Pub Date : 2022-01-01DOI: 10.21638/spbu15.2022.306
M. Abbaszadeh, Obeydollah Sorkh Abi, Maryam Mastalizadeh, Samad Parvin
Urartu is one of the powers of the beginning of the first millennium B. C., which has been located in Turkey, Armenia and north-west of Iran, competing strongly with New Assyrian Empire and encountering to local government of Mannea, and has dominated on some parts of Urmia Lake. The presence of Urartu can be seen in architectural remains in areas like Bastam and Hasanlu. But, the cultural effect of this great power and its affection on physical remains, to comprehend the process of forming and completion of the region’s combined art works, has not been taken into account so much. However, in the Urmia Museum, there is a significant number of artifacts attributed to Urartu have not yet been introduced or studied.In the present study, aims to fill this gap, 31 artifacts including: strap, bracelet, necklace, rod and safety pin and tweezers were selected and documentedfrom the treasury of Urmia Museum. The results of this study can be used for more precise studies in the future aimed to determine factors affected forming of the style features of Urartian art and the Urartian artistic and cultural impression on the region’s culture and art during 7th and 8th centuries B. C., which has been obviously appeared in art works of Mannea territory.
{"title":"A Comparative Study of Urartian Jewelries of Urmia Museum, Iran","authors":"M. Abbaszadeh, Obeydollah Sorkh Abi, Maryam Mastalizadeh, Samad Parvin","doi":"10.21638/spbu15.2022.306","DOIUrl":"https://doi.org/10.21638/spbu15.2022.306","url":null,"abstract":"Urartu is one of the powers of the beginning of the first millennium B. C., which has been located in Turkey, Armenia and north-west of Iran, competing strongly with New Assyrian Empire and encountering to local government of Mannea, and has dominated on some parts of Urmia Lake. The presence of Urartu can be seen in architectural remains in areas like Bastam and Hasanlu. But, the cultural effect of this great power and its affection on physical remains, to comprehend the process of forming and completion of the region’s combined art works, has not been taken into account so much. However, in the Urmia Museum, there is a significant number of artifacts attributed to Urartu have not yet been introduced or studied.In the present study, aims to fill this gap, 31 artifacts including: strap, bracelet, necklace, rod and safety pin and tweezers were selected and documentedfrom the treasury of Urmia Museum. The results of this study can be used for more precise studies in the future aimed to determine factors affected forming of the style features of Urartian art and the Urartian artistic and cultural impression on the region’s culture and art during 7th and 8th centuries B. C., which has been obviously appeared in art works of Mannea territory.","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":"74382805","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/spbu15.2022.307
L. Budrina
Demidoff ’s villa San Donato near Florence, in the middle of the 19th century, was one of the most interesting phenomena of European artistic life. The richest collection, acquired by the two generations of the family and opened for the choice public at the end of the 1850s, was attractive not only for the curious tourist by also for the specialists in the history of art. This collection gives his influence for the collecting of the second half of the 19th century The total liquidation of the 1860s–1880s destroyed this ensemble. However, thanks to the sales catalogues, some detailed descriptions of the interiors of San Donato and the archive’s documents, unique pictures, it becomes possible to restore not only the list of this collection but to try to understand the taste of these collectors. At the end of the 1850s at the rooms of Villa San Donato was amassed one of the most important collections from Russian malachite. Those pieces reflected two main styles applied by European and Russian artists. One of the rooms was decorated by the pieces created in the first third of the 19th century in empire taste. The second interior, remarkable by the concentration of the malachite pieces realized in the middle 19th century was known only by a description completed by the malachite pieces in the second rococo taste. The decoration of this room was destroyed by the sales. However, the study of the descriptions of 1858 and 1864, archive documents, sale catalogues and previous research permit to reconstruct of the main elements of one of the main interiors of the Florentine villa of the Demidoff family and to talk about the very special taste of his members.
