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Images of nature in the arab miniature of the XII-XIV centuries 十二至十四世纪阿拉伯微缩版的自然图像
Q4 Social Sciences Pub Date : 2020-01-01 DOI: 10.37953/2079-0341-2020-2-1-183-193
T. K. Starodub
The article is devoted to one of the popular genres of the illustrating of medieval Arabic manuscripts. Namely, it concerns the visual interpretation of the verbal descriptions of nature, expounded both in the scientific treatises and in the literary works. Specific features of miniature paintings of this genre are largely determined by the deeply-rooted among the Middle East people perceptions of the universe as the genius creation of God. Those are two different, but inseparable and interconnected worlds, celestial and terrestrial ones, and each of them has its own functions, and each of them was populated by inhabitants of completely different appearances, types and habits. The natural (like nature itself) fusion of truth and fiction in the monuments of the verbal, oral and written culture of the Arab Middle Ages gave impetus to the appearance of visual images created by paints and lines. Their numerousness and diversity unfold a panorama of an amazing and incomprehensible world of fantasy and reality in front of the reader-spectator.
这篇文章致力于中世纪阿拉伯手稿插图的流行流派之一。也就是说,它涉及对自然的语言描述的视觉解释,在科学论文和文学作品中都有阐述。这种类型的微型绘画的特点很大程度上是由中东人根深蒂固的宇宙是上帝的天才创造的观念决定的。天上和地上是两个不同的世界,但不可分割,相互联系,每个世界都有自己的功能,每个世界都居住着外表、类型和习惯完全不同的居民。在阿拉伯中世纪的口头、口头和书面文化的纪念碑中,真实与虚构的自然融合(就像自然本身一样)推动了由绘画和线条创造的视觉图像的出现。它们的数量和多样性在读者-观众面前展现了一个奇妙而难以理解的幻想和现实世界的全景。
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引用次数: 0
“Classical” heritage in Byzantine and pre-Mongol art of the late 11th – early 12th centuries. 11世纪末至12世纪初拜占庭和前蒙古艺术的“古典”遗产。
Q4 Social Sciences Pub Date : 2020-01-01 DOI: 10.37953/2079-0341-2020-4-1-421-440
Olga E. Etinhof
Old Russian art as a whole was oriented towards the monastic culture of the Byzantine Empire, and this became distinctly clear in the 12th century. The princely community at the early stages of the development of pre-Mongol culture assimilated from Byzantium the court art full of "classical" reminiscences. New finds of fresco fragments of the Church of the Annunciation on Hillfort and the St. George Cathedral of the Yuriev monastery in Novgorod clearly demonstrate that aristocratic traditions, with elements of the “classics” penetrated into Russia during the reign of the House of Monomakh. These traditions spread beyond the boundaries of the Kiev land and Southern Russia and manifested themselves in the monuments of Novgorod. They were alive not only in the 11th century, but throughout the entire first third of the 12th century. This situation was quite consistent with the preservation of the practice of the princely order.
古俄罗斯艺术作为一个整体是面向拜占庭帝国的修道院文化,这在12世纪变得非常明显。在前蒙古文化发展的早期阶段,王公社会吸收了拜占庭充满“古典”回忆的宫廷艺术。新发现的希尔福特报喜教堂的壁画碎片和诺夫哥罗德尤里耶夫修道院的圣乔治大教堂清楚地表明,在莫诺马克家族统治期间,贵族传统和“经典”元素渗透到了俄罗斯。这些传统超越了基辅土地和俄罗斯南部的边界,并在诺夫哥罗德的纪念碑中表现出来。他们不仅生活在11世纪,而且贯穿了整个12世纪前三分之一时期。这种情况与保留王公秩序的做法是一致的。
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引用次数: 0
The classical topics of a landscape in the Italian Renaissance 意大利文艺复兴时期风景画的经典主题
Q4 Social Sciences Pub Date : 2020-01-01 DOI: 10.37953/2079-0341-2020-4-1-488-499
S. Kozlova
The article, entitled «The Classical Tradition in its Development», included into the present collection research, pays special attention to classical line in landscape of Italian Renaissance, with its Bucolic matter being the essence of it. The author outlines the scheme of ancient Bucolic, correlates it with the analysis of the vision of the Renaissance Pastoral, which is here depicted in development from initial model of the Pastoral to its new, complicated one. The author traces back the traditional interpretation of the Renaissance conception of the Pastoral in its multidimensional nature, and also, in its saturation with Bucolic, literary-mythological, philosophical meanings. This perspective allows concluding that the motif of the Pastoral landscape acquires deep substantive content in Renaissance paintings, thus becoming the constructing basis for other types of landscapes – mythological, biblical, allegorical among them.
