Summaries of articles №2 2009

 

Burganov House. The space of culture

Art and Literature scientific and analytical Journal Summaries of articles

№2 2009

С.И. Орлов

Библия и «Откровение» Иоанна в русском искусстве начала ХХ века

Ключевые слова: Апокалипсис, «Откровение» Иоанна, Библия, Казимир Малевич, Василий Кандинский, Наталия Гончарова.

S.I.Orlov

Bible and «Revelation» of Ioann» in the Russian art of the beginning of the XX century

Keywords: Apocalypse, «Revelation» of Ioann, Bible, Kazimir Malevich, Vasilij Kandinskij, Natalija Goncharova.

Summary: In the article is dedicated to the Bible and the gospel themes in works of Kazimir Malevich, Vasilij Kandinskij, Natalija Goncharova. Personal author’s position of this painters is shown in the interpritation of mythological conceptions.

 

Д.Я.Северюхин

Художественные лотереи в старом Санкт-Петербурге

Ключевые слова: художественные лотереи, старый Сант-Петербург.

D. Y. Severuhin

Art lotteries in the old Sant-Petersburg

Keywords: art lotteries, old Sant-Peterburg.

Summary: In this article the history of art lotteries held organized in Russian capital since the middle of the 18’th century till 1917 is generalized and systematized for the fi rst time. Lottery is regarded by the author both as a part of Petersburg art market and a component of Russian charity system which increased since the end of the 18’th century. It is mentioned that lottery as a form of commercial game for the sake of profi t constantly was in the sight of the government who took care about morality of the society. The legislative restrictions set by the state and city government in different periods decreased the signifi cance of art lottery both in the market and charity spheres. It should be noted nevertheless that sometimes art lotteries were the signifi cant events growing in the texture of Petersburg cultural history. The article is based on the documentary and literary sources and materials taken from the periodicals of the second half of the 18’th –the beginning of the 20’th century.

 

С.В. Курасов

Истоки этнодизайна в традиционном быту примитивных племен Папуа – Новой Гвинеи

Ключевые слова: этнодизайн, Папуа – Новая Гвинея, каннибализм, материальная культура.

S.V.Kurasov

The sources of ethno design in the traditional mode of life of primitive tribes of Papua – New Guinea

Keywords: ethno design, Papua-New Guinea, cannibalism, material culture, decoration of dwelling.

Summary: The article by Professor of Art Criticism, Pro-rector of the Moscow State University of Industrial and Applied Arts named after S.G.Stroganov, expert of environmental design S.V.Kurasov is devoted to the analysis of materials of the expedition to unknown tribes of Papua-New Guinea. The research in the fi eld of ethno design deals with construction and decoration of dwellings, arms and means of labor, cloths, jewelry and also mode of life of the Papua tribes.

 

Т. Ю. Мельник

«Советское» как ценность: Ностальгия в ритме марша (Опыт художественной выставки галереи «Ковчег»)

Ключевые слова: телесность, советское как ценность, советское искусство, образ толпы в искусстве, Ж. Делез «тело без органов».

T.J.Melnik

«Soviet» as value: Nostalgia in beat a march

Keywords: a corporality, Soviet as value, the Soviet art, an image of crowd in art, Z.Delez «a body without bodies».

Summary: In the present article the art exhibition of the fine arts of the Soviet period is investigated as the phenomenon of modern culture which can serve as a field of social mith and representation experience. Possibility to pay attention to a variety of ways of designing of a corporality and it representation in a certain context of time, the past or the present is thus used. At the approach to the analysis cultural spaces of an exhibition the author refers to modern theories and concepts, for example, such as «a body as the text» or «the body without bodies», and considers how they work on a concrete material. A result of the spent researches of artefacts of the Soviet period should become testing to their value in cultural and intellectual context.

 

М.Б.Аксененко

Живопись в московском Музее изящных искусств: элемент оформления интерьера или экспонат?

