{"title":"Maps and Guidebooks: 17th-Century Prints in Modern Art History Studies","authors":"J. Arutyunyan","doi":"10.18688/aa2212-03-15","DOIUrl":"https://doi.org/10.18688/aa2212-03-15","url":null,"abstract":"","PeriodicalId":37578,"journal":{"name":"Actual Problems of Theory and History of Art","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67765381","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}
{"title":"Methods of Natural Sciences in the Study of Dyes in Manuscripts (On the Example of Inks)","authors":"E. Tereschenko, A. P. Balachenkova, D. Tsypkin","doi":"10.18688/aa2212-08-56","DOIUrl":"https://doi.org/10.18688/aa2212-08-56","url":null,"abstract":"","PeriodicalId":37578,"journal":{"name":"Actual Problems of Theory and History of Art","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67766111","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}
{"title":"Interdisciplinary Approach to Wordless Novels of the First Half of the 20th Century Research","authors":"P. V. Dedyukhina","doi":"10.18688/aa2212-08-57","DOIUrl":"https://doi.org/10.18688/aa2212-08-57","url":null,"abstract":"","PeriodicalId":37578,"journal":{"name":"Actual Problems of Theory and History of Art","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67766121","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}
{"title":"Vladimir Pavlovich Zagorodnjuk and Applied Arts in Belgrade between the Two World Wars","authors":"M. Prosen","doi":"10.18688/aa2212-05-37","DOIUrl":"https://doi.org/10.18688/aa2212-05-37","url":null,"abstract":"","PeriodicalId":37578,"journal":{"name":"Actual Problems of Theory and History of Art","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67765352","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}
{"title":"Architectural Heritage of the Onega Gulf of the White Sea: the History of Study and Actual Problems of Research","authors":"E. Khodakovsky, Yulia A. Shcheglova","doi":"10.18688/aa2212-04-20","DOIUrl":"https://doi.org/10.18688/aa2212-04-20","url":null,"abstract":"","PeriodicalId":37578,"journal":{"name":"Actual Problems of Theory and History of Art","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67765524","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}
{"title":"Women in Art: Presences, Traditional Narration, and Historiographic Problems. The Reception of Italian and Slavic Female Artists in Italy and Abroad","authors":"Marina Giorgini, Anna Maria Panzera","doi":"10.18688/aa2212-05-33","DOIUrl":"https://doi.org/10.18688/aa2212-05-33","url":null,"abstract":"","PeriodicalId":37578,"journal":{"name":"Actual Problems of Theory and History of Art","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67765225","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}
{"title":"Column Hall of the Noble Club (House of Unions) in Moscow: The Problem of Authenticity and Prototypes","authors":"Alexey N. Yakovlev","doi":"10.18688/aa2212-04-23","DOIUrl":"https://doi.org/10.18688/aa2212-04-23","url":null,"abstract":"","PeriodicalId":37578,"journal":{"name":"Actual Problems of Theory and History of Art","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67765460","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}
Introduction The image of a dragon is one of the universal archetypes of world culture and, at the same time, the most multifaceted in its artistic manifestations and symbolism. If one gives a very generalized definition of its functions in Indo-European mythology including ancient Armenian, then dragon personified the primordial chaos and chthonic forces, whereas fighting the dragon was the leading theme of the victory of a cultural hero over evil and disorder and the act of consecration of a hero, the transition to another level, overcoming death. In many cultures, the snake was primarily associated with the earth and water elements and the underworld. At the same time, in the ancient cosmogonic concepts of many peoples, the body of the celestial serpent-dragon (ouroboros) was thought as the boundary of the inhabited macrocosm. According to astrological notions, its head and tail cause solar and lunar eclipses, as well as determine the change of day and night [14]. Due to their liminal position between the inferior and upper worlds, the dragon and serpent were associated with fertility and rebirth, and were also endowed with apotropaic functions, that is, they initially had explicit bipolar symbolism [12]. With the advent of Christianity, along with the rejection of pagan notions and cults, especially in the early Middle Ages, the dragon retained mainly its destructive hypostasis becoming a symbol of the devil and