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Calligraphy of Images: Artworks by Yukei Teshima 影像书法:铁岛行kei的艺术作品
IF 0.2 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2022-01-01 DOI: 10.21638/spbu15.2022.108
Nadezhda S. Filonenko, M. Tretyakova
Postwar Japanese calligraphy has been little studied in Western art history, and in particular, there is no analysis of the work of one of the most important calligraphers of postwar Japan,Yukei Teshima (1901–1987). The relevance of this research lies in the fact that the Calligraphy of Images (Japanese “Shosho”), created by the master, is an example of building a dialogue between fundamentally different traditions of Western and Eastern art, a dialogue that allows the calligrapher to see the uniqueness of Japanese calligraphy, including its spiritual and aesthetic content. The purpose of this study is to determine the specifics of Teshima’s work, using the example of his most famous artworks: “Hokai” (literally “Collapse”) (1957), containing the image of houses collapsing one after another from the explosions of aerial bombs at the end of World War II; and “Tsubame” (“Swallow”) (1960), giving rise to the feeling of flight through a “dancing” movement of a bird. The authors conclude that, although Tesima’s “calligraphic paintings” show a connection simultaneously with the Chinese roots of Japanese calligraphy and the avant-garde painting of the West, the calligrapher remains faithful to the Japanese artistic and aesthetic tradition. Unlike Chinese calligraphy, traditionally understood as a tool for “nurturing life”, or avant-garde painting generated by Western conceptuality, Teshima’s calligraphy expresses the Buddhist ideals of accepting one’s destiny (one’s path to enlightenment) and lack of attachment. The calligrapher uses the “hisshoku” (“rusty brush”) writing technique, which involves “overcoming” the brush and conveying the tactile sensation of a stroke (a symbol of overcoming the materiality of the world), and also forms the “boundless space” of the sheet, i. e. “aki”, which he calls “Space of [divine] love” and connects with the free soaring of the spirit.
在西方美术史上,对战后日本书法的研究很少,尤其是对战后日本最重要的书法家之一Teshima Yukei(1901-1987)的作品没有分析。这项研究的相关性在于,这位大师创作的《图像书法》(日本的“Shosho”)是在根本不同的东西方艺术传统之间建立对话的一个例子,这种对话使书法家能够看到日本书法的独特性,包括其精神和美学内容。本研究的目的是确定铁岛的具体工作,以他最著名的作品为例:“Hokai”(字面意思是“倒塌”)(1957),包含了第二次世界大战结束时航空炸弹爆炸的房屋一个接一个倒塌的图像;1960年的《燕子》(Tsubame),通过一只鸟“跳舞”的动作,给人一种飞翔的感觉。作者的结论是,尽管德西马的“书法绘画”与日本书法的中国根源和西方前卫绘画同时存在联系,但这位书法家仍然忠于日本的艺术和美学传统。与传统上被理解为“养育生命”的中国书法或西方观念产生的前卫绘画不同,铁岛的书法表达了佛教的理想,即接受自己的命运(一个人的启蒙之路)和缺乏依恋。书法家使用“锈笔”(“锈笔”)的书写技巧,既“战胜”毛笔,传达笔触的触感(一种战胜物质性世界的象征),又在纸上形成“无垠的空间”,即“aki”,他称之为“[神]爱的空间”,与精神的自由翱翔联系在一起。
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引用次数: 0
From England to Russia: Fluorite Vases from the Second Half of the 18th — Beginning of the 19th Centuries 从英国到俄罗斯:18世纪下半叶至19世纪初的萤石花瓶
IF 0.2 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2022-01-01 DOI: 10.21638/spbu15.2022.208
N. Borovkova, Anastasiya R. Pilipenko, Mar’ya N. Yakimaha
The article explores English stone-cutting products of the 18th century from Blue John fluorite. The objects of research are items from the Mining Museum collection. The authors have identified a wide range of analogues from various collections of Russian and European museums, auction houses. The article considers the history of the development of stone-cutting production from Blue John fluorite; possible stone-cutting workshops have been identified. In the study determined the technical and technological features of the manufacture of fluorite products in England at the end of the 18th century. The article deals with issues of attribution and reconstruction of museum items using 3D-visualization. The technical and technological features of fluorite processing and the technology for producing art objects was clarified thanks to the involvement of the laboratory base of the Center for Collective Use of the Mining University. A chemical study was carried out on samples of the substance used to stabilize the stone material of objects. On the basis a wide visual range the appearance of the destroyed vases was restored using 3D-technologies and the places of loss in objects from the Mining Museum were supplemented. The use of modern technological innovations made it possible to restore the appearance of monuments with unsatisfactory preservation and include objects of the 18th century. into scientific circulation. A significant corpus of archival documents has been revealed, giving an idea of the sources and methods of entry of items from English fluorite into the collection of the Mining Museum. The results obtained allowed us to change the idea of the formation of the collection of the Mining Museum; to supplement previously known information about the production of fluorite objects of arts and crafts in England.
