Styles, trends, schools
Reference:
Pu A.
Viewing the influence of Vkhutemas on the Bauhaus from the perspective of production art: Main concepts and directions
// Culture and Art.
2024. ¹ 6.
P. 1-12.
DOI: 10.7256/2454-0625.2024.6.70751 EDN: IILCDT URL: https://en.nbpublish.com/library_read_article.php?id=70751
Abstract:
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.
Keywords:
artistic paradigm, art education, art, avant-garde, design, Constructivism, Production art, Modernism, Bauhaus, Vkhutemas
Cultural heritage, tradition and innovation
Reference:
Sazonova V.A.
The role of state policy in the safeguarding and reproduction of the intangible cultural heritage of Russia
// Culture and Art.
2024. ¹ 6.
P. 13-27.
DOI: 10.7256/2454-0625.2024.6.70875 EDN: IIYRFG URL: https://en.nbpublish.com/library_read_article.php?id=70875
Abstract:
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.
Keywords:
ethno-cultural heritage, cultural values, regulatory framework, strategic planning documents, cultural memory, heritage safeguarding, russian national security, russian national policy, intangible cultural heritage, russian cultural policy
Culture of art and the process of creation
Reference:
Khripkova E.A.
The image of the luminosity of the divine nature of Christ in the Western European temple decoration of the IV-VIII centuries.
// Culture and Art.
2024. ¹ 6.
P. 28-75.
DOI: 10.7256/2454-0625.2024.6.70839 EDN: JFAECN URL: https://en.nbpublish.com/library_read_article.php?id=70839
Abstract:
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.
Keywords:
luminosity, monumental decoration, iconography, characteristic, image of Christ, visualization, mandorla, halo, light, solar symbolism
History of art
Reference:
Yu Z.
The originality of Chinoiserie-style garden architecture in England in the XVIII century
// Culture and Art.
2024. ¹ 6.
P. 76-87.
DOI: 10.7256/2454-0625.2024.6.70772 EDN: HAMWFQ URL: https://en.nbpublish.com/library_read_article.php?id=70772
Abstract:
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.
Keywords:
eclecticism, analysis, architecture, landscape, parks, gardens, style, England, China, Chinoiserie
Music and music culture
Reference:
Chuprova I.A.
About the ways of giving musical meaning
// Culture and Art.
2024. ¹ 6.
P. 88-99.
DOI: 10.7256/2454-0625.2024.6.70654 EDN: KZTMOM URL: https://en.nbpublish.com/library_read_article.php?id=70654
Abstract:
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.
Keywords:
tradition, philosophical anthropology, means of musical expression, musical meaning, musical thinking, musical performance, intercultural communication, intonation, author, philosophy of art
Biblical culture and art of the book
Reference:
Miao J., Fedorovskaya N.A.
Autobiographical motifs in the "silent books" of contemporary Chinese artists (using the example of Sean Tan and Guojin)
// Culture and Art.
2024. ¹ 6.
P. 100-113.
DOI: 10.7256/2454-0625.2024.6.70913 EDN: MFMPDD URL: https://en.nbpublish.com/library_read_article.php?id=70913
Abstract:
The object of the study is “silent books” – books without text; the plot and author’s position are revealed exclusively through a sequential series of illustrations. The subject of the study is the graphic novels of young but already internationally recognized authors – Sean Tan and Guojin. "Silent books" are a relatively new direction in children's book illustration. The prototype of “silent books” – comics – was distinguished by rather primitive graphics, so although they were popular, but they were considered a “low genre” in the professional community. Then the comic went beyond kitsch culture and became an element of middle-class culture, and at the end of the century the comic was reinterpreted in pop art and included in the formation of neo-elite culture. The individuality of the authors is manifested in the choice of a plot related to personal and family history, as well as in the choice of a character of a certain psychological make-up – “silent heroes”, endowed with a rich imagination, the ability to empathize and equal friendly relationships. The technique in the “silent books” of Sean Tan and Guojin has the syncretism and dualism of Western and Chinese traditions. It can be interpreted both in terms of Chinese writing with “dry” ink, and in the European style of “chiaroscuro”; in all cases we had clearly defined contour and a sharp contrast of light and shadow. The author's self-expression in a graphic novel is very specific to book illustration. “The Quiet Book” can be considered as a special type of author’s utterance, similar to improperly direct speech in literature. All this distinguishes the graphic novels under consideration from other forms of children's book illustration, as an example of new paths in art, as well as an original and modern interpretation of social problems of society.