本文以《发展中的古典传统》为题,对意大利文艺复兴时期风景中的古典线条进行了特别的关注,其田园风情是其精髓所在。作者概述了古代田园乐的格局,并将其与文艺复兴时期田园乐的愿景分析联系起来,描绘了从最初的田园乐模式到新的、复杂的田园乐模式的发展过程。作者追溯了对文艺复兴时期田园诗概念的传统解读,包括其多维性,以及其充满田园、文学神话和哲学意义。从这个角度可以得出结论,田园风景的母题在文艺复兴时期的绘画中获得了深刻的实质性内容,从而成为其他类型的风景——神话、圣经、寓言等的构建基础。
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引用次数: 0
The philosophical art of Paul Chenavard 保罗·切纳瓦德的哲学艺术
Q4 Social Sciences Pub Date : 2020-01-01 DOI: 10.37953/2079-0341-2020-2-1-273-276
E. Fedotova
The article is devoted to the history of the creation of sketches for murals of Pantheon of Paris in 1848 by French painter Paul Chenavard. The work was commissioned by the State in the reign of Louis-Philippe. In the period of the Second Empire these sketches were rejected by fine arts administration of Napoleon III. In the graphic series the painter attempted to imagine the theory of three stages of the development of society in the light of the positivism and in the manner of German “Die Nazarener”. The sketches of Chenavard don’t were transferred to the walls of Pantheon and at present they are kept at the Musée des Beaux-Arts of Lyon. The sketches were an example of the quest for new forms in the monumental decorative art of France, richness of the content and meaningful images. The article quotes opinions of the famous art critics (Ch. Baudelaire, Th. Silvestre, Ch. Blanc, A. Houssaye) and painter’s contemporaries (E. Delacroix, Au. Rodin, E. Zola).
本文介绍了法国画家保罗·切纳瓦德(Paul Chenavard)在1848年为巴黎先贤祠壁画创作草图的历史。这项工作是路易-菲利普统治时期国家委托完成的。在第二帝国时期,这些素描被拿破仑三世的美术管理部门拒绝。在这一系列的图画中,画家试图以实证主义的观点和德国的“拿撒勒纳”的方式来想象社会发展的三个阶段的理论。切纳瓦德的素描没有被转移到万神殿的墙上,目前它们被保存在里昂的美术博物馆。这些草图是法国纪念性装饰艺术中寻求新形式的一个例子,内容丰富,图像有意义。这篇文章引用了著名艺术评论家波德莱尔的观点。西尔维斯特,Ch. Blanc, A. Houssaye)和同时代的画家(E. Delacroix, Au。罗丹,左拉)。
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引用次数: 0
Poetics of Reality in the Work of Edward Hopper 霍珀作品中的现实诗学
Q4 Social Sciences Pub Date : 2020-01-01 DOI: 10.37953/2079-0341-2020-2-1-285-289
Olga A. Yartseva
The main subjects of this article are themes and images in the works of the American artist Edward Hopper, as well as their interpretations. Hopper believed that his paintings were personal statements, results of inner experience. Therefore, some paintings could be considered as a kind of psychological introspections. Many of his works illustrate the absence of close relationship between heroes who seem to be withdrawn and detached, incapable to make any contact.
