Pub Date : 2024-04-16DOI: 10.32461/2226-3209.1.2024.302056
Viktor Karpov
The purpose of the article is to review portrait miniatures in museum collections as a refined art of the 16th – 19th centuries, which is closely related to the history of monarchs and aristocracy. It also reflects the aesthetic preferences of customers of portrait miniatures, artistic trends in the outlined period and scientific and technological possibilities of miniatures production. The research methodology consists in applying a number of approaches. The method of source analysis was used to analyze the literature on the topic of the article. An interdisciplinary analysis, in particular biographical and cultural research methods, came in handy when studying actual material. The historical approach and theoretical generalization made it possible to formulate conclusions and highlight the prospects for further development of the topic. The scientific novelty consists in the examination of portrait miniatures of museum collections as a component of cultural heritage and an important pictorial document of the cultural history of Europe in the 16th-19th centuries. Conclusions. As a separate form of art, portrait miniature in European countries, primarily in England, began to take shape in the 16th century, reaching its apogee in the 18th century. and, unable to withstand competition with photography, became part of the historical and cultural heritage. At the beginning of the 19th century, we observe the popularity of portrait miniatures in America, where this form of art has become quite a profitable business. The article focuses on the fact that initially portrait miniatures became parts of the collections of the customers themselves. Subsequent generations of collectors formed more extensive collections of works of art, among which portrait miniatures served as part of a large artistic complex. Such collections include the collection of Rosalind and Arthur Gilbert the Victoria and Albert Museum in London, the collection of portrait miniatures of the Vinnytsia Regional Art Museum. It is also important from the point of view of the connections between the cultural history of Ukraine and the European context.
{"title":"Miniature Portrait as an Element of Cultural Heritage in Museum Collections","authors":"Viktor Karpov","doi":"10.32461/2226-3209.1.2024.302056","DOIUrl":"https://doi.org/10.32461/2226-3209.1.2024.302056","url":null,"abstract":"The purpose of the article is to review portrait miniatures in museum collections as a refined art of the 16th – 19th centuries, which is closely related to the history of monarchs and aristocracy. It also reflects the aesthetic preferences of customers of portrait miniatures, artistic trends in the outlined period and scientific and technological possibilities of miniatures production. The research methodology consists in applying a number of approaches. The method of source analysis was used to analyze the literature on the topic of the article. An interdisciplinary analysis, in particular biographical and cultural research methods, came in handy when studying actual material. The historical approach and theoretical generalization made it possible to formulate conclusions and highlight the prospects for further development of the topic. The scientific novelty consists in the examination of portrait miniatures of museum collections as a component of cultural heritage and an important pictorial document of the cultural history of Europe in the 16th-19th centuries. Conclusions. As a separate form of art, portrait miniature in European countries, primarily in England, began to take shape in the 16th century, reaching its apogee in the 18th century. and, unable to withstand competition with photography, became part of the historical and cultural heritage. At the beginning of the 19th century, we observe the popularity of portrait miniatures in America, where this form of art has become quite a profitable business. The article focuses on the fact that initially portrait miniatures became parts of the collections of the customers themselves. Subsequent generations of collectors formed more extensive collections of works of art, among which portrait miniatures served as part of a large artistic complex. Such collections include the collection of Rosalind and Arthur Gilbert the Victoria and Albert Museum in London, the collection of portrait miniatures of the Vinnytsia Regional Art Museum. It is also important from the point of view of the connections between the cultural history of Ukraine and the European context.\u0000 ","PeriodicalId":510501,"journal":{"name":"NATIONAL ACADEMY OF MANAGERIAL STAFF OF CULTURE AND ARTS HERALD","volume":"8 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-04-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140695977","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 : 2024-04-16DOI: 10.32461/2226-3209.1.2024.302105
Mengzha Chen
The purpose of the work is to find the first examples of a complex three-part form in the sonatas of Chinese composers, to determine the peculiarities of their structure in order to further reveal the problem of the typology of musical forms in the piano works of the twentieth century, to highlight the process of transformation of artistic thinking, which gave rise to new formative concepts. The methodology of the research is manifested in the application of historical, epistemological, theoretical, analytical and typological methods of analysis. The scientific novelty lies in the fact that for the first time in Ukrainian musicology an attempt has been made to analyse one of the most complex musical forms in its various individual manifestations in Chinese piano sonatas of the same period, namely the late 1950s and early 1960s. It is proved that the initial examples of this musical form can be found in the first "great" piano sonatas of Chinese composers and reflect the reception of its classical prototype in the formation of the piano sonata genre. Conclusions. The analysis of the individual structures of the complex three-movement form in the piano sonatas of Chinese composers has proved its widespread use in the first "great" examples of the genre, presented by Zou Lu and Guo Zhiyuan. Despite some differences in the invariants of this form, Guo Zhiyuan largely imitated the development of a new structure for Chinese piano music begun by Zou Lu. The formative concepts of these composers produced a national version of the piano sonata according to the European model, demonstrating the transformation of artistic thinking in comparison with Jiang Wenye's previously created sonatas.
