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Surikov and Konchalovsky: closest of kin 苏里科夫和康查洛夫斯基:近亲
Q4 Social Sciences Pub Date : 2021-01-01 DOI: 10.37953/2079-0341-2021-3-1-244-254
N. Getashvili
Vasily Surikov’s and Piotr Konchalovsky’s kinship, the kinship of representatives of different generations of Russian art and various creative aspirations, is considered in the aspect of creative interconnections and in the context of the cultural processes of the early 20th century. Here it should be remembered their similar modus vivendi, and joint trips to Siberia, Surikovʼs homeland, to Krasnoyarsk, and also to Europe – Germany, or France, Spain; common views on classics; their joint work at the art studio of H. Anglada Camarasa in Paris and their sketches done while traveling.
Vasily Surikov和Piotr Konchalovsky的亲缘关系,不同世代的俄罗斯艺术和各种创作愿望的代表的亲缘关系,被认为是在创造性的相互联系方面和20世纪初的文化进程的背景下。在这里,我们应该记住他们相似的权宜之计,他们一起去西伯利亚,苏里科夫的家乡,克拉斯诺亚尔斯克,还有欧洲——德国、法国、西班牙;对经典的共同看法;他们在巴黎H. Anglada Camarasa艺术工作室的合作作品,以及他们在旅行时完成的素描。
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引用次数: 0
Caravaggio: The Troublemaker and Revolutionary 卡拉瓦乔:麻烦制造者和革命者
Q4 Social Sciences Pub Date : 2021-01-01 DOI: 10.37953/2079-0341-2021-3-1-282-292
Alexander K. Jakimovicz
Caravaggio (1571–1610) chronologically opens (or prepares) the new stage of art history known as Modernity. He must be finally ranked among the troublemakers – the aesthetic and socio-cultural rebels of this era. This idea belongs to Russian art historians Evsey Rotenberg and Marina Sviderskaya and explores Caravaggio’s artistic development from early stages of “nasty anecdotes” to mature works on biblical themes treated in a challenging manner.
卡拉瓦乔(1571-1610)按时间顺序开启了艺术史上被称为“现代性”的新阶段。他最终一定会被列为麻烦制造者——这个时代的审美和社会文化叛逆者。这个想法属于俄罗斯艺术史学家Evsey Rotenberg和Marina Sviderskaya,并探讨了卡拉瓦乔的艺术发展,从早期的“肮脏的轶事”到以具有挑战性的方式处理圣经主题的成熟作品。
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引用次数: 0
Exhibitions of the Russian Academy of Arts (1992 – early 2000s) 俄罗斯艺术学院展览(1992 - 2000年初)
Q4 Social Sciences Pub Date : 2021-01-01 DOI: 10.37953/2079-0341-2021-3-1-293-308
V. Aronov
The article focuses on the exhibition activities of the Russian Academy of Arts after the reorganization of the USSR Academy of Arts in 1992. The author analyzes how new expositional principles of showing modern artistic practices connected with Russian art tradition were developed during that difficult transition period. Among them one can single out exhibitions dedicated to the creative heritage of famous dynasties of Russian artists (including the Vasnetsovs, Zhilinsky, Rukavishnikovs, etc.). The development of the Academy exhibition activities was closely connected with the preparation of its exhibition halls which required restoration and the opening of the adjacent Zurab Tsereteli Art Gallery.
文章重点介绍了1992年苏联艺术学院改组后俄罗斯艺术学院的展览活动。作者分析了在这一艰难的过渡时期,如何发展出与俄罗斯艺术传统相联系的展示现代艺术实践的新的说明性原则。其中,人们可以挑选出专门展示俄罗斯著名艺术家(包括瓦斯涅佐夫、日林斯基、鲁卡维什尼科夫等)的创作遗产的展览。学院展览活动的发展与需要修复的展览厅的筹备工作以及邻近的Zurab Tsereteli艺术画廊的开放密切相关。
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引用次数: 0
The Past as “self-citations”: The 18th century and its creative reflection in the works of the members of the World of Art Movement 作为“自我引用”的过去:18世纪及其在世界艺术运动成员作品中的创造性反映
Q4 Social Sciences Pub Date : 2021-01-01 DOI: 10.37953/2079-0341-2021-1-1-55-71
Olga S. Davydova
The article gives an analytical review of the visual poetics of the works of Mir iskusstva (World of Art) artistic group in the context of the relationship of the innovative features of the Art Nouveau with the Past. The perception of Time through the images of Art, inherent in the symbolist worldview, is considered as one of the main sources that gives the retrospective dreams of the leading World of Art masters the character of a subjectively significant poetic longing for an ideal. Nostalgia for the imaginary past, the appropriation of its artistic reality to its own inner world, led the artists of the group to the path of turning a “quote” into a “self-citation”, a “sample” into an “image”, a “copy” into a “likeness”. This process expanded the semantic component of the artistic language, opening up new possibilities for the synthesis of the past and the presentin the creative practice of the first third of the 20th century.
