Pub Date : 2023-01-01DOI: 10.21638/spbu15.2023.208
T. I. Zhambaeva
The article presents the main stages in the development of tapestry in Buryatia, from the establishment of this form of art based on weaving of nap-free Buryat taara carpets in the 19th–20th centuries, to the formation of the tapestry school in this region. The consideration of the art of tapestry in Buryatia in the context of events and trends in the decorative applied art of Buryatia in the 20th–21st centuries is connected with such issues as the entry of folk artistic traditions into the system of socialist realism, the process of revival of national identity, the author’s creativity in the field of tapestry weaving. The consideration of the stated topic of the article made it possible to summarize the available information and present a more integral picture of the development and current state of this form of decorative applied art of Buryatia as tapestry, as well as to introduce new material about the work of tapestry masters at the turn of the 20th–21st centuries, to consider the significance of the tapestry art in Buryatia in the synthesis of tradition and innovation. The characteristic features of the regional school of tapestry are determined by the specificity of themes and plots, the semantics of the motives of the Buryat ornament, the original author’s style of weaving and the transfer of weaving experience from generation to generation. Furthermore, the originality of the tapestry of Buryatia is connected with the use of horsehair, sarlik hair in the technique of classical weaving. At the same time, in the process of weaving, the natural shades of the hair are preserved, which endow the woven product with a subtle color palette. The attention is paid to transfer of the experience of horsehair weaving to the younger generation. For illustrative purposes, the educational institutions in the Republic of Buryatia, in which the “Tapestry” discipline is taught. In general, the role of educational institutions in the popularization of this form of art is highlighted.
{"title":"Tapestry Art in Buryatia: Experience and Perspectives","authors":"T. I. Zhambaeva","doi":"10.21638/spbu15.2023.208","DOIUrl":"https://doi.org/10.21638/spbu15.2023.208","url":null,"abstract":"The article presents the main stages in the development of tapestry in Buryatia, from the establishment of this form of art based on weaving of nap-free Buryat taara carpets in the 19th–20th centuries, to the formation of the tapestry school in this region. The consideration of the art of tapestry in Buryatia in the context of events and trends in the decorative applied art of Buryatia in the 20th–21st centuries is connected with such issues as the entry of folk artistic traditions into the system of socialist realism, the process of revival of national identity, the author’s creativity in the field of tapestry weaving. The consideration of the stated topic of the article made it possible to summarize the available information and present a more integral picture of the development and current state of this form of decorative applied art of Buryatia as tapestry, as well as to introduce new material about the work of tapestry masters at the turn of the 20th–21st centuries, to consider the significance of the tapestry art in Buryatia in the synthesis of tradition and innovation. The characteristic features of the regional school of tapestry are determined by the specificity of themes and plots, the semantics of the motives of the Buryat ornament, the original author’s style of weaving and the transfer of weaving experience from generation to generation. Furthermore, the originality of the tapestry of Buryatia is connected with the use of horsehair, sarlik hair in the technique of classical weaving. At the same time, in the process of weaving, the natural shades of the hair are preserved, which endow the woven product with a subtle color palette. The attention is paid to transfer of the experience of horsehair weaving to the younger generation. For illustrative purposes, the educational institutions in the Republic of Buryatia, in which the “Tapestry” discipline is taught. In general, the role of educational institutions in the popularization of this form of art is highlighted.","PeriodicalId":40378,"journal":{"name":"Vestnik Sankt-Peterburgskogo Universiteta-Iskusstvovedenie","volume":"58 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80007892","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}
Pub Date : 2023-01-01DOI: 10.21638/spbu15.2023.110
A. V. Rykov
The article is devoted to the pragmatic aspects of Edmund Burke’s theory of art. The author identifies pragmatic components in the works of the British philosopher of various genres. The emphasis is on the interdisciplinary nature of Burke’s theory of art, which included artistic, psychological and political dimensions. The pragmatic dimension of Burke’s thought opens up a new field of research in the field of romantic aesthetics and art theory. The pragmatic romanticism of the British thinker complements our ideas about classical and modern art. His ideas shed new light on the development of Western European art from Baroque and classicism to avant-garde and postmodernism. At the same time, the problems of aesthetics, as well as the problems of power, are considered by Burke in a “psychoanalytic” and semiotic way, that is, without evaluation, and romantic special effects are subjected to objective analysis both in literature and art, and in politics. The pragmatic dimension allows us to redefine the role of Burke as the true founder of scientific art studies, who anticipated the most modern methods of analyzing artistic processes. The physiological, natural-scientific connotations of Burke’s work are also studied in the context of pragmatic strategies, as opposed to idealistic interpretations of the romantic theory of art.
