Pub Date : 2022-12-01DOI: 10.7256/2454-0625.2022.12.37276
Stanislav Vladimirovich Kannykin
According to the ideas dominating in scientific discourse, female stayers of the twentieth century had to overcome gender stereotypes for a long time and in a tense struggle, according to which long running deprives them of "femininity" and threatens reproductive function. The article shows that the reasons for the long negative attitude of society towards physical culture and sports women's running are much more diverse and historically deepened, they go far beyond the sphere of training and competitive activity and "pure" physiology, having a socio-culturally determined ideological basis. The objectives of the article: to determine the types of women's running practices; to analyze the goals and motives of the running activities of their participants; to identify the causes of social conflicts generated by these practices and ways to overcome them. The main types of women's running practices are ritual competitive and out-of-competition running, festive competitive running, wellness and sports running. Running was used by women to achieve the following goals: marriage, material reward, pleasing the gods, transition to a new social group, magical influence, emancipation, physical development and setting records. The motives of running practices were gaining patronage, ensuring the well-being of the community, confirming their gender and age fullness, acquiring magical abilities, overcoming the scarcity of life, health care, self-realization, achieving equality with men in competitive activities and opportunities provided by society to outstanding athletes. The collisions of women's running practices are mainly associated with the mythological, religious and philosophical misogyny of traditional societies and gender stereotypes of modern times, according to which prolonged running locomotion does not correspond to the gender expecta-tions of society, the norms of decency and causes irreparable harm to women's health. Largely due to the selfless struggle of runners for equality in realizing their athletic potential, women's identity today is associated not only with femininity, and at the last Olympics in Tokyo, gender parity of participants was achieved for the first time.
{"title":"Goals, motives and collisions of women's running practices in the light of gender approach","authors":"Stanislav Vladimirovich Kannykin","doi":"10.7256/2454-0625.2022.12.37276","DOIUrl":"https://doi.org/10.7256/2454-0625.2022.12.37276","url":null,"abstract":"\u0000 According to the ideas dominating in scientific discourse, female stayers of the twentieth century had to overcome gender stereotypes for a long time and in a tense struggle, according to which long running deprives them of \"femininity\" and threatens reproductive function. The article shows that the reasons for the long negative attitude of society towards physical culture and sports women's running are much more diverse and historically deepened, they go far beyond the sphere of training and competitive activity and \"pure\" physiology, having a socio-culturally determined ideological basis. The objectives of the article: to determine the types of women's running practices; to analyze the goals and motives of the running activities of their participants; to identify the causes of social conflicts generated by these practices and ways to overcome them. The main types of women's running practices are ritual competitive and out-of-competition running, festive competitive running, wellness and sports running. Running was used by women to achieve the following goals: marriage, material reward, pleasing the gods, transition to a new social group, magical influence, emancipation, physical development and setting records. The motives of running practices were gaining patronage, ensuring the well-being of the community, confirming their gender and age fullness, acquiring magical abilities, overcoming the scarcity of life, health care, self-realization, achieving equality with men in competitive activities and opportunities provided by society to outstanding athletes. The collisions of women's running practices are mainly associated with the mythological, religious and philosophical misogyny of traditional societies and gender stereotypes of modern times, according to which prolonged running locomotion does not correspond to the gender expecta-tions of society, the norms of decency and causes irreparable harm to women's health. Largely due to the selfless struggle of runners for equality in realizing their athletic potential, women's identity today is associated not only with femininity, and at the last Olympics in Tokyo, gender parity of participants was achieved for the first time. \u0000","PeriodicalId":184304,"journal":{"name":"Культура и искусство","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127776905","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 : 2022-12-01DOI: 10.7256/2454-0625.2022.12.37449
N.V. Sheremeteva
Attribution and the study of painting pose two important questions to researchers: the choice of methodology and terminology used in describing and highlighting the characteristics of a work of art. "Visual research" as an integrated approach to the problems of reception and creativity forms a system of stable principles of analysis of the monument, focused on the study of the vision and complex extraverbal aspects of the existence of the subject in the historical and cultural space. The analysis of painting involves an integrated approach based on the study of technique and material, the features of shaping and means of artistic expression, iconography and semantics, the creative method of the master and the consumer's reaction, the role in the context of everyday culture and the principles of reception in a synchronous and diachronic cut.In the 19th century, the Italian art critic Giovanni Morelli made a significant contribution to the theory and practice of painting by outstanding masters of the Renaissance. Methods based on deep knowledge in the field of human anatomy and the analysis of the artist's professional skills have influenced not only the history of art, but also the development of criminology, criminology, psychoanalytic theory and psychotherapeutic practice. This article analyzes the method of Giovanni Morelli, which is adapted not only to the needs of attribution, but is also applicable to forensic tasks requiring the analysis of human skills and habits, as well as the identification or attribution of works of art.