{"title":"Invariants of the complex tripart form in the piano sonatas of chinese composers","authors":"Mengzha Chen","doi":"10.32461/2226-3209.1.2024.302105","DOIUrl":"https://doi.org/10.32461/2226-3209.1.2024.302105","url":null,"abstract":"The purpose of the work is to find the first examples of a complex three-part form in the sonatas of Chinese composers, to determine the peculiarities of their structure in order to further reveal the problem of the typology of musical forms in the piano works of the twentieth century, to highlight the process of transformation of artistic thinking, which gave rise to new formative concepts. The methodology of the research is manifested in the application of historical, epistemological, theoretical, analytical and typological methods of analysis. The scientific novelty lies in the fact that for the first time in Ukrainian musicology an attempt has been made to analyse one of the most complex musical forms in its various individual manifestations in Chinese piano sonatas of the same period, namely the late 1950s and early 1960s. It is proved that the initial examples of this musical form can be found in the first \"great\" piano sonatas of Chinese composers and reflect the reception of its classical prototype in the formation of the piano sonata genre. Conclusions. The analysis of the individual structures of the complex three-movement form in the piano sonatas of Chinese composers has proved its widespread use in the first \"great\" examples of the genre, presented by Zou Lu and Guo Zhiyuan. Despite some differences in the invariants of this form, Guo Zhiyuan largely imitated the development of a new structure for Chinese piano music begun by Zou Lu. The formative concepts of these composers produced a national version of the piano sonata according to the European model, demonstrating the transformation of artistic thinking in comparison with Jiang Wenye's previously created sonatas.\u0000 ","PeriodicalId":510501,"journal":{"name":"NATIONAL ACADEMY OF MANAGERIAL STAFF OF CULTURE AND ARTS HERALD","volume":"88 10","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-04-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140695395","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 : 2024-04-16DOI: 10.32461/2226-3209.1.2024.302050
O. Afonina
The purpose of the study is to substantiate the methodological principle of researching realism painting on the example of analysing a painting by the Ukrainian artist Yurii Kamyshnyi. The research methodology combines a set of general theoretical (analysis and systematisation of material, theoretical generalisation and the method of deduction) and special scientific methods (terminological, method of analogies, art historical analysis, iconographic method). The scientific novelty of the study convinces of the possibility and advantages of applying an interdisciplinary approach to reveal the specifics of realistic painting. The dependence of the analysis of the prerequisites for the emergence and reasons for the realisation of realism in each artistic epoch, the conditions of its development in the classical and post-classical socio-cultural paradigm is substantiated. The content of the concept of "realism" is revealed through the prism of humanitarian knowledge, in particular, history, philosophy, cultural studies, ethnography, art history, psychology, sociology, which allowed strengthening the analysis of works performed in the realistic manner of realism. Conclusions. Based on the analysis of a number of definitions of the synonymous terms "interdisciplinarity" and "interdisciplinary approach" available in the Ukrainian scientific discourse, interdisciplinarity as an integrative approach to the analysis of works of art with interconnections with other areas of humanitarian knowledge, borrowings and the use of tools (schemes, models, categories, concepts) is substantiated. Analysing the specifics of realistic painting on the example of the work of the Ukrainian artist Yurii Kamyshnyi’s "Sun Caresses", the application of the historical and systematic method (as a correspondence to the political, social, cultural, and artistic conditions of development) is shown. The iconographic method and art historical analysis allowed us to substantiate the combination of landscape (rural landscape) and domestic genres. The style of the painting is in the manner of nineteenth-century realism, which is characterised by the depiction of the elegance of summer rural life with the personification of the day (noon). The image of the tree leaves, which seem to be "tired" of the scorching sun, was important here. The sun is also represented with flickering rays on a neatly whitewashed house wall. The iconographic method made it possible to describe the subject of the work as the exterior of a typical Ukrainian rural dwelling and yard. The method of generalisation allowed us to present its dominance in the work of the realist artist. The cross-cultural method was used to compare the plot specifics of the painting with the plot motifs of foreign realist artists. The method of ethnographic observation allowed us to verify the typicality of the image of a hut for the rural Ukrainian countryside.