本文探讨了18世纪英国的蓝约翰萤石切割产品。研究对象是来自矿业博物馆的藏品。作者已经从俄罗斯和欧洲的博物馆、拍卖行的各种收藏中发现了大量的类似物。本文回顾了蓝约翰萤石石材切割生产的发展历史;已经确定了可能的石材切割车间。在研究中确定了18世纪末英国生产萤石产品的技术和工艺特点。本文探讨了利用三维可视化技术对博物馆藏品进行归因和重建的问题。由于矿业大学集体使用中心实验室基地的参与,萤石加工的技术和工艺特点以及生产艺术品的技术得到了澄清。对用于稳定物体的石头材料的物质样本进行了化学研究。在广泛的视觉范围的基础上,使用3d技术恢复了被破坏花瓶的外观,并补充了采矿博物馆中物品的损失位置。现代技术创新的使用使得修复保存不尽如人意的纪念碑的外观成为可能,其中包括18世纪的物品。进入科学循环。一个重要的档案文件的语料库已经被揭示,提供了一个想法的来源和方法,从英国萤石项目进入矿业博物馆的收藏。获得的结果使我们改变了形成采矿博物馆藏品的想法;以补充先前已知的有关英国生产萤石工艺品的信息。
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引用次数: 0
Study of Sociological Components on the Evolution of Pottery in the Seljuk Period (5th to 6th Century AH) 塞尔柱时期陶器演变的社会学成分研究(西元前5 - 6世纪)
IF 0.2 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2022-01-01 DOI: 10.21638/spbu15.2022.406
S. Pourmahmoud, R. Afhami, Mehdi Keshavarz afshar
The Seljuks, with their important role in Islamic civilization, spent two periods in their lives, which paved the way for many changes and innovations in their art, especially pottery. The first period is the era of their authority, which appeared in the Islamic world as an empire, and the second period is the era of their disintegration, which paved the way for their downfall. The purpose of this study is to investigate the developments of Seljuk society and how the social structure influences the evolution of pottery in these two periods. With a sociological approach and basic research and based on the nature and method of historical and descriptive-analytical, this research discusses the general and comprehensive knowledge of the influential elements of society on the pottery art of Seljuk period by using historical data through the collection of library documents to enable the social conditions, innovations and trends of this art in the time frame. The result of the research shows that artistic developmen s are always related to their social environment. The results indicate that public access to art and the tendency to depict everyday and realistic subjects after the growth of the middle class and factors such as urbanization, trade, economic status, religious orientation of rulers, imposing their tastes on artists, and the emergence of realistic and popular art among the middle class is one of the most important factors influencing the development and evolution of pottery in the studied period.
