The work is devoted to the study of the first Mongolian expedition of the famous explorer of North and Central Asia Grigory Nikolaevich Potanin. With the help of letters, a historical reconstruction of Potanin's work on the preparation and conduct of the expedition was carried out. During the expedition, Potanin and his companions visited the Mongolian cities of Kobdo, Khami and Ulyasutai. As a result, valuable museum collections were collected, which are still kept in many Russian museums. Big correspondence G.N. Potanin covers the course of the expedition in detail, he wrote letters to I.I. Shishkin, A.S. Gatsiskom, N.M. Yadrintsev, I.I. Wilson, K.V. Lavrsky and others. Some of the letters were published in the publication “Letters of G.N. Potanin”, and the other part is stored in the Department of Manuscripts and Book Monuments of the Scientific Library of TSU. The author of the article notes that in the letters Potanin described in detail the preparatory work, which included reading scientific literature, visiting the herbarium, worked in the geological office under the guidance of Professor A.A. Foreigners. Potanin was one of the first to write that the Russians borrowed little from the Eastern countries, from China and Japan, and believed that trade relations should be developed. During the expedition, G.N. Potanin continued to communicate with his friends and like-minded people and generously shared with them the details of the expedition's everyday life, reported on his studies, the collection of folklore, and the difficulties faced by the expedition members. The most interesting data in the letters is about building relationships with the local population, about how travelers found an approach and persuaded the Chinese and Mongols to give information to researchers. As a result of the expedition, 20 astronomical points were identified, about 500 skins of mammals and birds and 5000 insect specimens, 1000 plant species and 200 rock samples were collected. Letters to G.N. Potanin are the most valuable historical source, due to the uniqueness of the information reported in them, many of the data given in the letters are not repeated in any other documents. The author of the article says that the appeal to Potanin's letters allows not only to describe the process of preparing and conducting the first Mongolian expedition, but also characterizes G.N. Potanin as a researcher of a wide scientific profile, as an organizer and leader of work on the study of Central Asia.
{"title":"Preparation and conduct of the first mongolian expedition G.N. Potanina (based on letters from 1874-1878)","authors":"I. Golev","doi":"10.17223/22220836/47/19","DOIUrl":"https://doi.org/10.17223/22220836/47/19","url":null,"abstract":"The work is devoted to the study of the first Mongolian expedition of the famous explorer of North and Central Asia Grigory Nikolaevich Potanin. With the help of letters, a historical reconstruction of Potanin's work on the preparation and conduct of the expedition was carried out. During the expedition, Potanin and his companions visited the Mongolian cities of Kobdo, Khami and Ulyasutai. As a result, valuable museum collections were collected, which are still kept in many Russian museums. Big correspondence G.N. Potanin covers the course of the expedition in detail, he wrote letters to I.I. Shishkin, A.S. Gatsiskom, N.M. Yadrintsev, I.I. Wilson, K.V. Lavrsky and others. Some of the letters were published in the publication “Letters of G.N. Potanin”, and the other part is stored in the Department of Manuscripts and Book Monuments of the Scientific Library of TSU. The author of the article notes that in the letters Potanin described in detail the preparatory work, which included reading scientific literature, visiting the herbarium, worked in the geological office under the guidance of Professor A.A. Foreigners. Potanin was one of the first to write that the Russians borrowed little from the Eastern countries, from China and Japan, and believed that trade relations should be developed. During the expedition, G.N. Potanin continued to communicate with his friends and like-minded people and generously shared with them the details of the expedition's everyday life, reported on his studies, the collection of folklore, and the difficulties faced by the expedition members. The most interesting data in the letters is about building relationships with the local population, about how travelers found an approach and persuaded the Chinese and Mongols to give information to researchers. As a result of the expedition, 20 astronomical points were identified, about 500 skins of mammals and birds and 5000 insect specimens, 1000 plant species and 200 rock samples were collected. Letters to G.N. Potanin are the most valuable historical source, due to the uniqueness of the information reported in them, many of the data given in the letters are not repeated in any other documents. The author of the article says that the appeal to Potanin's letters allows not only to describe the process of preparing and conducting the first Mongolian expedition, but also characterizes G.N. Potanin as a researcher of a wide scientific profile, as an organizer and leader of work on the study of Central Asia.","PeriodicalId":41702,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta-Kulturologiya i Iskusstvovedenie-Tomsk State University Journal of Cultural Studies and Art History","volume":"43 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73115162","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The subject of this article is the imagery of gotokaku leaf horn, a rare musical instrument found on Japanese mandalas depicting Pure Land of Muromachi (1336-1573) and Edo (1603-1868) periods. It looks like a green tree