{"title":"The Pragmatics of Romanticism. Edmund Burke as Art Theorist","authors":"A. V. Rykov","doi":"10.21638/spbu15.2023.110","DOIUrl":"https://doi.org/10.21638/spbu15.2023.110","url":null,"abstract":"The article is devoted to the pragmatic aspects of Edmund Burke’s theory of art. The author identifies pragmatic components in the works of the British philosopher of various genres. The emphasis is on the interdisciplinary nature of Burke’s theory of art, which included artistic, psychological and political dimensions. The pragmatic dimension of Burke’s thought opens up a new field of research in the field of romantic aesthetics and art theory. The pragmatic romanticism of the British thinker complements our ideas about classical and modern art. His ideas shed new light on the development of Western European art from Baroque and classicism to avant-garde and postmodernism. At the same time, the problems of aesthetics, as well as the problems of power, are considered by Burke in a “psychoanalytic” and semiotic way, that is, without evaluation, and romantic special effects are subjected to objective analysis both in literature and art, and in politics. The pragmatic dimension allows us to redefine the role of Burke as the true founder of scientific art studies, who anticipated the most modern methods of analyzing artistic processes. The physiological, natural-scientific connotations of Burke’s work are also studied in the context of pragmatic strategies, as opposed to idealistic interpretations of the romantic theory of art.","PeriodicalId":40378,"journal":{"name":"Vestnik Sankt-Peterburgskogo Universiteta-Iskusstvovedenie","volume":"11 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75341586","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}
Pub Date : 2023-01-01DOI: 10.21638/spbu15.2023.305
Ekaterina S. Lyashenko
The article is devoted to the research of Transbaikal painting history in the context of regional fine arts formation, artistic direction development. The Transbaikal art features are connected with region’s distance from cultural centers. Transbaikal painting has formed as result of penetration Russian art traditions and influence of regional national cultures. It’s possible to conditionally distinguish several stages in the history of Transbaikal painting. The first stage of formation (18th–19th centuries) was associated with creativity of visiting artists and with emergence of self-educated artists. The drawings were being made during the ethnographic expeditions in Siberia, also the Decemberists made their contribution. Besides, the icon painting was presented. The Transbaikal visual art heyday (the 2nd stage, 20th century) was presented with period of creativity and exhibition activities activation of the 20th century beginning, period of war years’ poster art, and period of realistic painting heyday. A lot of various in colorit landscapes were made in period of realistic painting heyday (the middle and second half of the 20th century). These are open spaces, steppes, roads, lyrical overcast landscapes, majestic north Transbaikalia and Buryatia mountains, landscapes of the Lake Baikal. The plot and historical paintings were being depicted scenes of Soviet reality, events of the region history and culture. Socialist realism was reflected in portraits and in subject painting, works of “austere style” were created. Individual artists with a pronounced style, manner stood out. Paintings were created with decorative, symbolic, ethnic motifs, impressionistic. At the present stage (beginning of the 21st century) artists of Transbaikalia create in the traditional and modernist direction, in the direction of ethnofuturism. Globalization processes, digitalization stimulate the penetration of creativity various forms into the region, and modern art projects begin to be implemented. System of art education traditions are emerging.