塞尔柱人在伊斯兰文明中扮演着重要的角色,他们一生中经历了两个时期,这为他们的艺术,尤其是陶器的许多变化和创新铺平了道路。第一个时期是他们作为帝国出现在伊斯兰世界的权威时代,第二个时期是他们的解体时代,这为他们的垮台铺平了道路。本研究的目的是探讨塞尔柱社会的发展,以及社会结构如何影响这两个时期陶器的演变。本研究采用社会学的研究方法和基础研究方法,以历史和描述分析的性质和方法为基础,通过图书馆文献的收集,利用历史资料,对塞尔柱时期陶器艺术的社会影响因素进行了一般性和全面的认识,从而使这一艺术在当时的社会条件、创新和趋势得以实现。研究结果表明,艺术的发展始终与其所处的社会环境有关。结果表明,中产阶级成长后,大众对艺术的接触和对日常和现实题材的描绘倾向,以及城市化、贸易、经济地位、统治者的宗教取向、他们的品味强加给艺术家等因素,以及中产阶级中现实主义和通俗艺术的出现,是影响所研究时期陶器发展演变的重要因素之一。
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引用次数: 0
“Rigoletto”: Variety of Screen Forms and Specifics of Staging Solutions for Classical Opera in Cinema and on Television “弄堂”:电影与电视中古典歌剧银幕形式的多样性与舞台解决方案的特殊性
IF 0.2 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2022-01-01 DOI: 10.21638/spbu15.2022.203
Alina V. Rumyantseva, Liliana Yu Malkova
In domestic science there is a perception that today’s opera, under the pressure of massification, simultaneously tries to preserve the elusive traditions of “high” art and lowers the bar to the level of mass culture, while the availability of technological possibilities of transferring opera to the screen is not able to change the preferences of the mass audience, unable to perceive it adequately. It cannot be denied that in the 21st century an uninitiated mass audience’s perception of classical opera is largely formed on the basis of screen representations of musical drama. In this context, the analysis of the applied staging solutions in cinema and television in the incarnation of opera, which includes the determination of the components that are necessary for the qualitative screen representation of musical drama, becomes a relevant subject for scientific research. In this article, which is dedicated to 170th anniversary of Giuseppe Verdi’s opera Rigoletto, an attempt is made to analyze four screen forms of one musical drama different from each other with the aim to reveal variability of staging solutions used for the realization of classical opera on TV and in cinema. The specific features of cinematographic and television representation of musical drama influencing the actualization and popularization of opera in the modern screen space are revealed within different genre frames (film-opera, TV version of musical drama, live TV film, musical TV contest). The author identifies the central figure in the latter processes the director-director, a professional in the field of television, who understands the fundamental laws and staging techniques of musical theater, the expressive means of cinematography.
在国内科学界有一种看法,即今天的歌剧在大众化的压力下,同时试图保留难以捉摸的“高级”艺术传统,降低对大众文化水平的门槛,而将歌剧转移到屏幕上的技术可能性的可用性无法改变大众观众的偏好,无法充分感知它。不可否认的是,在21世纪,没有经验的大众观众对古典歌剧的认知很大程度上是在音乐剧的银幕表现基础上形成的。在此背景下,分析电影和电视在歌剧化身中的应用舞台解决方案,包括确定音乐剧的定性屏幕表现所必需的组成部分,成为科学研究的相关课题。这篇文章是为了纪念威尔第的歌剧《弄弄鬼》170周年,本文试图分析一部音乐剧的四种不同的屏幕形式,旨在揭示古典歌剧在电视和电影中实现的舞台解决方案的可变性。在不同的类型框架(电影-歌剧、音乐剧电视版、电视直播电影、音乐剧电视比赛)中揭示了音乐剧影视表现在现代银幕空间中影响歌剧实体化和大众化的具体特征。作者认为后一过程的核心人物是导演,他是电视领域的专业人士,他了解音乐剧的基本规律和舞台技巧,是电影摄影的表现手段。
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引用次数: 0
Under the Sign of the Avant-Garde: Jewelry in the Context of Left-Wing Trends in the Art of Russia in the First Third of the 20th Century 前卫的标志下:20世纪前30年俄罗斯艺术左翼思潮背景下的珠宝
IF 0.2 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2022-01-01 DOI: 10.21638/spbu15.2022.308
I. Y. Perfilyeva
In the context of left-wing trends and “industrial art” in Russia in the first third of the twentieth century, jewelry occupied a more than modest place. In this regard, special attention should be paid to the few jewelry artifacts known today that are directly or indirectly related to the aesthetic principles of the avant-garde artistic and stylistic trends of this time. During the study of the earliest stage of the genesis of Russian art jewelry in the Soviet period, several such monuments were identified, created by reformist artists: A. M. Rodchenko, N. M. Suetin, and others. Of particular interest is