本文结合新艺术运动的创新特征与过去的关系,对“艺术世界”艺术团体作品的视觉诗学进行了分析回顾。象征主义世界观中固有的通过艺术形象对时间的感知,被认为是赋予艺术世界主要大师回顾梦想的主要来源之一,具有对理想的主观意义的诗意渴望。对想象中的过去的怀念,对其艺术现实对自己内心世界的挪用,使该团体的艺术家走上了将“引用”变为“自引”,将“样本”变为“图像”,将“复制”变为“相似”的道路。这一过程扩展了艺术语言的语义成分,在20世纪前三分之一的创作实践中为过去和现在的综合开辟了新的可能性。
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引用次数: 0
Islamic Art – Shamail – Traditions and Modernity 伊斯兰艺术-沙梅尔-传统与现代
Q4 Social Sciences Pub Date : 2021-01-01 DOI: 10.37953/2079-0341-2021-2-1-178-184
Ildar H. Mustafin
Islamic art is multifaceted and has a great history in fine arts. Religious art, including Islamic themes, is closely intertwined with culture, philosophy, religious knowledge and especially with the history of our country. Let us consider the specific form of Muslim art that has existed since ancient times: shamail, a peculiar phenomenon of Islamic culture and an important part of religious and aesthetic consciousness. Shamail is an art form as a carrier of written Quranic content – texts in the form of a sura from the Holy Quran with particular design consisting of images of mosques or fortresses, ornaments or birds, images of a tree or an ark and some others.
伊斯兰艺术是多方面的,在美术方面有着悠久的历史。宗教艺术,包括伊斯兰主题,与文化、哲学、宗教知识,特别是与我国的历史密切相关。让我们来看看自古以来就存在的穆斯林艺术的具体形式:shamail,这是伊斯兰文化的一种特殊现象,也是宗教意识和审美意识的重要组成部分。Shamail是一种艺术形式,作为《古兰经》内容的载体——《古兰经》中章节的文本,其特殊设计由清真寺或堡垒、装饰品或鸟类、树木或方舟等图像组成。
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引用次数: 0
“The death of Pelopidas”: memoria-history-poetics 《佩洛皮达斯之死》:纪念-历史-诗学
Q4 Social Sciences Pub Date : 2021-01-01 DOI: 10.37953/2079-0341-2021-2-1-118-128
S. Stepanova
The article deals with the history of creation and features of artistic and plastic interpretation of the work created by the historical painter, Professor of the Imperial Academy of Art Andrey Ivanovich Ivanov. The author raises the question of the origins of the idea, the literary basis of the plot, and the specifiсs of artistic solution. Accepted opinion on the dedication of the painting to the memory of I. Pnin and the associated dating of the canvas are questioned based on the analysis of the semantic content of the episode chosen by the artist and stylistic peculiarities of the painting.
本文论述了历史画家、帝国艺术学院教授安德烈·伊万诺维奇·伊万诺夫创作的作品的创作历史及其艺术和造型诠释的特点。作者提出了这个想法的起源,情节的文学基础,以及艺术解决的具体问题。基于对艺术家选择的情节的语义内容和绘画的风格特点的分析,关于这幅画是为了纪念I. Pnin和画布的相关年代的公认观点受到了质疑。
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引用次数: 0
Review of International Scientific and Practical Conference “Architecture and Design in the Digital Age” “数字时代的建筑与设计”国际科学与实践会议综述
Q4 Social Sciences Pub Date : 2021-01-01 DOI: 10.37953/2079-0341-2021-2-1-208-219
A. Lavrentiev, A. Sazikov
The article summarizes the results of the International Scientific and Practical Conference “Architecture and Design in the Digital Age”, held online on April 23–24, 2021. The background of the whole range of problems brushed at the conference is shown, its most important results are noted, including the statement of the completion of the process of ‘digitalization’ of the design field and the distribution of functions in the process of creating objects, when design itself becomes technology, production. The article provides a description of the collection of scientific papers prepared at the end of the conference and a brief overview of the reports presented.