{"title":"Transbaikal Painting of the 18th — the Early 20th Centuries: Periodization Problems","authors":"Ekaterina S. Lyashenko","doi":"10.21638/spbu15.2023.305","DOIUrl":"https://doi.org/10.21638/spbu15.2023.305","url":null,"abstract":"The article is devoted to the research of Transbaikal painting history in the context of regional fine arts formation, artistic direction development. The Transbaikal art features are connected with region’s distance from cultural centers. Transbaikal painting has formed as result of penetration Russian art traditions and influence of regional national cultures. It’s possible to conditionally distinguish several stages in the history of Transbaikal painting. The first stage of formation (18th–19th centuries) was associated with creativity of visiting artists and with emergence of self-educated artists. The drawings were being made during the ethnographic expeditions in Siberia, also the Decemberists made their contribution. Besides, the icon painting was presented. The Transbaikal visual art heyday (the 2nd stage, 20th century) was presented with period of creativity and exhibition activities activation of the 20th century beginning, period of war years’ poster art, and period of realistic painting heyday. A lot of various in colorit landscapes were made in period of realistic painting heyday (the middle and second half of the 20th century). These are open spaces, steppes, roads, lyrical overcast landscapes, majestic north Transbaikalia and Buryatia mountains, landscapes of the Lake Baikal. The plot and historical paintings were being depicted scenes of Soviet reality, events of the region history and culture. Socialist realism was reflected in portraits and in subject painting, works of “austere style” were created. Individual artists with a pronounced style, manner stood out. Paintings were created with decorative, symbolic, ethnic motifs, impressionistic. At the present stage (beginning of the 21st century) artists of Transbaikalia create in the traditional and modernist direction, in the direction of ethnofuturism. Globalization processes, digitalization stimulate the penetration of creativity various forms into the region, and modern art projects begin to be implemented. System of art education traditions are emerging.","PeriodicalId":40378,"journal":{"name":"Vestnik Sankt-Peterburgskogo Universiteta-Iskusstvovedenie","volume":"43 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135107233","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}
Pub Date : 2023-01-01DOI: 10.21638/spbu15.2023.309
Tatyana A. Folieva
The article talks about the creation by the director Konstantin Konstantinovich Pipinashvili of his first film “Kajana” (1941). In 1932, Pipinashvili entered the workers’ faculty of the State Institute of Cinematography (GIK), graduated from it in 1936 and decided to make a film based on the story of the classic of Georgian literature N. Lomouri. In the Russian State Archive of Literature and Art (RGALI), documents were found that were not previously published, which shed light on the relationship of Pipinashvili with his teacher S. M. Eisenstein. It was possible to find out that strong friendly relations arose between them, it was planned that Pipinashvili’s film “Kajana” would be the preface to the film “Bezhin Meadow”. However, the prohibition of the latter and the persecution of Eisenstein did not allow these plans to come true — the filming of Kazhdana was stopped, despite all the efforts of the young director. himself Pipinashvili after graduating from the GIK, arrives at the Tbilisi film studio and tries to re-launch the film “Kajana” into film production. The film studio went to meet Pipinashvili, a full-length film was shot, which was released in Georgian and Russian in May 1941. We found a transcript of the discussion of the film “Kajana” in the Cinema House. This document shows how the figure of Eisenstein was perceived in the early 1940s, how anti-religious cinematography was treated at that time, how the problem of formalism was touched upon. We also see how the official goal differs from the artist’s idea. In the letters of Konstantin Konstantinovich it is clear to Pipinashvili that he is aimed at co-creation, he is captured by the ideas of the teacher. In the documents, we see what film functionaries want: “Kajana” as a pedagogical anti-religious story about the dangers of superstition and the bright future of the Georgian people. Pipinashvili managed to preserve his own style and national flavor. The composition, thoughtfulness of shots, the use of light and shadow, editing — all this is under the influence of Eisenstein.