the synthesis of classic jewelry solutions and avant-garde graphic design-preserved examples of pre-revolutionary Faberge jewelry factories and three-dimensional graphic design. As a result, a capacious image of the transition era was formed, in all the contradiction of the denial of the artistic experience of the past and the approval of the stylistics of the future: agitation art, constructivism, Suprematism, and working art. Identified new archival data allowed us to make new attributions of some artifacts from Museum collections, representing different areas of existence of jewelry in the post-revolutionary era: faleristics, cinema, “production art”, Amateur. The study made it possible to conclude that the avant-garde stylistic trends “as the highest stage of all aestheticism” were not so “far from the tasks of introducing the language of new art into production”. Another thing is that the process of artistic integration does not always find an adequate response among consumers of art, including jewelry. At the same time, the synthesis of left-wing trends in art with jewelry played an important role in creating prerequisites for the formation of the genre of unique author’s jewelry works in Russia.
在二十世纪前三分之一的俄罗斯左翼趋势和“工业艺术”的背景下,珠宝占据了一个非常谦虚的位置。在这方面,应该特别注意今天已知的少数与当时前卫艺术和风格趋势的美学原则直接或间接相关的珠宝文物。在对苏联时期俄罗斯艺术珠宝起源的早期阶段的研究中,发现了几个这样的纪念碑,由改革派艺术家创作:A. M. Rodchenko, N. M. Suetin和其他人。特别令人感兴趣的是经典珠宝解决方案和前卫平面设计的综合-保存了革命前法贝热珠宝工厂和三维平面设计的例子。于是,在对过去艺术经验的否定与对未来风格的认同的矛盾中,形成了一个转型时代的广阔形象:激荡艺术、构成主义、至上主义、工作艺术。确定的新档案数据使我们能够对博物馆收藏的一些文物做出新的归属,代表了革命后时代珠宝存在的不同领域:伪造,电影,“生产艺术”,业余爱好者。这项研究使我们有可能得出这样的结论:前卫的风格趋势“作为所有唯美主义的最高阶段”,与“将新艺术的语言引入生产的任务”并不遥远。另一件事是,艺术融合的过程并不总是在包括珠宝在内的艺术消费者中得到充分的回应。与此同时,左翼艺术思潮与珠宝的综合,为俄罗斯独特作者珠宝作品流派的形成创造了重要的先决条件。
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引用次数: 0
David Lang’s Postminimalist Musical Theater 大卫·朗的后极简主义音乐剧
IF 0.2 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2022-01-01 DOI: 10.21638/spbu15.2022.302
Anna E. Krom
The article explores issues of the American musical theater of the nineteenth century, fruitfully developing on the basis of postminimalism. Among the brightest representatives of this style is the composer David Lang (1957), a member of the group “Bang on a Can”. His theatrical projects of the last two decades demonstrate a new phase in the development of postminimalist theater, the foundation of which was laid by his older contemporaries, Philip Glass, Steve Reich, and John Adams. Using the example of stage works — “The Difficulty of Crossing a Field” (2002), “Prisoner of the State” (2019), and “Anatomy Theater” (2016) — the author identifies the main features of Lang’s musical and theatrical style and traces a close relationship with the operas of his predecessors. They are brought closer by the appeal to postmodern dramaturgy (fragmentation, discreteness, commentarity), social problems, the desire for genre uniqueness of each performance, repetitive methods of organizing musical facture. In his theatrical work, Lang relies on postminimalism and repetitive technique, which manifests itself at different levels — dramatic, verbal (repetition of syllables, words, phrases in the libretto) and musical. A characteristic feature of Lang’s stage opuses is the synthesis of academic opera traditions and non-academic genres and directions (Musical, jazz, rap), which allows us to draw analogies with the art of crossovers. The Musical in some cases acts as the genre basis of the work (non-academic vocals, dances, a speech episodes). Lang’s theater is a chamber theater, it assumes a small composition of participants, placement of vocalists and orchestra members on the stage, laconic timing of plays. All these factors allow us to make an assumption about the formation in Lang’s musical and theatrical work of the next phase of the evolution of postminimalism, which can be characterized as postpostminimalism.