{"title":"“Malachite Rooms” of Villa San Donato: The Reconstruction of the Ensembles and the Attribution of the Pieces","authors":"L. Budrina","doi":"10.21638/spbu15.2022.307","DOIUrl":"https://doi.org/10.21638/spbu15.2022.307","url":null,"abstract":"Demidoff ’s villa San Donato near Florence, in the middle of the 19th century, was one of the most interesting phenomena of European artistic life. The richest collection, acquired by the two generations of the family and opened for the choice public at the end of the 1850s, was attractive not only for the curious tourist by also for the specialists in the history of art. This collection gives his influence for the collecting of the second half of the 19th century The total liquidation of the 1860s–1880s destroyed this ensemble. However, thanks to the sales catalogues, some detailed descriptions of the interiors of San Donato and the archive’s documents, unique pictures, it becomes possible to restore not only the list of this collection but to try to understand the taste of these collectors. At the end of the 1850s at the rooms of Villa San Donato was amassed one of the most important collections from Russian malachite. Those pieces reflected two main styles applied by European and Russian artists. One of the rooms was decorated by the pieces created in the first third of the 19th century in empire taste. The second interior, remarkable by the concentration of the malachite pieces realized in the middle 19th century was known only by a description completed by the malachite pieces in the second rococo taste. The decoration of this room was destroyed by the sales. However, the study of the descriptions of 1858 and 1864, archive documents, sale catalogues and previous research permit to reconstruct of the main elements of one of the main interiors of the Florentine villa of the Demidoff family and to talk about the very special taste of his members.","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":"72820151","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/spbu15.2022.110
A. A. Logunova
The canon in the first act of “Fidelio” was generally regarded as one of the best moments in the opera from the very beginning of its hard scenic life. While 19th century critics admired the quartet, scholars in the 20th century showed true scientific interest in this ensemble. This attention made Beethoven’s quartet one of the most famous canons in music. The article represents an attempt to summarize modern musicology’s views on the first act quartet of Beethoven’s “Fidelio”. On this basis in the paper are considered the reasons for including such composition in “Fidelio”, its stylistic background, and in general the origins of Viennese late 18th century’s practice of vocal and opera canons as the context for analysis of Beethoven’s quartet. The author lists operas of the Viennese repertoire 1780–1800 with canons (among them, operas by Martíny Soler, Salieri, Mozart, Paёr, and Cherubini) as hypothetical models for Beethoven and also traces the continuation of this tradition in Italian and Russian 19th century opera. Connection of the musical form of canon with ideas of the Enlightenment and figurative and meaningful interpretation of its pastoral tone is considered on the basis of works by Heinrich Schwab, Dorothea Link, and Larisa Kirillina. It is remarkable that the pastoral of the quartet allows a Christian interpretation that makes the “Benedictus” of “Fidelio” genuine. “Mir ist so wunderbar” is considered as an example of Beethoven’s contemplative lyric on the basis of experience of its philosophical-aesthetic comprehension, presented in Russian musicology. In the quartet, Leonore appears in the opera for the first time, and so this article accentuates the central role of this canon for understanding the main figure with all richness of her literary and mythological genealogy.
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Pub Date : 2022-01-01DOI: 10.21638/spbu15.2022.107
A. V. Rykov
This paper considers issues of convergence of classical and modernist art theories on the example of the so-called Quarrel of the Ancients and the Moderns at the turn of the seventeenth and eighteenth centuries. The works of the main participants in this debate, Charles Perrault and Nicolas Boileau, are examined in the context of the theory of modernism and questions of the origin of modernist art. The aggravation of the contradictions between the two versions of the theory of classicism and, more broadly, the two concepts of modernity, led to the formation of new views on the nature of art in the era of late Louis XIV. The leader of the “Moderns,” Charles Perrault, became the founder of the rationalistic and scientistic theories of modernism, gravitating towards aestheticism, formalism, and semiotics of art. In this article, his theories are explored in connection with the modernist formalist discourse and theoretical work of Clement Greenberg. In addition, Charles Perrault’s theory of art is placed in the space of the theory of “aesthetic modernism” (aesthetic movement) and the theory of “art for art’s sake.” Particular attention is paid to the comparative characteristics of the texts of Charles Perrault, Oscar Wilde, and Julius Meier-Graefe. In turn, the works of the chief theoretician of the “ancients,” Nicolas Boileau, are studied in the context of ideas of the “conservative revolution.” From this perspective, the interpretation of the category of the sublime by Pseudo-Longinus, Boileau, and representatives of romantic culture is assessed. The author concludes that Nicola Boileau and Charles Perrault represent different equal branches of modernist discourse. At the same time, Charles Perrault managed not only to anticipate certain phenomena of the culture of modernism in his texts, but also to take important steps towards the contemporary scientific theory of art.