leaf, folded in half and intertwined with a silk ribbon. Specialized studies on him in domestic and foreign literature have not been found. Artistic images of gotokaku are quite rare; associated with the “celestial music” motif, they usually placed in peripheral space of mandala. Bearing in mind that each composition element of Buddhist mandala is related to various aspects of practice, it seems very interesting to explore symbolic significance of this musical instrument within the context of some provisions of Amidism. The origin of the Pure Land school in China dates back to the Vth century. The imagery of paradise, the Pure Land of Buddha Amitabha, is crucial in Pure Land doctrine. It can be assumed that the symbolism of the musical instrument was associated with ideas about the melodious sound of “jewel-trees”, which, according to canonical texts, are grow in Amitabha's land. Ideas of Amidism were known in Japan in the Nara period (710-794), and during the Kamakura period (1185-1333) they became widespread. Traditional and the most complete form of the artistic representation of Amitabha's Pure Land in Japan has become Taima-mandala. The composition of Taima-mandala has a clear chain, and a large part of it is given to the sky motif. Over there, among the other instruments of the “celestial orchestra”, we can find an image of unusual musical instrument made from a leaf. Referring to Japanese compendiums on Buddhist iconography from the XVII-XVIII centuries, it was identified as gotokaku (梧桐角, Ch. wutong jiao) leaf horn. All the founded images were accompanied with a brief description in Chinese. The earliest Chinese text that mentions wutong jiao (梧桐角, Jap. gotokaku) is Wang Zhen's Nong Shu (Book of Agriculture, 1303); a schematic drawing of the instrument is given there, but it’s only remotely resembling gotokaku images on Japanese mandalas. Thus, it is not yet completely clear when and where the image of gotokaku appeared for the first time in the form which we find it on mandalas and in Japanese iconographic guidelines of the XVIIth-XVIIIth centuries. It is clear that the instrument had Chinese origin; Chinese literature sources refers to it as “ancient”. During the medieval times it was known as wutong jiao. There is a chance that different instruments with different methods of production and sound extraction were known under the same name in both countries.
{"title":"The gotokaku leaf horn in iconography of japanese mandalas of Muromachi and Edo periods","authors":"N. Novikova","doi":"10.17223/22220836/45/19","DOIUrl":"https://doi.org/10.17223/22220836/45/19","url":null,"abstract":"The subject of this article is the imagery of gotokaku leaf horn, a rare musical instrument found on Japanese mandalas depicting Pure Land of Muromachi (1336-1573) and Edo (1603-1868) periods. It looks like a green tree leaf, folded in half and intertwined with a silk ribbon. Specialized studies on him in domestic and foreign literature have not been found. Artistic images of gotokaku are quite rare; associated with the “celestial music” motif, they usually placed in peripheral space of mandala. Bearing in mind that each composition element of Buddhist mandala is related to various aspects of practice, it seems very interesting to explore symbolic significance of this musical instrument within the context of some provisions of Amidism. The origin of the Pure Land school in China dates back to the Vth century. The imagery of paradise, the Pure Land of Buddha Amitabha, is crucial in Pure Land doctrine. It can be assumed that the symbolism of the musical instrument was associated with ideas about the melodious sound of “jewel-trees”, which, according to canonical texts, are grow in Amitabha's land. Ideas of Amidism were known in Japan in the Nara period (710-794), and during the Kamakura period (1185-1333) they became widespread. Traditional and the most complete form of the artistic representation of Amitabha's Pure Land in Japan has become Taima-mandala. The composition of Taima-mandala has a clear chain, and a large part of it is given to the sky motif. Over there, among the other instruments of the “celestial orchestra”, we can find an image of unusual musical instrument made from a leaf. Referring to Japanese compendiums on Buddhist iconography from the XVII-XVIII centuries, it was identified as gotokaku (梧桐角, Ch. wutong jiao) leaf horn. All the founded images were accompanied with a brief description in Chinese. The earliest Chinese text that mentions wutong jiao (梧桐角, Jap. gotokaku) is Wang Zhen's Nong Shu (Book of Agriculture, 1303); a schematic drawing of the instrument is given there, but it’s only remotely resembling gotokaku images on Japanese mandalas. Thus, it is not yet completely clear when and where the image of gotokaku appeared for the first time in the form which we find it on mandalas and in Japanese iconographic guidelines of the XVIIth-XVIIIth centuries. It is clear that the instrument had Chinese origin; Chinese literature sources refers to it as “ancient”. During the medieval times it was known as wutong jiao. There is a chance that different instruments with different methods of production and sound extraction were known under the same name in both countries.","PeriodicalId":41702,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta-Kulturologiya i Iskusstvovedenie-Tomsk State University Journal of Cultural Studies and Art History","volume":"27 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73495805","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The main purpose of the article was to indicate the specific function in which the motifs from Dostoevsky's novel were used in the philosophy of Jozef Tischner. The basic questions that appear in Tischner's works concern the concept of