本文探讨了19世纪美国音乐剧的一些问题,这些问题是在后极简主义的基础上发展起来的。这种风格最杰出的代表之一是作曲家大卫·朗(1957),他是“Bang on a Can”组合的成员。他过去二十年的戏剧作品展示了后极简主义戏剧发展的一个新阶段,其基础是由他的同龄人菲利普·格拉斯、史蒂夫·赖希和约翰·亚当斯奠定的。后现代戏剧(碎片化、离散化、评论性)、社会问题、对每场演出类型独特性的渴望、组织音乐制作的重复方法,使他们走得更近。在他的戏剧作品中,朗运用了后极简主义和重复手法,这种手法在戏剧、语言(歌词中音节、单词、短语的重复)和音乐等不同层面上表现出来。朗的舞台作品的一个特点是综合了学术歌剧传统和非学术流派和方向(音乐,爵士,说唱),这使我们能够将其与交叉艺术进行类比。在某些情况下,音乐剧作为作品的流派基础(非学术声乐,舞蹈,演讲情节)。朗的剧院是一个室内剧院,它的参与者很少,歌手和管弦乐队成员在舞台上的位置,戏剧的时间安排很简洁。所有这些因素使我们可以对朗的音乐和戏剧作品中形成的下一阶段的后极简主义的演变做出假设,这可以被描述为后后极简主义。
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引用次数: 0
Mythologem “Happy Soviet Childhood” in a Children’s Portrait of the 1930s–1960s 20世纪30 - 60年代儿童肖像中的神话“快乐的苏联童年”
IF 0.2 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2022-01-01 DOI: 10.21638/spbu15.2022.402
D. Abdullina
The article examines the process of the birth and development of the mythologem “happy soviet childhood” in a children’s pictorial portrait. The author identifies two stages: the 1930s and 1950s–1960s. In Stalin’s time, children’s images were depicted in the utopian world of a “bright future”. It was like the “paradise garden” in the “golden age”. Surrounded by natural abundance, small models looked at the world of “fathers” and served as educational models. After World War II, children’s images moved to the safe space of the house and family. Portrait painters emphasized the material well-being of Soviet childhood. Many toys and other children’s objects appear in the children’s portrait, the image of the children’s room is clearly drawn out. Paraphernalia served as markers of a “happy Soviet childhood” for portrait painters. It also addresses the problem of depicting the “disciplined” body of a Soviet child, the peculiarities of the interaction of the children’s image with the social and subject environment. The article notes that in the portrait artists allow themselves to depart from mythology, as they refuse to depict the ideologically significant theme of collective and collective work towards the dominance of the motive of the family, leisure and home holidays. This indicates the desire of portrait painters to show an individual beginning in the child as opposed to impersonal-social. Consequently, this mythology had a development dynamics.