{"title":"S. M. Eisenstein and Disciple: The Anti-Religious Novel “Kajana” by K. K. Pipinashvili","authors":"Tatyana A. Folieva","doi":"10.21638/spbu15.2023.309","DOIUrl":"https://doi.org/10.21638/spbu15.2023.309","url":null,"abstract":"The article talks about the creation by the director Konstantin Konstantinovich Pipinashvili of his first film “Kajana” (1941). In 1932, Pipinashvili entered the workers’ faculty of the State Institute of Cinematography (GIK), graduated from it in 1936 and decided to make a film based on the story of the classic of Georgian literature N. Lomouri. In the Russian State Archive of Literature and Art (RGALI), documents were found that were not previously published, which shed light on the relationship of Pipinashvili with his teacher S. M. Eisenstein. It was possible to find out that strong friendly relations arose between them, it was planned that Pipinashvili’s film “Kajana” would be the preface to the film “Bezhin Meadow”. However, the prohibition of the latter and the persecution of Eisenstein did not allow these plans to come true — the filming of Kazhdana was stopped, despite all the efforts of the young director. himself Pipinashvili after graduating from the GIK, arrives at the Tbilisi film studio and tries to re-launch the film “Kajana” into film production. The film studio went to meet Pipinashvili, a full-length film was shot, which was released in Georgian and Russian in May 1941. We found a transcript of the discussion of the film “Kajana” in the Cinema House. This document shows how the figure of Eisenstein was perceived in the early 1940s, how anti-religious cinematography was treated at that time, how the problem of formalism was touched upon. We also see how the official goal differs from the artist’s idea. In the letters of Konstantin Konstantinovich it is clear to Pipinashvili that he is aimed at co-creation, he is captured by the ideas of the teacher. In the documents, we see what film functionaries want: “Kajana” as a pedagogical anti-religious story about the dangers of superstition and the bright future of the Georgian people. Pipinashvili managed to preserve his own style and national flavor. The composition, thoughtfulness of shots, the use of light and shadow, editing — all this is under the influence of Eisenstein.","PeriodicalId":40378,"journal":{"name":"Vestnik Sankt-Peterburgskogo Universiteta-Iskusstvovedenie","volume":"111 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135107443","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}
Pub Date : 2023-01-01DOI: 10.21638/spbu15.2023.107
N. Kazhar, Mariusz Zadworny, Nina Sołkiewicz-Kos
The article examines new facts about the beginning of the formation of the European (primarily German) doctrine of the protection of monuments, which also laid the foundations of the modern Polish theory and practice of preserving the architectural heritage and scientific restoration. The role of the aesthetics of romanticism in the formation of historicism and awareness of the importance of cultural heritage is shown. The history of the development of the theoretical, systemic and legal basis for the protection of monuments, based on a new assessment of their role in the formation of the culture of the nation, is presented. The role of the memorandum “Preservation of all monuments and antiquities of our country” (1815) by Karl Friedrich Schinkel in the preservation of German architectural monuments was noted. The authorship of the drawings of Marienburg in 1794 is proved. Evidence is given that he was Friedrich Gilly (1748–1808), i. e. Gilly-a son. It is noted, that the exhibition of these drawings at the Berlin Academy of Arts (1795) played an important role in re-evaluating the culture of the Middle Ages during the period of the “conflict” of the ideas of the Enlightenment and Romanticism at the turn of the 18th–19th centuries (“about 1800”). On the example of the history of the “restoration” of the Marienburg castle (today Malbork) the change in the methods of restoration of the 19th century is shown, the contribution of famous cultural figures and leading architects to the organization and conduct of restoration work is noted.
本文考察了欧洲(主要是德国)古迹保护学说形成之初的新事实，该学说也为现代波兰保护建筑遗产和科学修复的理论和实践奠定了基础。揭示了浪漫主义美学在形成历史主义和文化传承意识中的作用。基于对其在国家文化形成中的作用的新评估，提出了保护纪念碑的理论、系统和法律基础的发展历史。会议指出，卡尔·弗里德里希·辛克尔(Karl Friedrich Schinkel)的备忘录《保护我国所有古迹和古物》(1815年)在保护德国建筑古迹方面所起的作用。证明了1794年马里恩堡绘画的作者身份。有证据表明他就是弗里德里希·吉利(1748-1808)，也就是吉利的儿子。值得注意的是，这些画作在柏林艺术学院(1795年)的展览在重新评估中世纪文化方面发挥了重要作用，在18 - 19世纪之交(“大约1800年”)启蒙运动和浪漫主义思想的“冲突”时期。以“修复”马里恩堡城堡(今天的马尔堡)的历史为例，展示了19世纪修复方法的变化，并指出了著名文化人物和主要建筑师对修复工作的组织和实施的贡献。
{"title":"From the History of the Formation of the European Doctrine of Protection and Restoration of Monuments at the End of the 18th — 19th Century (for Example, Marienburg Castle)","authors":"N. Kazhar, Mariusz Zadworny, Nina Sołkiewicz-Kos","doi":"10.21638/spbu15.2023.107","DOIUrl":"https://doi.org/10.21638/spbu15.2023.107","url":null,"abstract":"The article examines new facts about the beginning of the formation of the European (primarily German) doctrine of the protection of monuments, which also laid the foundations of the modern Polish theory and practice of preserving the architectural heritage and scientific restoration. The role of the aesthetics of romanticism in the formation of historicism and awareness of the importance of cultural heritage is shown. The history of the development of the theoretical, systemic and legal basis for the protection of monuments, based on a new assessment of their role in the formation of the culture of the nation, is presented. The role of the memorandum “Preservation of all monuments and antiquities of our country” (1815) by Karl Friedrich Schinkel in the preservation of German architectural monuments was noted. The authorship of the drawings of Marienburg in 1794 is proved. Evidence is given that he was Friedrich Gilly (1748–1808), i. e. Gilly-a son. It is noted, that the exhibition of these drawings at the Berlin Academy of Arts (1795) played an important role in re-evaluating the culture of the Middle Ages during the period of the “conflict” of the ideas of the Enlightenment and Romanticism at the turn of the 18th–19th centuries (“about 1800”). On the example of the history of the “restoration” of the Marienburg castle (today Malbork) the change in the methods of restoration of the 19th century is shown, the contribution of famous cultural figures and leading architects to the organization and conduct of restoration work is noted.","PeriodicalId":40378,"journal":{"name":"Vestnik Sankt-Peterburgskogo Universiteta-Iskusstvovedenie","volume":"91 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90710706","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}