本文主要研究美国艺术家爱德华·霍珀作品中的主题和意象,以及对其的解读。霍珀认为他的绘画是个人的陈述,是内心体验的结果。因此,有些绘画可以看作是一种心理上的反省。他的许多作品都说明了英雄之间缺乏亲密的关系,他们似乎是孤僻和超然的,无法进行任何接触。
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引用次数: 0
The image of the heart in the religious emblems of the 17th century 17世纪宗教标志中的心形图案
Q4 Social Sciences Pub Date : 2020-01-01 DOI: 10.37953/2079-0341-2020-2-1-248-256
Yulia. N. Zvezdina
The author analyzes the features of the image of the heart in the European religious emblems of the 17th century. The author examines several books of emblems, starting with the publication of Daniel Kramer, who had a definite influence on other authors. This article deals with his “Emblemata Sacra”, or “Emblemata ex Sacra Scriptura”, published in 1624 (the first edition of the Kramer emblems was released in 1617). After that, the author refers to the books of emblems of Johann Mannich (“Sacra Emblemata”, 1624), Francesco Pona (“Cardiomorphoseos, sive, Ex corde desumpta emblemata sacra”, 1645), as well as the treatise of Benedict Haeften (Schola cordis, sive Aversi a deo cordis, ad eumdem reductio et instructio, 1629). This article focuses on the reflection of the theme of the heart in the Russian religious culture of the same time. The comparison is carried out primarily on the example of the Book of Ioanniky Galyatovsky “The Key of Perception” (“Klyuch razumeniya”), first published in Kiev in 1659.
作者分析了17世纪欧洲宗教象征中心形形象的特点。作者考察了几本象征的书,从丹尼尔克莱默的出版开始,他对其他作者有一定的影响。这篇文章是关于他在1624年出版的《神圣象征》,或《神圣象征》(《克莱默象征》的第一版于1617年发行)。在此之后,作者参考了约翰·曼尼希(1624年),弗朗西斯科·波纳(1645年)的象征书,以及本尼迪克特·海夫登(1629年)的论文(Schola cordis, sive avversi a deo cordis, and eumdem reductio et instructio)。本文着重探讨了“心”这一主题在同一时期俄罗斯宗教文化中的体现。比较主要是在Ioanniky Galyatovsky的书“感知的关键”(“Klyuch razumeniya”)的例子上进行的,该书于1659年在基辅首次出版。
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引用次数: 0
“The Manner of seeing and thinking”: Exemplars of J.-M. Vien (1717–1809) “观察和思考的方式”:j - m的典范。Vien (1717 - 1809)
Q4 Social Sciences Pub Date : 2020-01-01 DOI: 10.37953/2079-0341-2020-3-1-352-369
Irina M. Marisina
This article is dedicated to the pedagogic practice and principles of J.-M Vien, a professor of the French Royal Academy of Painting and Sculpture, and the Parisian mentor of the stipendiats of the St. Petersburg Imperial Academy of Arts. Over the course of many years the artist strove to ingrain in his pupils a singular manner of seeing and thinking, based on incessant studies from nature. A thorough examination of classical and Old Masters’ artistic heritage – another essential part of the educational process – was called upon to develop a creative independence of talents. The author presents here an attempt to analyse what exactly Vien believed to be “exemplary”: works of art deserving of primary attention; the creators who charted out the fundamentals of the artistic upbringing. Staying true to his “principes positifs” led to Vien’s tutorial longevity and gained him, in his lifetime, the reputation of an “exemplary” teacher and the “reviver” of the French School of painting.