本文在一幅儿童写真中考察了“快乐的苏联童年”神话的诞生和发展过程。作者确定了两个阶段:20世纪30年代和20世纪50年代至60年代。在斯大林时代,儿童的形象被描绘成“光明未来”的乌托邦世界。它就像“黄金时代”的“天堂花园”。在自然资源丰富的环境中,小模特们看着“父亲”的世界,充当着教育模特的角色。第二次世界大战后,孩子们的形象转移到了房子和家庭的安全空间。肖像画家强调苏联儿童的物质福利。许多玩具和其他儿童物品出现在儿童肖像中,儿童房间的形象被清晰地描绘出来。对肖像画家来说,随身用品是“快乐的苏联童年”的标志。它还解决了描绘苏联儿童“有纪律的”身体的问题,以及儿童形象与社会和主体环境相互作用的特殊性。文章指出,在肖像中,艺术家允许自己脱离神话,因为他们拒绝描绘集体和集体工作的意识形态重要主题,而转向家庭,休闲和家庭假期的动机。这表明,肖像画家希望表现出儿童个体的开始,而不是非个人的社会。因此,这个神话有一个发展的动力。
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引用次数: 0
The Soviet Past on the Post-Soviet Screen 后苏联银幕上的苏联历史
IF 0.2 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2022-01-01 DOI: 10.21638/spbu15.2022.202
Lyubov D. Bugaeva
A popular and widespread theme in contemporary Russian cinema and television is the Soviet past reconstructed with various degrees of accuracy. This “documentary desire” aspires not only to access historical reality through visual representations of Soviet life in the 1960s, 1970s, or 1980s, but to use Soviet images as an instrument for emotional manipulation of the viewer by evoking or creating “memories” for those who do not have the Soviet experience. The article focuses on strategies, from the “visual document” to the “factory of memories,” that are used to present the Soviet past on the small and large screens. It is interesting to consider the purpose of recycling the Soviet theme. Addressing the past does not necessarily constitute nostalgia; it could be a glimpse into the future, or rather, a construction of the future through the past. The viewer, involved in the “make-believe” strategy, not only begins to believe that the events shown on screen took place in reality, but also that the source of information about those events is reliable. The cinematic “picture” either creates an image of the Soviet past or replaces the existing conception in the viewer’s mind. Interestingly though, the study of TV series about the Soviet past demonstrates that the rejection of the inevitability of the traumatic experience of tragic moments in Soviet history may paradoxically contribute to finding alternative solutions for social conflicts in the present and in the future, and this is what these TV series aspire to do.
在当代俄罗斯电影和电视中,一个流行而广泛的主题是以不同程度的准确性重建苏联的过去。这种“纪录片的欲望”不仅渴望通过对20世纪60年代、70年代或80年代苏联生活的视觉再现来接近历史现实,而且还希望通过唤起或创造那些没有苏联经历的人的“记忆”,将苏联的图像作为操纵观众情感的工具。这篇文章关注的是各种策略,从“视觉文件”到“记忆工厂”,这些策略被用来在大小屏幕上呈现苏联的过去。重新考虑苏联主题的目的是很有趣的。追忆过去不一定是怀旧;它可以是对未来的一瞥,或者更确切地说,是通过过去构建未来。参与“假装”策略的观众不仅开始相信屏幕上显示的事件在现实中发生过,而且相信有关这些事件的信息来源是可靠的。电影的“画面”要么创造了苏联过去的形象,要么取代了观众心中现有的概念。有趣的是,对关于苏联历史的电视剧的研究表明,对苏联历史上悲剧时刻的创伤经历的必然性的拒绝可能会自相矛盾地有助于为现在和未来的社会冲突找到替代解决方案,这正是这些电视剧所渴望做的。
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引用次数: 1
Raphael and Pirro Ligorio — Historical and Philological Descriptions and Archaeological Studies of the Architecture of Ancient Rome in the 16th century 拉斐尔和皮罗·利戈里奥- 16世纪古罗马建筑的历史和语言学描述和考古研究
IF 0.2 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2022-01-01 DOI: 10.21638/spbu15.2022.207
Lyudmila Yu. Limanskaya