{"title":"Interdisciplinary Approach as a Basis for the Methodology of Researching the Problems of Realist Painting","authors":"O. Afonina","doi":"10.32461/2226-3209.1.2024.302050","DOIUrl":"https://doi.org/10.32461/2226-3209.1.2024.302050","url":null,"abstract":"The purpose of the study is to substantiate the methodological principle of researching realism painting on the example of analysing a painting by the Ukrainian artist Yurii Kamyshnyi. The research methodology combines a set of general theoretical (analysis and systematisation of material, theoretical generalisation and the method of deduction) and special scientific methods (terminological, method of analogies, art historical analysis, iconographic method). The scientific novelty of the study convinces of the possibility and advantages of applying an interdisciplinary approach to reveal the specifics of realistic painting. The dependence of the analysis of the prerequisites for the emergence and reasons for the realisation of realism in each artistic epoch, the conditions of its development in the classical and post-classical socio-cultural paradigm is substantiated. The content of the concept of \"realism\" is revealed through the prism of humanitarian knowledge, in particular, history, philosophy, cultural studies, ethnography, art history, psychology, sociology, which allowed strengthening the analysis of works performed in the realistic manner of realism. Conclusions. Based on the analysis of a number of definitions of the synonymous terms \"interdisciplinarity\" and \"interdisciplinary approach\" available in the Ukrainian scientific discourse, interdisciplinarity as an integrative approach to the analysis of works of art with interconnections with other areas of humanitarian knowledge, borrowings and the use of tools (schemes, models, categories, concepts) is substantiated. Analysing the specifics of realistic painting on the example of the work of the Ukrainian artist Yurii Kamyshnyi’s \"Sun Caresses\", the application of the historical and systematic method (as a correspondence to the political, social, cultural, and artistic conditions of development) is shown. The iconographic method and art historical analysis allowed us to substantiate the combination of landscape (rural landscape) and domestic genres. The style of the painting is in the manner of nineteenth-century realism, which is characterised by the depiction of the elegance of summer rural life with the personification of the day (noon). The image of the tree leaves, which seem to be \"tired\" of the scorching sun, was important here. The sun is also represented with flickering rays on a neatly whitewashed house wall. The iconographic method made it possible to describe the subject of the work as the exterior of a typical Ukrainian rural dwelling and yard. The method of generalisation allowed us to present its dominance in the work of the realist artist. The cross-cultural method was used to compare the plot specifics of the painting with the plot motifs of foreign realist artists. The method of ethnographic observation allowed us to verify the typicality of the image of a hut for the rural Ukrainian countryside.\u0000 ","PeriodicalId":510501,"journal":{"name":"NATIONAL ACADEMY OF MANAGERIAL STAFF OF CULTURE AND ARTS HERALD","volume":"1 10","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-04-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140697704","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 : 2024-04-16DOI: 10.32461/2226-3209.1.2024.302086
Yevhenii Shyshliuk
The purpose of the article is the systemisation and analysis of the available biographical information about Antonio Solario, also known as Lo Zingaro or “The Gypsy” – a representative of Italian fine art; comprehending the problems of interpreting the artist’s creative works and defining his place in the artistic environment of the Italian Renaissance. For this purpose, historical-cultural and chronological research methods were used, as well as systematisation, art history analysis and figurative-stylistic analysis. The scientific novelty lies in the fact that for the first time, data from scientists of different centuries about the life and work of the Italian artist Antonio Solario has been introduced into the Ukrainian scientific realm, and for the first time an attempt has been made at a comprehensive attribution of four works by the artist. The conclusions made were that the article systemises, specifies and analyses the data on the main stages of the artist's biography, taking into account that there still exist discrepancies in the information about his origin and places he stayed. Within the framework, the fact of the existence of a large number of contradictory data about him as an outstanding representative of the Italian Renaissance has been established and these contradictions have been characterised according to the chronological principle. It is noted that the artist has Venetian origins and at different periods of his life worked in Naples, the Italian region of Marche and on the territory of present-day Great Britain. Several hypotheses about the origin of the nickname “Lo Zingaro” are considered separately. The main stages in the evolution of the artist's creative manner are described – from early Venetian influences to the formation of a mature Neapolitan style that organically combined the achievements of Renaissance masters. It was found that his development was influenced by the creative style of such Italian Renaissance artists as Perugino, Pinturicchio and others. It is summarised that the figure of Antonio Solario personifies the multidimensional processes in the art of the Italian Renaissance and provides a number of areas for further research.
