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“Many have seen the original by Domenichino…”. On the iconographic type of St John the Evangelist in Russian 19th-century applied art “许多人都看过多梅尼基诺的原作……”论19世纪俄罗斯应用艺术中《福音者圣约翰》的肖像类型
Q4 Social Sciences Pub Date : 2021-01-01 DOI: 10.37953/2079-0341-2021-2-1-195-207
Marina R. Bykova
The article considers the rare iconographic type of St John the Evangelist depicted on the 1858 silver-chased Gospel mount from the collection of the Vladimir-Suzdal Museum. Unlike other Evangelists, St John is represented as a young man. The author traces the origins of this image, rarely used in Russian Orthodox religious art, back to the original painting by Domenichino (Domenico Zampieri) “St John the Evangelist” (1625–1628), which became widely known in 19th-century Russia through its various copies in painting, engraving and applied art.
这篇文章考虑了罕见的肖像类型的圣约翰福音描绘了1858年银追福音坐骑从弗拉基米尔-苏兹达尔博物馆的收藏。与其他福音传教士不同,圣约翰被描绘成一个年轻人。作者追溯了这幅在俄罗斯东正教艺术中很少使用的图像的起源,追溯到Domenichino (Domenico Zampieri)的原画“福音传教士圣约翰”(St John The Evangelist, 1625-1628),这幅画在19世纪的俄罗斯通过各种绘画、雕刻和应用艺术复制品而广为人知。
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引用次数: 0
Dialogue on the turns. Vasily Surikov and “modernism”: relationship сonflict 转弯时的对话。瓦西里·苏里科夫与“现代主义”:关系的冲突
Q4 Social Sciences Pub Date : 2021-01-01 DOI: 10.37953/2079-0341-2021-3-1-255-270
Olga S. Davydova
The article deals with the peculiarities of the dialogue which occurred at the turn of the 19th century between the creative searches of Surikov and the newest modernist trends in Russia: from Symbolism of the artists of the World of Art (known in Russian as Mir Iskusstva) group and the Blue Rose (Golubaya Roza) circle to the different stages of the Russian avant-garde – from the Jack of Diamonds (Bubnovy Valet) to Suprematism. The composition of the study is based on the counterpoint of two questions – how Surikov perceived “modernism” and how “modernism” perceived Surikov. The concept of “modernism” in this case is interpreted in the extended sense of the creative search to the early 20th century for unconventional art of magical and plastic means of expression that went beyond the limits of the Itinerant (Рeredvizhniki) Movement’s realism. The collision of relationships is viewed through the prism of the stable plastic and emotional features of the artistic poetics of Surikov himself. That is why the author touches the issues of the artists’s personal understanding of the nature of art and the problems of innovation, which worried him until the end of his life and found expression in the decorative, lyrical and expressive features of the late creative period.
这篇文章讨论了发生在19世纪之交的苏里科夫的创造性探索与俄罗斯最新的现代主义趋势之间的对话的特殊性:从艺术世界(在俄罗斯被称为Mir Iskusstva)团体和蓝玫瑰(Golubaya Roza)圈子的艺术家的象征主义到俄罗斯先先派的不同阶段-从钻石杰克(Bubnovy Valet)到至上主义。这项研究的组成是基于两个问题的对位——苏里科夫如何感知“现代主义”和“现代主义”如何感知苏里科夫。在这种情况下,“现代主义”的概念被解释为20世纪初对超越巡回(Рeredvizhniki)运动现实主义界限的神奇和塑性表达方式的非传统艺术的创造性探索。关系的碰撞是通过苏里科夫自己的艺术诗学的稳定的可塑性和情感特征的棱镜来观察的。这就是为什么作者触及艺术家对艺术本质的个人理解和创新问题的问题,这些问题一直困扰着他,直到他的生命结束,并在创作后期的装饰性,抒情性和表现性特征中表现出来。
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引用次数: 1
Actuality and intertextuality in the painting of Edouard Manet 马奈绘画中的现实性与互文性
Q4 Social Sciences Pub Date : 2020-01-01 DOI: 10.37953/2079-0341-2020-1-1-15-32
Krassimira L. Loukitcheva
In this article, the painting of Edouard Manet is traditionally considered as a new set of pictorial means representing actual life and the perspective of the development of contemporary art; and as a dialogue with the art of old masters, in which there is a destruction of the classical type of mimesis and the birth of picture’s new status. But here, the emphasis is different: the novelty and significance of his painting are predetermined not by changing social environment directly, they are born of a new visual discourse of Manet’s time, responding to the challenge presented by a new stage in the development of art, and its new role in stratification of culture.
