Journal articles on the topic 'Christian art and symbolism Modern period'
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Lazorevich, Irina. "SACRALITY IN THE DIVERSITY OF MODERN LITERATURE: HUMANISM OR VALUE DESTRUCTIVENESS?" Sophia. Human and Religious Studies Bulletin 16, no. 2 (2020): 28–33. http://dx.doi.org/10.17721/sophia.2020.16.6.
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In a secularized society, on the base of the rapid development of technologization and globalization, we also observe an intensive "return" of the sacred. It "returns" with the growth of nostalgia for the personalism of social relationships. And this return is reflected, in particular, through the phenomena of contemporary art – some of them are filled with appropriate symbolism and emotional atmosphere. Undoubtedly, there is no historical period, which would be characterized by complete secularization and the absence of any sacredness. However, in the modern era, the uniqueness of the sacred is that it is not just a religious phenomenon. Because today's semantic space of the sacred is not only the idea of God, it is also about justice, identity, self-sacrifice and the search for answers. This is one of the main categories of value orientations, which relates to anthropological reality in all its diversity. In this article, the author analyzes the manifestations of the Christian worldview and sacred meanings in modern literature work: the means of their expression and symbolism. After all, the Bible in modern literature is used in a unique way. Definitely, there are still a number of important Christian literature works, but more and more often artists use biblical symbolism to embody their creative ideas without mentioning Christian saints or biblical quotations. The researcher examines a number of particularly popular fantasy novels of the early third millennium, in which the plotline is interwoven with elements of Christian sacredness and value categories, the meanings of their ideological guidelines. Cult literature works are also analyzed, where sacredness is hidden under other layers of meaning. In these works, the sacred is not immediately demonstrated, it may be seen in the value potential of the profane. The reverse side of Christian sacredness is also comprehended – on the basis of works of art about demons and Satan, the artistic and ideological purpose of these works is considered. All this is subordinated to the goal of understanding the influence of ideas about the sacred (and in general – the transcendent) in its modern cultural expression on the transformation of the aesthetic axiosphere. The research is at the interdisciplinary intersection of religious studies, philosophy of religion, culturology and aesthetics.
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Marković, Ivica. "Ideal-real beauty in the theurgical creativity: Themes and concepts of visual art aesthetics of the silver age of Russian culture." Artefact 6, no. 1 (2020): 15–32. http://dx.doi.org/10.5937/artefact6-27763.
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The paper explores the Christian-intoned philosophical aesthetics of the figurative arts during the silver age of Russian culture. In this period, which covers the second half of the nineteenth and the first two decades of the twentieth century, Russia's speculative thought, based on the Orthodox patristic and philosophical idealism, promoted the original religious philosophy, which highly valorized the importance of comprehensive gnoseology and ontology of "total-unity", true knowledge sought only through the absolute - an ideal which in itself synthesizes a real beauty, truth and goodness. That is why the Christian fine arts and aesthetics of this period in Russia were built only as an organic segment of a holistically interpreted philosophy of life, recapitulated by its essential principle - Christ. In order to systematize various aspirations, ideas and concepts of this artistic aesthetics, the paper singles out and explains three major themes that are intertwined. These are: the beauty (integral with goodness and truth), Christlike according to Dostoevsky, ideal-real according to Soloviev; theurgical creation, viewed both as artistic (free and transformative) and as an ascetic likeness to God; and the icon, which - through a philosophical-theological interpretation of an apophatic-kataphatic antinomy, reverse perspective and symbolism - integrates the issue of beauty and creativity into a common discourse, entering the Orthodox apologetic front before western art and culture, from the renaissance to the modern digital age.
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Kadurina, A. O. "SYMBOLISM OF ROSES IN LANDSCAPE ART OF DIFFERENT HISTORICAL ERAS." Problems of theory and history of architecture of Ukraine, no. 20 (May 12, 2020): 148–57. http://dx.doi.org/10.31650/2519-4208-2020-20-148-157.
