Pub Date : 2024-06-01DOI: 10.7256/2454-0625.2024.6.70654
Irina Aleksandrovna Chuprova
The article is devoted to the analysis of the concept of "musical meaning", which conceptualizes the way a musical work is given in terms of its formal and meaningful features. The relevance of studying this issue is determined by the importance that the original version of the composition created by the composer has for further development of the musical fabric — both on the part of the performer and the audience of listeners. The purpose of the study is to determine approaches to the specifics of the existence of music, which is not directly reduced to sound and at the same time is realized in sound. Accordingly, the objectives of the study included 1) to identify and compare the most significant definitions of musical meaning, to establish the place of intonation in its physical, aesthetic and spiritual-intellectual disclosure; 2) to describe the means of expression that contribute to the achievement of technical and directly artistic goals; 3) to substantiate the nature of the connection of intonation with general musical and extra-musical phenomena. The research methodology is based on the philosophical theory of music as a temporary art. Categorical analysis was used in combination with elements of the biographical method and the method of included observation. The methods of private disciplines such as musicology, musical psychology, and communication theory are also used. The study shows the paradoxical nature of musical meaning, which is both set and at the same time elusive, requires strict restrictions — and at the same time organizes musical material through creatively free activity. The novelty of the work consists in clarifying the range of philosophical approaches to the "elusive" concept of musical meaning, in an attempt to find invariants of various interpretations of this concept based on a comprehensive analysis of the existence of musical meaning combining physical, emotional and spiritual-intellectual processes. The results obtained allow us to substantiate the specifics of performing skills, which includes not only the depth of understanding of the author's idea, but also the ability to find acceptable limits of variability of interpretations based on "semantic constants" captured by the creator of the work and recorded in his text in the form of notes. The communicative conditions of place and time also play a role, concentrating the national peculiarities of reading the musical meaning.
{"title":"About the ways of giving musical meaning","authors":"Irina Aleksandrovna Chuprova","doi":"10.7256/2454-0625.2024.6.70654","DOIUrl":"https://doi.org/10.7256/2454-0625.2024.6.70654","url":null,"abstract":"\u0000 The article is devoted to the analysis of the concept of \"musical meaning\", which conceptualizes the way a musical work is given in terms of its formal and meaningful features. The relevance of studying this issue is determined by the importance that the original version of the composition created by the composer has for further development of the musical fabric — both on the part of the performer and the audience of listeners. The purpose of the study is to determine approaches to the specifics of the existence of music, which is not directly reduced to sound and at the same time is realized in sound. Accordingly, the objectives of the study included 1) to identify and compare the most significant definitions of musical meaning, to establish the place of intonation in its physical, aesthetic and spiritual-intellectual disclosure; 2) to describe the means of expression that contribute to the achievement of technical and directly artistic goals; 3) to substantiate the nature of the connection of intonation with general musical and extra-musical phenomena. The research methodology is based on the philosophical theory of music as a temporary art. Categorical analysis was used in combination with elements of the biographical method and the method of included observation. The methods of private disciplines such as musicology, musical psychology, and communication theory are also used. The study shows the paradoxical nature of musical meaning, which is both set and at the same time elusive, requires strict restrictions — and at the same time organizes musical material through creatively free activity. The novelty of the work consists in clarifying the range of philosophical approaches to the \"elusive\" concept of musical meaning, in an attempt to find invariants of various interpretations of this concept based on a comprehensive analysis of the existence of musical meaning combining physical, emotional and spiritual-intellectual processes. The results obtained allow us to substantiate the specifics of performing skills, which includes not only the depth of understanding of the author's idea, but also the ability to find acceptable limits of variability of interpretations based on \"semantic constants\" captured by the creator of the work and recorded in his text in the form of notes. The communicative conditions of place and time also play a role, concentrating the national peculiarities of reading the musical meaning.\u0000","PeriodicalId":508990,"journal":{"name":"Культура и искусство","volume":"7 6","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141411658","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 : 2024-06-01DOI: 10.7256/2454-0625.2024.6.70839
E. Khripkova
The main subject of this research is the tradition of visual representation of the luminosity of the divine nature in Western European Christian art of the IV-VIII centuries. The objects of study are fragments of monumental temple decorations containing images, both literal and symbolic, of this divine phenomenon, as well as written sources related to the interpretation of these images. The focus of the research is on the Western European artistic tradition of depicting the halo of Christ and its change during the period under review. The purpose of this work, which is the first part of the study, the chronological framework of which covers the period from the IV to the XIII centuries, was to compile a holistic view of the development of the iconographic tradition of representing the theme "I am the light of the world", the luminosity of the divine nature of Christ in the context of the study of the visual language of Western European medieval religious art of the IV-VIII centuries. The visual sources of this work are Christian churches that have preserved the monumental decoration of the IV - VIII centuries, which are located on the territory of Rome, Ravenna, Milan, Naples and surrounding areas. The methodology on which this research is based is represented by typological, iconographic and formal stylistic methods of analysis. The novelty of the present study is a detailed analysis and systematization of various visual representations of the luminosity of the divine nature of Christ, first of all, variants of the image of the halo and their transformation over time. Based on the studied sources, the author has compiled a certain classification picture, which allows forming a holistic view of the formation and development of the artistic tradition of representing this topic.