本文旨在系统整理和分析有关意大利美术代表人物安东尼奥-索拉里奥（Antonio Solario）（又名 Lo Zingaro 或 "吉普赛人"）的现有传记资料；理解解释该艺术家创作作品的问题，并确定他在意大利文艺复兴时期艺术环境中的地位。为此，我们采用了历史文化和编年研究方法，以及系统化、艺术史分析和形象风格分析方法。其科学新颖性在于首次将不同世纪的科学家提供的有关意大利艺术家安东尼奥-索拉里奥生活和工作的数据引入乌克兰科学领域，并首次尝试对该艺术家的四件作品进行全面归属。得出的结论是，文章对该艺术家传记主要阶段的数据进行了系统化、具体化和分析，同时考虑到有关其籍贯和居住地的信息仍存在差异。在此框架内，确定了关于他作为意大利文艺复兴时期杰出代表的大量相互矛盾的数据，并根据年代原则对这些矛盾进行了定性。我们注意到，这位艺术家原籍威尼斯，一生中的不同时期曾在那不勒斯、意大利马尔凯大区和今天的大不列颠领土上工作过。关于 "Lo Zingaro "这一绰号的由来，我们将分别考虑几种假设。对艺术家创作方式演变的主要阶段进行了描述--从早期受威尼斯的影响到形成成熟的那不勒斯风格，将文艺复兴时期大师的成就有机地结合在一起。研究发现，他的发展受到了意大利文艺复兴时期艺术家佩鲁吉诺、平图里奇奥等人创作风格的影响。综上所述，安东尼奥-索拉里奥的形象代表了意大利文艺复兴时期艺术的多维进程，并为进一步研究提供了多个领域。
{"title":"Artistic Activity of Antonio Solario: Problems of Interpreting Facts and Attributing Works","authors":"Yevhenii Shyshliuk","doi":"10.32461/2226-3209.1.2024.302086","DOIUrl":"https://doi.org/10.32461/2226-3209.1.2024.302086","url":null,"abstract":"The purpose of the article is the systemisation and analysis of the available biographical information about Antonio Solario, also known as Lo Zingaro or “The Gypsy” – a representative of Italian fine art; comprehending the problems of interpreting the artist’s creative works and defining his place in the artistic environment of the Italian Renaissance. For this purpose, historical-cultural and chronological research methods were used, as well as systematisation, art history analysis and figurative-stylistic analysis. The scientific novelty lies in the fact that for the first time, data from scientists of different centuries about the life and work of the Italian artist Antonio Solario has been introduced into the Ukrainian scientific realm, and for the first time an attempt has been made at a comprehensive attribution of four works by the artist. The conclusions made were that the article systemises, specifies and analyses the data on the main stages of the artist's biography, taking into account that there still exist discrepancies in the information about his origin and places he stayed. Within the framework, the fact of the existence of a large number of contradictory data about him as an outstanding representative of the Italian Renaissance has been established and these contradictions have been characterised according to the chronological principle. It is noted that the artist has Venetian origins and at different periods of his life worked in Naples, the Italian region of Marche and on the territory of present-day Great Britain. Several hypotheses about the origin of the nickname “Lo Zingaro” are considered separately. The main stages in the evolution of the artist's creative manner are described – from early Venetian influences to the formation of a mature Neapolitan style that organically combined the achievements of Renaissance masters. It was found that his development was influenced by the creative style of such Italian Renaissance artists as Perugino, Pinturicchio and others. It is summarised that the figure of Antonio Solario personifies the multidimensional processes in the art of the Italian Renaissance and provides a number of areas for further research.\u0000 ","PeriodicalId":510501,"journal":{"name":"NATIONAL ACADEMY OF MANAGERIAL STAFF OF CULTURE AND ARTS HERALD","volume":"90 4","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-04-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140695698","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 : 2024-04-16DOI: 10.32461/2226-3209.1.2024.302090
Liliya Shevchenko, Olena Kolesnyk
The purpose of the research is to identify proto-symbolist features in the legacy of T. Shevchenko, post-symbolist indicators in the 20th century and their musical expression. The methodological basis of the research is the intonation approach in the vision of the genetic unity of music and speech principles in the development of the concepts of B. Asafiev and B. Yavorskyi in the works of D. Androsova, O. Markova, I. Podobas, L. Stepanova, L. Shevchenko, with an emphasis on the hermeneutical perspective of this approach. The methods used are analytical and structural, focusing on the musicological specifics of thematic and constructive features of the compositions' presentation, and interspecies stylistic comparative to understand the interactions of artistic, scientific and religious tendencies in the thinking of representatives of proto-symbolism, symbolism as such and post-symbolism. The scientific novelty is the emphasis of the religious and cultural scope of symbolism, in which the artistic components are subject to the general cultural requirements of creativity, given the mystical charge of expressiveness derived from icon painting and old church music, which nourished the beginnings of this trend not from the capital formations, but from those that met the needs of the religious community of the state and the nation. In this regard, the centring of symbolism in Ukraine around Odesa, which in the 19th century was the imperial centre of publishing spiritual literature, primarily Orthodox, is organic. Conclusions. Symbolism appears in art in the phenomena of proto-symbolism of the late 18th and early 19th centuries, and is expressed in its methodological independence in the second half of the 19th and early 20th century, demonstrating post-symbolist manifestations in both modern avant-garde and traditionalism, as demonstrated in Ukraine by the compositions of B. Liatoshynskyi and V. Kosenko, for whom, like for many prominent artists, the appeal to the symbolist origins was not only a conscious act, but also a subconscious appeal in search of metaphorical saturation of artistic expression, which provokes the creation of symbolist "supercomplex" metaphorical images.