Pub Date : 2023-01-01DOI: 10.21638/spbu15.2023.310
Baazr A. Bicheev
The Old White Man is a local deity revered by Buddhists in Russia. His image, based on textual traditions and Buddhist iconography, prompted the name — the Old White Man, now widely accepted. In the written sources he is also known as the “Conqueror and subduer of the [master spirits] of earth and water”. The early images appeared in Mongolia under the influence of the Chinese traditional pictures of Tú Dì, ancient deities associated with localities, while later they were influenced by traditional images of Shòuxing, the deity of longevity. At an early stage of the iconographic tradition, the Old White Man is depicted as a priest or a high official; his functions are rendered via the characters of his companions, the host spirits of mountains (sabdaks) that have the features of man and animal or animals, such as a pair of deer, chained leopard (wolf), as well as ritual objects, including a carved staff or a dragon head staff. At a later stage, there may be symbols associated with the giver of longevity and fertility (bald phallic head, cave, and peach). The text of the “Sutra of the Old White Man” includes the description of his appearance (a white-bearded, bare-headed old man in a white robe), attributes (a dragon head staff) and an allegorical landscape of a mountain and fruit trees. Neither early nor recent Mongolian and Buryat pictures fully correspond to the description. Much closer to it is the Kalmyk iconographic tradition. The Old White Man’s image of the Kalmyk nomads goes back to the ancient mythological idea of the deity as the keeper of domestic animals. Due to transformations in the religious sphere, the keeper of domestic animals becomes the Old White Man, the lord of all living beings and all earthly space. Traditionally, he is presented as a standing old man, bare-headed and his long gray hair gathered in the form of a triratna. He is dressed in a belted robe, with another swinging robe thrown on it. In his right hand, he holds a staff with a dragon’s head and a rosary in his left. There are no companions or animals. The symbolic landscape serves to enhance the grandiose figure of the old man. The details of the attire and the landscape refer to the former Chinese influence.
{"title":"Iconography of Buddhism: The Tradition of Depicting the Old White Man","authors":"Baazr A. Bicheev","doi":"10.21638/spbu15.2023.310","DOIUrl":"https://doi.org/10.21638/spbu15.2023.310","url":null,"abstract":"The Old White Man is a local deity revered by Buddhists in Russia. His image, based on textual traditions and Buddhist iconography, prompted the name — the Old White Man, now widely accepted. In the written sources he is also known as the “Conqueror and subduer of the [master spirits] of earth and water”. The early images appeared in Mongolia under the influence of the Chinese traditional pictures of Tú Dì, ancient deities associated with localities, while later they were influenced by traditional images of Shòuxing, the deity of longevity. At an early stage of the iconographic tradition, the Old White Man is depicted as a priest or a high official; his functions are rendered via the characters of his companions, the host spirits of mountains (sabdaks) that have the features of man and animal or animals, such as a pair of deer, chained leopard (wolf), as well as ritual objects, including a carved staff or a dragon head staff. At a later stage, there may be symbols associated with the giver of longevity and fertility (bald phallic head, cave, and peach). The text of the “Sutra of the Old White Man” includes the description of his appearance (a white-bearded, bare-headed old man in a white robe), attributes (a dragon head staff) and an allegorical landscape of a mountain and fruit trees. Neither early nor recent Mongolian and Buryat pictures fully correspond to the description. Much closer to it is the Kalmyk iconographic tradition. The Old White Man’s image of the Kalmyk nomads goes back to the ancient mythological idea of the deity as the keeper of domestic animals. Due to transformations in the religious sphere, the keeper of domestic animals becomes the Old White Man, the lord of all living beings and all earthly space. Traditionally, he is presented as a standing old man, bare-headed and his long gray hair gathered in the form of a triratna. He is dressed in a belted robe, with another swinging robe thrown on it. In his right hand, he holds a staff with a dragon’s head and a rosary in his left. There are no companions or animals. The symbolic landscape serves to enhance the grandiose figure of the old man. The details of the attire and the landscape refer to the former Chinese influence.","PeriodicalId":40378,"journal":{"name":"Vestnik Sankt-Peterburgskogo Universiteta-Iskusstvovedenie","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135107249","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}
