Within the framework of the interdisciplinary noetic system of concepts developed by us, “metaphysics of an act” as a term implies one of Besht’s constant concepts determined by two basic principle maxims: “Nothing is in vain” and “To save everything.” We refer to the spiritual as noetic (following V. Frankl and C. Geertz), but not in the theological sense, but in the anthropological one. Specifi c ways of implicit exemplifi cation and translation of these principle maxims are revealed in the behavioral realities of several generations of a Jewish family from Chisinau as exemplifi ed in Gita Govinda (Song of the Shepherd), a memoir analytical novel by Elena Cușnir. To examine this narrative, the interpretative ethnological noetic model titled Th e Decalogue: Th e Aspect of Upbringing (the Case of an “I-Document” as a Literary Work) was applied. As a result, the forms in which the principle maxims “Nothing is in vain” and “To save everything” can be present in the consciousness and /or the unconsciousness of a modern person are demonstrated; in addition, behavioral realities, due to which they become the object of translation, are revealed. Th e anthropological noetic content of the concept of “ethics”, which corresponds to the ideas by A. Schweitzer, E. Fromm, and V. Frankl, is specifi ed.
{"title":"Metaphysics of an Act as a Topic of Implicit Education among Chisinau Jews as Exemplifi ed in a Memoir Analytical Novel by a Native of Chisinau","authors":"Жозефина Кушнир","doi":"10.52603/pc22.31","DOIUrl":"https://doi.org/10.52603/pc22.31","url":null,"abstract":"Within the framework of the interdisciplinary noetic system of concepts developed by us, “metaphysics of an act” as a term implies one of Besht’s constant concepts determined by two basic principle maxims: “Nothing is in vain” and “To save everything.” We refer to the spiritual as noetic (following V. Frankl and C. Geertz), but not in the theological sense, but in the anthropological one. Specifi c ways of implicit exemplifi cation and translation of these principle maxims are revealed in the behavioral realities of several generations of a Jewish family from Chisinau as exemplifi ed in Gita Govinda (Song of the Shepherd), a memoir analytical novel by Elena Cușnir. To examine this narrative, the interpretative ethnological noetic model titled Th e Decalogue: Th e Aspect of Upbringing (the Case of an “I-Document” as a Literary Work) was applied. As a result, the forms in which the principle maxims “Nothing is in vain” and “To save everything” can be present in the consciousness and /or the unconsciousness of a modern person are demonstrated; in addition, behavioral realities, due to which they become the object of translation, are revealed. Th e anthropological noetic content of the concept of “ethics”, which corresponds to the ideas by A. Schweitzer, E. Fromm, and V. Frankl, is specifi ed.","PeriodicalId":296131,"journal":{"name":"Patrimoniul cultural: cercetare, valorificare, promovare","volume":"1 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":"132756182","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}
Th e educational institution was opened in Chisinau in 1871. It was transformed into the 2nd Chisinau gymnasium in 1884. Th ere are various documents on the construction of the building of this 2nd male gymnasium during 1892-1893 in the National Archives of the Republic of Moldova. Plans and projects for this construction of the building were drawn up by the diocesan architect Demosfen Mazirov. Th e educational institution had the right to own a chapel and thanks to the honorary trustee of the gymnasium Constantin Namestnic, a temple was built in the Byzantine-Russian style according to the project of the diocesan architect Mikhail Serotsinsky. On May 19, 1902 it was consecrated. In April 1962, a planetarium was opened in the church building as a center of astronomy. Later it was returned to the Orthodox Church. Today it is the Transfi guration of the Savior Church (Biserica Schimbarea la Față a Mântuitorului), which is an architectural monument of national importance representing a part of the rich cultural heritage of the Republic of Moldova.