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Pub Date : 2022-01-01DOI: 10.21638/spbu15.2022.305
Irina O. Bembel
The stylistic method of revealing regularities, formed by the 19th century and dominating up until recently, proves to be ever less relevant to architectural and artistic processes of the Contemporary (Newest) times. To systemize the entire historical experience of architecture as a whole, more profound generalizations are required. An essential prerequisite for such generalizations appears to be the philosophical context of the paradigm shift: tradition — modernity — postmodernity. Without a clear understanding of all the differences between these paradigms, it is impossible to talk about the processes taking place in the architecture of the Contemporary times. The fundamental rejection of semantic binary oppositions (good/bad, beautiful/ugly, high/low, sacred/secular, etc.), typical for postmodernism, has entailed the issue of criteria for the value of art works, and consequently the criteria for art at large. The aim of this work is to demonstrate that the mimetic principle underlies the totality of the valuable qualities inherent in traditional architecture. And that, on the contrary, a gradual departure and subsequent factual rejection of this principle became one of the main reasons for both the emergence of the modern architecture phenomenon and its present crisis. The panoramic, holistic view of architectural development combined with the philosophical context of paradigmatic shift, allows not only to see the logic in the tortuous paths of the form making, but also gives the basis to build a system of universal criteria for architectural analysis.
{"title":"Mimesis as a Universal Principle of the Form Making","authors":"Irina O. Bembel","doi":"10.21638/spbu15.2022.305","DOIUrl":"https://doi.org/10.21638/spbu15.2022.305","url":null,"abstract":"The stylistic method of revealing regularities, formed by the 19th century and dominating up until recently, proves to be ever less relevant to architectural and artistic processes of the Contemporary (Newest) times. To systemize the entire historical experience of architecture as a whole, more profound generalizations are required. An essential prerequisite for such generalizations appears to be the philosophical context of the paradigm shift: tradition — modernity — postmodernity. Without a clear understanding of all the differences between these paradigms, it is impossible to talk about the processes taking place in the architecture of the Contemporary times. The fundamental rejection of semantic binary oppositions (good/bad, beautiful/ugly, high/low, sacred/secular, etc.), typical for postmodernism, has entailed the issue of criteria for the value of art works, and consequently the criteria for art at large. The aim of this work is to demonstrate that the mimetic principle underlies the totality of the valuable qualities inherent in traditional architecture. And that, on the contrary, a gradual departure and subsequent factual rejection of this principle became one of the main reasons for both the emergence of the modern architecture phenomenon and its present crisis. The panoramic, holistic view of architectural development combined with the philosophical context of paradigmatic shift, allows not only to see the logic in the tortuous paths of the form making, but also gives the basis to build a system of universal criteria for architectural analysis.","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":"81652848","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/spbu15.2022.409
A. Morozova, A. Daroudi
The article is devoted to the study of the most valuable source at the culture and architecture of Persia and Central Asia during the reign of Timur (late 14th — early 15th centuries) — the diary of the Spanish ambassador to the court of Timur. At this stage in the development of researching on the Persian and Central Asian architecture of the Timurid period, along with the problem of “analysis” of monuments and artistic style, the problem of “synthesis” of image of these architecture is urgent. The authors of this article propose a methodology for restoring the general impression of this architecture, which can serve as a basis for the process of “synthesis”, based on the study of the contemporary written source of the early 15th century — the diary of the Spanish grandee Ruy Gonzalez de Clavijo, who was part of the Spanish embassy, sent by the Castilian king Enrice III to the court of Timur at 1403–1406. Being an educated man and receptive to the new, Clavijo was able to isolate the characteristic features of the worldview of a man of the East, primarily an oriental despot, and the associated features of the art of the East. He and his colleagues in the embassy drew attention to the cunning, treachery, ingenuity, secrecy of the eastern rulers. The Spaniards were struck by the luxury, power and wealth of Timur’s state, which at that time was at the zenith of glory. The Spaniards, accustomed to the stability of architectural images in their native Spain, were amazed at the variability of the artistic images of the East. They drew attention to the love of the representatives of the peoples of the East for free draperies, giving themselves to the will of the wind, in the temporary architecture and in festive women’s clothes, that by their nature were well consistent with the decoration of architectural buildings. The Spanish envoys revealed that subservient to the first and most faithful fresh impression, tenaciously grasping the main difference between the architecture of Timur’s state and contemporary European architecture. This difference consisted in the desire to create an image that is changing, diverse, fluid, mobile, not instantly solved and full of mystery, but at the same time striking the imagination with its luxury and wealth and according to the understanding of their masters, customers and spectators. The conclusion about the specifics of Timurid architecture, made on the basis of a study of the diary of the Spanish ambassador, is supported by the authors of the article turning to the analysis of written and pictorial sources created by representatives of the studied culture itself.
