Pub Date : 2022-01-01DOI: 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.
{"title":"Calligraphy of Images: Artworks by Yukei Teshima","authors":"Nadezhda S. Filonenko, M. Tretyakova","doi":"10.21638/spbu15.2022.108","DOIUrl":"https://doi.org/10.21638/spbu15.2022.108","url":null,"abstract":"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.","PeriodicalId":40378,"journal":{"name":"Vestnik Sankt-Peterburgskogo Universiteta-Iskusstvovedenie","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75449437","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 : 2022-01-01DOI: 10.21638/spbu15.2022.106
Elena Ya. Kalnitskaya
This article discusses the history of the project “30 Pictures from Peter the Great’s Life” on the Field of Mars based on the idea of reconstructing the historical exhibition of 1872, dedicated to bicentenary of Peter I. A systematic analysis of formatting collective memory of the Russian society related to his personality is carried out — from the death of the tsar-reformer to the reign of Emperor Alexander II. Having presented society with a mission of a new understanding of the personality and activities of Peter the Great, the Emperor involved into its fulfillment the leading figures of culture and art and personally took part in organization of the exhibition of historical pictures. The exhibition turned out to be the most important highlight of the holiday, against the backdrop of a real urban environment, and had an enlightening significance. At the same time, it remained neither a part of history of Russian painting, nor of the history of festive culture of Petersburg. The development of the idea of restoration of historical exposition timed to celebration of the 350th anniversary of Peter the Great’s birth is based on revealing fourteen historical canvases in the State Russian Museum depository. Sixteen lost paintings on the subjects specified by the program of this historical project were created by the graduates of St. Petersburg Academy of Arts. Replicating the design of historical expositional pavilions, the authors of the project completed them with modern multimedia effects, which brings the project to a new qualitative level. The project helps to comprehend the development of the festive culture of Petersburg and provides hopes that findings and discoveries of the future will make it possible to represent in art the history of Emperor Peter the Great’s reforms.
{"title":"The Exhibition “30 Paintings from the Life of Peter the Great”: Memories of the Future","authors":"Elena Ya. Kalnitskaya","doi":"10.21638/spbu15.2022.106","DOIUrl":"https://doi.org/10.21638/spbu15.2022.106","url":null,"abstract":"This article discusses the history of the project “30 Pictures from Peter the Great’s Life” on the Field of Mars based on the idea of reconstructing the historical exhibition of 1872, dedicated to bicentenary of Peter I. A systematic analysis of formatting collective memory of the Russian society related to his personality is carried out — from the death of the tsar-reformer to the reign of Emperor Alexander II. Having presented society with a mission of a new understanding of the personality and activities of Peter the Great, the Emperor involved into its fulfillment the leading figures of culture and art and personally took part in organization of the exhibition of historical pictures. The exhibition turned out to be the most important highlight of the holiday, against the backdrop of a real urban environment, and had an enlightening significance. At the same time, it remained neither a part of history of Russian painting, nor of the history of festive culture of Petersburg. The development of the idea of restoration of historical exposition timed to celebration of the 350th anniversary of Peter the Great’s birth is based on revealing fourteen historical canvases in the State Russian Museum depository. Sixteen lost paintings on the subjects specified by the program of this historical project were created by the graduates of St. Petersburg Academy of Arts. Replicating the design of historical expositional pavilions, the authors of the project completed them with modern multimedia effects, which brings the project to a new qualitative level. The project helps to comprehend the development of the festive culture of Petersburg and provides hopes that findings and discoveries of the future will make it possible to represent in art the history of Emperor Peter the Great’s reforms.","PeriodicalId":40378,"journal":{"name":"Vestnik Sankt-Peterburgskogo Universiteta-Iskusstvovedenie","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76828403","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 : 2022-01-01DOI: 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。
{"title":"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","authors":"I. Y. Perfilyeva","doi":"10.21638/spbu15.2022.308","DOIUrl":"https://doi.org/10.21638/spbu15.2022.308","url":null,"abstract":"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.","PeriodicalId":40378,"journal":{"name":"Vestnik Sankt-Peterburgskogo Universiteta-Iskusstvovedenie","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85931629","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 : 2022-01-01DOI: 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。
{"title":"David Lang’s Postminimalist Musical Theater","authors":"Anna E. Krom","doi":"10.21638/spbu15.2022.302","DOIUrl":"https://doi.org/10.21638/spbu15.2022.302","url":null,"abstract":"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.","PeriodicalId":40378,"journal":{"name":"Vestnik Sankt-Peterburgskogo Universiteta-Iskusstvovedenie","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79859168","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 : 2022-01-01DOI: 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.
{"title":"Study of Sociological Components on the Evolution of Pottery in the Seljuk Period (5th to 6th Century AH)","authors":"S. Pourmahmoud, R. Afhami, Mehdi Keshavarz afshar","doi":"10.21638/spbu15.2022.406","DOIUrl":"https://doi.org/10.21638/spbu15.2022.406","url":null,"abstract":"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.","PeriodicalId":40378,"journal":{"name":"Vestnik Sankt-Peterburgskogo Universiteta-Iskusstvovedenie","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77518001","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 : 2022-01-01DOI: 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.
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Pub Date : 2022-01-01DOI: 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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Pub Date : 2022-01-01DOI: 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.
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Pub Date : 2022-01-01DOI: 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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Pub Date : 2022-01-01DOI: 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.
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