man. In his writings, Tischner not only refers to the most important philosophers of the contemporary world. He also engages in polemics with them. The essence of his research is both the phenomenological aspect of research and frequent references to hermeneutic practices. Basic philosophical questions in Tischner concern both the very nature of man and contemporary threats to him. Tischner applies the phenomenological principle of the semantic autonomy of the literary text. Which essentially results in the lack of common points between philosophy and literature. However, following Ricoeur, he accepts the possibility of using an important literary text to create a philosophical metaphor. Tischner created an original concept of the human being as a dramatic being. In describing it, he used many metaphors from both the philosophy of dialogue and his own. The most interesting, however, concern man's wandering in the element of truth. At this point, recalling the figure of Raskolnikov, he created two important metaphors which allowed him to argue with the ideas of Nietzsche and Heidegger. The very application of a literary motif to create a philosophical metaphor allows Tischner to carry out very in-depth analyzes of the hypothetical state of affairs. As a result, using his own concept of “thinking from the depth of the metaphor”, he tries to follow the literary motive to indicate and discover philosophical contents that are anthropologically significant.
{"title":"Motives from the literary work of Fyodor Dostoevsky as non-philosophical inspiration in the philosophy of the drama of Jozef Tischner","authors":"Bogdan Trocha, N. Zhukova","doi":"10.17223/22220836/46/12","DOIUrl":"https://doi.org/10.17223/22220836/46/12","url":null,"abstract":"The main purpose of the article was to indicate the specific function in which the motifs from Dostoevsky's novel were used in the philosophy of Jozef Tischner. The basic questions that appear in Tischner's works concern the concept of man. In his writings, Tischner not only refers to the most important philosophers of the contemporary world. He also engages in polemics with them. The essence of his research is both the phenomenological aspect of research and frequent references to hermeneutic practices. Basic philosophical questions in Tischner concern both the very nature of man and contemporary threats to him. Tischner applies the phenomenological principle of the semantic autonomy of the literary text. Which essentially results in the lack of common points between philosophy and literature. However, following Ricoeur, he accepts the possibility of using an important literary text to create a philosophical metaphor. Tischner created an original concept of the human being as a dramatic being. In describing it, he used many metaphors from both the philosophy of dialogue and his own. The most interesting, however, concern man's wandering in the element of truth. At this point, recalling the figure of Raskolnikov, he created two important metaphors which allowed him to argue with the ideas of Nietzsche and Heidegger. The very application of a literary motif to create a philosophical metaphor allows Tischner to carry out very in-depth analyzes of the hypothetical state of affairs. As a result, using his own concept of “thinking from the depth of the metaphor”, he tries to follow the literary motive to indicate and discover philosophical contents that are anthropologically significant.","PeriodicalId":41702,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta-Kulturologiya i Iskusstvovedenie-Tomsk State University Journal of Cultural Studies and Art History","volume":"62 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78350940","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}
Musical and critical articles by the prominent Russian composer and music teacher Mikhail Gnesin, published by him in the periodicals of Ekaterinodar and Rostov-on-Don in 1913-1916, are among the least studied in his creative heritage. He began to work in the province after graduating from the St.-Petersburg Conservatory. It was a conscious step that continued the ideas about the public education of his teacher, Nikolay Rimsky-Korsakov. However, he did not immediately see the possibility of developing a musical culture and educational work by means of regional time-based publications. In the provincial press of the early twentieth century, musical enlightenment was still in its infancy. With a high degree of probability, it can be argued that Gnesin in Rostov from January to June 1916 was a freelance employee of the newspaper “Rostovskaya rech'” (“Rostov speech”). A study conducted by the authors made it possible to identify previously unknown materials, as well as to clarify the names and dates of publication of some articles presented earlier in the Gnesin's List of literary works. A significant number of publications are signed by the full name of their author. However, there are articles that have been signed by cryptonyms. Thus, today Gnesin's 41 journalistic material of various genres, published in the provincial press of the pre-revolutionary period, is known. This amount allows you to make a comprehensive analysis and classification. The influence on the formation of Gnesin, the publicist of musical-critical works, Vladimir Stasov, was established. Gnesin's journalistic style features include benevolence, an enlightening focus, simplicity of language, frequent citation of works by other musical figures of Russia, “fiery” statements, viewing the province's musical culture through a slice of the country's best music and artists. At the same time, Gnesin's musical and critical activity, reflecting his aesthetic views and tastes, went in parallel with the composer's work itself.