这篇文章致力于研究帖木儿统治时期(14世纪末至15世纪初)波斯和中亚文化和建筑的最有价值的来源——西班牙驻帖木儿宫廷大使的日记。在帖木儿时期波斯和中亚建筑研究发展的现阶段，伴随着纪念碑和艺术风格的“分析”问题，这些建筑形象的“综合”问题迫在眉睫。本文的作者提出了一种恢复该建筑总体印象的方法，该方法可以作为“综合”过程的基础，基于对15世纪早期当代书面资料的研究-西班牙大公Ruy Gonzalez de Clavijo的日记，Ruy Gonzalez de Clavijo是西班牙大使馆的一部分，由卡斯蒂利亚国王恩利斯三世于1403-1406年派遣到帖木儿法院。作为一个受过教育、善于接受新事物的人，克拉维霍能够将一个东方人(主要是一个东方暴君)的世界观的特征与东方艺术的相关特征分离开来。他和他在大使馆的同事们让人们注意到东方统治者的狡猾、背叛、聪明和秘密。西班牙人被帖木儿国家的奢华、权力和财富所震撼，当时帖木儿正处于荣耀的顶峰。西班牙人习惯了本国建筑形象的稳定，对东方艺术形象的变化感到惊讶。他们提请注意东方人民的代表对免费窗帘的喜爱，这些窗帘在临时建筑和节日妇女的衣服上听任风的意志，它们的性质与建筑的装饰非常一致。西班牙使节透露，服从于第一个最忠实的新鲜印象，顽强地抓住帖木儿国家建筑与当代欧洲建筑之间的主要区别。这种差异在于希望创造一种不断变化、多样、流动、移动的形象，而不是立即解决和充满神秘感，但同时又以其奢华和财富来震撼想象力，并根据他们的主人、客户和观众的理解。关于帖木儿建筑特点的结论是在对西班牙大使日记的研究基础上得出的，这篇文章的作者转而分析了所研究文化本身的代表所创造的书面和图片资料，从而支持了这一结论。
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Pub Date : 2022-01-01DOI: 10.21638/spbu15.2022.408
N. Pivovarova
The article analyzes the monuments of church antiquity, which were stored in the Sacristy of the Holy Trinity and St Alexander Nevsky Monastery. For the purpose to ascertain the structure of the Sacristy the author of article used the oldest inventory of 1724 year and later inventories of the 18th and 19th century. Basing on archival materials and several publications the author establishes the facts of delivery of icons and church plates from the church eparchies to St Petersburg since the first quarter of the 18th century. The subject of the special research is the church plates of the 17th century from the three monasteries: of the Our Lady on the Valday lake, of the Nativity of the Mother of God in Vladimir and the Dormition of Our Lady of Sumy. The author focuses on the issues of the origin and the circumstances of arrival to the Sacristy of the free sacred objects, such as the church cup of Patriarch Nikon (1652–1660), the pall on the tomb of St Alexander Nevsky (circa 1697) and the prayer Gospel book (1681). Attention is given to the inscriptions on the items. Some of them are read and published for the first time.