{"title":"The specifics of attribution of paintings: the Morelli method","authors":"N.V. Sheremeteva","doi":"10.7256/2454-0625.2022.12.37449","DOIUrl":"https://doi.org/10.7256/2454-0625.2022.12.37449","url":null,"abstract":"Attribution and the study of painting pose two important questions to researchers: the choice of methodology and terminology used in describing and highlighting the characteristics of a work of art. \"Visual research\" as an integrated approach to the problems of reception and creativity forms a system of stable principles of analysis of the monument, focused on the study of the vision and complex extraverbal aspects of the existence of the subject in the historical and cultural space. The analysis of painting involves an integrated approach based on the study of technique and material, the features of shaping and means of artistic expression, iconography and semantics, the creative method of the master and the consumer's reaction, the role in the context of everyday culture and the principles of reception in a synchronous and diachronic cut.In the 19th century, the Italian art critic Giovanni Morelli made a significant contribution to the theory and practice of painting by outstanding masters of the Renaissance. Methods based on deep knowledge in the field of human anatomy and the analysis of the artist's professional skills have influenced not only the history of art, but also the development of criminology, criminology, psychoanalytic theory and psychotherapeutic practice. This article analyzes the method of Giovanni Morelli, which is adapted not only to the needs of attribution, but is also applicable to forensic tasks requiring the analysis of human skills and habits, as well as the identification or attribution of works of art.","PeriodicalId":184304,"journal":{"name":"Культура и искусство","volume":"234 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114993960","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 : 2022-12-01DOI: 10.7256/2454-0625.2022.12.38319
Sergei Sergeevich Rykov
The main purpose of this work is to analyze the modern literature on amateur marathon running and the motivational effect that such publications give to novice marathon runners. The author pays special attention to the fact that the appearance of such literature in recent years has coincided with a general decline in reader activity around the world. This demand may be explained by the fact that the preparation of a marathon runner is very specific and requires a lot of time for training. And this feature, which consists in long-term planning, makes it an additional attractive "long-term project" in comparison with most modern tasks, which are increasingly, being short-term, perceived as a duty-passing fluidity of life. The fact that there is no similar literary activity in other sports (best-selling books based on the description of the sport as a plot basis, the presence of authors – former athletes), allows us to conclude that marathon running, becoming not only a professional sport, but also acquiring the status of an amateur, is a challenge, generating the need for constant reflection both among the authors themselves and among readers. Against the background of the analysis of the content of books and "feedback" (readers' feedback), it is concluded that the basis of the appeal and mass popularity of amateur marathons should be associated with the "culture of challenge", which is clearly manifested in the practices of understanding and development of amateur running. The culture of challenge can be interpreted from the standpoint of L.N. Kogan's value-motivational analysis of culture and understood as the realization of essential human forces.
{"title":"Amateur marathon running in modern literature: types of description and reflection of reading","authors":"Sergei Sergeevich Rykov","doi":"10.7256/2454-0625.2022.12.38319","DOIUrl":"https://doi.org/10.7256/2454-0625.2022.12.38319","url":null,"abstract":"\u0000 The main purpose of this work is to analyze the modern literature on amateur marathon running and the motivational effect that such publications give to novice marathon runners. The author pays special attention to the fact that the appearance of such literature in recent years has coincided with a general decline in reader activity around the world. This demand may be explained by the fact that the preparation of a marathon runner is very specific and requires a lot of time for training. And this feature, which consists in long-term planning, makes it an additional attractive \"long-term project\" in comparison with most modern tasks, which are increasingly, being short-term, perceived as a duty-passing fluidity of life. The fact that there is no similar literary activity in other sports (best-selling books based on the description of the sport as a plot basis, the presence of authors – former athletes), allows us to conclude that marathon running, becoming not only a professional sport, but also acquiring the status of an amateur, is a challenge, generating the need for constant reflection both among the authors themselves and among readers. Against the background of the analysis of the content of books and \"feedback\" (readers' feedback), it is concluded that the basis of the appeal and mass popularity of amateur marathons should be associated with the \"culture of challenge\", which is clearly manifested in the practices of understanding and development of amateur running. The culture of challenge can be interpreted from the standpoint of L.N. Kogan's value-motivational analysis of culture and understood as the realization of essential human forces.\u0000","PeriodicalId":184304,"journal":{"name":"Культура и искусство","volume":"37 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116790401","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 : 2022-12-01DOI: 10.7256/2454-0625.2022.12.36575
N. Yarychev