{"title":"“Meditating musician”: musical and critical articles by M.F. Gnesin in the provincial periodical of the 1910s","authors":"S. Anikienko, Greta Y. Ercengel","doi":"10.17223/22220836/45/10","DOIUrl":"https://doi.org/10.17223/22220836/45/10","url":null,"abstract":"Musical and critical articles by the prominent Russian composer and music teacher Mikhail Gnesin, published by him in the periodicals of Ekaterinodar and Rostov-on-Don in 1913-1916, are among the least studied in his creative heritage. He began to work in the province after graduating from the St.-Petersburg Conservatory. It was a conscious step that continued the ideas about the public education of his teacher, Nikolay Rimsky-Korsakov. However, he did not immediately see the possibility of developing a musical culture and educational work by means of regional time-based publications. In the provincial press of the early twentieth century, musical enlightenment was still in its infancy. With a high degree of probability, it can be argued that Gnesin in Rostov from January to June 1916 was a freelance employee of the newspaper “Rostovskaya rech'” (“Rostov speech”). A study conducted by the authors made it possible to identify previously unknown materials, as well as to clarify the names and dates of publication of some articles presented earlier in the Gnesin's List of literary works. A significant number of publications are signed by the full name of their author. However, there are articles that have been signed by cryptonyms. Thus, today Gnesin's 41 journalistic material of various genres, published in the provincial press of the pre-revolutionary period, is known. This amount allows you to make a comprehensive analysis and classification. The influence on the formation of Gnesin, the publicist of musical-critical works, Vladimir Stasov, was established. Gnesin's journalistic style features include benevolence, an enlightening focus, simplicity of language, frequent citation of works by other musical figures of Russia, “fiery” statements, viewing the province's musical culture through a slice of the country's best music and artists. At the same time, Gnesin's musical and critical activity, reflecting his aesthetic views and tastes, went in parallel with the composer's work itself.","PeriodicalId":41702,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta-Kulturologiya i Iskusstvovedenie-Tomsk State University Journal of Cultural Studies and Art History","volume":"329 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78426648","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}
Throughout history, man has wanted to create his own living space for various reasons. This aspect can be seen even in early humans who lived in caves such as Lascaux in France and Valtamira in Spain. It should be noted that the attempt to do so is visible among ancient human civilizations around the world and is not specific to specific regions or ethnic groups, because the decorations of geometric and abstract patterns are seen among the people of Europe. Safavid era in Iran is one of the busiest architectural periods. The buildings are located in the most attractive and glamorous buildings throughout the architecture of Iran. In the Safavid era, the ancient style of Iranian architecture was renewed and the design of buildings and space materials was opened for itself. Remains of the Safavid period, both in Behshahr and in other cities of Iran, contain a wide range of architectural decorations. The subject of the present discussion is the study of the architectural decorations of this period, which is due to the study of some examples (Cheshmeh Emarat and Baghshah in Behshahr). Safavids will help in Mazandaran region.