{"title":"The image of the luminosity of the divine nature of Christ in the Western European temple decoration of the IV-VIII centuries.","authors":"E. Khripkova","doi":"10.7256/2454-0625.2024.6.70839","DOIUrl":"https://doi.org/10.7256/2454-0625.2024.6.70839","url":null,"abstract":"\u0000 The main subject of this research is the tradition of visual representation of the luminosity of the divine nature in Western European Christian art of the IV-VIII centuries. The objects of study are fragments of monumental temple decorations containing images, both literal and symbolic, of this divine phenomenon, as well as written sources related to the interpretation of these images. The focus of the research is on the Western European artistic tradition of depicting the halo of Christ and its change during the period under review. The purpose of this work, which is the first part of the study, the chronological framework of which covers the period from the IV to the XIII centuries, was to compile a holistic view of the development of the iconographic tradition of representing the theme \"I am the light of the world\", the luminosity of the divine nature of Christ in the context of the study of the visual language of Western European medieval religious art of the IV-VIII centuries. The visual sources of this work are Christian churches that have preserved the monumental decoration of the IV - VIII centuries, which are located on the territory of Rome, Ravenna, Milan, Naples and surrounding areas. The methodology on which this research is based is represented by typological, iconographic and formal stylistic methods of analysis. The novelty of the present study is a detailed analysis and systematization of various visual representations of the luminosity of the divine nature of Christ, first of all, variants of the image of the halo and their transformation over time. Based on the studied sources, the author has compiled a certain classification picture, which allows forming a holistic view of the formation and development of the artistic tradition of representing this topic.\u0000","PeriodicalId":508990,"journal":{"name":"Культура и искусство","volume":"40 5","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141414999","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 : 2024-06-01DOI: 10.7256/2454-0625.2024.6.70875
Veronika A. Sazonova
The subject of the study is the value-semantic roles and instrumental functions that were assigned to the intangible cultural heritage in Russia's conceptual and strategic documents affecting its preservation and use. The purpose of the work is to determine the current value-semantic and functional position of the intangible heritage in the structure of public administration in Russia, as well as to assess possible prospects for further development of this institution. The implementation of the Russian state approach to the preservation, actualization, popularization and use of intangible cultural heritage is interdisciplinary and interdepartmental. Therefore, in order to assess it more systematically and identify promising areas of development, it is necessary to expand the range of practical research to analyze the entire range of provisions of Russian state policy affecting these issues. The cultural approach seems to be the most heuristic way to achieve this goal. The research uses the method of content analysis, comparative and cultural-historical methods. The author identifies the importance and scope of the intangible cultural heritage at each stage of its institutionalization in Russia, proposes a periodization of the historical dynamics of this process, and substantiates the need to form a Russian national approach to the preservation and use of intangible heritage in comparison with the UNESCO discourse. The author concludes that the progressive institutionalization of the intangible heritage of Russian culture in domestic state policy has allowed us to take into account the creative aspects of scientific, professional and socio-political discourse, as well as harmoniously integrate this institution into a multi-level model of socio-cultural policy. Special attention is paid to the promising tasks of the Russian state policy in the field of intangible heritage in the context of the development of the existing system of its protection.