Ключевые слова: Музей изящных искусств при Московском университете, И.В.Цветаев, живописное оформление музейных интерьеров (1912-1917) .

M.B.Aksenenko

Painting at the Moscow Museum of Fine Arts: the part of design of the interior or the exhibit?

Keywords: Museum of Fine Arts in Moscow , Zwetajew (Cvetaev), design of the interior of museum (1912-1917)

Summary: The article considered the project of the pictorial design of the interiors at the Moscow Museum of Fine Arts and its realization. In 1912-1917 the original painting in Museum was present in several kinds: as a part of the architectural surroundings and as a visual aids, which are supplement the exposition of plasters. Besides that, in the sculptural-architectural exposition was make some easel pictures of the modern russian artists, which have not educational nature, and some old German pictures. The researhc maked from dokumentary sources.

 

И.А.Корчагина

Византийское наследие в архитектуре Венеции

Ключевые слова: Венеция, Византия, Константинополь, архитектура, античность, венецианско-византийский период, Средние века, готика, Возрождение, крестовый поход, палаццо, лоджия, полифорий, стрельчатая арка.

I.A.Korchagina

Byzantine heritage in Venetian architecture

Keywords: Venice, Byzantium, Constantinople, architecture, antiquity, veneto-byzantine time, Middle Ages, Gothic, Renaissance,crusade, palazzo, loggia, polifore, ogee arch.

Summary: This article is devoted to the insuffi ciently explored problem of the Byzantine artistic tradition`s impact on the Venetianarchitecture. Thanks to the political links with the Western Roman Empire, whose province was Venice for several centuries, the city was able to raise and develop within the traditions of great civilization, get acquainted with the antic legacy. Main monuments, illustrating the problem, are described in detail in the article. The question of the particular Venetian art periodization is also raised here, the same way as some historical aspects, promotional to the formation of the own artistic tradition of Venice, at once conservative and eclectic.

 

С.В. Тарханова

Напольные мозаики в архитектуре храмов и синагог раннехристианского периода (III-VI вв.) на территории Палестины

Ключевые слова: Раннехристианские базилики Галилеи, храм в Табхе, синагога Бет Альфа, архитектура построек, техника, композиция и изобразительные мотивы мозаик.

S.V.Tarhanova

The Floor Mosaics in the Architecture of the Churches and Synagogues of the Early Christian Period (III-VI cc) at the territory of Palestine.

Keywords: Rannehristiansky basils of Galilee, a temple in Tabhe, asynagogue of Bet the Alpha, architecture of constructions, technics, acomposition and graphic motives of mosaics.

Summary: In the article I raise slightly examined problem of the architectural role of the fl oor mosaics in the Early Christian Basilicas, that is based at the natural investigations and analysis of the decorative compositions in the Tabgha Church (the end of the Vth c, Lower Galilee) and Bet Alpha Synagogue (beginning of the VI с, Beth Shean Valley). In contrast with the antique temples, to imagine the churches and synagogues of the Byzantine epoch without the mosaic floors –is almost impossible. Mosaic decoration is turning out in the unknown from the previous time sacral-religious space. Its’role is very important in the forming of the interior: in emphasis, rhythm, direction, hierarchy of the zones, style, symbolism and so on. Thus, the aims of the mosaic are very close to the architectural ones. Genesis of the large quantity of the motifs is architectural or sculptural, that promotes the creation of the integral image of the building.

 

Н.А. Хачатрян

Становление армянского портрета и Акоп Овнатанян

Ключевые слова: армянский портрет, индивидуальная концепция, типология раннего портрета, синтетичный стиль, национальная художественная модель.

N.A.Hachatrjan

Development of the Armenian Portrait and Hacob Hovnatanian

Keywords: Armenian Portrait, Individual Conception, Typology of the early portrait, Synthetically Style, National Artistic Model.