The article is devoted to cultural memory, on the one hand, as the most optimal concept denoting a socially determined form of supra–individual memory, and, on the other hand, as a theoretical construct (structural and functional model) denoted by this concept. Cultural memory is understood as a type of supra-individual memory that accumulates collective, value-significant memories, intentionally preserved and transmitted in mytho-symbolic forms. The main features of cultural memory include: conservatism, collectivism, presentism, symbolism, anti-historicity, written character, artificiality, institutionality, expert character, sacredness. The functional potential of cultural memory is realized in the following functions: accumulative, integrative, identification, interpretive, stabilization.The scientific novelty of the presented article is reduced to several positions. Firstly, to substantiate the concept of "cultural memory" as the most optimal (in comparison with the concepts of "historical memory", "social memory", "collective memory", etc.) to designate one of the types of supra-individual memory. The advantages of this concept are: broad semantic coverage, fixation of the collective, social and constructed nature of memories. Secondly, to conceptualize the phenomenon of "cultural memory", to determine its essential features and functional potential. As the main conclusion of the article, the following can be noted. In the context of the terminological and conceptual diversity of memory studies, it is extremely important to determine the categorical foundations of memorial research, fixing the content, structural, functional boundaries of the phenomena studied. In relation to supra-individual memory, this is especially important, mainly due to the presence of a very wide range of its conceptual and meaningful interpretation. In the article we offer our reasoned vision of the phenomenon of supra–individual memory, in particular one of its forms - cultural memory as a special reservoir of collective, social, value-significant memories, intentionally preserved and transmitted in mytho-symbolic forms.
{"title":"Cultural memory as a concept and phenomenon: the foundations of conceptualization","authors":"N. Yarychev","doi":"10.7256/2454-0625.2022.12.36575","DOIUrl":"https://doi.org/10.7256/2454-0625.2022.12.36575","url":null,"abstract":"\u0000 The article is devoted to cultural memory, on the one hand, as the most optimal concept denoting a socially determined form of supra–individual memory, and, on the other hand, as a theoretical construct (structural and functional model) denoted by this concept. Cultural memory is understood as a type of supra-individual memory that accumulates collective, value-significant memories, intentionally preserved and transmitted in mytho-symbolic forms. The main features of cultural memory include: conservatism, collectivism, presentism, symbolism, anti-historicity, written character, artificiality, institutionality, expert character, sacredness. The functional potential of cultural memory is realized in the following functions: accumulative, integrative, identification, interpretive, stabilization.The scientific novelty of the presented article is reduced to several positions. Firstly, to substantiate the concept of \"cultural memory\" as the most optimal (in comparison with the concepts of \"historical memory\", \"social memory\", \"collective memory\", etc.) to designate one of the types of supra-individual memory. The advantages of this concept are: broad semantic coverage, fixation of the collective, social and constructed nature of memories. Secondly, to conceptualize the phenomenon of \"cultural memory\", to determine its essential features and functional potential. As the main conclusion of the article, the following can be noted. In the context of the terminological and conceptual diversity of memory studies, it is extremely important to determine the categorical foundations of memorial research, fixing the content, structural, functional boundaries of the phenomena studied. In relation to supra-individual memory, this is especially important, mainly due to the presence of a very wide range of its conceptual and meaningful interpretation. In the article we offer our reasoned vision of the phenomenon of supra–individual memory, in particular one of its forms - cultural memory as a special reservoir of collective, social, value-significant memories, intentionally preserved and transmitted in mytho-symbolic forms.\u0000","PeriodicalId":184304,"journal":{"name":"Культура и искусство","volume":"47 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116180809","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 : 2022-11-01DOI: 10.7256/2454-0625.2022.11.38985
V. Rozin
The author discusses the phenomenon of plastic culture and art. An expanded understanding of body movement is proposed, including gestures, poses, facial expressions, expression, the involvement of the artist and the viewer in external social rhythms and in music, internal movements and rhythms of the soul. All these movements are organized within the framework of plastic culture, although they exist by themselves, they have different sources of formation and areas of functioning. The immersion of a person into an aesthetic, more broadly artistic culture that has permeated, since antiquity, even the ordinary life of a person, not to mention specialization in a particular kind of art, triggers the process of organizing human movements and rhythms. The author identifies two factors that significantly determine this organization: the conditions and requirements of the sphere of art and the artistic language, understood extremely broadly. He characterizes the sphere of art with the features of publicity, differences from ordinary life and work, art opens an outlet to another, usually attractive, reality (to gods, beauty, ideals, to another world), sets a special type of communication. Describing the artistic language, the author points out that meaningful constructions of this language perform a different task than ordinary signs: they do not set unambiguous denotations, but should introduce into artistic reality and help the viewer to construct events in this reality. On the basis of these provisions, an analysis of the formation of dance is proposed and a characteristic of plastic art and culture is given.