{"title":"The role of state policy in the safeguarding and reproduction of the intangible cultural heritage of Russia","authors":"Veronika A. Sazonova","doi":"10.7256/2454-0625.2024.6.70875","DOIUrl":"https://doi.org/10.7256/2454-0625.2024.6.70875","url":null,"abstract":"\u0000 The subject of the study is the value-semantic roles and instrumental functions that were assigned to the intangible cultural heritage in Russia's conceptual and strategic documents affecting its preservation and use. The purpose of the work is to determine the current value-semantic and functional position of the intangible heritage in the structure of public administration in Russia, as well as to assess possible prospects for further development of this institution. The implementation of the Russian state approach to the preservation, actualization, popularization and use of intangible cultural heritage is interdisciplinary and interdepartmental. Therefore, in order to assess it more systematically and identify promising areas of development, it is necessary to expand the range of practical research to analyze the entire range of provisions of Russian state policy affecting these issues. The cultural approach seems to be the most heuristic way to achieve this goal. The research uses the method of content analysis, comparative and cultural-historical methods. The author identifies the importance and scope of the intangible cultural heritage at each stage of its institutionalization in Russia, proposes a periodization of the historical dynamics of this process, and substantiates the need to form a Russian national approach to the preservation and use of intangible heritage in comparison with the UNESCO discourse. The author concludes that the progressive institutionalization of the intangible heritage of Russian culture in domestic state policy has allowed us to take into account the creative aspects of scientific, professional and socio-political discourse, as well as harmoniously integrate this institution into a multi-level model of socio-cultural policy. Special attention is paid to the promising tasks of the Russian state policy in the field of intangible heritage in the context of the development of the existing system of its protection.\u0000","PeriodicalId":508990,"journal":{"name":"Культура и искусство","volume":"2009 25","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141400765","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 : 2024-06-01DOI: 10.7256/2454-0625.2024.6.70751
Anyuan Pu
After the October Revolution of 1917, the Russian avant-garde established close relations with the German left wing. Vkhutemas, as the center of the Russian avant-garde, also had an important influence on the development of the Bauhaus. This study examines the specific path and results of the influence of Vkhutemas on the Bauhaus in terms of concept, structural transformation and production strategy in order to clarify the relationship between them. In this work, Vkhutemas is taken as the center, based on the analysis of conceptual principles, structural transformations and production strategies, specific ways and manifestations of the influence of the Russian avant-garde on the Bauhaus in various periods of the 1920s are explored. This comprehensive and multidimensional Russian influence not only develops the modern system of design education and finally consolidates the historical status of the Bauhaus, but also lays the foundation for its final fate. Firstly, on an ideological level, the goals of Russian production are directly related to the construction of socialism, to the creation of a system of proletarian culture, which Avartov calls proletarian, which largely coincides with the left-wing ideals of Gropius. Secondly, at the level of artistic thought, productivism and constructivism, as new ideas of the early 20th century, represented the contribution of the Russian avant-garde to modernist design. Finally, at the level of educational practice, thanks to the introduction of Russian constructivism by Moholy Nagy, the Bauhaus created a prototype of the three main components of modern design education, taking lessons from teaching composition by Vkhutemas, and opened the transition from expressionism to function. This was a new stage in the transformation of socialism, and thus formed the classic image of the Bauhaus for the outside world.
{"title":"Viewing the influence of Vkhutemas on the Bauhaus from the perspective of production art: Main concepts and directions","authors":"Anyuan Pu","doi":"10.7256/2454-0625.2024.6.70751","DOIUrl":"https://doi.org/10.7256/2454-0625.2024.6.70751","url":null,"abstract":"\u0000 After the October Revolution of 1917, the Russian avant-garde established close relations with the German left wing. Vkhutemas, as the center of the Russian avant-garde, also had an important influence on the development of the Bauhaus. This study examines the specific path and results of the influence of Vkhutemas on the Bauhaus in terms of concept, structural transformation and production strategy in order to clarify the relationship between them. In this work, Vkhutemas is taken as the center, based on the analysis of conceptual principles, structural transformations and production strategies, specific ways and manifestations of the influence of the Russian avant-garde on the Bauhaus in various periods of the 1920s are explored. This comprehensive and multidimensional Russian influence not only develops the modern system of design education and finally consolidates the historical status of the Bauhaus, but also lays the foundation for its final fate. Firstly, on an ideological level, the goals of Russian production are directly related to the construction of socialism, to the creation of a system of proletarian culture, which Avartov calls proletarian, which largely coincides with the left-wing ideals of Gropius. Secondly, at the level of artistic thought, productivism and constructivism, as new ideas of the early 20th century, represented the contribution of the Russian avant-garde to modernist design. Finally, at the level of educational practice, thanks to the introduction of Russian constructivism by Moholy Nagy, the Bauhaus created a prototype of the three main components of modern design education, taking lessons from teaching composition by Vkhutemas, and opened the transition from expressionism to function. This was a new stage in the transformation of socialism, and thus formed the classic image of the Bauhaus for the outside world.\u0000","PeriodicalId":508990,"journal":{"name":"Культура и искусство","volume":"49 18","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141275587","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 : 2024-06-01DOI: 10.7256/2454-0625.2024.6.70772