Pub Date : 2023-01-01DOI: 10.21638/spbu11.2023.205
Olga Shapoval, Anna Sheremetyeva, Natalia Durnova, Nurali Mukhamadiev, Gulnora Rabbimova, Mavlon Nazirbekov
Plant essential oils of certain genera and species are important sources of antimicrobial substances.The goal of this study was a screening assessment of antibacterial activity of Thymus serpyllum L., Thymus marsсhallianus Willd. and Pimpinella anisum L. essential oils against opportunistic gram-negative uropathogens. The essential oils were obtained by steam hydrodistillation, and the screening assessment of their antibacterial activity was performed by the disk diffusion method. Two standard species (Pseudomonas aeruginosa ATCC 27853, Escherichia coli ATCC 25922) and 6 clinical strains (1 — P. aeruginosa, 5 — E. coli), isolated from the pregnant women with infections of the urinary passages, were used as the test bacterial cultures. The study determined that T. marsсhallianus Willd. and T. serpyllum L. essential oils possess strong inhibitory action on all test cultures until the absence of the bacterial lawn. P. anisum L. essential oil did not show antibacterial activity against all test strains, no zones of visible bacterial growth inhibition were formed. T. serpyllum L. and T. marsсhallianus Willd. essential oils are promising antibacterial agents against uropathogens of the species P. aeruginosa and E. coli.
{"title":"Screening assessment of antibacterial activity of Thymus serpyllum L., Thymus marsсhallianus Willd. and Pimpinella anisum L. essential oils against uropathogens, isolated from pregnant women","authors":"Olga Shapoval, Anna Sheremetyeva, Natalia Durnova, Nurali Mukhamadiev, Gulnora Rabbimova, Mavlon Nazirbekov","doi":"10.21638/spbu11.2023.205","DOIUrl":"https://doi.org/10.21638/spbu11.2023.205","url":null,"abstract":"Plant essential oils of certain genera and species are important sources of antimicrobial substances.The goal of this study was a screening assessment of antibacterial activity of Thymus serpyllum L., Thymus marsсhallianus Willd. and Pimpinella anisum L. essential oils against opportunistic gram-negative uropathogens. The essential oils were obtained by steam hydrodistillation, and the screening assessment of their antibacterial activity was performed by the disk diffusion method. Two standard species (Pseudomonas aeruginosa ATCC 27853, Escherichia coli ATCC 25922) and 6 clinical strains (1 — P. aeruginosa, 5 — E. coli), isolated from the pregnant women with infections of the urinary passages, were used as the test bacterial cultures. The study determined that T. marsсhallianus Willd. and T. serpyllum L. essential oils possess strong inhibitory action on all test cultures until the absence of the bacterial lawn. P. anisum L. essential oil did not show antibacterial activity against all test strains, no zones of visible bacterial growth inhibition were formed. T. serpyllum L. and T. marsсhallianus Willd. essential oils are promising antibacterial agents against uropathogens of the species P. aeruginosa and E. coli.","PeriodicalId":40378,"journal":{"name":"Vestnik Sankt-Peterburgskogo Universiteta-Iskusstvovedenie","volume":"128 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135911687","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}
Pub Date : 2023-01-01DOI: 10.21638/spbu11.2023.202
Elena Proskurnina, Denis Ivanov, Alexander Redko
Acute respiratory infection caused by the SARS-CoV-2 coronavirus was the cause of the pandemic announced in March 2020. To prevent this disease, various vaccines have been developed and introduced into mass use, including on an innovative gene platform. The aim of the review is to analyze foreign literature on post-vaccination complications with the use of foreign vaccines, as well as whole-virion vaccines for the period 2021 — January 2023. The sources used in the publication were obtained from the Medline database, as well as articles in peer-reviewed journals and official reports. Post-vaccination complications are associated with specific damage to organs or systems either directly by the vaccine itself or indirectly as a result of exacerbation of the chronic process. The pathogenesis of post-vaccination complications depends on the composition of the vaccine. All complications were grouped by organs and systems. Vaccines containing SARS-CoV-2 antigens can activate autoimmune reactions due to homology, as well as activation of existing reactions in predisposed patients, which is confirmed by the effectiveness of immunosuppressive therapy. Innovative platforms using gene technologies are so complex and profoundly active that they can be introduced into broad medical practice only after a thorough and comprehensive study of the effects and mechanisms. Scientific achievements should follow the ethical principles of healing, and above all primum non nocere. Experts around the world emphasize the need for continued monitoring of people’s condition in order to protect their health and assess the long-term safety of drugs.