这所教育机构于1871年在基希讷乌开设。1884年，它被改建为基希讷乌第二体育馆。摩尔多瓦共和国国家档案馆中有关于1892年至1893年建造第二座男性体育馆的各种文件。该建筑的计划和项目是由教区建筑师demosen Mazirov起草的。这所教育机构有权拥有一座小教堂，并且由于康斯坦丁体育馆的荣誉受托人，根据教区建筑师米哈伊尔·谢罗辛斯基的项目，建造了一座拜占庭-俄罗斯风格的寺庙。1902年5月19日，教堂被祝圣。1962年4月，天文馆在教堂大楼内开放，作为天文学中心。后来它被归还给东正教教堂。今天，它是救世主教堂的变形(Biserica Schimbarea la Față a m ntuitorului)，这是一个具有国家重要性的建筑纪念碑，代表了摩尔多瓦共和国丰富的文化遗产的一部分。
{"title":"The history of the 2nd male gymnasium in Chisinau and the house church built with it at the end of the 19th – 20th centuries (for the 120th anniversary of the construction of the church)","authors":"Alla Chastina","doi":"10.52603/pc22.11","DOIUrl":"https://doi.org/10.52603/pc22.11","url":null,"abstract":"Th e educational institution was opened in Chisinau in 1871. It was transformed into the 2nd Chisinau gymnasium in 1884. Th ere are various documents on the construction of the building of this 2nd male gymnasium during 1892-1893 in the National Archives of the Republic of Moldova. Plans and projects for this construction of the building were drawn up by the diocesan architect Demosfen Mazirov. Th e educational institution had the right to own a chapel and thanks to the honorary trustee of the gymnasium Constantin Namestnic, a temple was built in the Byzantine-Russian style according to the project of the diocesan architect Mikhail Serotsinsky. On May 19, 1902 it was consecrated. In April 1962, a planetarium was opened in the church building as a center of astronomy. Later it was returned to the Orthodox Church. Today it is the Transfi guration of the Savior Church (Biserica Schimbarea la Față a Mântuitorului), which is an architectural monument of national importance representing a part of the rich cultural heritage of the Republic of Moldova.","PeriodicalId":296131,"journal":{"name":"Patrimoniul cultural: cercetare, valorificare, promovare","volume":"108 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":"117286223","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}
Th e image of the forest or of the woods is deeply implanted in the spiritual life, becoming for centuries a maternal symbol of our people. In most folk tales, the main characters, on their way to becoming, wander through a thick and dark forest, or the forest itself is the destination point, where the dramatic denouement, an unpredictable meeting or a love idyll will take place. A possible classifi cation of the forest motif in cinematographic art is proposed from the perspective of various artistic functions.Th e works of the researcher-folklorist Vladimir Propp on the structure of folk tales point directly to the image of the forest as an inevitable space for the unfolding of the action. We fi nd this space of transformations especially in the screening or interpretation of cult stories/fairy tales. We will elucidate this space, represented in various interpretations through the cinematic language. Our interest extends to fi lms, which represent the interpretation of faity tales in European cinema. A separate chapter will be dedicated to fi lms-tales, where the image of the forest is one full of mysteries, populated by the most diverse, equally mysterious characters, whose contact with human characters oft en constitutes the dramaturgical axis of the fi lm.
{"title":"The forest as a space of filmic challenges","authors":"Violeta Tipa","doi":"10.52603/pc22.18","DOIUrl":"https://doi.org/10.52603/pc22.18","url":null,"abstract":"Th e image of the forest or of the woods is deeply implanted in the spiritual life, becoming for centuries a maternal symbol of our people. In most folk tales, the main characters, on their way to becoming, wander through a thick and dark forest, or the forest itself is the destination point, where the dramatic denouement, an unpredictable meeting or a love idyll will take place. A possible classifi cation of the forest motif in cinematographic art is proposed from the perspective of various artistic functions.Th e works of the researcher-folklorist Vladimir Propp on the structure of folk tales point directly to the image of the forest as an inevitable space for the unfolding of the action. We fi nd this space of transformations especially in the screening or interpretation of cult stories/fairy tales. We will elucidate this space, represented in various interpretations through the cinematic language. Our interest extends to fi lms, which represent the interpretation of faity tales in European cinema. A separate chapter will be dedicated to fi lms-tales, where the image of the forest is one full of mysteries, populated by the most diverse, equally mysterious characters, whose contact with human characters oft en constitutes the dramaturgical axis of the fi lm.","PeriodicalId":296131,"journal":{"name":"Patrimoniul cultural: cercetare, valorificare, promovare","volume":"14 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":"129277097","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}
Th e monuments of medieval architecture from historical Moldova, surviving even before the periods of the formation of the state and until late periods, have neither dating nor direct information about their construction. Most of the ecclesiastical architectural heritage is valued historically on the basis of the documentary information and of the oral and written literary sources, with selective archaeological investigation, but which, without taking into account the architecture of the concrete monument, led to inadequate results. It is necessary to elaborate a method of study of monuments, which would be specifi c to the process of creation of the architectural form, being in the spirit of the creativity of medieval culture. Th is would be the algorithm, which is presented as the structural-numerical model, in which a decisive role, as the manifestation of the universal law “quantitative transition into quality”, are the proportions – variable numerical units that ensure the technical and visual requirements of the architecture of buildings, specifi c to each historical period.