在本文中,马奈的绘画传统上被认为是一套新的表现现实生活的绘画手段和当代艺术发展的视角;作为与老大师艺术的对话,这是对古典模仿类型的破坏和图像新地位的诞生。但在这里,重点是不同的:他的绘画的新颖性和意义不是由直接改变的社会环境决定的,它们诞生于马奈时代的一种新的视觉话语,以回应艺术发展的新阶段所带来的挑战,以及它在文化分层中的新角色。
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引用次数: 0
From trainee to master. Exhibition projects of creative workshops of the Russian Academy of Arts 从学徒到大师。俄罗斯艺术学院创意工作坊展览项目
Q4 Social Sciences Pub Date : 2020-01-01 DOI: 10.37953/2079-0341-2020-3-1-396-398
N.V. Tolstaya
Album review “Exhibition projects of creative workshops of the Russian Academy of Arts (Moscow) 2015–2019”, Moscow, 2020. The publication prepared by the Head of the Department – Alexander Troshin, as a report on the work done.
《俄罗斯艺术学院(莫斯科)创意工作坊展览项目2015-2019》,莫斯科,2020年。该出版物由新闻部部长亚历山大·特罗申编写,作为所做工作的报告。
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引用次数: 0
“Riders” of Marino Marini 马里诺·马里尼的“骑士”
Q4 Social Sciences Pub Date : 2020-01-01 DOI: 10.37953/2079-0341-2020-4-1-500-506
E. Fedotova
The article is devoted to the creation of well-known Italian sculptor Marino Marini (1901–1980). He was the participant of many qreat displays in Italy and abroad, prize-winner of international exhibitions. The Fund of Marini and the Centre of documentation of his legacy was created in 1979 in one’s home town – Pistoia. His sculptures, drawings, photographyes, catalogues keeps there. In 1975 in Milano, where he teached at great artistic institutes for a long time, was opened «Museum Marini». His talent formed under the influence of distinguished italian sculptor of XXᵗʰ century – Arturo Martini, them meeting happened in 1926. In this article the talk is about biography of Marini and about the main theme of his creation – conception of «horse and rider». In these types he incarnated reverberations of one’s own associations with the contemporary events, also correlated the «riders» with the legacy of the plastic art of etruscas, because he was native of Toscana. This «forma in una idea» developed in sculptures and in drawings of Marini from first works of 1930ᵗʰ to the composition of 1950ᵗʰ–1960ᵗʰ («Miracle» – «Miracle», «Grido» – «Cry» and others). The dramatic history of XXᵗʰ century always was the impulse for his works. He stayed out of official orders, was «free essence», followed the precept of Arturo Martini.
这篇文章专门介绍意大利著名雕塑家马里诺·马里尼(1901-1980)的创作。他是意大利和国外许多伟大展览的参与者,国际展览的获奖者。1979年,马里尼基金会和他的遗产记录中心在他的家乡皮斯托亚成立。他的雕塑,绘画,照片,目录都放在那里。1975年,他在米兰的大型艺术学院任教了很长一段时间,在那里开设了“马里尼博物馆”。他的才华是在20世纪意大利著名雕塑家阿图罗·马蒂尼的影响下形成的,他们的相遇发生在1926年。在这篇文章中,谈论的是马里尼的传记和他的创作主题-“马和骑手”的概念。在这些类型中,他体现了自己与当代事件的联系的回响,也将“骑手”与伊特鲁卡斯的造型艺术遗产联系起来,因为他是托斯卡纳人。从1930年的第一件作品到1950年- 1960年的作品(“奇迹”-“奇迹”,“Grido”-“哭泣”等),这种“统一思想的形式”在马里尼的雕塑和绘画中得到了发展。二十世纪的戏剧史一直是他创作的动力。他远离官方命令,是“自由的本质”,遵循阿图罗·马蒂尼的戒律。
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引用次数: 0
Mystery-Pictures by Tatiana Obraztsova Tatiana Obraztsova的神秘电影
Q4 Social Sciences Pub Date : 2020-01-01 DOI: 10.37953/2079-0341-2020-1-1-84-88
Sergey I. Orlov
The author introduces art lovers to the creative work of Tatiana Obraztsova, professor, Honorary Member of the Russian Academy of Arts and Honorary Art Worker of the city of Moscow. Her landscapes created in various techniques show a deep connection with European symbolism and art traditions of the Far East. The original area of creative search lies in decorative panels-collages made with textured fabrics, multi-colored threads, sparkling glass pendants, necklaces, etc.