{"title":"SARS-CoV-2 post-vaccination adverse reports: A review","authors":"Elena Proskurnina, Denis Ivanov, Alexander Redko","doi":"10.21638/spbu11.2023.202","DOIUrl":"https://doi.org/10.21638/spbu11.2023.202","url":null,"abstract":"Acute respiratory infection caused by the SARS-CoV-2 coronavirus was the cause of the pandemic announced in March 2020. To prevent this disease, various vaccines have been developed and introduced into mass use, including on an innovative gene platform. The aim of the review is to analyze foreign literature on post-vaccination complications with the use of foreign vaccines, as well as whole-virion vaccines for the period 2021 — January 2023. The sources used in the publication were obtained from the Medline database, as well as articles in peer-reviewed journals and official reports. Post-vaccination complications are associated with specific damage to organs or systems either directly by the vaccine itself or indirectly as a result of exacerbation of the chronic process. The pathogenesis of post-vaccination complications depends on the composition of the vaccine. All complications were grouped by organs and systems. Vaccines containing SARS-CoV-2 antigens can activate autoimmune reactions due to homology, as well as activation of existing reactions in predisposed patients, which is confirmed by the effectiveness of immunosuppressive therapy. Innovative platforms using gene technologies are so complex and profoundly active that they can be introduced into broad medical practice only after a thorough and comprehensive study of the effects and mechanisms. Scientific achievements should follow the ethical principles of healing, and above all primum non nocere. Experts around the world emphasize the need for continued monitoring of people’s condition in order to protect their health and assess the long-term safety of drugs.","PeriodicalId":40378,"journal":{"name":"Vestnik Sankt-Peterburgskogo Universiteta-Iskusstvovedenie","volume":"9 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135911695","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}
Pub Date : 2023-01-01DOI: 10.21638/spbu11.2023.206
Oksana Rybalchenko, Olga Orlova, Maria Netesa, Valentina Kapustina
The widespread antibiotic resistance is associated with the formation of special forms of microbial communities — bacterial biofilms with increased resistance to the impact of various physicochemical factors, including antimicrobial drugs. In this regard, the investigation of antibacterial agents, including herbal preparations that could affect bacterial biofilms, seems to be of current interest. The aim of this work was to identify antibacterial substances of plant origin that can most effectively affect bacterial biofilms. The effect of antibacterial decoctions of lingonberry, sage, and chamomile plants on the sensitivity of bacteria to antimicrobial drugs was assessed. The susceptibility of bacteria to antimicrobial drugs, when combined with herbal decoctions, was determined by the disk-diffusion method. The morphophysiological properties of biofilms were illustrated by light and scanning electron microscopy. The ability of lingonberry, sage, and chamomile decoctions to increase the sensitivity of bacteria to antimicrobial drugs of predominantly bactericidal pharmacological action was revealed. Decoctions of medicinal plants prevented the formation of complete bacterial biofilms. The obtained results indicate the antibiofilm activity of lingonberry, chamomile and sage decoctions, which contribute to a decrease in the level of antibiotic resistance of bacteria and a decrease in the load during antimicrobial therap.