{"title":"Plastic Culture: an Approach to the Study and the Main Characteristics","authors":"V. Rozin","doi":"10.7256/2454-0625.2022.11.38985","DOIUrl":"https://doi.org/10.7256/2454-0625.2022.11.38985","url":null,"abstract":"\u0000 The author discusses the phenomenon of plastic culture and art. An expanded understanding of body movement is proposed, including gestures, poses, facial expressions, expression, the involvement of the artist and the viewer in external social rhythms and in music, internal movements and rhythms of the soul. All these movements are organized within the framework of plastic culture, although they exist by themselves, they have different sources of formation and areas of functioning. The immersion of a person into an aesthetic, more broadly artistic culture that has permeated, since antiquity, even the ordinary life of a person, not to mention specialization in a particular kind of art, triggers the process of organizing human movements and rhythms. The author identifies two factors that significantly determine this organization: the conditions and requirements of the sphere of art and the artistic language, understood extremely broadly. He characterizes the sphere of art with the features of publicity, differences from ordinary life and work, art opens an outlet to another, usually attractive, reality (to gods, beauty, ideals, to another world), sets a special type of communication. Describing the artistic language, the author points out that meaningful constructions of this language perform a different task than ordinary signs: they do not set unambiguous denotations, but should introduce into artistic reality and help the viewer to construct events in this reality. On the basis of these provisions, an analysis of the formation of dance is proposed and a characteristic of plastic art and culture is given.\u0000","PeriodicalId":184304,"journal":{"name":"Культура и искусство","volume":"62 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127445283","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 : 2022-11-01DOI: 10.7256/2454-0625.2022.11.37314
Ke Chen
The subject of the study is the design of the Jesuit Church of St. Paul in Macau, built in 1602-1640. The plan and design of the temple are typical of the Jesuit churches of Europe, but the decoration is distinctive, which manifested a new strategy of the Jesuits. The focus of the publication is on the decor of the preserved western facade, combining both European Christian symbols and images, as well as Chinese and Japanese. The article shows how the Jesuits introduced the Christian doctrine into the consciousness of the inhabitants through the pictorial series familiar to the local population, seeking its speedy dissemination. The project of the church belongs to European masters, and local sculptors worked on the decoration. The novelty of the research lies in considering not only the historical aspects of the expansion of the influence of the Jesuit Order in the territories of the Far East in general, in China and Macau in particular, but also the artistic aspects, which is important, since art was an important tool for the Jesuits in promoting Christianity, especially in the era of the Counter-Reformation, after the Council of Trent. The main conclusion of the study is that the facade is a retablo of the Church of St. St. Paul's in Macau is a kind of doctrinal synthesis in stone: through images and inscriptions in Chinese and Latin, knowledge about Catholic doctrine and the basics of Christian teaching is transmitted to local residents.