本文总结了2021年4月23日至24日在线召开的“数字时代的建筑与设计”国际科学与实践会议的成果。展示了会议上所涉及的所有问题的背景,并指出了其最重要的结果,包括设计领域“数字化”过程的完成和创造对象过程中功能的分配,当设计本身成为技术,生产。文章提供了在会议结束时准备的科学论文集合的描述,并简要概述了所提交的报告。
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引用次数: 0
Contemporary Russian Religious Art in the German Museum: Alexander Markin's project I. N. R. I. 当代俄罗斯宗教艺术在德国博物馆:亚历山大·马尔金的项目。
Q4 Social Sciences Pub Date : 2021-01-01 DOI: 10.37953/2079-0341-2021-2-1-163-169
A. Florkovskaya, Alexander S. Markin
The article is devoted to the art project “Jesus of Nazareth King of the Jews” / I. N. R. I. as an example of modern religious art. The project was exhibited at the Pilgrimage Museum in Germany in 2020 and presents an environment, where sculpture, painting, graphics and stained glass windows dedicated to the events of the Gospel history with an emphasis on the Passion of Christ are combined in the space of several halls. The author turned to the traditions of modernist art, including the church art, combining them with the traditions of icon painting, Russian avant-garde and design approach. His task was to speak on the gospel themes in the modern language of a clear visual sign. The article examines the origin of the idea and the course of work on the project, its artistic parts and the specifics of the interpretations.
本文致力于艺术项目“犹太人的王拿撒勒耶稣”/ i.n. r.i.作为现代宗教艺术的一个例子。该项目于2020年在德国朝圣博物馆展出,展示了一个环境,在几个大厅的空间中,雕塑,绘画,图形和彩色玻璃窗致力于福音历史事件,重点是基督的苦难。作者转向现代主义艺术的传统,包括教堂艺术,并将其与圣像绘画的传统,俄罗斯先锋派和设计方法相结合。他的任务是用现代语言,用清晰的视觉符号讲述福音主题。本文考察了这个想法的起源和项目的工作过程,它的艺术部分和具体的解释。
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引用次数: 0
Icon in the works of Alexander Chashkin 亚历山大·查什金作品中的偶像
Q4 Social Sciences Pub Date : 2021-01-01 DOI: 10.37953/2079-0341-2021-2-142-148
Anna V. Ryndina
The icon painter Alexander Ivanovich Chashkin is a disciple of the great master Archimandrite Zinon (Theodore). However, Chashkin creates his own individual world in his work, where the Byzantine artistic tradition is reinterpreted and presented to us as a deeply original version of its interpretation. Thus, the modern Greeks, recognizing the Byzantine basis of his iconography, testify to the specialness of his artistic language within the framework of the artist's personal world. A great role in the formation of Alexander Chashkin's work was played by the spiritual essence of icon painting, which he received from the nun Juliania (Sokolova). In his icons, Mr. Chashkin combines the external beauty of the image with a deep inner content.
圣像画家亚历山大·伊万诺维奇·查什金是伟大的阿奇曼德大师齐农(西奥多)的弟子。然而,查什金在他的作品中创造了他自己的个人世界,在那里,拜占庭艺术传统被重新诠释,并以其诠释的深刻原创版本呈现给我们。因此,现代希腊人认识到他的肖像学的拜占庭基础,证明了他的艺术语言在艺术家个人世界框架内的特殊性。亚历山大·查什金从修女朱利亚尼亚(索科洛娃)那里获得的圣像绘画的精神精华在其作品的形成中发挥了重要作用。在他的绘画作品中,查什金将形象的外在美与深刻的内在内涵相结合。
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引用次数: 0
The composition “Saturday of All Saints” in the decoration of the Archangel Cathedral of the Moscow Kremlin. The origins of iconography 莫斯科克里姆林宫大天使大教堂装饰中的“诸圣的星期六”构图。图像学的起源
Q4 Social Sciences Pub Date : 2021-01-01 DOI: 10.37953/2079-0341-2021-3-1-226-233
Tatiana E. Samoylova
In the decoration of the Archangel Cathedral the composition Saturday of All Saints has a central place in the painting of the western wall. It is a continuation of the theme Credo, presented in the northern and southern vertical parts of the facade of the temple, revealing a visual picture of the life of the saints in Paradise, as the culminating part of the cycle. The place of honour chosen for it is due to the idea of a cathedral, where funeral services for the deceased princes were constantly performed. The composition of the Archangel Cathedral contributed to the rooting of the tradition in the royal family to place the icon Saturday of All Saints in the iconostases above the princesʼ tombs.
在大天使大教堂的装饰中,《众圣徒星期六》的构图在西墙的绘画中占据了中心位置。它是主题Credo的延续,呈现在寺庙立面的南北垂直部分,揭示了天堂圣徒生活的视觉画面,作为循环的高潮部分。之所以选择这个荣誉的地方,是因为它是一座大教堂,已故王子的葬礼经常在那里举行。大天使大教堂的结构促成了在王室中扎根的传统,即在王子坟墓上方的圣像上放置圣徒星期六的圣像。
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引用次数: 0
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Academia (Greece)
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