{"title":"Influence of antimicrobial substances of plant origin on the sensitivity of bacterial biofilm to antimicrobial drugs","authors":"Oksana Rybalchenko, Olga Orlova, Maria Netesa, Valentina Kapustina","doi":"10.21638/spbu11.2023.206","DOIUrl":"https://doi.org/10.21638/spbu11.2023.206","url":null,"abstract":"The widespread antibiotic resistance is associated with the formation of special forms of microbial communities — bacterial biofilms with increased resistance to the impact of various physicochemical factors, including antimicrobial drugs. In this regard, the investigation of antibacterial agents, including herbal preparations that could affect bacterial biofilms, seems to be of current interest. The aim of this work was to identify antibacterial substances of plant origin that can most effectively affect bacterial biofilms. The effect of antibacterial decoctions of lingonberry, sage, and chamomile plants on the sensitivity of bacteria to antimicrobial drugs was assessed. The susceptibility of bacteria to antimicrobial drugs, when combined with herbal decoctions, was determined by the disk-diffusion method. The morphophysiological properties of biofilms were illustrated by light and scanning electron microscopy. The ability of lingonberry, sage, and chamomile decoctions to increase the sensitivity of bacteria to antimicrobial drugs of predominantly bactericidal pharmacological action was revealed. Decoctions of medicinal plants prevented the formation of complete bacterial biofilms. The obtained results indicate the antibiofilm activity of lingonberry, chamomile and sage decoctions, which contribute to a decrease in the level of antibiotic resistance of bacteria and a decrease in the load during antimicrobial therap.","PeriodicalId":40378,"journal":{"name":"Vestnik Sankt-Peterburgskogo Universiteta-Iskusstvovedenie","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135911698","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}
Pub Date : 2023-01-01DOI: 10.21638/spbu11.2023.203
Marat Gurianov, Piotr Yablonsky
Ventricular fibrillation is the most common cause of sudden cardiac death and continues to be an urgent problem. The aim of the paper was to study the organized activity of canine ventricular fibrillation under 1-minute ischemia and 10-minute reperfusion of the heart. A ventricular electrogram was recorded and spectral analysis of 10-second segments of the electrogram was performed under perfusion, ischemia, and reperfusion of the heart in fibrillation using Fast Fourier Transform at 30 frequencies in the range of 0.5–15 Hz. Specific gravity of 0.5–15-Hz oscillations was determined under perfusion, ischemia, and reperfusion in fibrillation. Ventricular fibrillation is characterized by organized activity during perfusion, ischemia, and reperfusion as evidenced by dominant frequency structure. Perfusion of the heart during ventricular fibrillation increases the stability of the organized structure of fibrillation to ischemia: under 1-minute ischemia after 10-minute perfusion, the frequency of dominant oscillations decreases by only 0.5 Hz while organized activity does not decrease. Reperfusion in fibrillation is characterized by the transient 1.5-Hz increase of frequency of dominant oscillations and by a 15 % decrease of organized fibrillation activity at the 1st minute of reperfusion after 1 minute of ischemia. The organized structure of fibrillation is more sensitive to reperfusion than to ischemia.
{"title":"Organized activity of canine ventricular fibrillation under reperfusion after 1-minute ischemia of the heart","authors":"Marat Gurianov, Piotr Yablonsky","doi":"10.21638/spbu11.2023.203","DOIUrl":"https://doi.org/10.21638/spbu11.2023.203","url":null,"abstract":"Ventricular fibrillation is the most common cause of sudden cardiac death and continues to be an urgent problem. The aim of the paper was to study the organized activity of canine ventricular fibrillation under 1-minute ischemia and 10-minute reperfusion of the heart. A ventricular electrogram was recorded and spectral analysis of 10-second segments of the electrogram was performed under perfusion, ischemia, and reperfusion of the heart in fibrillation using Fast Fourier Transform at 30 frequencies in the range of 0.5–15 Hz. Specific gravity of 0.5–15-Hz oscillations was determined under perfusion, ischemia, and reperfusion in fibrillation. Ventricular fibrillation is characterized by organized activity during perfusion, ischemia, and reperfusion as evidenced by dominant frequency structure. Perfusion of the heart during ventricular fibrillation increases the stability of the organized structure of fibrillation to ischemia: under 1-minute ischemia after 10-minute perfusion, the frequency of dominant oscillations decreases by only 0.5 Hz while organized activity does not decrease. Reperfusion in fibrillation is characterized by the transient 1.5-Hz increase of frequency of dominant oscillations and by a 15 % decrease of organized fibrillation activity at the 1st minute of reperfusion after 1 minute of ischemia. The organized structure of fibrillation is more sensitive to reperfusion than to ischemia.","PeriodicalId":40378,"journal":{"name":"Vestnik Sankt-Peterburgskogo Universiteta-Iskusstvovedenie","volume":"2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135913641","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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