本文致力于j.m Vien的教学实践和原则,他是法国皇家绘画与雕塑学院的教授,也是圣彼得堡帝国艺术学院的巴黎津贴导师。多年来,这位艺术家努力使他的学生在不断学习自然的基础上,养成一种独特的观察和思考方式。对古典和早期大师的艺术遗产进行彻底的检查——教育过程的另一个重要部分——被要求培养创造性的独立人才。作者在此试图分析维恩究竟认为什么是“典范”:值得主要关注的艺术作品;描绘出艺术教养基本原理的创作者。坚持他的“积极原则”使维恩的教学寿命延长,并在他的一生中获得了“模范”老师和法国绘画学派“复兴者”的声誉。
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引用次数: 0
The engravings depicting the Apostles, executed at the Mikhail Artemyev factory: the use of sources and the creative search 在米哈伊尔·阿尔特米耶夫(Mikhail Artemyev)工厂制作的描绘使徒的版画:资源的使用和创造性的搜索
Q4 Social Sciences Pub Date : 2020-01-01 DOI: 10.37953/2079-0341-2020-3-1-334-340
Nadezhda V. Nefedova
The article “The engravings depicting the Apostles, executed at the Mikhail Artemyev factory: the use of sources and the creative search” is devoted to the engravings from the collection of the Archaeological Church Museum of St.Tikhon's Orthodox University. The mezzotint engravings were created at Moscow between 1760–1773, probably, with the help of German engraver Johann Stenglin (1710/1715–1776). The engravers did not directly copy any originals. These works show a certain similarity to several engravings by the French engraver Francois de Louvemont (1648–?). Some details of the Moscow engravings correspond to the illustrations from the Bible made by Nicolas Joannes Piscator (1586–1652). In the engravings from the Artemyev factory, we can see a greater degree of creative freedom of their authors, an independent search for an artistic solution, although the result of this process is not always perfect.
文章“描绘使徒的雕刻,在米哈伊尔·阿尔特米耶夫工厂执行:资源的使用和创造性的搜索”致力于圣吉洪东正教大学考古教堂博物馆收藏的雕刻。这些版画是在1760年至1773年间在莫斯科创作的,可能是在德国雕刻家约翰·斯滕林(1710/1715-1776)的帮助下完成的。雕刻家没有直接复制任何原件。这些作品与法国雕刻家弗朗索瓦·德·卢维蒙(1648 - ?)的几幅版画有一定的相似之处。莫斯科雕刻的一些细节与Nicolas Joannes Piscator(1586-1652)制作的《圣经》插图相符。在Artemyev工厂的版画中,我们可以看到作者更大程度的创作自由,对艺术解决方案的独立探索,尽管这一过程的结果并不总是完美的。
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引用次数: 0
The Bolshoi of Kosorukov, the photographer Exhibition Gleb Kosorukov. Curtain in Museum of Moscow 《科索鲁科夫大剧院》,摄影家展览格列布·科索鲁科夫。莫斯科博物馆的窗帘
Q4 Social Sciences Pub Date : 2020-01-01 DOI: 10.37953/2079-0341-2020-3-1-399-403
Irina Yu. Chmyreva
Review on the exhibition of photographer Gleb Kosorukov in Museum of Moscow. The actuality of photographic presentations within the museum activity is emphasized. The review includes the historical parallels for Kosorukov’s work and underlines the innovation of his photographic project.
莫斯科博物馆摄影家格列布·科索鲁科夫作品展回顾。强调了博物馆活动中摄影展示的现状。这篇评论包括Kosorukov作品的历史相似之处,并强调了他的摄影项目的创新。
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引用次数: 0
Genre out of genre. Still life painting in Russian art of the second half of the 19th century 类型中的类型。19世纪下半叶俄罗斯艺术中的静物画
Q4 Social Sciences Pub Date : 2020-01-01 DOI: 10.37953/2079-0341-2020-1-1-33-40
Svetlana V. Usacheva
The article is devoted to the living conditions in which still life painting existed in Russian art in the second half of the 19th century. Still life painting occupied a peripheral position in the genre structure, but continued to play an important role in the educational and creative practice of realist artists. Special attention is paid to the works of Vassily Surikov, in which objective motifs were not only an important part of compositional solution, but also an indicator of the transformation of the artistic vision of the era in general.
这篇文章致力于19世纪下半叶俄罗斯艺术中静物画存在的生活条件。静物画在流派结构中处于边缘地位,但在现实主义艺术家的教育和创作实践中继续发挥着重要作用。我们特别关注瓦西里·苏里科夫的作品,在他的作品中,客观的母题不仅是构图解决方案的重要组成部分,而且是时代艺术视野转变的一个指标。
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引用次数: 0
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Academia (Greece)
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