作者向艺术爱好者介绍了Tatiana Obraztsova的创作作品,Tatiana Obraztsova教授,俄罗斯艺术学院荣誉会员,莫斯科市荣誉艺术工作者。她以各种技术创作的风景与欧洲象征主义和远东艺术传统有着深刻的联系。创意搜索的最初领域在于装饰面板——由有质感的织物、多色线、闪闪发光的玻璃吊坠、项链等制成的拼贴画。
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引用次数: 0
Secret of Pegasus. Sacral image of Winged Horse in the past and present of history cultures 帕伽索斯的秘密。飞马在过去和现在的历史文化中的神圣形象
Q4 Social Sciences Pub Date : 2020-01-01 DOI: 10.37953/2079-0341-2020-2-1-166-174
Andrey V. Kuzmin
The article is devoted to the image of a winged horse in the context of the history of Western European culture. The focus is on the experience of addressing the history of the Greek constellation map and the question of its genesis. The article states that the creators of the earliest composition images of the night sky map recorded in it the morphology of the image one the most common rituals of the Bronze Age, the mythological basis of which includes early cosmological motifs. The basis of the constellations structure was formed in the pre-writing period of history. Initially, “heavenly images”, representing the most important cultural codes, were canonized – they served as a part for ancient cults.
这篇文章致力于在西欧文化史的背景下研究飞马的形象。重点是解决希腊星座地图的历史和它的起源问题的经验。文章指出,最早的星空图构图者在其中记录了青铜器时代最常见的仪式之一的图像形态,其神话基础包括早期的宇宙学主题。星座结构的基础形成于文字出现之前的历史时期。最初,代表最重要文化准则的“天象”被奉为圣物——它们是古代邪教的一部分。
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引用次数: 0
British Modernists and the Images of the First World War 1914–1920 英国现代主义者与第一次世界大战的形象(1914-1920)
Q4 Social Sciences Pub Date : 2020-01-01 DOI: 10.37953/2079-0341-2020-2-1-277-284
Elena V. Igumnova
The article is devoted to the problem of modernist perception of the situation of mechanized war, as young British artists adapted the latest forms and concepts in wartime works. The First World War was not like previous military clashes. The increased role of technology in the process of hostilities created the impression of the impersonality of the war, the soldiers were perceived as a part of a large machine that claimed millions of lives. British modernists, faced with a new military reality, were looking for suitable possibilities of modernist art in order to convey the broken, like geometric abstraction, “machine” character of war, taking away lifes, blowing up the earth, crushing equipment and airplanes. Artists understood that the time heroic realism and allegories has passed; the war, deprived of a human face, going on with the participation of a large number of equipment, required other means of artistic display – broken lines and geometric shapes, contrasting colors.
这篇文章致力于探讨现代主义者对机械化战争形势的看法,因为年轻的英国艺术家在战时作品中采用了最新的形式和概念。第一次世界大战不同于以往的军事冲突。技术在战争过程中的作用越来越大,给人一种战争没有人情味的印象,士兵们被认为是一台夺去数百万人生命的大机器的一部分。面对新的军事现实,英国现代主义者正在寻找适合现代主义艺术的可能性,以传达破碎,如几何抽象,战争的“机器”特征,夺走生命,炸毁地球,粉碎设备和飞机。艺术家们明白,英雄现实主义和寓言的时代已经过去;战争没有了人脸,需要大量装备的参与,需要其他的艺术表现手段——断线和几何形状、对比色。
{"title":"British Modernists and the Images of the First World War 1914–1920","authors":"Elena V. Igumnova","doi":"10.37953/2079-0341-2020-2-1-277-284","DOIUrl":"https://doi.org/10.37953/2079-0341-2020-2-1-277-284","url":null,"abstract":"The article is devoted to the problem of modernist perception of the situation of mechanized war, as young British artists adapted the latest forms and concepts in wartime works. The First World War was not like previous military clashes. The increased role of technology in the process of hostilities created the impression of the impersonality of the war, the soldiers were perceived as a part of a large machine that claimed millions of lives. British modernists, faced with a new military reality, were looking for suitable possibilities of modernist art in order to convey the broken, like geometric abstraction, “machine” character of war, taking away lifes, blowing up the earth, crushing equipment and airplanes. Artists understood that the time heroic realism and allegories has passed; the war, deprived of a human face, going on with the participation of a large number of equipment, required other means of artistic display – broken lines and geometric shapes, contrasting colors.","PeriodicalId":37537,"journal":{"name":"Academia (Greece)","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70463187","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}