{"title":"The use of proportions in the study of architectural monuments (From monuments with certain dates - to those with uncertain dates)","authors":"T. Nesterova","doi":"10.52603/pc22.09","DOIUrl":"https://doi.org/10.52603/pc22.09","url":null,"abstract":"Th e monuments of medieval architecture from historical Moldova, surviving even before the periods of the formation of the state and until late periods, have neither dating nor direct information about their construction. Most of the ecclesiastical architectural heritage is valued historically on the basis of the documentary information and of the oral and written literary sources, with selective archaeological investigation, but which, without taking into account the architecture of the concrete monument, led to inadequate results. It is necessary to elaborate a method of study of monuments, which would be specifi c to the process of creation of the architectural form, being in the spirit of the creativity of medieval culture. Th is would be the algorithm, which is presented as the structural-numerical model, in which a decisive role, as the manifestation of the universal law “quantitative transition into quality”, are the proportions – variable numerical units that ensure the technical and visual requirements of the architecture of buildings, specifi c to each historical period.","PeriodicalId":296131,"journal":{"name":"Patrimoniul cultural: cercetare, valorificare, promovare","volume":"10 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":"130968874","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}
A fi rst and precious Romanian contribution to the Byzantine musical heritage of the designated period is contained in the codices from medieval Putna (most of them date from the XVI century). Th e psalters of Putna, led by Evstatie Protopsaltu, developed, through joint eff ort, a special melodic style, recognizable in the landscape of Eastern European Byzantine sound art. Th e songs written or transcribed in Putna (with texts in Greek and Slavonic) stand out for their melismatic luxuriance, the variety of rhythmic structures, the improvisational momentum in the melodic proliferation. Even if it does not bring into the equation phenomena of the scope of the Musical School of Putna, the XVII century makes the decisive turning point towards the Romanization of religious singing of the Byzantine tradition. Among the catalyzing circumstances of the process are: the reforming current coming from the West through Transylvania, the grounding of printing in the Romanian countries, the crystallization of the Romanian literary language, the act of uniting with Rome of a part of Transylvanian Romanians. Th e socio-cultural and identity ferment of the XVI – XVII centuries prepared the spiritual eff ervescence of the Brancovean era and the launch of the fi rst collection of sacred chants with Romanian text - the Romanian Psalticha by Filotei sin Agăi Jipei.