研究的目的是确定谢甫琴科（T. Shevchenko）遗产中的原符号学特征、20 世纪的后符号学指标及其音乐表现形式。研究的方法论基础是在 D. Androsova、O. Markova、I. Podobas、L. Stepanova、L. Shevchenko 的作品中发展 B. Asafiev 和 B. Yavorskyi 的概念时，从音乐和语言原则的遗传统一性视角出发的音调方法，重点是这种方法的诠释学视角。所使用的方法是分析和结构性的，侧重于作品表现形式的主题和结构特征的音乐学特性，以及种间风格比较，以了解原象征主义、象征主义本身和后象征主义代表人物思想中艺术、科学和宗教倾向的相互作用。科学上的新颖之处在于强调了象征主义的宗教和文化范围，其中的艺术成分受创作的一般文化要求的制约，因为从圣像绘画和古老的教堂音乐中获得了神秘的表现力，这不是从资本形式，而是从满足国家和民族宗教界需要的形式中滋养了这一趋势的开端。在这方面，乌克兰以敖德萨为中心的象征主义是有机的，因为在 19 世纪，敖德萨是出版精神文学（主要是东正教文学）的帝国中心。结论。象征主义在 18 世纪末和 19 世纪初的原象征主义现象中出现在艺术中，在 19 世纪下半叶和 20 世纪初表现出方法论上的独立性，在现代先锋派和传统主义中都表现出后象征主义的表现形式，乌克兰 B. Liatoshynskyi 和 B. Liatoshynskyi 的作品就证明了这一点。Liatoshynskyi 和 V. Kosenko 的作品就证明了这一点。对他们来说，与许多杰出的艺术家一样，对象征主义起源的诉求不仅是一种有意识的行为，也是一种寻求艺术表达的隐喻饱和度的潜意识诉求，它引发了象征主义 "超级复杂 "隐喻形象的创作。
{"title":"Symbolism in the 19th Century, its Projections on the Age of Psychology of Unconscious and Musical Aspects of That Trend","authors":"Liliya Shevchenko, Olena Kolesnyk","doi":"10.32461/2226-3209.1.2024.302090","DOIUrl":"https://doi.org/10.32461/2226-3209.1.2024.302090","url":null,"abstract":"The purpose of the research is to identify proto-symbolist features in the legacy of T. Shevchenko, post-symbolist indicators in the 20th century and their musical expression. The methodological basis of the research is the intonation approach in the vision of the genetic unity of music and speech principles in the development of the concepts of B. Asafiev and B. Yavorskyi in the works of D. Androsova, O. Markova, I. Podobas, L. Stepanova, L. Shevchenko, with an emphasis on the hermeneutical perspective of this approach. The methods used are analytical and structural, focusing on the musicological specifics of thematic and constructive features of the compositions' presentation, and interspecies stylistic comparative to understand the interactions of artistic, scientific and religious tendencies in the thinking of representatives of proto-symbolism, symbolism as such and post-symbolism. The scientific novelty is the emphasis of the religious and cultural scope of symbolism, in which the artistic components are subject to the general cultural requirements of creativity, given the mystical charge of expressiveness derived from icon painting and old church music, which nourished the beginnings of this trend not from the capital formations, but from those that met the needs of the religious community of the state and the nation. In this regard, the centring of symbolism in Ukraine around Odesa, which in the 19th century was the imperial centre of publishing spiritual literature, primarily Orthodox, is organic. Conclusions. Symbolism appears in art in the phenomena of proto-symbolism of the late 18th and early 19th centuries, and is expressed in its methodological independence in the second half of the 19th and early 20th century, demonstrating post-symbolist manifestations in both modern avant-garde and traditionalism, as demonstrated in Ukraine by the compositions of B. Liatoshynskyi and V. Kosenko, for whom, like for many prominent artists, the appeal to the symbolist origins was not only a conscious act, but also a subconscious appeal in search of metaphorical saturation of artistic expression, which provokes the creation of symbolist \"supercomplex\" metaphorical images.\u0000 ","PeriodicalId":510501,"journal":{"name":"NATIONAL ACADEMY OF MANAGERIAL STAFF OF CULTURE AND ARTS HERALD","volume":"8 11","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-04-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140695970","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 : 2024-04-16DOI: 10.32461/2226-3209.1.2024.302070
I. Mishchenko
The purpose of the article is to introduce into scientific circulation new information regarding the attribution of portraits of unknown persons from the collection of the Chernivtsi Art Museum and to examine the process of studying these works. The methodology of this study involves the use of various methods: historical, systematic, verification of the received data, artistic, and comparative analysis, among others. The application of these scientific methods allowed to comprehensively and objectively study and systematise the information available in various sources regarding the studied paintings and discover the names of the portrait subjects. The scientific novelty of the research results consists in the fact that for the first time the stylistic features of the works were analysed, the similarity of museum paintings with portraits made by other European artists of the 18th century was revealed; the faces of the rulers of the Austro-Hungarian Empire depicted by artists, the time of execution and the provenance of the portraits were determined. Conclusions. The study of pictorial portraits that entered the collection of the Chernivtsi Art Museum, such as "Portrait of a Woman" and "Portrait of a Man" by unknown authors, began with an analysis of stylistics, which made it possible to roughly establish the time of the creation of images as the second half of the 18th century, when in the fine arts of Europe the rococo style prevailed and in some places overlapped with older traditions of creating ceremonial portraits, which were characterised by emphasised restraint and some conventionality and flatness in the interpretation of form. Further restoration and research of the works, in particular the features of the costume, attributes and awards in the portrait of a young man, allowed to assume that the portrait depicts members of one of the royal families of Europe. Comparative analysis revealed that the paintings from the museum's collection are ceremonial portraits of Empress Maria Theresa of Austria-Hungary (1717–1780) and her son Emperor Joseph II (1741–1790). The found analogies with similar works of European masters also helped to establish that the works of the court artists of these monarchs, in particular, Joseph Hickel and Anton von Maron, as well as the works of other artists, served as models for the portraits from the museum in Chernivtsi. The study of the biographies of the portrait subjects and the time of execution of the works, which became samples, also confirmed the preliminary dating of the works ‒ 1770s.