{"title":"Study of Safavid buildings Decorations (With sample survey of the Cheshme Emarat and Behshahr Baghshah)","authors":"Amir Kolaee Ebrahim, H. Karim, Rezalou Reza","doi":"10.17223/22220836/47/20","DOIUrl":"https://doi.org/10.17223/22220836/47/20","url":null,"abstract":"Throughout history, man has wanted to create his own living space for various reasons. This aspect can be seen even in early humans who lived in caves such as Lascaux in France and Valtamira in Spain. It should be noted that the attempt to do so is visible among ancient human civilizations around the world and is not specific to specific regions or ethnic groups, because the decorations of geometric and abstract patterns are seen among the people of Europe. Safavid era in Iran is one of the busiest architectural periods. The buildings are located in the most attractive and glamorous buildings throughout the architecture of Iran. In the Safavid era, the ancient style of Iranian architecture was renewed and the design of buildings and space materials was opened for itself. Remains of the Safavid period, both in Behshahr and in other cities of Iran, contain a wide range of architectural decorations. The subject of the present discussion is the study of the architectural decorations of this period, which is due to the study of some examples (Cheshmeh Emarat and Baghshah in Behshahr). Safavids will help in Mazandaran region.","PeriodicalId":41702,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta-Kulturologiya i Iskusstvovedenie-Tomsk State University Journal of Cultural Studies and Art History","volume":"33 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85666961","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The article “Basics of Business Ethics in Russia: Past and Present” examines the first manifestations of the norms of business ethics, using the example of a large class, the merchants. Some aspects of merchant life are touched upon, which show how and how the first business contacts are held, what the merchants adhere to and what principles the merchants adhere to in conducting business. Examples are given that indicate the moral component of business and examples that go beyond the framework of this component. The author of the article considers the coexistence of ethical principles and norms with the sphere of entrepreneurship. The business ethics of Russia in the historical context is most probably seen in the example of merchants. Merchant life consisted of many aspects, each of which, in one way or another, influenced the formation of the ethics of entrepreneurship in this environment. Russia of that time was characterized by deep religiosity, which influenced business relations, and the backlog from Western countries, which gave impetus to the comprehension of the new and the search for ways of international cooperation. The views of foreign and domestic businessmen often differ, largely due to different cultural traditions, mentality, and attitude to business. The author also points to an interesting example of business ethics in the Old Believers business environment. Ethical principles form the core of entrepreneurial activity. Their significant significance is evidenced by the fact that in 1912, the Russian business community adopted its first ethical code, entitled “The Seven Principles of Business Management in Russia”, which PN places in its book. Shikhirev. Modern business ethics, of course, differs from the previous one. New types of cooperation appeared at a distance - network technologies, a modern deal can no longer be imagined without various kinds of contracts and agreements, and the business itself consists of many business plans, tenders, meetings, meetings, etc. But, of course, echoes of history can be found today. The picture of modern Russian business ethics, today, is viewed from different angles, in particular, an interesting example is the comparison of views from foreigners and from our compatriots. In conclusion, the author makes the following conclusions: The development of Russian entrepreneurship has gone a long and difficult path. Many traditions and ways of doing business have been formed, patronage and charity are the brightest traditions. Religious principles defined many aspects of entrepreneurship and helped to find moral guidelines. Historical examples vividly reflected on the current state of Russian entrepreneurship, as many businessmen still do not conduct their business contrary to religious considerations, a high percentage of philanthropy is noteworthy. Modern entrepreneurship is closely related to the concept of responsibility, social and corporate. So that this responsibility can be clearly underst
{"title":"The basics of business ethics in Russia: history and modernity","authors":"Margarita S. Fateeva","doi":"10.17223/22220836/47/12","DOIUrl":"https://doi.org/10.17223/22220836/47/12","url":null,"abstract":"The article “Basics of Business Ethics in Russia: Past and Present” examines the first manifestations of the norms of business ethics, using the example of a large class, the merchants. Some aspects of merchant life are touched upon, which show how and how the first business contacts are held, what the merchants adhere to and what principles the merchants adhere to in conducting business. Examples are given that indicate the moral component of business and examples that go beyond the framework of this component. The author of the article considers the coexistence of ethical principles and norms with the sphere of entrepreneurship. The business ethics of Russia in the historical context is most probably seen in the example of merchants. Merchant life consisted of many aspects, each of which, in one way or another, influenced the formation of the ethics of entrepreneurship in this environment. Russia of that time was characterized by deep religiosity, which influenced business relations, and the backlog from Western countries, which gave impetus to the comprehension of the new and the search for ways of international cooperation. The views of foreign and domestic businessmen often differ, largely due to different cultural traditions, mentality, and attitude to business. The author also points to an interesting example of business ethics in the Old Believers business environment. Ethical principles form the core of entrepreneurial activity. Their significant