罗马尼亚对指定时期拜占庭音乐遗产的第一个和宝贵的贡献包含在中世纪普特纳的抄本中(其中大部分可以追溯到十六世纪)。在Evstatie Protopsaltu的带领下，普特纳的诗人通过共同的努力，发展了一种特殊的旋律风格，在东欧拜占庭声音艺术的景观中可以辨认出来。用普特纳语创作或转录的歌曲(带有希腊语和斯拉夫语文本)以其华丽的旋律、多样的节奏结构和旋律扩散中的即兴势头而脱颖而出。即使它没有带来普特纳音乐学派范围内的方程式现象，十七世纪也使拜占庭传统的宗教歌唱罗马化成为决定性的转折点。这一进程的催化因素包括:从西方通过特兰西瓦尼亚来的改革潮流，罗马尼亚国家印刷术的基础，罗马尼亚文学语言的结晶，一部分特兰西瓦尼亚罗马尼亚人与罗马联合的行为。十六至十七世纪的社会文化和身份骚动为布兰科文时代的精神繁荣做了准备，并推出了第一部带有罗马尼亚文本的神圣圣歌集-由Filotei sin agageri Jipei编写的罗马尼亚诗篇。
{"title":"Th e autochthonous element in Byzantine pew singing from the Romanian area in the XVI - XVII centuries","authors":"Violina Galaicu","doi":"10.52603/pc22.16","DOIUrl":"https://doi.org/10.52603/pc22.16","url":null,"abstract":"A fi rst and precious Romanian contribution to the Byzantine musical heritage of the designated period is contained in the codices from medieval Putna (most of them date from the XVI century). Th e psalters of Putna, led by Evstatie Protopsaltu, developed, through joint eff ort, a special melodic style, recognizable in the landscape of Eastern European Byzantine sound art. Th e songs written or transcribed in Putna (with texts in Greek and Slavonic) stand out for their melismatic luxuriance, the variety of rhythmic structures, the improvisational momentum in the melodic proliferation. Even if it does not bring into the equation phenomena of the scope of the Musical School of Putna, the XVII century makes the decisive turning point towards the Romanization of religious singing of the Byzantine tradition. Among the catalyzing circumstances of the process are: the reforming current coming from the West through Transylvania, the grounding of printing in the Romanian countries, the crystallization of the Romanian literary language, the act of uniting with Rome of a part of Transylvanian Romanians. Th e socio-cultural and identity ferment of the XVI – XVII centuries prepared the spiritual eff ervescence of the Brancovean era and the launch of the fi rst collection of sacred chants with Romanian text - the Romanian Psalticha by Filotei sin Agăi Jipei.","PeriodicalId":296131,"journal":{"name":"Patrimoniul cultural: cercetare, valorificare, promovare","volume":"338 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":"134128827","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}
Th ere are many various materials suitable for the creation of sculptural nudes, but they are almost identical to those which used to create a sculptural portrait. Among them there are clay, stone (from limestone and granite to marble and some semi-precious stones), metals (bronze, aluminum, silver, gold), wood (of various types), wax (as a preliminary material), plasticine (which is also used for sketches) and gypsum (intended for casting works). J.J. Winckelmann wrote: “Visual arts begin with modeling in clay; then there was modeling in wood, then it was in ivory, and fi nally stone and metal were processed.” Th e interdependence of modeling and plastic techniques in creating nudity makes it more expressive. Th us, the choice of material for creating “nude” is not accidental. Th e modeling technique or, in other words, the quality of the rendering of the external surface, helps to reveal the artistic message of the work.
{"title":"Th e Interdependence of Modeling Techniques and Plastic Procedures in the Making of Moldovan Sculptural Nudes","authors":"A. Marian","doi":"10.52603/pc22.04","DOIUrl":"https://doi.org/10.52603/pc22.04","url":null,"abstract":"Th ere are many various materials suitable for the creation of sculptural nudes, but they are almost identical to those which used to create a sculptural portrait. Among them there are clay, stone (from limestone and granite to marble and some semi-precious stones), metals (bronze, aluminum, silver, gold), wood (of various types), wax (as a preliminary material), plasticine (which is also used for sketches) and gypsum (intended for casting works). J.J. Winckelmann wrote: “Visual arts begin with modeling in clay; then there was modeling in wood, then it was in ivory, and fi nally stone and metal were processed.” Th e interdependence of modeling and plastic techniques in creating nudity makes it more expressive. Th us, the choice of material for creating “nude” is not accidental. Th e modeling technique or, in other words, the quality of the rendering of the external surface, helps to reveal the artistic message of the work.","PeriodicalId":296131,"journal":{"name":"Patrimoniul cultural: cercetare, valorificare, promovare","volume":"2 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":"115346035","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}
Th e current fi lmological approach highlights one of the most relevant genuistic confi guratio ns of the native fi lm in the era of the “ethnic renaissance”- the cinematic elegy. Ad ovo, the phenomenon of the validity of this structure is indicated in both aspects: the genuistic one and the aesthetic one. Th e author undertakes a preventive excursion in the context of the adjacent arts of the period, discovering the presence of the elegiac spirit in the creation of Ion Druță, Vasile Vasilache, Grigore Vieru, Mihail Grecu as the ancestral metastate of the nostalgic hero. As regards the contribution of the seventh art to the valorization of cultural archetypes, the author, focusing on the representative samples Cristian Luca’s Confessions and Th e Last Autumn Month, demonstrates by operating with multidimensional exegesis, the consonance of both discourse aspects at the intersection of global contemplativeness and confessional frenzy of the experiences of the spirit and the soul. In conclusion, the contribution of the elegy to the enrichment of the cinematographic language is emphasized by delimiting the time and space of the seventh art, but also the creation of an atmosphere of unprecedented emotional tension by sensitizing the viewer to the allegories of nature and the music of obvious cathartic lineage.