Zhengyang Yu
The article "The originality of Chinoiserie-style garden architecture in England in the XVIII century" explores the development and specifics of Chinoiserie style in the landscape architecture of England. Chinoiserie style refers to the use of Chinese motifs and stylistic techniques in European architecture. The aim of the work is to identify the specifics of the arrangement of English gardens and parks in the Chinoiserie style. The subject of the study is the stylistic features of the embodiment of Chinoiserie gardens and parks. The object of the study is parks and garden architecture in the Chinoiserie style in England. The study covers the 18th century, revealing the contribution of individual architects and the influence of Chinese art on the development of garden architecture. The presented analysis demonstrates how architectural styles of Western and Eastern culture can mix. English gardens and parks are evidence of the influence of Chinese aesthetics on landscape gardening, which later spread to continental Europe. In the course of the research, the following methods were mainly used: historical, historical-genetic, historical-comparative. In the study of specific objects of landscape architecture, methods of art criticism analysis were applied — formal, stylistic and comparative methods. The article examines specific English monuments of landscape architecture of the XVIII century taken as examples the Chinoiserie style. The novelty of the study lies in the fact that the features of the Chinoiserie style in the landscape architecture of England were highlighted and a comparison of English architectural objects in the Chinoiserie style with Chinese analogues was carried out. The conducted research revealed the English specifics in the approach to interpreting Chinese designs of gardens and parks and architectural projects in the XVIII century. English gardeners and architects were inspired by Chinese aesthetics and used oriental elements for decoration, but did not follow all architectural canons and traditions. This gave rise to a new Chinoiserie style, a combination of Chinese and European landscape art that spread throughout Europe.
{"title":"The originality of Chinoiserie-style garden architecture in England in the XVIII century","authors":"Zhengyang Yu","doi":"10.7256/2454-0625.2024.6.70772","DOIUrl":"https://doi.org/10.7256/2454-0625.2024.6.70772","url":null,"abstract":"\u0000 The article \"The originality of Chinoiserie-style garden architecture in England in the XVIII century\" explores the development and specifics of Chinoiserie style in the landscape architecture of England. Chinoiserie style refers to the use of Chinese motifs and stylistic techniques in European architecture. The aim of the work is to identify the specifics of the arrangement of English gardens and parks in the Chinoiserie style. The subject of the study is the stylistic features of the embodiment of Chinoiserie gardens and parks. The object of the study is parks and garden architecture in the Chinoiserie style in England. The study covers the 18th century, revealing the contribution of individual architects and the influence of Chinese art on the development of garden architecture. The presented analysis demonstrates how architectural styles of Western and Eastern culture can mix. English gardens and parks are evidence of the influence of Chinese aesthetics on landscape gardening, which later spread to continental Europe. In the course of the research, the following methods were mainly used: historical, historical-genetic, historical-comparative. In the study of specific objects of landscape architecture, methods of art criticism analysis were applied — formal, stylistic and comparative methods. The article examines specific English monuments of landscape architecture of the XVIII century taken as examples the Chinoiserie style. The novelty of the study lies in the fact that the features of the Chinoiserie style in the landscape architecture of England were highlighted and a comparison of English architectural objects in the Chinoiserie style with Chinese analogues was carried out. The conducted research revealed the English specifics in the approach to interpreting Chinese designs of gardens and parks and architectural projects in the XVIII century. English gardeners and architects were inspired by Chinese aesthetics and used oriental elements for decoration, but did not follow all architectural canons and traditions. This gave rise to a new Chinoiserie style, a combination of Chinese and European landscape art that spread throughout Europe.\u0000","PeriodicalId":508990,"journal":{"name":"Культура и искусство","volume":"234 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141401950","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 : 2024-05-01DOI: 10.7256/2454-0625.2024.5.70579
Aleksei Viktorovich Alekseev