{"title":"Study of Portraits of Austro-Hungarian Monarchs (18th Century) from the Collection of Chernivtsi Art Museum","authors":"I. Mishchenko","doi":"10.32461/2226-3209.1.2024.302070","DOIUrl":"https://doi.org/10.32461/2226-3209.1.2024.302070","url":null,"abstract":"The purpose of the article is to introduce into scientific circulation new information regarding the attribution of portraits of unknown persons from the collection of the Chernivtsi Art Museum and to examine the process of studying these works. The methodology of this study involves the use of various methods: historical, systematic, verification of the received data, artistic, and comparative analysis, among others. The application of these scientific methods allowed to comprehensively and objectively study and systematise the information available in various sources regarding the studied paintings and discover the names of the portrait subjects. The scientific novelty of the research results consists in the fact that for the first time the stylistic features of the works were analysed, the similarity of museum paintings with portraits made by other European artists of the 18th century was revealed; the faces of the rulers of the Austro-Hungarian Empire depicted by artists, the time of execution and the provenance of the portraits were determined. Conclusions. The study of pictorial portraits that entered the collection of the Chernivtsi Art Museum, such as \"Portrait of a Woman\" and \"Portrait of a Man\" by unknown authors, began with an analysis of stylistics, which made it possible to roughly establish the time of the creation of images as the second half of the 18th century, when in the fine arts of Europe the rococo style prevailed and in some places overlapped with older traditions of creating ceremonial portraits, which were characterised by emphasised restraint and some conventionality and flatness in the interpretation of form. Further restoration and research of the works, in particular the features of the costume, attributes and awards in the portrait of a young man, allowed to assume that the portrait depicts members of one of the royal families of Europe. Comparative analysis revealed that the paintings from the museum's collection are ceremonial portraits of Empress Maria Theresa of Austria-Hungary (1717–1780) and her son Emperor Joseph II (1741–1790). The found analogies with similar works of European masters also helped to establish that the works of the court artists of these monarchs, in particular, Joseph Hickel and Anton von Maron, as well as the works of other artists, served as models for the portraits from the museum in Chernivtsi. The study of the biographies of the portrait subjects and the time of execution of the works, which became samples, also confirmed the preliminary dating of the works ‒ 1770s.\u0000 ","PeriodicalId":510501,"journal":{"name":"NATIONAL ACADEMY OF MANAGERIAL STAFF OF CULTURE AND ARTS HERALD","volume":"6 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-04-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140695610","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 : 2024-04-16DOI: 10.32461/2226-3209.1.2024.302078
Oksana Popinova, Ganna Kriukova
The purpose of the article is to analyse the main stages and features of the integration of the latest technologies and fine arts. The research methodology involved the use of general scientific (analysis, synthesis, systematisation, among others) and special methods and approaches integrated from art history, history, information technology, media studies, and other sciences. Such interdisciplinarity allowed for a comprehensive exploration of the relationship between visual arts, technology, and digital media. The scientific novelty consists in an attempt to briefly present the main stages and features of the integration of the latest technologies and fine arts. Conclusions. Technological innovations have always helped artists realise various ideas, express themselves through new forms of art. This contributed to its further improvement, giving rise to the introduction of new technological tools in accordance with the requirements of the environment, which will continue to dynamically transform. Having gone through various stages, the integration of art with information technologies, especially visual ones, is currently reaching its culmination with digital mass media. Currently, digital technologies are so intensively and widely penetrating the fine arts that in the end they actually disappear, dissolve, and a diffuse technological-artistic environment is formed, mainly represented by media art. The latest technologies that not only change the ways of creating works of art, but also expand the boundaries of the idea of how they should look and spread, opening up new opportunities for artists in the implementation of artistic ideas, include: interactivity and immersion, artificial intelligence, digital media and software for drawing, 3D modelling and rendering, digital editing and correction processes, virtual and augmented reality, mobile apps for artists, and more.
{"title":"Integration of technology and fine arts: from computer to digital media","authors":"Oksana Popinova, Ganna Kriukova","doi":"10.32461/2226-3209.1.2024.302078","DOIUrl":"https://doi.org/10.32461/2226-3209.1.2024.302078","url":null,"abstract":"The purpose of the article is to analyse the main stages and features of the integration of the latest technologies and fine arts. The research methodology involved the use of general scientific (analysis, synthesis, systematisation, among others) and special methods and approaches integrated from art history, history, information technology, media studies, and other sciences. Such interdisciplinarity allowed for a comprehensive exploration of the relationship between visual arts, technology, and digital media. The scientific novelty consists in an attempt to briefly present the main stages and features of the integration of the latest technologies and fine arts. Conclusions. Technological innovations have always helped artists realise various ideas, express themselves through new forms of art. This contributed to its further improvement, giving rise to the introduction of new technological tools in accordance with the requirements of the environment, which will continue to dynamically transform. Having gone through various stages, the integration of art with information technologies, especially visual ones, is currently reaching its culmination with digital mass media. Currently, digital technologies are so intensively and widely penetrating the fine arts that in the end they actually disappear, dissolve, and a diffuse technological-artistic environment is formed, mainly represented by media art. The latest technologies that not only change the ways of creating works of art, but also expand the boundaries of the idea of how they should look and spread, opening up new opportunities for artists in the implementation of artistic ideas, include: interactivity and immersion, artificial intelligence, digital media and software for drawing, 3D modelling and rendering, digital editing and correction processes, virtual and augmented reality, mobile apps for artists, and more.\u0000 ","PeriodicalId":510501,"journal":{"name":"NATIONAL ACADEMY OF MANAGERIAL STAFF OF CULTURE AND ARTS HERALD","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-04-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140697790","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 : 2024-04-16DOI: 10.32461/2226-3209.1.2024.302071
Iryna Nesen
The purpose of the article is to analyse the collection of Cossack portrait painting of the 18th-early 19th centuries from the collection of the Dnipro Art Museum, with further classification of genre types and the role of specified works in the development of Ukrainian portraiture. The research methodology is based on a combination of general scientific and special methods of cognition. The leading tools of the research toolkit are analytical, historical-chronological, and systematic, which make it possible to thoroughly consider the material in art history and historical contexts, to obtain results for further searches in order to clarify attribution. The scientific novelty of the research lies in comprehensive study of artworks of particular collection of Cossack portraits of the 18th-early 19th centuries from Dnipro Art Museum collection, in which, next to famous historical figures (I. Samoylovych, I. Mazepa, I. Skoropadsky), we see little-known images (the scribe I. Nevinchany, the bishop Joseph). Their artistic and historical significance in the development of national portrait painting is determined. Conclusions. The eight portraits from Dnipro Art Museum collection considered in the article gave the author opportunity to research a number of portraits of Cossack figures of the 18th century, to trace important facts of creation of artworks group from first formation period of museum collection by efforts of Dmytro Yavornytskyi. The character analysis of the portraits proved the presence of main genre varieties in the collection – ktitori, epitaph, secular ceremonial and chamber types. Particularly important for research is the portrait of Hetman I. Mazepa, which shows an easel variation of the founder portrait. Most of the considered artworks represent the baroque in their stylistics, instead "Portrait of Pavlo Rudenko" by the brush of Volodymyr Borovikovskyi shows characteristics of a classical portrait. The artworks considered in the article specify the stylistics of national types.