当前的电影研究方法强调了“民族复兴”时代本土电影最相关的一种乡土形态——电影挽歌。此外，这种结构的有效性现象还表现在两个方面:一是本体的有效性，二是审美的有效性。作者在这一时期邻近艺术的背景下进行了预防性的游览，发现挽歌精神在Ion Druță， Vasile Vasilache, Grigore Vieru, mikhail greu的创作中作为怀旧英雄的祖先转移。至于第七艺术对文化原型价值增值的贡献，作者着重于代表性样本克里斯蒂安·卢卡的《忏忏录》和《去年秋天》，通过多维注释的操作来证明，在全球沉思和精神和灵魂经验的忏悔狂热的交叉点上，两个话语方面的一致性。总之，哀歌对丰富电影语言的贡献是通过划定第七艺术的时间和空间来强调的，但也通过使观众对自然的寓言和明显的宣泄血统的音乐敏感来创造一种前所未有的情感紧张气氛。
{"title":"Cinematic Elegy: Valorizing the Constellation of Ancestral Paradigms","authors":"Ana Plamadeala","doi":"10.52603/pc22.15","DOIUrl":"https://doi.org/10.52603/pc22.15","url":null,"abstract":"Th e current fi lmological approach highlights one of the most relevant genuistic confi guratio ns of the native fi lm in the era of the “ethnic renaissance”- the cinematic elegy. Ad ovo, the phenomenon of the validity of this structure is indicated in both aspects: the genuistic one and the aesthetic one. Th e author undertakes a preventive excursion in the context of the adjacent arts of the period, discovering the presence of the elegiac spirit in the creation of Ion Druță, Vasile Vasilache, Grigore Vieru, Mihail Grecu as the ancestral metastate of the nostalgic hero. As regards the contribution of the seventh art to the valorization of cultural archetypes, the author, focusing on the representative samples Cristian Luca’s Confessions and Th e Last Autumn Month, demonstrates by operating with multidimensional exegesis, the consonance of both discourse aspects at the intersection of global contemplativeness and confessional frenzy of the experiences of the spirit and the soul. In conclusion, the contribution of the elegy to the enrichment of the cinematographic language is emphasized by delimiting the time and space of the seventh art, but also the creation of an atmosphere of unprecedented emotional tension by sensitizing the viewer to the allegories of nature and the music of obvious cathartic lineage.","PeriodicalId":296131,"journal":{"name":"Patrimoniul cultural: cercetare, valorificare, promovare","volume":"419 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":"115612086","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}
Th e history of scenographic art in the Republic of Moldova coincides with the appearance of the National Th eater founded in Chisinau in 1921. Testimonies in this regard are the works of Bessarabian artists that are preserved in the collections of the National Museum of Art of Moldova. An impetus for the emergence of modern Bessarabian scenography was the Russian emigrant Georges Pojedaeff , who appeared in Chisinau in 1920 and befriended. Auguste Baillayre, who organized the personal exhibition of the scenographer at the School of Fine Arts on the borders of 1920-1921. Th anks to Auguste Baillayre, Th eodor Kiriacoff , Boris Nesvedov, Elena Barlo, Maria Starcevschi, Elisabeth Ivanovsky, Natalia Brăgalia and many others asserted themselves in this fi eld in Bessarabia, contributing to the establishment of modern Romanian scenography. Th e works kept in the museum’s collections demonstrate the painters’ attraction through the originality of the treatment and the tendencies of European art, included in the circuit of the well-known Russian Ballet tours organized in Paris by Serj Deagilev between 1905-1912. At the same time, we specify that the numerous works with which the Bessarabian exhibitors participated in the local Bucharest salons were lost during the last World War, being known the fate of the collection of the future Municipal Art Gallery, founded in Chisinau in November 1939.