这项研究的主题是澳门圣保罗耶稣会教堂的设计，该教堂建于1602年至1640年。圣殿的规划和设计是典型的欧洲耶稣会教堂，但装饰是独特的，体现了耶稣会的新策略。该出版物的重点是保留的西立面的装饰，结合了欧洲基督教的符号和图像，以及中国和日本。这篇文章展示了耶稣会士是如何通过当地居民所熟悉的图画系列将基督教教义引入当地居民的意识中，寻求其快速传播的。教堂的工程属于欧洲大师，当地雕刻家负责装饰。这项研究的新颖之处在于，它不仅考虑了耶稣会在远东地区(特别是中国和澳门)影响力扩大的历史方面，而且还考虑了艺术方面，这一点很重要，因为艺术是耶稣会推广基督教的重要工具，尤其是在特伦特会议(Council of Trent)之后的反宗教改革时期。研究的主要结论是，立面是澳门圣保罗教堂的重新设计，是一种石头的教义综合:通过中文和拉丁文的图像和铭文，将天主教教义和基督教基本教义的知识传递给当地居民。
{"title":"Syncretism of Christian and Asian features in the design of St. Paul's Church in Macau","authors":"Ke Chen","doi":"10.7256/2454-0625.2022.11.37314","DOIUrl":"https://doi.org/10.7256/2454-0625.2022.11.37314","url":null,"abstract":"\u0000 The subject of the study is the design of the Jesuit Church of St. Paul in Macau, built in 1602-1640. The plan and design of the temple are typical of the Jesuit churches of Europe, but the decoration is distinctive, which manifested a new strategy of the Jesuits. The focus of the publication is on the decor of the preserved western facade, combining both European Christian symbols and images, as well as Chinese and Japanese. The article shows how the Jesuits introduced the Christian doctrine into the consciousness of the inhabitants through the pictorial series familiar to the local population, seeking its speedy dissemination. The project of the church belongs to European masters, and local sculptors worked on the decoration. The novelty of the research lies in considering not only the historical aspects of the expansion of the influence of the Jesuit Order in the territories of the Far East in general, in China and Macau in particular, but also the artistic aspects, which is important, since art was an important tool for the Jesuits in promoting Christianity, especially in the era of the Counter-Reformation, after the Council of Trent. The main conclusion of the study is that the facade is a retablo of the Church of St. St. Paul's in Macau is a kind of doctrinal synthesis in stone: through images and inscriptions in Chinese and Latin, knowledge about Catholic doctrine and the basics of Christian teaching is transmitted to local residents.\u0000","PeriodicalId":184304,"journal":{"name":"Культура и искусство","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127010440","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 : 2022-11-01DOI: 10.7256/2454-0625.2022.11.39259
Vera Sergeevna Feshchenko
The subject of the study is to identify the peculiarities in solving the plots of church painting of individual representatives of the religious-national trend of the turn of the XIX - XX centuries. The purpose is to show the development of national trends of Russian monumental church art by the founders of the religious-national trend on the examples of the work of V. M.Vasnetsov, M. V. Nesterov, M.A. Vrubel and artists M. M. Vasiliev, A. P. Blaznov, L. A. Pyanovsky, K. S. Petrov-Vodkin, F. R. Raylian, to identify similarities and differences in the manner and in the transmission of images and compositions, as well as to substantiate the significance of these differences for art history. The basis of art criticism research is the formal stylistic method of G. Velflin, the iconographic method of N. P. Kondakov, the iconological method of E. Panofsky; the method of phenomenological analysis of the aesthetic perception of the artistic work of V. V. Bychkov and G. K. Wagner. Comparative analysis of murals by artists M. M. Vasiliev, A. P. Blaznov, L. A. Pyanovsky, F. R. Raylian, K. S. Petrov-Vodkin in comparison with the work of representatives of the "Vasnetsov school" allowed us to see the development of the national style in art, from an abstract-figurative understanding to a conscious spiritual-symbolic interpretation of church painting of the Middle Ages and pre-Petrine Russia as an integral artistic phenomenon of the religious-national trend. The practical significance of the study lies in the fact that the example of the artists of the "Vasiliev circle" revealed a kind of overcoming of one of the main problems of the iconographic image, which consists in maintaining a delicate balance of life-likeness and ideality. In their works, in the context of interpretation, the measure of realism of the image is traced, in which the spiritual content can be embodied in a material form without losing its sacred content, which is a valuable example for modern artists who set themselves the task of creating images without copying, but remaining in the canon.