引用次数: 0
Graeco-Roman and Byzantine traditions in the miniature of the Arab Middle Ages 阿拉伯中世纪的缩影中的希腊罗马和拜占庭传统
Q4 Social Sciences Pub Date : 2020-01-01 DOI: 10.37953/2079-0341-2020-4-1-441-463
T. K. Starodub
A comparative analysis of the Middle Eastern art monuments from different epochs urge the assumption upon us that colourful murals, reliefs and mosaics of palaces, religious and public buildings, just as the illustrated Greek, Latin and Syrian scrolls and codes, created in distant and recent the Western Asia pre-Islamic past or in the early centuries of the Caliphate, served as a kind of breeding ground for the development of a new art form for the Islamic world – a book miniature. In the works of monumental art of the city-states of pre-Islamic ancient Syria and Mesopotamia, traits are found that allow us to see in the heritage of the different art cultures of the ancient and early medieval Mediterranean and the non-Mediterranean Hellenized East not only a cradle, but also schools of Greco-Roman and Early Byzantine miniatures that complement and decorate texts of the ancient manuscripts. With the absorption of these regions by the Caliphate and the development of the medieval Islamic civilization, these schools, next to the vivid and developing art of Byzantium, became sources of knowledge and skill for the designers of Arabic manuscripts. The design of Greek, Latin and Syrian codes, along with the illustrations in the text, inspired the inclusion in the Arabic manuscripts of the frontispiece with the "portrait" of the author (or authors) of the book, and 'the dedication picture' – that were the separate miniatures glorifying the patron or the crowned addressee of the book in allegorical form. Over time, the style of Arabic manuscripts had lost the visible connection with both Greco-Roman and Byzantine prototypes. However, the acquisition of their own stylistic devices, methods and norms did not mean either a final deviation or a complete denial of lessons of the classical book painting. In one form or another, their contribution in Medieval Near Eastern arts was also manifested in the later illustrated Arabic manuscripts, although now at most they were oriented toward the models and ideals of Iran and Eastern Asia.
比较分析不同时代的中东艺术纪念碑敦促假设我们丰富多彩的壁画,浮雕,马赛克的宫殿、宗教和公共建筑,就像说明希腊、拉丁和叙利亚的卷轴和代码,创建在最近的遥远和西部亚洲世纪初伊斯兰过去或哈里发,作为一种滋生的新艺术形式发展的微型伊斯兰世界——一本书。在伊斯兰教之前的古代叙利亚和美索不达米亚城邦的纪念性艺术作品中,我们发现了一些特征,这些特征使我们能够看到古代和中世纪早期地中海和非地中海希腊化东方的不同艺术文化的遗产,不仅是一个摇篮,而且还有希腊罗马和早期拜占庭微缩画流派,它们补充和装饰了古代手稿的文本。随着哈里发对这些地区的吸收和中世纪伊斯兰文明的发展,这些学校与拜占庭生动而发展的艺术一起,成为阿拉伯手稿设计师的知识和技能的来源。希腊语、拉丁语和叙利亚代码的设计,以及文本中的插图,激发了在阿拉伯语手稿的扉页中包含这本书的作者(或作者)的“肖像”和“奉献图片”的灵感——这是单独的微缩画,以寓言的形式赞美这本书的赞助人或加冕的收件人。随着时间的推移,阿拉伯手稿的风格已经失去了与希腊罗马和拜占庭原型的明显联系。然而,他们获得了自己的风格手段、方法和规范,并不意味着最终偏离或完全否认经典书画的教训。以这样或那样的形式,他们对中世纪近东艺术的贡献也体现在后来的阿拉伯插图手稿中,尽管现在他们最多是面向伊朗和东亚的模式和理想。
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引用次数: 0
In memory of Natalya Nikolaevna Sheredega (1950 – 2020) 纪念娜塔莉亚·尼古拉耶夫娜·舍列德加(1950 - 2020)
Q4 Social Sciences Pub Date : 2020-01-01 DOI: 10.37953/2079-0341-2020-2-1-290-292
N.V. Tolstaya
These lines are dedicated to the memory of the unique professional and remarkable colleague and friend Natalya Nikolaevna Sheredega.
这些线条是献给独特的专业和卓越的同事和朋友Natalya Nikolaevna Sheredega的记忆。
{"title":"In memory of Natalya Nikolaevna Sheredega (1950 – 2020)","authors":"N.V. Tolstaya","doi":"10.37953/2079-0341-2020-2-1-290-292","DOIUrl":"https://doi.org/10.37953/2079-0341-2020-2-1-290-292","url":null,"abstract":"These lines are dedicated to the memory of the unique professional and remarkable colleague and friend Natalya Nikolaevna Sheredega.","PeriodicalId":37537,"journal":{"name":"Academia (Greece)","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70463243","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}
引用次数: 0
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