摩尔多瓦共和国舞台艺术的历史与1921年在基希讷乌成立的国家剧院的出现不谋而合。摩尔多瓦国家艺术博物馆收藏的比萨拉比亚艺术家的作品证明了这一点。现代比萨拉比亚舞台艺术出现的推动力是俄罗斯移民乔治·波杰达耶夫(Georges Pojedaeff)，他于1920年出现在基希讷乌并成为朋友。奥古斯特·巴莱尔，他在1920-1921年的边界组织了美术学院的舞台导演的个人展览。由于Auguste Baillayre, Th eodor Kiriacoff, Boris Nesvedov, Elena Barlo, Maria Starcevschi, Elisabeth Ivanovsky, Natalia brurigalia和许多其他人在比萨拉比亚的这一领域断言自己，为建立现代罗马尼亚舞台艺术做出了贡献。博物馆收藏的作品通过独创性的处理和欧洲艺术的趋势展示了画家的吸引力，包括1905年至1912年由Serj Deagilev在巴黎组织的著名俄罗斯芭蕾舞团巡回演出。与此同时，我们特别指出，比萨拉比亚参展商参加布加勒斯特当地沙龙的许多作品在上次世界大战期间丢失了，这些作品被1939年11月在基希讷乌成立的未来市政艺术画廊的收藏命运所知。
{"title":"Scenographic art in interwar Bessarabia","authors":"Tudor Stăvilă","doi":"10.52603/pc22.01","DOIUrl":"https://doi.org/10.52603/pc22.01","url":null,"abstract":"Th e history of scenographic art in the Republic of Moldova coincides with the appearance of the National Th eater founded in Chisinau in 1921. Testimonies in this regard are the works of Bessarabian artists that are preserved in the collections of the National Museum of Art of Moldova. An impetus for the emergence of modern Bessarabian scenography was the Russian emigrant Georges Pojedaeff , who appeared in Chisinau in 1920 and befriended. Auguste Baillayre, who organized the personal exhibition of the scenographer at the School of Fine Arts on the borders of 1920-1921. Th anks to Auguste Baillayre, Th eodor Kiriacoff , Boris Nesvedov, Elena Barlo, Maria Starcevschi, Elisabeth Ivanovsky, Natalia Brăgalia and many others asserted themselves in this fi eld in Bessarabia, contributing to the establishment of modern Romanian scenography. Th e works kept in the museum’s collections demonstrate the painters’ attraction through the originality of the treatment and the tendencies of European art, included in the circuit of the well-known Russian Ballet tours organized in Paris by Serj Deagilev between 1905-1912. At the same time, we specify that the numerous works with which the Bessarabian exhibitors participated in the local Bucharest salons were lost during the last World War, being known the fate of the collection of the future Municipal Art Gallery, founded in Chisinau in November 1939.","PeriodicalId":296131,"journal":{"name":"Patrimoniul cultural: cercetare, valorificare, promovare","volume":"65 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":"124013965","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}
Th e end of the XIX century intensifi es the theatrical life in Bessarabia, a fact that leads to the improvement of staging methods and plastic and decorative solutions of the stage space. Th is gains even greater revival towards the middle of the XX century, being oft en mentioned by critics in the press of the time, who describe the decorations and the costumes in the staged performances. A new phase in the decorative-theatrical art of Bessarabia begins with the appearance of the great personalities who contributed to the creation and development of the Bessarabian Romanian scenography. Th is phase coincides with the activity of some outstanding personalities of the scene-painting in Bessarabia from the beginning of the XX century, such as Auguste Baillayre, Th eodor Chiriakoff , George Löwendal, Boris Nesvedov, Natalia Bragalia, Elisabeth Ivanovsky, Maria Starcevschi, Natalia Danilcenco, Elena Barlo and others. Th e decorations made by these plastic artists starts to be known to the local public. Th is familiarization takes place mainly through the tours in Bessarabian cities and towns, as well as in cultural centers.