本研究的主题是找出十九至二十世纪之交宗教民族倾向的个人代表在解决教堂绘画情节方面的特点。目的是展示国家的发展趋势的俄罗斯的教堂艺术的创始人religious-national趋势诉M.Vasnetsov工作的例子,m . v . Nesterov硕士Vrubel和艺术家m·m·瓦西里耶夫a . p . Blaznov l . a . Pyanovsky k . s . Petrov-Vodkin f·r·Raylian识别相似和不同的方式和图片和作品的传播,以及证实这些差异对艺术历史的重要性。艺术批评研究的基础是维尔弗林的形式风格方法、康达科夫的图像学方法、帕诺夫斯基的图像学方法;用现象学方法分析比奇科夫和瓦格纳艺术作品的美感。比较分析的壁画艺术家m·m·瓦西里耶夫a . p . Blaznov l . a . Pyanovsky f·r·Raylian k . s . Petrov-Vodkin相比,“Vasnetsov学校”代表的工作让我们看到艺术的民族风格的发展,从一个abstract-figurative理解意识spiritual-symbolic中世纪教堂画的解释和pre-Petrine俄罗斯作为一个整体的艺术现象religious-national趋势。研究的现实意义在于，“瓦西里耶夫圈”艺术家的例子揭示了一种对肖像图像的主要问题之一的克服，即保持生活化与理想化的微妙平衡。在他们的作品中，在阐释的语境中，追溯了形象的现实主义的尺度，其中精神内容可以体现在物质形式中而不失去其神圣的内容，这对现代艺术家来说是一个有价值的例子，他们为自己设定了创造图像的任务，而不是复制，而是保持在经典中。
{"title":"Features of Solving Plots in Temple Painting by the Founders of the Religious-national Trend and Artists of the Circle of M. M. Vasiliev","authors":"Vera Sergeevna Feshchenko","doi":"10.7256/2454-0625.2022.11.39259","DOIUrl":"https://doi.org/10.7256/2454-0625.2022.11.39259","url":null,"abstract":"\u0000 The subject of the study is to identify the peculiarities in solving the plots of church painting of individual representatives of the religious-national trend of the turn of the XIX - XX centuries. The purpose is to show the development of national trends of Russian monumental church art by the founders of the religious-national trend on the examples of the work of V. M.Vasnetsov, M. V. Nesterov, M.A. Vrubel and artists M. M. Vasiliev, A. P. Blaznov, L. A. Pyanovsky, K. S. Petrov-Vodkin, F. R. Raylian, to identify similarities and differences in the manner and in the transmission of images and compositions, as well as to substantiate the significance of these differences for art history. The basis of art criticism research is the formal stylistic method of G. Velflin, the iconographic method of N. P. Kondakov, the iconological method of E. Panofsky; the method of phenomenological analysis of the aesthetic perception of the artistic work of V. V. Bychkov and G. K. Wagner. Comparative analysis of murals by artists M. M. Vasiliev, A. P. Blaznov, L. A. Pyanovsky, F. R. Raylian, K. S. Petrov-Vodkin in comparison with the work of representatives of the \"Vasnetsov school\" allowed us to see the development of the national style in art, from an abstract-figurative understanding to a conscious spiritual-symbolic interpretation of church painting of the Middle Ages and pre-Petrine Russia as an integral artistic phenomenon of the religious-national trend. The practical significance of the study lies in the fact that the example of the artists of the \"Vasiliev circle\" revealed a kind of overcoming of one of the main problems of the iconographic image, which consists in maintaining a delicate balance of life-likeness and ideality. In their works, in the context of interpretation, the measure of realism of the image is traced, in which the spiritual content can be embodied in a material form without losing its sacred content, which is a valuable example for modern artists who set themselves the task of creating images without copying, but remaining in the canon.\u0000","PeriodicalId":184304,"journal":{"name":"Культура и искусство","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131276963","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 : 2022-11-01DOI: 10.7256/2454-0625.2022.11.36792
Aleksei Smirnov, O. Bezzubova
The object of the study is the movie "One Hundred Days after Childhood", one of the most famous Soviet films of the mid-1970s, dedicated to school and schoolchildren (the so-called "school cinema"). The subject of the study is the cultural meanings new to this genre, broadcast by the film, the phenomena of Soviet culture that made this broadcast possible and significant for Soviet cinema, as well as the expressive means of the film, indicating changes in Soviet culture and, in particular, in pedagogical strategies compared with the early 1960s ("thaw era"). The purpose of the study was to identify the role played by this film in the development of the theme of the school in Soviet cinema, as well as to establish those trends in Soviet culture of the 1960s and 1970s that made this development possible. As the main research method, a theoretical and cultural analysis of the most significant elements of the plot was used, representing both the key ideas of the Soviet "school cinema" and the most significant phenomena for Soviet culture of the 1960s and 1970s. As a result of the study, the role of classical Russian literature in the education of the most significant human qualities of Soviet schoolchildren for the period under consideration was established. In addition, the very fact of the appearance of this film suggests that the model of socialization peculiar to the Soviet school up to the early 1960s has lost its relevance, and the new model was still in the formative stage.