The subject of the study is technology in military sports suits of Russian military personnel. The object of the study is the progress in the production technologies of military sports suits. The author examines in detail the history of the use of various materials and fabrics for the production of military sports suits, from the end of the 19th century to the beginning of the 21st century. Special attention is paid to the analysis of the properties of various materials. The author shows that fabrics with high strength, wear resistance and good breathability are most suitable for military sports suits of Russian servicemen. The fabrics used for the production of military uniforms must meet a number of requirements. At the same time, such properties of fabrics as crease, drapery, hydroscopicity, dust capacity, heat-shielding properties, shrinkage, thread shedding, thread expansion in seams, sliding should be taken into account. The main research methods were theoretical methods – the method of analysis, generalization, systematization, classification of literary sources on the research topic. The novelty of the research consists in a comprehensive analysis of the basic properties, characteristics and requirements for fabrics used for the manufacture of military suits. A retrospective analysis and comparison of costumes from different eras were carried out. The main conclusion of the study is that from the end of the 19th century to the 21st century, the use of fabrics for military clothing has undergone significant changes. It is shown that at the end of the 19th century, military clothing was mainly made from natural fabrics such as cotton, wool and linen. With the advent of synthetic fibers in the 20th century, fabrics became more durable, lightweight, quick-drying and resistant to external factors. In the 21st century, with the development of fabric production technologies for military clothing, special mixtures of natural and synthetic fibers, as well as membrane materials, began to be used to provide high protection, comfort and functionality for military personnel. The author's special contribution to the study is the generalization of the results of various studies, the comparison of the main characteristics of fabrics used in various historical times with modern fabrics and materials.
{"title":"Technological progress in Russian military sports suits: the history of the use of materials and fabrics from the end of the 19th century to the beginning of the 21st century","authors":"Aleksei Viktorovich Alekseev","doi":"10.7256/2454-0625.2024.5.70579","DOIUrl":"https://doi.org/10.7256/2454-0625.2024.5.70579","url":null,"abstract":"\u0000 The subject of the study is technology in military sports suits of Russian military personnel. The object of the study is the progress in the production technologies of military sports suits. The author examines in detail the history of the use of various materials and fabrics for the production of military sports suits, from the end of the 19th century to the beginning of the 21st century. Special attention is paid to the analysis of the properties of various materials. The author shows that fabrics with high strength, wear resistance and good breathability are most suitable for military sports suits of Russian servicemen. The fabrics used for the production of military uniforms must meet a number of requirements. At the same time, such properties of fabrics as crease, drapery, hydroscopicity, dust capacity, heat-shielding properties, shrinkage, thread shedding, thread expansion in seams, sliding should be taken into account. The main research methods were theoretical methods – the method of analysis, generalization, systematization, classification of literary sources on the research topic. The novelty of the research consists in a comprehensive analysis of the basic properties, characteristics and requirements for fabrics used for the manufacture of military suits. A retrospective analysis and comparison of costumes from different eras were carried out. The main conclusion of the study is that from the end of the 19th century to the 21st century, the use of fabrics for military clothing has undergone significant changes. It is shown that at the end of the 19th century, military clothing was mainly made from natural fabrics such as cotton, wool and linen. With the advent of synthetic fibers in the 20th century, fabrics became more durable, lightweight, quick-drying and resistant to external factors. In the 21st century, with the development of fabric production technologies for military clothing, special mixtures of natural and synthetic fibers, as well as membrane materials, began to be used to provide high protection, comfort and functionality for military personnel. The author's special contribution to the study is the generalization of the results of various studies, the comparison of the main characteristics of fabrics used in various historical times with modern fabrics and materials.\u0000","PeriodicalId":508990,"journal":{"name":"Культура и искусство","volume":"3 3","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141047250","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 : 2024-05-01DOI: 10.7256/2454-0625.2024.5.70743
Angelina Petrovna Pleskachevskaya
The subject of the study is the phenomenon of public sculpture. This topic is very relevant, as public sculpture causes extensive controversy, which involves sculptors, architects, urbanists, representatives of public organizations. The purpose of the study is to substantiate the place of public sculpture in the contours of the artistic and associative landscape of a modern city. The research methodology includes historical, cultural and cross-cultural analysis, a dialectical approach to assessing the trajectories of the aesthetics of public sculpture, as well as a conceptual analysis of the phenomenon of public sculpture in modern public, including urban, spaces. As a result of the research, the historical genesis of the phenomenon of public sculpture was presented, the place of public sculpture in the postmodern paradigm was characterized, attention was paid to the problems of low performance quality, inappropriate installation sites in public urban space and the creation of visual noise. Refined scientific definitions of the concepts of social and public sculpture are proposed. I'd like to emphasize the importance of researching and defining the concepts of public and urban sculpture, as well as the need to develop methodological approaches for the management and evaluation of public sculpture. This article proposes an adaptation of the concept of an artistic and associative city landscape, which allows public sculpture to harmoniously fit into the urban environment. The use of a methodological approach will allow us to manage creative activity in this area and make the right decisions regarding the ordering, financing and placement of public sculpture in public spaces of cities.
