (especially Goa) and Macau. Buildings in Singapore, Thailand, Malaysia and other former Portuguese colonies in South Asia are also considered. The author studies the process of formation and features of a special Portuguese colonial style in military (fortification), civil and religious (cult) architecture. The features in the design, decoration, as well as building materials of buildings are revealed. The novelty of the study lies in the fact that for the first time the samples of Portuguese colonial architecture in South Asia and their architectural features were comprehensively considered. The main conclusions of this study are the following. Firstly, on the one hand, the European architectural tradition has enriched the culture of the South Asian region. At the same time, different types of buildings show different degrees of influence. Secondly, on the other hand, Portuguese colonial architecture in South Asia itself has undergone significant changes under the influence of local cultural and climatic factors. Many of the changes made to classical European building designs were dictated by the weather and climatic features of the area. The choice of material was dictated by climatic and geological features. The culture of local civilizations also influenced the decoration and decoration of Portuguese buildings.
{"title":"Features of Portuguese colonial architecture in South Asia in the period from XVI to XVIII centuries.","authors":"Ke Chen'","doi":"10.7256/2454-0625.2023.12.41049","DOIUrl":"https://doi.org/10.7256/2454-0625.2023.12.41049","url":null,"abstract":"\u0000 In this article, the author analyzes the Portuguese colonial architecture in the countries of South Asia in the period from the XVI to XVIII centuries. The author examines the military, civil and religious architecture built by the Portuguese during their presence in the South Asian colonies. Special attention is paid to the Portuguese colonial architecture of India (especially Goa) and Macau. Buildings in Singapore, Thailand, Malaysia and other former Portuguese colonies in South Asia are also considered. The author studies the process of formation and features of a special Portuguese colonial style in military (fortification), civil and religious (cult) architecture. The features in the design, decoration, as well as building materials of buildings are revealed. The novelty of the study lies in the fact that for the first time the samples of Portuguese colonial architecture in South Asia and their architectural features were comprehensively considered. The main conclusions of this study are the following. Firstly, on the one hand, the European architectural tradition has enriched the culture of the South Asian region. At the same time, different types of buildings show different degrees of influence. Secondly, on the other hand, Portuguese colonial architecture in South Asia itself has undergone significant changes under the influence of local cultural and climatic factors. Many of the changes made to classical European building designs were dictated by the weather and climatic features of the area. The choice of material was dictated by climatic and geological features. The culture of local civilizations also influenced the decoration and decoration of Portuguese buildings.\u0000","PeriodicalId":184304,"journal":{"name":"Культура и искусство","volume":"8 6","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138621065","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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