significance is evidenced by the fact that in 1912, the Russian business community adopted its first ethical code, entitled “The Seven Principles of Business Management in Russia”, which PN places in its book. Shikhirev. Modern business ethics, of course, differs from the previous one. New types of cooperation appeared at a distance - network technologies, a modern deal can no longer be imagined without various kinds of contracts and agreements, and the business itself consists of many business plans, tenders, meetings, meetings, etc. But, of course, echoes of history can be found today. The picture of modern Russian business ethics, today, is viewed from different angles, in particular, an interesting example is the comparison of views from foreigners and from our compatriots. In conclusion, the author makes the following conclusions: The development of Russian entrepreneurship has gone a long and difficult path. Many traditions and ways of doing business have been formed, patronage and charity are the brightest traditions. Religious principles defined many aspects of entrepreneurship and helped to find moral guidelines. Historical examples vividly reflected on the current state of Russian entrepreneurship, as many businessmen still do not conduct their business contrary to religious considerations, a high percentage of philanthropy is noteworthy. Modern entrepreneurship is closely related to the concept of responsibility, social and corporate. So that this responsibility can be clearly underst","PeriodicalId":41702,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta-Kulturologiya i Iskusstvovedenie-Tomsk State University Journal of Cultural Studies and Art History","volume":"53 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87860648","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The article is devoted to an important period in the art history of Sverdlovsk -Yekaterinburg and of the country in general, when the dogmas of socialist realism were ruining and new artistic thinking was forming, noted by bold innovation and at the same time by interest in diverse traditions. The phenomena that represented the local art of the 19601990s are considered in the context of all-Russian tendencies; during research, the peculiarities of the searches for Ural artists are traced. The author's attention is focused on creativity of members of the Artists' Union, mostly to its “left” wing, and the representatives of an alternative creative environment - informal artists. The formation in the Soviet period of an alternative artistic community not only in the culture of the center - in Moscow and Leningrad, but also in a provincial situation is an independent significant fact. In the text links to the researches connected with studying of this phenomenon, including those initiated by the author of this article are given. The identification of the close tendencies in the art of the Masters of the Artists' Union and in-formal artists, in this case - of appealing to the stylistic of primitive, makes us return to the problem of “convergence” and “divergence” in their searches, which already had been touched upon by scientists. Such “convergences” in practice of official and unofficial art, according to the author, do not belong to the defining features, do not allow to level the existing differences and the borders themselves between the indicated areas. The confirmation of the stated position, which re-quired consideration of the heritage of the local underground and official art, and became the purpose of the research. The lack of special researches close to our topic determines the scientific novelty of this work. The development of primitivistic tendencies in local art is considered on a wide material -from the appearance the stylistic of primitive in book illustrations related to the Ural theme, including the tales of Pavel Bazhov, to easel works made in different decades. A circle of topics that are characteristic of official and unofficial art is outlined, special features that are manifested in the works of artists - primitivists are highlighted. On the example of close tendencies the author highlights common features and differences in the creativity of the Masters of the Artists' Union and informal artists. The comparison of creativity of the members of the Artists' Union and informal artists, under-taken in a research, allowed to reveal essential differences in their searches, - in the themes of works, artistic solutions. It is noted that the ideas of the Soviet mentality appear in a smaller measure in the art of informal artists, the theme of “daily occurrence” is more consistently embodied, interest in the “unofficial” Sverdlovsk is manifested in urban motifs, etc. The originality of the artistic solutions inherent to the works of in
{"title":"Primitivist tendencies in the art of Sverdlovsk - Yekaterinburg in the 1960s-1990s: the creativ-ity of the members of the Artists' Union and informal artists","authors":"Tatiana P. Zhumati","doi":"10.17223/22220836/47/14","DOIUrl":"https://doi.org/10.17223/22220836/47/14","url":null,"abstract":"The article is devoted to an important period in the art history of Sverdlovsk -Yekaterinburg and of the country in general, when the dogmas of socialist realism were ruining and new artistic thinking was forming, noted by bold innovation and at the same time by interest in diverse traditions. The phenomena that represented the local art of the 19601990s are considered in the context of all-Russian tendencies; during research, the peculiarities of the searches for Ural artists are traced. The author's attention is focused on creativity of members of the Artists' Union, mostly to its “left” wing, and the representatives of an alternative creative environment - informal artists. The formation in the Soviet period of an alternative artistic community not only in the culture of the center - in Moscow and Leningrad, but also in a provincial situation is an independent significant fact. In the text links to the researches connected with studying of this phenomenon, including those initiated by the author of this article are given. The identification of the close tendencies in the art of the Masters of the Artists' Union and in-formal artists, in this case - of appealing to the stylistic of primitive, makes us return to the problem of “convergence” and “divergence” in their