{"title":"On the issue of the concept of public sculpture in urban space","authors":"Angelina Petrovna Pleskachevskaya","doi":"10.7256/2454-0625.2024.5.70743","DOIUrl":"https://doi.org/10.7256/2454-0625.2024.5.70743","url":null,"abstract":"\u0000 The subject of the study is the phenomenon of public sculpture. This topic is very relevant, as public sculpture causes extensive controversy, which involves sculptors, architects, urbanists, representatives of public organizations. The purpose of the study is to substantiate the place of public sculpture in the contours of the artistic and associative landscape of a modern city. The research methodology includes historical, cultural and cross-cultural analysis, a dialectical approach to assessing the trajectories of the aesthetics of public sculpture, as well as a conceptual analysis of the phenomenon of public sculpture in modern public, including urban, spaces. As a result of the research, the historical genesis of the phenomenon of public sculpture was presented, the place of public sculpture in the postmodern paradigm was characterized, attention was paid to the problems of low performance quality, inappropriate installation sites in public urban space and the creation of visual noise. Refined scientific definitions of the concepts of social and public sculpture are proposed. I'd like to emphasize the importance of researching and defining the concepts of public and urban sculpture, as well as the need to develop methodological approaches for the management and evaluation of public sculpture. This article proposes an adaptation of the concept of an artistic and associative city landscape, which allows public sculpture to harmoniously fit into the urban environment. The use of a methodological approach will allow us to manage creative activity in this area and make the right decisions regarding the ordering, financing and placement of public sculpture in public spaces of cities.\u0000","PeriodicalId":508990,"journal":{"name":"Культура и искусство","volume":"28 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141053020","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 : 2024-05-01DOI: 10.7256/2454-0625.2024.5.70556
Elena Aleksandrovna Titova
The subject of the study is a set of innovative solutions for easel painting by artists of the Creative Painting Workshop of the Russian Academy of Arts under the leadership of H. A. Yakupov in Kazan from 1977 to 2008. Easel painting by artists-trainees of the Creative Painting Workshop of the Russian Academy of Arts in Kazan was chosen as the object of research. The review of the activities of the Russian Academy of Arts in the XX-XXI centuries is given, from the point of view of supporting the Russian traditions of easel painting in Russia and abroad. The characteristic of the Creative Painting Workshop of the Russian Academy of Arts under the leadership of H. A. Yakupov in Kazan as an object of research in the context of painting of the Republic of Tatarstan and Russia is given. The methodology of the analysis includes the following concepts: genre, plot, composition, color, format, and their implementation in the works of trainee artists. Comparative methods of compositional and coloristic analysis are applied, compositional solutions are considered as innovations in the composition of easel painting of a subject-themed painting. The research materials confirm the high results of the creative work of the trainee artists in creating new compositional and coloristic solutions in easel painting in the laboratory of the Creative Workshop using a combination of innovations. Сonclusions are formulated about the need to popularize the work of artists-trainees of the Creative Painting Workshop of the Russian Academy of Arts under the leadership of H. A. Yakupov in Kazan. Russian realism traditions have been preserved, and the easel painting of the trainee artists is based on the artistic experience of Russian realistic art, using a combination of innovations in author's solutions.