{"title":"Ukrainian Portrait Painting of the 18th–Early 19th Centuries in the Collection of the Dnipro Art Museum","authors":"Iryna Nesen","doi":"10.32461/2226-3209.1.2024.302071","DOIUrl":"https://doi.org/10.32461/2226-3209.1.2024.302071","url":null,"abstract":"The purpose of the article is to analyse the collection of Cossack portrait painting of the 18th-early 19th centuries from the collection of the Dnipro Art Museum, with further classification of genre types and the role of specified works in the development of Ukrainian portraiture. The research methodology is based on a combination of general scientific and special methods of cognition. The leading tools of the research toolkit are analytical, historical-chronological, and systematic, which make it possible to thoroughly consider the material in art history and historical contexts, to obtain results for further searches in order to clarify attribution. The scientific novelty of the research lies in comprehensive study of artworks of particular collection of Cossack portraits of the 18th-early 19th centuries from Dnipro Art Museum collection, in which, next to famous historical figures (I. Samoylovych, I. Mazepa, I. Skoropadsky), we see little-known images (the scribe I. Nevinchany, the bishop Joseph). Their artistic and historical significance in the development of national portrait painting is determined. Conclusions. The eight portraits from Dnipro Art Museum collection considered in the article gave the author opportunity to research a number of portraits of Cossack figures of the 18th century, to trace important facts of creation of artworks group from first formation period of museum collection by efforts of Dmytro Yavornytskyi. The character analysis of the portraits proved the presence of main genre varieties in the collection – ktitori, epitaph, secular ceremonial and chamber types. Particularly important for research is the portrait of Hetman I. Mazepa, which shows an easel variation of the founder portrait. Most of the considered artworks represent the baroque in their stylistics, instead \"Portrait of Pavlo Rudenko\" by the brush of Volodymyr Borovikovskyi shows characteristics of a classical portrait. The artworks considered in the article specify the stylistics of national types.\u0000 ","PeriodicalId":510501,"journal":{"name":"NATIONAL ACADEMY OF MANAGERIAL STAFF OF CULTURE AND ARTS HERALD","volume":"3 9","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-04-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140697848","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 : 2024-04-16DOI: 10.32461/2226-3209.1.2024.302091
Mariia Hryhorieva
The purpose of the article is to highlight the Ukrainian experience of historically informed performance in the realm of musical theatre as exemplified by the staging of Henry Purcell’s opera “Dido and Aeneas” (Kyiv, 2017). The applied research methodology is interdisciplinary, covering aspects of musicology, cultural studies, and theatre history. General scholarly and special methods are used: historical and cultural; method of historiographical analysis; descriptive; interpretive; comparative; methods of holistic, and musicological analysis. Scientific novelty. The main approaches in interpreting baroque opera are highlighted: authentic and directorial. Dramaturgical and stylistic features of “Dido and Aeneas” are characterised in the context of Western European baroque opera culture of the 17th century. Based on the research of Western and Ukrainian scholars, the leading principles of historically informed performance regarding the implementation of the musical component of an opera work (deciphering musical notation, use of ancient instruments, specifics of vocal and instrumental intonation) are defined. Conclusions. It is clarified that Ukrainian directors follow the basic principles of historically informed performance in interpreting the musical component of the work. The analysis of the direction of the performance reveals a modernised approach to the interpretation of figurative roles and stenography solutions. The specifics of the staging as a phenomenon of historically informed performance in the conditions of the modern director’s theatre are revealed.