searches, which already had been touched upon by scientists. Such “convergences” in practice of official and unofficial art, according to the author, do not belong to the defining features, do not allow to level the existing differences and the borders themselves between the indicated areas. The confirmation of the stated position, which re-quired consideration of the heritage of the local underground and official art, and became the purpose of the research. The lack of special researches close to our topic determines the scientific novelty of this work. The development of primitivistic tendencies in local art is considered on a wide material -from the appearance the stylistic of primitive in book illustrations related to the Ural theme, including the tales of Pavel Bazhov, to easel works made in different decades. A circle of topics that are characteristic of official and unofficial art is outlined, special features that are manifested in the works of artists - primitivists are highlighted. On the example of close tendencies the author highlights common features and differences in the creativity of the Masters of the Artists' Union and informal artists. The comparison of creativity of the members of the Artists' Union and informal artists, under-taken in a research, allowed to reveal essential differences in their searches, - in the themes of works, artistic solutions. It is noted that the ideas of the Soviet mentality appear in a smaller measure in the art of informal artists, the theme of “daily occurrence” is more consistently embodied, interest in the “unofficial” Sverdlovsk is manifested in urban motifs, etc. The originality of the artistic solutions inherent to the works of in","PeriodicalId":41702,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta-Kulturologiya i Iskusstvovedenie-Tomsk State University Journal of Cultural Studies and Art History","volume":"25 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81716518","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The relevance of the study is associated with the active spread of photography in modern culture. Photography becomes a tool for social construction of reality and a form of communication. Any user of the social network has a set of tools that allow you to create author profiles with photos, each has the opportunity to share impressions with others. There is a blurring of the boundaries between traditional photography, the hallmarks of which have developed throughout the century, and that which is now forming and becoming part of the everyday culture available to everyone. The purpose of this study is to analyze the forms of modern photography on the example of the social network Instagram and propose the principles of their systematization. The study was carried out in line with the constructivist methodology using the principles of comparative and aesthetic analysis, as well as the theory of mediality. The study highlighted three main forms of modern digital photography. 1) Art photography. It is characterized by the paramount artistic image, the position of the author can be considered as creative, creating art. 2) Commercial photography. This form is common in the field of blogging. Here it is important to trace the connection with art photography, since many rules and principles of shooting are adopted from it. The main difference is the desire for profit and the broadcast of copyright interests. 3) Everyday photography broadcasting people's daily lives. The authors do not pursue a specific goal when creating posts on social networks. This form contributes to the creation of a database of modern culture based on photographs of modern life. Photography contributes to the formation of a worldview in accordance with the interests and needs of people. Photography is part of the media culture, it broadcasts and transmits information thanks to modern methods of communication.
{"title":"Photography as part of the media culture","authors":"Ksenia V. Krasikova","doi":"10.17223/22220836/46/7","DOIUrl":"https://doi.org/10.17223/22220836/46/7","url":null,"abstract":"The relevance of the study is associated with the active spread of photography in modern culture. Photography becomes a tool for social construction of reality and a form of communication. Any user of the social network has a set of tools that allow you to create author profiles with photos, each has the opportunity to share impressions with others. There is a blurring of the boundaries between traditional photography, the hallmarks of which have developed throughout the century, and that which is now forming and becoming part of the everyday culture available to everyone. The purpose of this study is to analyze the forms of modern photography on the example of the social network Instagram and propose the principles of their systematization. The study was carried out in line with the constructivist methodology using the principles of comparative and aesthetic analysis, as well as the theory of mediality. The study highlighted three main forms of modern digital photography. 1) Art photography. It is characterized by the paramount artistic image, the position of the author can be considered as creative, creating art. 2) Commercial photography. This form is common in the field of blogging. Here it is important to trace the connection with art photography, since many rules and principles of shooting are adopted from it. The main difference is the desire for profit and the broadcast of copyright interests. 3) Everyday photography broadcasting people's daily lives. The authors do not pursue a specific goal when creating posts on social networks. This form contributes to the creation of a database of modern culture based on photographs of modern life. Photography contributes to the formation of a worldview in accordance with the interests and needs of people. Photography is part of the media culture, it broadcasts and transmits information thanks to modern methods of communication.","PeriodicalId":41702,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta-Kulturologiya i Iskusstvovedenie-Tomsk State University Journal of Cultural Studies and Art History","volume":"45 2","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72424457","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}