本研究的主题是 1977 年至 2008 年在 H. A. 雅库波夫领导下喀山俄罗斯艺术学院创意绘画工作室的艺术家们为架上绘画设计的一套创新方案。喀山俄罗斯艺术学院创意绘画工作室艺术家学员的架上绘画被选为研究对象。从在俄罗斯和国外支持俄罗斯传统架上绘画的角度出发，对俄罗斯艺术学院在二十至二十一世纪的活动进行了回顾。在鞑靼斯坦共和国和俄罗斯的绘画背景下，介绍了在 H. A. Yakupov 领导下喀山俄罗斯艺术学院创意绘画工作室作为研究对象的特点。分析方法包括以下概念：体裁、情节、构图、色彩、格式及其在见习艺术家作品中的应用。采用了构图和色彩分析的比较方法，认为构图方案是主题绘画架上绘画构图的创新。研究材料证实，见习艺术家在创作工作室实验室使用创新组合创造新的架上绘画构图和色彩解决方案的创作成果很高。研究得出的结论是，有必要普及喀山俄罗斯艺术学院亚库波夫领导下的俄罗斯艺术学院创意绘画工作室的受训艺术家的作品。俄罗斯现实主义传统得到了保留，见习艺术家的架上绘画以俄罗斯现实主义艺术经验为基础，结合作者的创新方案。
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Pub Date : 2024-05-01DOI: 10.7256/2454-0625.2024.5.70575
Zhongyuan Xia
"Chinese style" is a new form of combining Chinese and Western styles, formed on the basis of Western decorative art after a large number of Chinese exported works of art were imported to Europe in the XVII—XVIII centuries. The article takes the famous British country estate of the XVIII century as a starting point, and combines the relevant elements of interior decoration to analyze the influence of Chinese design on British decorative patterns and decorative techniques. "Chinese Style" is an innovative combination of Chinese and Western art based on Western decorative techniques.The article also analyzes the influence of the Chinoiserie style as a new art form combining traditional Chinese elements with Western forms on British decorative methods, with an emphasis on a specific study of this phenomenon.The purpose of the author of this study is to study and familiarize readers and the scientific community with the development and application of the "Chinese style" in British decorative methods of interior design. To achieve this goal, the author uses comparative historical, historical and cultural methods, iconographic method of description, as well as stylistic analysis, analyzes historical sources: historical documents, images, artifacts and literature. The research methodology includes a comprehensive approach to the study of the historical context and its impact on the formation of the British interiors. An empirical generalization of the material allows us to conclude about the significance of the above research and the influence of the "Chinese style" on modern decorative methods of interior design and design in Britain. The novelty of the research lies in the application of a combination of methods, analysis of historical forms to study this topic, which has been little studied in the segment of Russian historical science, which allowed us to obtain results that can arouse increased interest in the formation of the British interior among specialists. The author emphasizes the importance of the ability of design masters and architects to combine elements of Italian and British design to create a unique interior. The author's special contribution lies in the analysis of historical materials, practical examples of the successful application of the "Chinese style" in British interiors, which makes this article a valuable study for designers and lovers of interior art.
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Pub Date : 2024-05-01DOI: 10.7256/2454-0625.2024.5.70259
Rui Chang
The article examines the aesthetic and symbolic aspects of ancient Chinese snowy landscapes, covering the period from the IV to the XX century. The focus of the research is Guohua painting, representing classic snowy landscapes, compositions with birds and flowers, as well as snow portraits. An in-depth analysis of the symbolism and meaning of elements such as "four seasons", "snow", "snowy mountains", "three friends of cold time" and "cold beasts" was carried out, as well as the narrative characteristics of snowy landscapes were studied. It was revealed that snow scenes reflect the vitality and stability of a person, causing reflections on life difficulties. The work highlights how snowy landscapes have become a means of expressing emotions, reflecting sadness, but also demonstrating strength, well-being, morality and the sublimity of cultural values. The study uses the methodology of symbolism and iconology analysis to study the aesthetics of ancient Chinese snowy landscapes. A comparative approach is applied to various eras and techniques, including ink painting and engraving, to assess the cultural and emotional meanings of snow in Chinese art. The research touches on a rarely covered topic in the history of art — the aesthetic and symbolic depth of ancient Chinese snowy landscapes, from the IV to the XX century. Introducing into scientific discourse a deep analysis of changes in the perception and image of snow, the work presents a comprehensive study using iconology and semiotics to uncover hidden meanings in Chinese Guohua painting. She reveals how artists have reflected the emotional and philosophical aspects of life through snowy landscapes, demonstrating their influence on cultural representations of nature, man and society. The innovation of the study lies in the fact that it connects the aesthetic elements of snow with cultural and historical changes in China, showing their importance for understanding Chinese identity and aesthetic perception. This study not only enriches the academic understanding of Chinese painting, but also highlights the layering of symbols and metaphors in traditional art, reflecting a unique combination of natural phenomena and cultural meanings.
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