The difficulty of comprehending artistic terminology in the Renaissance was associated with the activities of humanist philologists and scholarly antiquarians. Interest in antiquity was inherent in artists and architects. Around the archaeological work of Raphael, Ligorio, associations of learned humanists were organized, which accompanied their archaeological research with philological clarifications. The functions of archeology were combined with the need to check the terms, with the help of a visual, graphically reconstructed monument, which, as a rule, came down with losses. In this regard, scientists had to use their erudition and ingenuity to display the ruined monument in its entirety. An example of such a field of activity is printed graphics, which allows depicting monuments graphically and accompanying illustrations with albums of antiquities, replicating images of individual works of art. Such was the direction of the printing workshop of comrade Rafael Marcantonio Raimondi. A number of works by Marcantonio, as well as engravings by Agostino Veneziano and Marco Dente, were made from drawings by Raphael. Some of the drawings were related to Raphael’s archaeological interests, such as the engraving of the Laocoön group (1519) by Marco Dente. Among philologists, after the publication of P. Bembo’s treatise “Discourses in Prose on the Folk Language” (1525), where in the second part of the treatise the author proposed to strictly follow the style of Petrarch and Boccaccio, a controversy flared up about the literary language, as the humanists held different points of view, to the term “volgare” (“folk”). Discussions on this topic were reflected in the association of humanists “Accademia degli Sdegnati” (1541–1545), which was joined by P. Ligorio, who, like Raphael, accompanied his studies with etymological clarifications, graphic representations and archaeological maps.
文艺复兴时期理解艺术术语的困难与人文主义语言学家和学术古物学家的活动有关。对古物的兴趣是艺术家和建筑师与生俱来的。围绕着拉斐尔和利戈里奥的考古工作,有学问的人文主义者组织了协会,这些协会伴随着他们的考古研究和语言学的澄清。考古学的功能与检查条款的需要结合在一起,借助于视觉上的、图形上的重建纪念碑,而这些纪念碑通常都是损失惨重的。在这方面,科学家们不得不运用他们的博学和聪明才智来完整地展示被毁坏的纪念碑。这种活动领域的一个例子是印刷图形,它可以用图形描绘纪念碑,并附有古物相册的插图,复制个别艺术作品的图像。这就是拉斐尔·马尔坎托尼奥·雷蒙迪同志的印刷厂的方向。Marcantonio的许多作品,以及Agostino Veneziano和Marco Dente的雕刻,都是根据拉斐尔的图纸制作的。其中一些画作与拉斐尔的考古兴趣有关,比如马可·登特(Marco Dente) 1519年雕刻的Laocoön群。在语言学家中,P.本博(P. benbo)的论文《论民间语言的散文》(Discourses in Prose on the Folk Language, 1525)发表后,作者在论文的第二部分提出要严格遵循彼得拉克和薄伽丘的风格,这引起了一场关于文学语言的争论,因为人文主义者对“volgare”(“民间”)一词持不同的观点。关于这一主题的讨论反映在人文主义者协会“acadedemia degli Sdegnati”(1541-1545)中,P. Ligorio加入了该协会,他和拉斐尔一样,在他的研究中附有词源学澄清、图形表示和考古地图。
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引用次数: 0
A. Poleshchuk: Creative Biography of the Russian-Estonian Architect and a Retrospective Direction in Russian Church Architecture of the Early 20th Century a . Poleshchuk:俄罗斯-爱沙尼亚建筑师的创作传记和20世纪初俄罗斯教堂建筑的回顾方向
IF 0.2 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2022-01-01 DOI: 10.21638/spbu15.2022.405
Alexander Bertash