{"title":"\"School cinema\" of the mid-1970s: \"education of feelings\" and love discourse (on the example of the film \"One Hundred Days after childhood\")","authors":"Aleksei Smirnov, O. Bezzubova","doi":"10.7256/2454-0625.2022.11.36792","DOIUrl":"https://doi.org/10.7256/2454-0625.2022.11.36792","url":null,"abstract":"\u0000 The object of the study is the movie \"One Hundred Days after Childhood\", one of the most famous Soviet films of the mid-1970s, dedicated to school and schoolchildren (the so-called \"school cinema\"). The subject of the study is the cultural meanings new to this genre, broadcast by the film, the phenomena of Soviet culture that made this broadcast possible and significant for Soviet cinema, as well as the expressive means of the film, indicating changes in Soviet culture and, in particular, in pedagogical strategies compared with the early 1960s (\"thaw era\"). The purpose of the study was to identify the role played by this film in the development of the theme of the school in Soviet cinema, as well as to establish those trends in Soviet culture of the 1960s and 1970s that made this development possible. As the main research method, a theoretical and cultural analysis of the most significant elements of the plot was used, representing both the key ideas of the Soviet \"school cinema\" and the most significant phenomena for Soviet culture of the 1960s and 1970s. As a result of the study, the role of classical Russian literature in the education of the most significant human qualities of Soviet schoolchildren for the period under consideration was established. In addition, the very fact of the appearance of this film suggests that the model of socialization peculiar to the Soviet school up to the early 1960s has lost its relevance, and the new model was still in the formative stage.\u0000","PeriodicalId":184304,"journal":{"name":"Культура и искусство","volume":"25 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131314211","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 : 2022-11-01DOI: 10.7256/2454-0625.2022.11.38835
Anastasiia Popova, Evgeniia Fomenko
The object of this research is the intangible cultural heritage of the People's Republic of China (NPC), the subject is the state policy in the field of protection of monuments of intangible cultural heritage. The article analyzes the approach of the Government of the People's Republic of China to the definition of the essence of the national intangible cultural heritage on the materials of legal documents, considers the classification developed in accordance with national, historical, cultural characteristics for the typologization of intangible cultural heritage objects. To improve the protection of intangible cultural heritage, the State Council of the People's Republic of China provides for a four-level hierarchy of monuments of the National Heritage: national, provincial, city and county, which contributes to more thorough and effective work with them. Particular attention is paid to the consideration of concepts that allowed China to fully integrate the protection of intangible cultural heritage into the modern political course of the state. The novelty and relevance lies in the study of the fundamental principles that guide the State Council of the People's Republic of China in its work on the study of intangible cultural heritage objects, the creation of their nomenclature base, the promotion of digital transformation in meeting the needs of the public in understanding the importance and uniqueness of cultural heritage. An important contribution is the analysis of approaches to ensuring the transfer of spiritual culture, the creation of favorable conditions for the support of "representative heirs" of China's spiritual culture. The main conclusion of the study is that as a result of the measures taken in China, progress has been made not only in the protection of intangible cultural heritage, but also in strengthening cultural awareness, spreading knowledge about the objects of the ICH, the development of traditional crafts, the study and popularization of traditional spiritual culture.
{"title":"The Place of Intangible Cultural Heritage in the State Policy of China","authors":"Anastasiia Popova, Evgeniia Fomenko","doi":"10.7256/2454-0625.2022.11.38835","DOIUrl":"https://doi.org/10.7256/2454-0625.2022.11.38835","url":null,"abstract":"\u0000 The object of this research is the intangible cultural heritage of the People's Republic of China (NPC), the subject is the state policy in the field of protection of monuments of intangible cultural heritage. The article analyzes the approach of the Government of the People's Republic of China to the definition of the essence of the national intangible cultural heritage on the materials of legal documents, considers the classification developed in accordance with national, historical, cultural characteristics for the typologization of intangible cultural heritage objects. To improve the protection of intangible cultural heritage, the State Council of the People's Republic of China provides for a four-level hierarchy of monuments of the National Heritage: national, provincial, city and county, which contributes to more thorough and effective work with them. Particular attention is paid to the consideration of concepts that allowed China to fully integrate the protection of intangible cultural heritage into