XX century introduced significant adjustments in the understanding of art. Art lost its special “aura” (V. Benjamin) with the development of visual practices, the growing role of science and the recipient in the design of artistic reality, which led to a change in the notion of the criteria of art up to the denial of its existence. The scientific novelty is determined by the change in the status of art in modern culture. The changes that took place in the art of the 19th century expanded the range of artistic value by recognizing new values and involving the figure of the recipient in the process of creating art. The acceleration of the development of culture in the 20th century led to a further change in the perception of art, which began to rely more on a rethinking of a tradition that had been enriched by the discovery of previously little-known cultures. In this regard, the criteria of art, representing the artwork as a cultural text aimed at understanding the experience of previous cultural eras, are changed. Purpose of the study describe the changes in the role of art in human life, which were reflected primarily in the rethinking of art criteria. In the twentieth century, there is a large number of contradictory phenomena called to be called culture and going beyond the framework of art, which requires their mastering. Visual mass culture, which does not have the signs of a new one, has trained the viewer to pay attention to the already realized reality, presented in a new shell from a different angle. Herewith the recipient ascribes traditional values and meanings to the mastered reality. Thus, the replicability and reproducibility of works of art change the person's idea of the subject of art. Methods: The analysis of art, through the lens of its criteria, took a cultural approach, which allowed to consider art in the context of the cultural text. To represent the specificities of contemporary art, descriptive and comparative methods were used to fit contemporary art into the cultural context and to identify its main criteria. The concepts of “art” and “culture” become largely synonymous in the consciousness of modern man. Peculiarities of the perception of a work of art are associated with the fusion of the concepts “work of art” and “cultural text”, when culture began to substitute for itself art, so people in the assessments of art are guided by the same concepts that apply to culture. Recognition of the conscious, as the main criterion of the art of mass consciousness, translates the work of art into the rank of a cultural text, for which other values and aesthetic criteria already act. We can draw a conclusion on the basis of the perception of the cultural text, that the toolkit for evaluating the cultural text passes to art, and therefore the main criteria are not the aesthetic, but the anthropological, associated with the creative activity of the recipient and his participation in the creation of a work of art.
{"title":"About criteria of modern art: cultural approach","authors":"N. Shmeleva","doi":"10.17223/22220836/45/16","DOIUrl":"https://doi.org/10.17223/22220836/45/16","url":null,"abstract":"XX century introduced significant adjustments in the understanding of art. Art lost its special “aura” (V. Benjamin) with the development of visual practices, the growing role of science and the recipient in the design of artistic reality, which led to a change in the notion of the criteria of art up to the denial of its existence. The scientific novelty is determined by the change in the status of art in modern culture. The changes that took place in the art of the 19th century expanded the range of artistic value by recognizing new values and involving the figure of the recipient in the process of creating art. The acceleration of the development of culture in the 20th century led to a further change in the perception of art, which began to rely more on a rethinking of a tradition that had been enriched by the discovery of previously little-known cultures. In this regard, the criteria of art, representing the artwork as a cultural text aimed at understanding the experience of previous cultural eras, are changed. Purpose of the study describe the changes in the role of art in human life, which were reflected primarily in the rethinking of art criteria. In the twentieth century, there is a large number of contradictory phenomena called to be called culture and going beyond the framework of art, which requires their mastering. Visual mass culture, which does not have the signs of a new one, has trained the viewer to pay attention to the already realized reality, presented in a new shell from a different angle. Herewith the recipient ascribes traditional values and meanings to the mastered reality. Thus, the replicability and reproducibility of works of art change the person's idea of the subject of art. Methods: The analysis of art, through the lens of its criteria, took a cultural approach, which allowed to consider art in the context of the cultural text. To represent the specificities of contemporary art, descriptive and comparative methods were used to fit contemporary art into the cultural context and to identify its main criteria. The concepts of “art” and “culture” become largely synonymous in the consciousness of modern man. Peculiarities of the perception of a work of art are associated with the fusion of the concepts “work of art” and “cultural text”, when culture began to substitute for itself art, so people in the assessments of art are guided by the same concepts that apply to culture. Recognition of the conscious, as the main criterion of the art of mass consciousness, translates the work of art into the rank of a cultural text, for which other values and aesthetic criteria already act. We can draw a conclusion on the basis of the perception of the cultural text, that the toolkit for evaluating the cultural text passes to art, and therefore the main criteria are not the aesthetic, but the anthropological, associated with the creative activity of the recipient and his participation in the creation of a work of art.","PeriodicalId":41702,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta-Kulturologiya i Iskusstvovedenie-Tomsk State University Journal of Cultural Studies and Art History","volume":"6 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75331511","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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