Summary: In the first half of the 19th century, the portrait was the only genre through which Armenian painting entered the Modern Age. It reached its full development in the works of Hacob Hovnatanian Jr (1806 – 1881). Descended from an ancient Hovnatianian dynasty, this artist played a crucial role in introducing a new secular tradition. The paintings of the master mark the transition from medieval creative impersonality to a recognizable personal style. The art of Hovnatanian synthesizes three main features: Armenian (as well as Tifl isian), Eastern (especially Iranian) and Western (including Russian). He managed to create a style corresponding to traditional Tifl isian synthesizing culture. Focusing the artistic trends of his time, his art is not limited to transitional issues. Moving towards a new creative method, he came to first personal artistic conception. Hakob Hovnatanian is the fi rst Armenian painter of the Modern Age tobring about a type of movement – the first national artistic model.

 

М.В. Максак

Феномен живописного символизма Эдварда Мунка

Ключевые слова: Эдвард Мунк, символизм, символический смысл, экзистенциальный символизм, экзистенциальная эмоция.

Maksak M.V.

The phenomenon of Edvard Munch’s Symbolism

Keywords: Edvard Munch, symbolism, symbolist meaning, existential symbolism, existential emotion.

Summary: The article shows how the art historian’s notions of Edvard Munch Art have being developed from the end of 19th century till our days. Munch’s place in the history of Art is determined to be an immediate predecessor of expressionism and creator of new type of Symbolism: existential, introspective, psychological symbolism with strong expressionistic component. Personal, universal, decadent and philosophy meanings of Munch’s images are identifi ed in the article. Style of Munch’ Symbolism is considered. Peculiarities of symbol, method of symbolization, special pictorial signs elaborated by the artist are highlighted in the article. The research is based on Munch’s autobiographical texts and all the existing Western literature on Munch art.

 

С.В. Горожанина

К истории художественных мастерских Московского губернского земства в Сергиевском Посаде (1891-1917 гг.)

Ключевые слова: народные промыслы, земские мастерские, игрушки Сергиева Посада, художественное образование.

S.V. Gorozhanina

On History of Art Workshops of the Moscow Gubernia Zemstvo in Sergiev Posad

Keywords: national crafts, земские workshops, toys of Sergiev Posad, an art education.

Summary: There are dedicated to history of the educational toy  and joiner’s workshops of the Moscow Gubernia Zemstvo (1891 – 1917), which were organized in Sergiev Posad – a major center of toy production in Russia in the article of S.Gorozhanina. The article deals with the main aspects of the workshops activity based on the ideas of revival of Russian art within the stylistic trend of artistic process in the late 19th – early 20th century.The author describes the circle of the  famous professional artists, including S.V. Malutin, A.M. Vasnetsov, V.I. Sokolov, participating in the formation of education and production process, and determines the place and signifi cance of the Zemstvo Workshops in artistic life of Russia.

 

Д.В.Жданова

Троицкий собор Почаевской Успенской лавры: к проблеме культового зодчества А.В. Щусева

Ключевые слова: культовое зодчество А.В. Щусева; неорусский стиль; архитектура модерна; украинская храмовая архитектура; художник Н.К. Рерих.

D.V. Zhdanova

The Trinity Cathedral at the Pochaev Assumption Monastery: To the Problem of Alexei Shchusev’s Church Architecture

Keywords: Alexei Shchusev’s church architecture; Neo-Russian style; Art Nouveau architecture; Ukrainian church architecture; artist Nikolaj Rerich.

Summary: The article examines the history of the design and construction of the Trinity Cathedral at the Pochaev Monastery by architect Alexei Shchusev in 1905-1912. The Trinity Cathedral marked an important stage in the architect’s professional development, which promoted the formation of the master’s individual style and the elaboration of a new creative concept in Art Nouveau architecture. An analysis of Shchusev’s work on the Pochaev commission conclusively shows that the process of searching for authentic architectural forms and artistic solutions and the creation of a needed form for the cathedral amassed in itself the idealistic and artistic quest of the Russian Art Nouveau. The results demonstratedт the possibility of a Neo-Russian style as a new style of national architecture.