the modern political course of the state. The novelty and relevance lies in the study of the fundamental principles that guide the State Council of the People's Republic of China in its work on the study of intangible cultural heritage objects, the creation of their nomenclature base, the promotion of digital transformation in meeting the needs of the public in understanding the importance and uniqueness of cultural heritage. An important contribution is the analysis of approaches to ensuring the transfer of spiritual culture, the creation of favorable conditions for the support of \"representative heirs\" of China's spiritual culture. The main conclusion of the study is that as a result of the measures taken in China, progress has been made not only in the protection of intangible cultural heritage, but also in strengthening cultural awareness, spreading knowledge about the objects of the ICH, the development of traditional crafts, the study and popularization of traditional spiritual culture.\u0000","PeriodicalId":184304,"journal":{"name":"Культура и искусство","volume":"200 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115234481","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 : 2022-10-01DOI: 10.7256/2454-0625.2022.10.36728
D. Lavrov
The subject of the study is the analysis of ways to restore the ornamental techniques of the Lukutinsky lacquer miniature craft, lost by the end of the XIX century and recreated during the Soviet period. The article examines the activity of miniature artists of the Fedoskinsky Labor artel - the successor of the Lukutinsky enterprise – to revive forgotten technologies for creating ornaments on lacquer products. Special attention is paid to the assistance in this process provided to the fishery by the Soviet state. The purpose of the article is to show the significant role of state support in the development of Russian folk art of the Soviet period by the example of a successful solution to the problem of restoring the lost ornamental techniques of the Fedoskinsky craft. Using comparative-historical, historical-typological, as well as historical-genetic methods, the author characterizes various ornamental techniques of Lukutinsky products, comparing them with the features of Fedoskinsky products of the twentieth century. The scientific novelty of the research consists in the analysis of the activities of the experimental laboratory at the Fedoskin labor artel, which restored the ornamental techniques of the Lukutin miniature, as well as the contribution made to this process by Fedoskin masters M. S. Chizhov, V. V. Korsakov, S. N. Tardasov. The main conclusion of the article is the statement of the importance of studying these fishing techniques for understanding the reasons for the flourishing of ornamental motifs in Fedoskinsky products in the late Soviet period, as well as the present.
该研究的主题是分析如何恢复Lukutinsky漆器微型工艺的装饰技术，该工艺在19世纪末丢失，在苏联时期得到了重建。本文考察了Fedoskinsky Labor arttel (Lukutinsky企业的继承者)的微型艺术家的活动，以复兴被遗忘的技术，用于在漆产品上创造装饰品。在这一过程中，特别注意到苏联国家对渔业提供的援助。本文的目的是通过成功解决费多斯金斯基工艺中丢失的装饰技术的修复问题的例子，来展示国家支持在苏联时期俄罗斯民间艺术发展中的重要作用。作者采用比较史学、历史类型学和历史遗传学的方法，对卢库廷斯基产品的各种装饰技术进行了表征，并将其与20世纪费多斯金斯基产品的特点进行了比较。该研究的科学新颖性在于分析费多斯金劳动中心实验实验室的活动，该实验室恢复了Lukutin微型雕塑的装饰技术，以及费多斯金大师M. S. Chizhov, V. V. Korsakov, S. N. Tardasov对这一过程的贡献。文章的主要结论是说明研究这些捕鱼技术对于理解苏联后期以及现在费多斯金斯基产品中装饰图案繁荣的原因的重要性。
{"title":"Traditional ornamental techniques in the products of the Fedoskin lacquer miniature of the Soviet period","authors":"D. Lavrov","doi":"10.7256/2454-0625.2022.10.36728","DOIUrl":"https://doi.org/10.7256/2454-0625.2022.10.36728","url":null,"abstract":"\u0000 The subject of the study is the analysis of ways to restore the ornamental techniques of the Lukutinsky lacquer miniature craft, lost by the end of the XIX century and recreated during the Soviet period. The article examines the activity of miniature artists of the Fedoskinsky Labor artel - the successor of the Lukutinsky enterprise – to revive forgotten technologies for creating ornaments on lacquer products. Special attention is paid to the assistance in this process provided to the fishery by the Soviet state. The purpose of the article is to show the significant role of state support in the development of Russian folk art of the Soviet period by the example of a successful solution to the problem of restoring the lost ornamental techniques of the Fedoskinsky craft. Using comparative-historical, historical-typological, as well as historical-genetic methods, the author characterizes various ornamental techniques of Lukutinsky products, comparing them with the features of Fedoskinsky products of the twentieth century. The scientific novelty of the research consists in the analysis of the activities of the experimental laboratory at the Fedoskin labor artel, which restored the ornamental techniques of the Lukutin miniature, as well as the contribution made to this process by Fedoskin masters M. S. Chizhov, V. V. Korsakov, S. N. Tardasov. The main conclusion of the article is the statement of the importance of studying these fishing techniques for understanding the reasons for the flourishing of ornamental motifs in Fedoskinsky products in the late Soviet period, as well as the present. \u0000","PeriodicalId":184304,"journal":{"name":"Культура и искусство","volume":"61 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116778807","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：