This article is devoted to the creative biography of the largest Russian-Estonian architect at the turn of the 19th–20th centuries A. Poleshchuk and retrospectivism in Russian church architecture at the beginning of the twentieth century, which was his main creative method. The works and biography of the great master are still poorly studied, scientific publications are practically not devoted to him. At the same time, being a pupil of the St Petersburg Academy of Arts, the architect was awarded the title of architecture academic, the position of professor, proved himself in the capital as the author of such monumental structures as the Geological Committee and the Church of St Isidor with the house of the St Petersburg Orthodox Estonian brotherhood. He owns the project of the most monumental Orthodox church in the Baltics of the twentieth century — the Assumption Cathedral of the Pyukhtitsa Monastery, where he worked from his student years under the guidance of his teacher prof. M. Preobrazhensky. A native of Estonia and an Estonian himself on the maternal side, the architect made an invaluable contribution to the formation of a professional architectural school in the country. He was the chairman of the Estland Engineering Society and the Estland Technical Society in Petrograd, then was actively involved in teaching in Tallinn as professor of architecture at Tallinn Polytechnic College and chief architect and educational adviser to the Construction Board. A. Poleshchuk is known as an architectural theorist, a specialist in the theory of vaults, the author of the fundamental courses “Lectures on the art of building” in 10 volumes, and a two-volume guide to bridge construction. The article examines in detail the main milestones in the creative path of A. Poleshchuk in the context of the history of architecture at the beginning of the 20th century, mainly, church retrospectivism. The features of his work, diverse in typology and stylistics (Russian style, neoclassicism, neo-Renaissance, neo-baroque), are analyzed. In conclusion, a stylistic classification of the retrospective directions of church architecture of the late 19th — early 20th centuries with examples of relevant monuments is proposed. The article is based both on little-known published materials and, mainly, on newly discovered archival documents from the depositories of St Petersburg, Tartu, Tallinn.
本文致力于介绍19 - 20世纪之交最大的俄罗斯-爱沙尼亚建筑师A. Poleshchuk的创作传记,以及20世纪初俄罗斯教堂建筑的回顾主义,这是他的主要创作方法。人们对这位伟大大师的作品和传记的研究仍然很少,科学出版物几乎没有专门研究他。同时,作为圣彼得堡艺术学院的学生,这位建筑师被授予建筑学者的头衔,教授的职位,在首都证明了自己是地质委员会和圣彼得堡东正教爱沙尼亚兄弟会的圣伊西多尔教堂等纪念性建筑的作者。他拥有20世纪波罗的海地区最具纪念意义的东正教教堂的项目-普尤奇蒂察修道院的圣母升天大教堂,他从学生时代开始在他的老师M. Preobrazhensky教授的指导下工作。这位建筑师是爱沙尼亚人,母亲也是爱沙尼亚人,他为爱沙尼亚建立一所专业建筑学校做出了宝贵的贡献。他是彼得格勒埃斯特兰工程学会和埃斯特兰技术学会的主席,然后作为塔林理工学院的建筑学教授、建筑委员会的首席建筑师和教育顾问积极参与塔林的教学。a . Poleshchuk以建筑理论家、拱顶理论专家、10卷本基础课程《建筑艺术讲座》(Lectures on the art of building)和两卷本桥梁建造指南的作者而闻名。本文以20世纪初的建筑史为背景,详细考察了A. Poleshchuk创作道路上的主要里程碑,主要是教堂回溯主义。分析了其作品在类型学和文体学上的特点(俄罗斯风格、新古典主义、新文艺复兴、新巴洛克)。最后,以相关纪念碑为例,对19世纪末至20世纪初教堂建筑的回顾方向进行了风格分类。这篇文章的基础是鲜为人知的出版材料,主要是在圣彼得堡、塔尔图、塔林的保管处新发现的档案文件。
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