hell. Only on the turn of the 9th–10th centuries in the Armenian and South-Caucasian art, we find a certain appeal to the archaic, positive functions of this monster, which was especially expressed in the monuments of the 12th–14th centuries. The centuries-old veneration of the dragon-serpent in Armenia had its own local manifestations. It was called Վիշապ (vishap), which meant a monster, an enormous snake, especially a water one. The word was also used in the meaning — huge, gigantic. At the same time, vishap is the traditional name for unique megalithic stelae in the Armenian Highlands of the 3rd–2nd millennium BC. Most of them are hewn in the fish shape and bear images of the bull’s head and skin as the evidence of ritual sacrifices. The latter were placed vertically in high mountains, at sacred precincts, and were associated with the veneration of springs and reservoirs2. The dragon image is also reflected in Armenian toponyms and natural phenomena: the Lake Van
{"title":"Various Aspects of the Image of a Dragon-serpent in Armenian and South-Caucasian Sculpture of the 7th–14th Centuries","authors":"Lilit Mikayelyan","doi":"10.18688/aa2111-02-19","DOIUrl":"https://doi.org/10.18688/aa2111-02-19","url":null,"abstract":"Introduction The image of a dragon is one of the universal archetypes of world culture and, at the same time, the most multifaceted in its artistic manifestations and symbolism. If one gives a very generalized definition of its functions in Indo-European mythology including ancient Armenian, then dragon personified the primordial chaos and chthonic forces, whereas fighting the dragon was the leading theme of the victory of a cultural hero over evil and disorder and the act of consecration of a hero, the transition to another level, overcoming death. In many cultures, the snake was primarily associated with the earth and water elements and the underworld. At the same time, in the ancient cosmogonic concepts of many peoples, the body of the celestial serpent-dragon (ouroboros) was thought as the boundary of the inhabited macrocosm. According to astrological notions, its head and tail cause solar and lunar eclipses, as well as determine the change of day and night [14]. Due to their liminal position between the inferior and upper worlds, the dragon and serpent were associated with fertility and rebirth, and were also endowed with apotropaic functions, that is, they initially had explicit bipolar symbolism [12]. With the advent of Christianity, along with the rejection of pagan notions and cults, especially in the early Middle Ages, the dragon retained mainly its destructive hypostasis becoming a symbol of the devil and hell. Only on the turn of the 9th–10th centuries in the Armenian and South-Caucasian art, we find a certain appeal to the archaic, positive functions of this monster, which was especially expressed in the monuments of the 12th–14th centuries. The centuries-old veneration of the dragon-serpent in Armenia had its own local manifestations. It was called Վիշապ (vishap), which meant a monster, an enormous snake, especially a water one. The word was also used in the meaning — huge, gigantic. At the same time, vishap is the traditional name for unique megalithic stelae in the Armenian Highlands of the 3rd–2nd millennium BC. Most of them are hewn in the fish shape and bear images of the bull’s head and skin as the evidence of ritual sacrifices. The latter were placed vertically in high mountains, at sacred precincts, and were associated with the veneration of springs and reservoirs2. The dragon image is also reflected in Armenian toponyms and natural phenomena: the Lake Van","PeriodicalId":37578,"journal":{"name":"Actual Problems of Theory and History of Art","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67763276","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}
{"title":"Key Aspects of the Studies of Bologna Quattrocento Palaces at the Turn of the 20–21st Centuries: Retrospection and Prospects","authors":"Oxana S. Smagol","doi":"10.18688/aa2111-06-43","DOIUrl":"https://doi.org/10.18688/aa2111-06-43","url":null,"abstract":"","PeriodicalId":37578,"journal":{"name":"Actual Problems of Theory and History of Art","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67763402","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}