十九世纪末，比萨拉比亚的戏剧生活得到了加强，这一事实导致了舞台方法的改进，以及舞台空间的塑料和装饰解决方案。在20世纪中期，它获得了更大的复兴，当时的新闻界的评论家经常提到它，他们描述了舞台表演中的装饰和服装。比萨拉比亚装饰戏剧艺术的新阶段开始于为比萨拉比亚罗马尼亚舞台艺术的创造和发展做出贡献的伟大人物的出现。这一阶段与20世纪初比萨拉比亚风景画的一些杰出人物的活动相吻合，如Auguste Baillayre, theeodor Chiriakoff, George Löwendal, Boris Nesvedov, Natalia Bragalia, Elisabeth Ivanovsky, Maria Starcevschi, Natalia Danilcenco, Elena Barlo等人。这些塑料艺术家制作的装饰品开始为当地公众所知。这种熟悉主要是通过在比萨拉比亚城镇以及文化中心的旅行来进行的。
{"title":"Scenographic art from Moldova - beginnings and evolutions","authors":"Vitalie Malcoci","doi":"10.52603/pc22.03","DOIUrl":"https://doi.org/10.52603/pc22.03","url":null,"abstract":"Th e end of the XIX century intensifi es the theatrical life in Bessarabia, a fact that leads to the improvement of staging methods and plastic and decorative solutions of the stage space. Th is gains even greater revival towards the middle of the XX century, being oft en mentioned by critics in the press of the time, who describe the decorations and the costumes in the staged performances. A new phase in the decorative-theatrical art of Bessarabia begins with the appearance of the great personalities who contributed to the creation and development of the Bessarabian Romanian scenography. Th is phase coincides with the activity of some outstanding personalities of the scene-painting in Bessarabia from the beginning of the XX century, such as Auguste Baillayre, Th eodor Chiriakoff , George Löwendal, Boris Nesvedov, Natalia Bragalia, Elisabeth Ivanovsky, Maria Starcevschi, Natalia Danilcenco, Elena Barlo and others. Th e decorations made by these plastic artists starts to be known to the local public. Th is familiarization takes place mainly through the tours in Bessarabian cities and towns, as well as in cultural centers.","PeriodicalId":296131,"journal":{"name":"Patrimoniul cultural: cercetare, valorificare, promovare","volume":"53 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":"124032984","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}
At the beginning of the 19th century, new educational institutions with a musicalartistic profi le were opened, which signifi cantly increased the interest for studying the piano. At the same time, the musical life in Bessarabia is intensifying due to the artistic activity of some professional musicians with studies at conservatories in Russia and Western Europe, creating standards of music education and interpretive mastery, with a signifi cant impact on the professional training of pianists. Th e artistic activity for musical thinking involves performance communication, and the practical study of a musical instrument in its high creative manifestation is intellectually developmental and forms creative artistic consciousness in the student. Th e orientation towards the professional development of musical thinking in pianist students and their intellectual activation requires musical education in a specifi c way of teaching, such as, the penetration into the content of music through analytical interpretation, the provision of rational, priority instruction, in relation to the intuitive one.
{"title":"Th e value dimension of schooling through the pianoforte musical instrument in interwar Basarabia","authors":"Vasile Grecu","doi":"10.52603/pc22.23","DOIUrl":"https://doi.org/10.52603/pc22.23","url":null,"abstract":"At the beginning of the 19th century, new educational institutions with a musicalartistic profi le were opened, which signifi cantly increased the interest for studying the piano. At the same time, the musical life in Bessarabia is intensifying due to the artistic activity of some professional musicians with studies at conservatories in Russia and Western Europe, creating standards of music education and interpretive mastery, with a signifi cant impact on the professional training of pianists. Th e artistic activity for musical thinking involves performance communication, and the practical study of a musical instrument in its high creative manifestation is intellectually developmental and forms creative artistic consciousness in the student. Th e orientation towards the professional development of musical thinking in pianist students and their intellectual activation requires musical education in a specifi c way of teaching, such as, the penetration into the content of music through analytical interpretation, the provision of rational, priority instruction, in relation to the intuitive one.","PeriodicalId":296131,"journal":{"name":"Patrimoniul cultural: cercetare, valorificare, promovare","volume":"2012 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":"127382273","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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