{"title":"The Extant Heritage of Monastic Culture of the 17th Century. On the History of the Creation of the Sacristy in the Holy Trinity and St Alexander Nevsky Monastery","authors":"N. Pivovarova","doi":"10.21638/spbu15.2022.408","DOIUrl":"https://doi.org/10.21638/spbu15.2022.408","url":null,"abstract":"The article analyzes the monuments of church antiquity, which were stored in the Sacristy of the Holy Trinity and St Alexander Nevsky Monastery. For the purpose to ascertain the structure of the Sacristy the author of article used the oldest inventory of 1724 year and later inventories of the 18th and 19th century. Basing on archival materials and several publications the author establishes the facts of delivery of icons and church plates from the church eparchies to St Petersburg since the first quarter of the 18th century. The subject of the special research is the church plates of the 17th century from the three monasteries: of the Our Lady on the Valday lake, of the Nativity of the Mother of God in Vladimir and the Dormition of Our Lady of Sumy. The author focuses on the issues of the origin and the circumstances of arrival to the Sacristy of the free sacred objects, such as the church cup of Patriarch Nikon (1652–1660), the pall on the tomb of St Alexander Nevsky (circa 1697) and the prayer Gospel book (1681). Attention is given to the inscriptions on the items. Some of them are read and published for the first time.","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":"81953423","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/spbu15.2022.401
Yury S. Bocharov
The article focuses on the use Voluntary and Lesson as terms in the English musical practice in the 17th and 18th centuries. Based on the unique example of the interpretation of these terms as synonyms in edition of Carl Trinks’s organ pieces in 1810 (this fact is remained unnoticed in musicology), the author compares Voluntary and Lesson, noting, first of all, significant differences in the use of these specific names of musical compositions and also paying attention to the reflection of this practice in the general and musical lexicographic sources of that time. The author also criticizes a number of ideas that have already been established in Western musicology. For example, he does not agree with the interpretation of a small fragment from the “Mulliner Book” entitled Voluntarye as an independent keyboard piece by R. Farrant, and he doubts the real existence of the 12-movement J. Ch. Pepush’s Voluntary (published only in 1988) as a single musical work. But most importantly, he opposes spread of the Voluntary concept to all polyphonic organ works by English composers of the 17th and 18th centuries (including organ compositions from M. Locke’s “Melothesia”, many Th. Roseingrave’s fugues, etc.). The author notes the term Lesson was used more variously than modern musicology interprets, extending not only to solo (mainly keyboard) music, but also compositions for melodic instruments with basso continuo and even ensembles, as well as instructive exercises and simple compositions for beginners.
{"title":"Voluntary and Lesson in English Music Sources of the 17th and 18th Centuries","authors":"Yury S. Bocharov","doi":"10.21638/spbu15.2022.401","DOIUrl":"https://doi.org/10.21638/spbu15.2022.401","url":null,"abstract":"The article focuses on the use Voluntary and Lesson as terms in the English musical practice in the 17th and 18th centuries. Based on the unique example of the interpretation of these terms as synonyms in edition of Carl Trinks’s organ pieces in 1810 (this fact is remained unnoticed in musicology), the author compares Voluntary and Lesson, noting, first of all, significant differences in the use of these specific names of musical compositions and also paying attention to the reflection of this practice in the general and musical lexicographic sources of that time. The author also criticizes a number of ideas that have already been established in Western musicology. For example, he does not agree with the interpretation of a small fragment from the “Mulliner Book” entitled Voluntarye as an independent keyboard piece by R. Farrant, and he doubts the real existence of the 12-movement J. Ch. Pepush’s Voluntary (published only in 1988) as a single musical work. But most importantly, he opposes spread of the Voluntary concept to all polyphonic organ works by English composers of the 17th and 18th centuries (including organ compositions from M. Locke’s “Melothesia”, many Th. Roseingrave’s fugues, etc.). The author notes the term Lesson was used more variously than modern musicology interprets, extending not only to solo (mainly keyboard) music, but also compositions for melodic instruments with basso continuo and even ensembles, as well as instructive exercises and simple compositions for beginners.","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":"77456095","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/spbu15.2022.304
Olga E. Etinhof
The archaeological expedition led by Vl. V. Sedov discovered thousands of fragments of the original painting around 1130 in the St George Cathedral of the Yuriev Monastery in Novgorod during the 2013–2020. Recent finds of fragments of remarkable frescoes in the Yuriev Monastery, as well as in the Church of the Annunciation on the Hillfort from the beginning of the 12th century, significantly expand the traditional understanding of early art in Veliky Novgorod. These murals allow us to consider in a new way the problem of the work of painters’ teams, their migration and succession in the Novgorod land of the first half of the 12th century. Just as the architecture of St George’s Cathedral is the pinnacle of Novgorod architecture, so its frescoes demonstrate the unusually luxurious order of Prince Vsevolod and an outstanding artistic quality. A special team was to be called up for the decoration of the St George Cathedral. Its work continued the tradition of princely Novgorod churches of the first quarter of the 12th century. Probably, the team was called to Novgorod from Kiev, it could consist of artists from Constantinople or be mixed with Kiev painters. Five teams could work in the churches in the Novgorod land during the first half of the 12th century. Possibly they were called up from the workshops of the Monastery of the Caves in Kiev. The participation of Byzantine artists in those teams was not excluded. The style of the Novgorod murals is not homogeneous, and they were created by painters of several generations. There’s no information about the existence of a local Novgorod team of painters in the first half of the 12th century.