The art of the Italian Renaissance has long been equated with the search for beauty and harmony. However, many works have challenged this ‘golden legend’, and suggested that it is possible to read the production from this period sub specie deformitatis. Thus, the notions of “counter-Renaissance”, which we find in Hiram Haydn [11], 1950 and 1962, and in Eugenio Battisti [5], who speaks of a form of “antirinascimento”, and “anticlassicism” (John Shearman [17], 1967, and Antonio Pinelli [16], 1993) have underlined the polyphonic and partly contradictory character of the art of the Cinquecento,the solar depictions of which Heinrich Wölfflin and Jacob Burckhardt had failed to capture, thus showing it could not be boiled down to its quest for harmony. Following a historical process that took place throughout the Cinquecento and ended in the Baroque period, the Italian artistic theory and production, each in its own way, gradually managed to think of ugliness in art as something other than a simple voluntary (transgression) or involuntary (failure) deviation from the standards of beauty. More precisely, they sought to combine ugliness and beauty which, since the appearance of antique philosophy and aesthetics, were most of the time opposed to each other on the ontological (being vs. non-being), logical (true vs. false), moral (good vs. evil), formal (harmony vs. disharmony), aesthetic (pleasant vs. unpleasant), and anthropological (identity vs. otherness) levels [10]. It seems therefore that this topical antithesis between the beautiful and the ugly made way for ‘beautiful ugliness’ first theorised in the second half of the 16th century as a paradox — the ugly being endowed with qualities traditionally attributed to beauty — and later, with the advent of the Baroque period, as an oxymoron since the ugliness, and even the horror of the content of the mimesis, underlined the transfiguring power of art and the talent of the artist. Such a shift could reveal a contiguity, or even, in the context of the theorisation of the ‘perfect ugliness’ of caricatures in the 17th century, a coincidentia oppositorum between the beautiful and the ugly: after all, do not kalós and kakós differ only by a single letter?
{"title":"Beauty and Ugliness in Italian Renaissance Art: Antithesis, Paradox, Oxymoron and Coincidence of Opposites","authors":"Olivier Chiquet","doi":"10.18688/aa2111-06-49","DOIUrl":"https://doi.org/10.18688/aa2111-06-49","url":null,"abstract":"The art of the Italian Renaissance has long been equated with the search for beauty and harmony. However, many works have challenged this ‘golden legend’, and suggested that it is possible to read the production from this period sub specie deformitatis. Thus, the notions of “counter-Renaissance”, which we find in Hiram Haydn [11], 1950 and 1962, and in Eugenio Battisti [5], who speaks of a form of “antirinascimento”, and “anticlassicism” (John Shearman [17], 1967, and Antonio Pinelli [16], 1993) have underlined the polyphonic and partly contradictory character of the art of the Cinquecento,the solar depictions of which Heinrich Wölfflin and Jacob Burckhardt had failed to capture, thus showing it could not be boiled down to its quest for harmony. Following a historical process that took place throughout the Cinquecento and ended in the Baroque period, the Italian artistic theory and production, each in its own way, gradually managed to think of ugliness in art as something other than a simple voluntary (transgression) or involuntary (failure) deviation from the standards of beauty. More precisely, they sought to combine ugliness and beauty which, since the appearance of antique philosophy and aesthetics, were most of the time opposed to each other on the ontological (being vs. non-being), logical (true vs. false), moral (good vs. evil), formal (harmony vs. disharmony), aesthetic (pleasant vs. unpleasant), and anthropological (identity vs. otherness) levels [10]. It seems therefore that this topical antithesis between the beautiful and the ugly made way for ‘beautiful ugliness’ first theorised in the second half of the 16th century as a paradox — the ugly being endowed with qualities traditionally attributed to beauty — and later, with the advent of the Baroque period, as an oxymoron since the ugliness, and even the horror of the content of the mimesis, underlined the transfiguring power of art and the talent of the artist. Such a shift could reveal a contiguity, or even, in the context of the theorisation of the ‘perfect ugliness’ of caricatures in the 17th century, a coincidentia oppositorum between the beautiful and the ugly: after all, do not kalós and kakós differ only by a single letter?","PeriodicalId":37578,"journal":{"name":"Actual Problems of Theory and History of Art","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67763614","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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