 

Е.Н. Михалева

Театр в творчестве Анны Ахматовой

Ключевые слова: А.А.Ахматова, театр, драма, либретто, Н.С.Гумилев, А.А.Блок;

E.N.Mikhaleva

The theatre in the work of Anna Akhmatova

Keywords: Anna Akhmatova, theatre, drama, dramatic work, libretto, Nikolay Gumilev, Alexander Blok.

Summary: Dramatic works of Anna Akhmatova (libretto «1913» on the fi rst part of «Poem without a hero», tragedy «Prologue» and screenplay «A pilot, or Blind mother») is directly related to her special mentality, the dramatism of her lyric work and the poet’s need to refl ect on her epoch. These creative quests of Anna Akhmatova correlate with quests of poets-contemporaries – Nikolay Gumilev, Alexander Blok, Marina Tsvetaeva. Dramatic works of Anna Akhmatova show us a new side of her work. And it helps to study the work of Anna Ahmatova more completely.

 

В.Г.Власов

Фаворский и Вхутемас

Ключевые слова: графика, композиция, конструкция, преподавание, пропедевтика.

V.G.Vlasov

Favorsky and VHUTEMAS

Keywords: graphic, composition, construction, teaching, propedeutika.

Summary: In the article examines activity Moscow VHUTEMAS in the period of rector V.Favorsky (1923-1925). At this time realizes succession between traditions of Russian academic school and arouse avant-garde art.

 

Я.В. Морозова

К вопросу об авторской стилистике живописи О.М. Савостюка

Ключевые слова: живопись Савостюка, стиль Савостюка, народные традиции, лубок, бумажная роза, пространство живописи.

J.V.Morozova

About the author’s stylystic of painting by O. Savostyuk

Keywords: paintings by O.Savostyuk; style of O.Savostyuk; folk traditions; lubok (cheap popular print); a paper rose; space of painting;

Summary: Main quality of Savostyuk’s manner is its seeming simplicity and sincerity. His sincerity disguises the complicated compositions, variety of layouts and peculiar elements of a setup, which go back to the tasks of a poster. The basis of his paintings is the traditions of the Moscow painting dated the beginning of the XX-th century accumulating impressionism, postimpressionism, the Russian lubok and icons. The works by Savostyuk comprises various artistic cultures and stylistics, such as realism, avant-garde an symbolism. Nevertheless the works by Savostyuk are the original events manifesting the great personality.

 

Т.Г. Щедрина

Философия культуры Густава Шпета (по материалам архива)

Ключевые слова: Густав Шпет, культурно-исторический подход, философия культуры, эстетика, архив эпохи, искусствознание.

T.G. Schedrina

Philosophy of culture of Gustav Shpet (On archive materials)

Keywords: Gustav Shpet, cultural-historical approach, philosophy of culture, aesthetics, archives of epoch, theory of arts.

Summary: Gustav Gustavovich Shpet (1879-1937) was a great Russian philosopher, psychologist and theorist of culture. He was a pioneer in cultural-historical approach in Russia. His works on philosophical issues in culture are widely known among humanists. Like many of his contemporaries, Shpet could not express and publish all his ideas due to objective reasons, which makes it even more interesting to explore his archives that include sketches, drafts and unfi nished articles and methodological issues of human sciences. His archives contains relevant ideas concerning the problems of studying cultural-historical phenomena (art, literature, poetry etc) that can serve as a ‘tuning-fork’ in present-day discussions. In the preface T.G. Shchedrina analyses the main conceptual attitudes of G. Shpet taking into account the historical and cultural situation that existed in the 1920s and specifi es the features of the reconstructed archival text that differs from the publication