{"title":"New Finds of Frescoes in St George’s Cathedral of the Yuriev Monastery and Teams of Painters in the Novgorod Land of the First Half of the 12th Century","authors":"Olga E. Etinhof","doi":"10.21638/spbu15.2022.304","DOIUrl":"https://doi.org/10.21638/spbu15.2022.304","url":null,"abstract":"The archaeological expedition led by Vl. V. Sedov discovered thousands of fragments of the original painting around 1130 in the St George Cathedral of the Yuriev Monastery in Novgorod during the 2013–2020. Recent finds of fragments of remarkable frescoes in the Yuriev Monastery, as well as in the Church of the Annunciation on the Hillfort from the beginning of the 12th century, significantly expand the traditional understanding of early art in Veliky Novgorod. These murals allow us to consider in a new way the problem of the work of painters’ teams, their migration and succession in the Novgorod land of the first half of the 12th century. Just as the architecture of St George’s Cathedral is the pinnacle of Novgorod architecture, so its frescoes demonstrate the unusually luxurious order of Prince Vsevolod and an outstanding artistic quality. A special team was to be called up for the decoration of the St George Cathedral. Its work continued the tradition of princely Novgorod churches of the first quarter of the 12th century. Probably, the team was called to Novgorod from Kiev, it could consist of artists from Constantinople or be mixed with Kiev painters. Five teams could work in the churches in the Novgorod land during the first half of the 12th century. Possibly they were called up from the workshops of the Monastery of the Caves in Kiev. The participation of Byzantine artists in those teams was not excluded. The style of the Novgorod murals is not homogeneous, and they were created by painters of several generations. There’s no information about the existence of a local Novgorod team of painters in the first half of the 12th century.","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":"86833054","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/spbu15.2022.205
Nina Sołkiewicz-Kos, N. Kazhar, Mariusz Zadworny
This article presents theoretical problems related to the renovation of historic buildings in Europe of the second half of the 20th and the beginning of the 21st century. They concern the creation of scientifically justified concepts and methods of renovation aimed at preserving the authenticity and historical significance of monuments. Historical architectural developments, including buildings from different eras, determine the individual appearance of historic European cities. Architectural monuments allow one to become aware of the originality of culture and character traits of each nation. Therefore, in the context of globalization, the study, protection and use of historical objects is one of the factors shaping the national self-awareness. Practical activities related to the adaptation of historical cultural space to contemporary needs were discussed on the example of the revalorization of a 15th-century religious complex located in the historic area of the city of Częstochowa in Poland. This area, called the “Old Town”, is one of the main elements of the compositional canvas of the town’s urban layout (beginning of the 19th century). The revalorization of the St Sigismund church complex together with the monastery buildings, due to the importance for the urban layout of the city, as well as due to its historical, cultural and religious significance, constituted an essential challenge for designers, archaeologists, historians and local authorities.
{"title":"Project of Revalorization and Extension of the Historic Monastery Complex of St Sigismund’s Parish in Częstochowa (Poland) — A Case Study","authors":"Nina Sołkiewicz-Kos, N. Kazhar, Mariusz Zadworny","doi":"10.21638/spbu15.2022.205","DOIUrl":"https://doi.org/10.21638/spbu15.2022.205","url":null,"abstract":"This article presents theoretical problems related to the renovation of historic buildings in Europe of the second half of the 20th and the beginning of the 21st century. They concern the creation of scientifically justified concepts and methods of renovation aimed at preserving the authenticity and historical significance of monuments. Historical architectural developments, including buildings from different eras, determine the individual appearance of historic European cities. Architectural monuments allow one to become aware of the originality of culture and character traits of each nation. Therefore, in the context of globalization, the study, protection and use of historical objects is one of the factors shaping the national self-awareness. Practical activities related to the adaptation of historical cultural space to contemporary needs were discussed on the example of the revalorization of a 15th-century religious complex located in the historic area of the city of Częstochowa in Poland. This area, called the “Old Town”, is one of the main elements of the compositional canvas of the town’s urban layout (beginning of the 19th century). The revalorization of the St Sigismund church complex together with the monastery buildings, due to the importance for the urban layout of the city, as well as due to its historical, cultural and religious significance, constituted an essential challenge for designers, archaeologists, historians and local authorities.","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":"87903322","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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