{"title":"Baroque Opera in Ukrainian Modern Staging: Features of Interpretation From the Standpoint of Historically Informed Performance as Exemplified by Henry Purcell’s \"Dido And Aeneas\" Opera Performance","authors":"Mariia Hryhorieva","doi":"10.32461/2226-3209.1.2024.302091","DOIUrl":"https://doi.org/10.32461/2226-3209.1.2024.302091","url":null,"abstract":"The purpose of the article is to highlight the Ukrainian experience of historically informed performance in the realm of musical theatre as exemplified by the staging of Henry Purcell’s opera “Dido and Aeneas” (Kyiv, 2017). The applied research methodology is interdisciplinary, covering aspects of musicology, cultural studies, and theatre history. General scholarly and special methods are used: historical and cultural; method of historiographical analysis; descriptive; interpretive; comparative; methods of holistic, and musicological analysis. Scientific novelty. The main approaches in interpreting baroque opera are highlighted: authentic and directorial. Dramaturgical and stylistic features of “Dido and Aeneas” are characterised in the context of Western European baroque opera culture of the 17th century. Based on the research of Western and Ukrainian scholars, the leading principles of historically informed performance regarding the implementation of the musical component of an opera work (deciphering musical notation, use of ancient instruments, specifics of vocal and instrumental intonation) are defined. Conclusions. It is clarified that Ukrainian directors follow the basic principles of historically informed performance in interpreting the musical component of the work. The analysis of the direction of the performance reveals a modernised approach to the interpretation of figurative roles and stenography solutions. The specifics of the staging as a phenomenon of historically informed performance in the conditions of the modern director’s theatre are revealed.\u0000 ","PeriodicalId":510501,"journal":{"name":"NATIONAL ACADEMY OF MANAGERIAL STAFF OF CULTURE AND ARTS HERALD","volume":"44 S207","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-04-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140694609","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 : 2024-04-16DOI: 10.32461/2226-3209.1.2024.302028
Valeriy Sivers
The purpose of the article is to highlight the main substantive elements of the value coordinate approach, which, in turn, can be regarded as a unifying philosophical and natural science principle of seeing the essence of consciousness in connection with the recognition of the need to expand the boundaries of its study and also unambiguously reveals the value character and dialectic of interaction of its structural vectors (coordinates) as a way of forming inner experience or a hard problem of consciousness, as formulated by David Chalmers. The research methodology is, in addition to the universal general philosophical method of dialectics, cultural, axiological, historical and comparative approaches, the coordinate approach itself, which is stated in the title, the essence and directions of application of which are revealed in the sources cited in the bibliography sources and in the text of the article. The scientific novelty lies in the definition, substantiation, and presentation of the main provisions of the value coordinate approach, which reveals the dialectic of interaction of its structural vectors (coordinates) as a way of forming inner experience that can be used as a theoretical basis for the formation of an alternative model of consciousness. Conclusions. The article substantiates the understanding of supervenience as a certain correspondence between processes in the brain with an extremely broad understanding of the phenomenon of consciousness itself, which is nevertheless opaque. This opacity is the result of the absolutisation of the cognitive axis of value coordinates. At the same time, taking into account the historical epistemological dynamics, the modern field of consciousness in its integrity, in addition to the epistemological dimension dominant in the human being, should include moral and aesthetic coordinates. This is the essence of the coordinate approach. That is, in order to understand consciousness in general, which is what a human being is trying to achieve, its supervenience on the brain must take into account its specificity in the human form. The adoption of this approach is based on an understanding of the distribution of energy in the picture of human perception in the form of value, mental, cultural and physical energy. Moreover, the closer a modern person is on the coordinate axis to describing the image of reality in the mind in terms of value energy, the more abstract, that is saturated with the energy of speculative meanings, the picture of reality itself becomes, but this is precisely the condition for the free interaction of these meanings in the human mind. Based on the idea of the coordinate approach, the action of value energy on the stage of the individual's consciousness in each individual case is a recognition of the unique dynamic unity of the field of inner experience the hard problem of consciousness and the coincidence with it in the focus of the person's self-consciousness on the verge of their e
{"title":"Methodology of the value coordinate approach in the model of alternative understanding of consciousness","authors":"Valeriy Sivers","doi":"10.32461/2226-3209.1.2024.302028","DOIUrl":"https://doi.org/10.32461/2226-3209.1.2024.302028","url":null,"abstract":"The purpose of the article is to highlight the main substantive elements of the value coordinate approach, which, in turn, can be regarded as a unifying philosophical and natural science principle of seeing the essence of consciousness in connection with the recognition of the need to expand the boundaries of its study and also unambiguously reveals the value character and dialectic of interaction of its structural vectors (coordinates) as a way of forming inner experience or a hard problem of consciousness, as formulated by David Chalmers. The research methodology is, in addition to the universal general philosophical method of dialectics, cultural, axiological, historical and comparative approaches, the coordinate approach itself, which is stated in the title, the essence and directions of application of which are revealed in the sources cited in the bibliography sources and in the text of the article. The scientific novelty lies in the definition, substantiation, and presentation of the main provisions of the value coordinate approach, which reveals the dialectic of interaction of its structural vectors (coordinates) as a way of forming inner experience that can be used as a theoretical basis for the formation of an alternative model of consciousness. Conclusions. The article substantiates the understanding of supervenience as a certain correspondence between processes in the brain with an extremely broad understanding of the phenomenon of consciousness itself, which is nevertheless opaque. This opacity is the result of the absolutisation of the cognitive axis of value coordinates. At the same time, taking into account the historical epistemological dynamics, the modern field of consciousness in its integrity, in addition to the epistemological dimension dominant in the human being, should include moral and aesthetic coordinates. This is the essence of the coordinate approach. That is, in order to understand consciousness in general, which is what a human being is trying to achieve, its supervenience on the brain must take into account its specificity in the human form. The adoption of this approach is based on an understanding of the distribution of energy in the picture of human perception in the form of value, mental, cultural and physical energy. Moreover, the closer a modern person is on the coordinate axis to describing the image of reality in the mind in terms of value energy, the more abstract, that is saturated with the energy of speculative meanings, the picture of reality itself becomes, but this is precisely the condition for the free interaction of these meanings in the human mind. Based on the idea of the coordinate approach, the action of value energy on the stage of the individual's consciousness in each individual case is a recognition of the unique dynamic unity of the field of inner experience the hard problem of consciousness and the coincidence with it in the focus of the person's self-consciousness on the verge of their e","PeriodicalId":510501,"journal":{"name":"NATIONAL ACADEMY OF MANAGERIAL STAFF OF CULTURE AND ARTS HERALD","volume":"360 10","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-04-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140698146","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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