Keywords:
visual images, artist, author's books, children's book illustration, Guojin, Sean Tan, quiet books, Chinese artists, illustrations, The main characters
Fine arts
Reference:
LAI F., Fedorovskaya N.A.
The local and ethnic specifics of Yunnan in the work of modern Chinese artists: an "inside" and "outside" view
// Culture and Art.
2024. ¹ 6.
P. 114-134.
DOI: 10.7256/2454-0625.2024.6.70914 EDN: MFWXAV URL: https://en.nbpublish.com/library_read_article.php?id=70914
Abstract:
The article is devoted to the reflection of local and ethnic specifics (mainly Yunnan Province and the Tibetan borderland) in the works of Chinese artists of the Reform and Opening Up period – Jin Shangyi, Wang Yidong, Zhang Jian Jun, Yuan Yunsheng, Ai Xuan, Zeng Xiaofeng, Ma Yun, Mao Xuhui, Zhang Xiaogang, Liao Xinxue and Liu Ziming. Various cultural codes within which ethnic and local culture is interpreted in the paintings of visiting and local artists are identified. These differences in the perception and display of ethno-local specifics are especially evident when artists paint the same ethno-local object – for example, the life of Tibetan ethnic minorities. The glamorous characters of the Tibetan cycle of Zhang Jian Jun and Ai Xuan are strikingly different from the stern Tibetan women in the paintings of Zhang Xiaogang. The main conclusion of the study is that artists of various trends have their own ideological and aesthetic intentions, so they select individual figurative dominants from the whole variety of phenomena of tradition and everyday life of the ethnic group and build them into a new cultural code. It can be argued that the exotic cultural code (the view from the outside, characteristic mainly of visiting artists) presupposes “estrangement” and the dominance of aesthetic form to the detriment of ethno-cultural specifics, while the archaic code (the view from the inside) complements modern ethno-local elements with historical-cultural (folklore) examples. Artists of the esoteric type of coding possess “double vision”: they accurately reproduce the cultural landscape of Yunnan and the “life world” of ethnic minorities, but interpret it through individual optics, using world artistic experience.
Keywords:
ethnic specifics, cultural landscape, artists, oil painting, visual art, painting, art school, Yunnan style, natural landscape, Yunnan
Arts and crafts
Reference:
du j.
Decorative art of Russian painted spinning wheels and the art of painted lacquer products in China during the Warring States of Qi Lien
// Culture and Art.
2024. ¹ 6.
P. 135-148.
DOI: 10.7256/2454-0625.2024.6.71131 EDN: GXOJJL URL: https://en.nbpublish.com/library_read_article.php?id=71131
Abstract:
The article is devoted to the comparison of Mezen painted spinning wheels actively produced in Arkhangelsk province (Russia) in the XIX century and objects of Chinese art of Qi Lien painting of the Warring Kingdoms period. In this era, the skill of creating Chinese lacquer products was very developed, and the spinning wheel industry of the XIX century became the basis for the existence of a vital craft for Russian people. The spinning wheels were decorated with colored paintings with repetitive plots. The subjects of the study represent the most important part of the folk art of the two cultures, reflecting at the same time the aesthetic and spiritual preferences of the population. Their prevalence in both cases made it possible to identify the commonality of artistic techniques used by folk craftsmen. Scientific work assigns an important role to the techniques of manufacturing household items that demonstrate the prevailing artistic environment at the time of their regular use. The leading method of research is formal stylistic analysis, revealing characteristic compositional features. Comparative analysis makes it possible to identify similarities and differences in the works of DPI, which make it possible to hypothesize a paradoxical objective community. Considerable attention is also paid to the coloristic analysis and symbolic meaning of the murals. The scientific novelty of the study is due to the presence of a very limited number of sources mentioning the possible similarity of the two fields of folk art, none of which is fully devoted to the formal and stylistic features of objects created by unknown masters. The article closes this gap, aiming to discover specific unifying features. Its tasks become a detailed study of plots, compositions, techniques and materials used. The research allows us to come to the conclusion that the work of both Russian and Chinese artists reflected the main artistic aspirations of contemporaries, who often endowed objects and phenomena with symbolic meaning. There is a noticeable interest in the use of wood, the use of warm shades and the embedding of patterns in compositions. There is a similarity in the desire to reflect reality when including plant and animal motifs in their works. Also, the decorative and planar nature of the painting combines the rich details of the product. The relevance of the research is due to the convergence of Russian and Chinese cultures, so that the study of the issue can contribute to finding new points of spiritual contact.
Keywords:
Han dynasty, Qin dynasty, dower, Shen varnish, varnish products, Qi Lien, spinning wheel, Warring States period, Russian folk art, Chu nation