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Background.Rosa, as the "Queen of Flowers" has always occupied a special place in the garden. The emergence of rose gardens is rooted in antiquity. Rose is a kind of “tuning fork” of eras. We can see how the symbolism of the flower was transformed, depending on the philosophy and cultural values of society. And this contributed to the various functions and aesthetic delivery of roses in gardens and parks of different eras. Despite the large number of works on roses, today there are no studies that can combine philosophy, cultural aspects of the era, the history of gardens and parks with symbols of the plant world (in particular roses) with the identification of a number of features and patterns.Objectives.The purpose of the article is to study the symbolism of rosesin landscape gardening art of different eras.Methods.The historical method helps to trace the stages of the transformation of the symbolism of roses in different historical periods. The inductive method allows you to move from the analysis of the symbolism of roses in each era to generalization, the identification of patterns, the connection of the cultural life of society with the participation of roses in it. Graph-analytical method reveals the features of creating various types of gardens with roses, taking into account trends in styles and time.Results.In the gardens of Ancient Greece, the theme of refined aesthetics, reflections on life and death dominated. It is no accident that in ancient times it was an attribute of the goddesses of love. In antiquity, she was a favorite flower of the goddess of beauty and love of Aphrodite (Venus). In connection with the legend of the goddess, there was a custom to draw or hang a white rose in the meeting rooms, as a reminder of the non-disclosure of the said information. It was also believed that roses weaken the effect of wine and therefore garlands of roses decorated feasts, festivities in honor of the god of winemaking Dionysus (Bacchus). The rose was called the gift of the gods. Wreaths of roses were decorated: statues of the gods during religious ceremonies, the bride during weddings. The custom of decorating the floor with rose petals, twisting columns of curly roses in the halls came to the ancient palace life from Ancient Egypt, from Queen Cleopatra, highlighted this flower more than others. In ancient Rome, rose gardens turned into huge plantations. Flowers from them were intended to decorate palace halls during feasts. In Rome, a religious theme was overshadowed by luxurious imperial greatness. It is interesting that in Rome, which constantly spreads its borders, a rose from a "female" flower turned into a "male" one. The soldiers, setting out on a campaign, put on pink wreaths instead of helmets, symbolizing morality and courage, and returning with victory, knocked out the image of a rose on shields. From roses weaved wreaths and garlands, received rose oil, incense and medicine. The banquet emperors needed so many roses, which were also delivered by ships from Egypt. Ironically, it is generally accepted that Nero's passion for roses contributed to the decline of Rome. After the fall of the Roman Empire, rose plantations were abandoned because Christianity first associated this flower with the licentiousness of Roman customs. In the Early Middle Ages, the main theme is the Christian religion and roses are located mainly in the monastery gardens, symbolizing divine love and mercy. Despite the huge number of civil wars, when the crops and gardens of neighbors were violently destroyed, the only place of peace and harmony remained the monastery gardens. They grew medicinal plants and flowers for religious ceremonies. During this period, the rose becomes an attribute of the Virgin Mary, Jesus Christ and various saints, symbolizing the church as a whole. More deeply, the symbolism of the rose was revealed in Catholic life, when the rosary and a special prayer behind them were called the "rose garden". Now the rose has become the personification of mercy, forgiveness, martyrdom and divine love. In the late Middle Ages, in the era of chivalry, roses became part of the "cult of the beautiful lady." Rose becomes a symbol of love of a nobleman to the wife of his heart. Courtesy was of a socially symbolic nature, described in the novel of the Rose. The lady, like a rose, symbolized mystery, magnificent beauty and temptation. Thus, in the Late Middle Ages, the secular principle manifests itself on a par with the religious vision of the world. And in the Renaissance, the religious and secular component are in balance. The theme of secular pleasures and entertainments was transferred further to the Renaissance gardens. In secular gardens at palaces, villas and castles, it symbolized love, beauty, grace and perfection. In this case, various secret societies appear that choose a rose as an emblem, as a symbol of eternity and mystery. And if the cross in the emblem of the Rosicrucians symbolized Christianity, then the rose symbolized a mystical secret hidden from prying eyes. In modern times, secular life comes to the fore, and with it new ways of communication, for example, in the language of flowers, in particular roses. In the XVII–XVIII centuries. gardening art is becoming secular; sesame, the language of flowers, comes from Europe to the East. White rose symbolized a sigh, pink –an oath of love, tea –a courtship, and bright red –admiration for beauty and passionate love [2]. In aristocratic circles, the creation of lush rose gardens is in fashion. Roses are actively planted in urban and suburban gardens. In modern times, rose gardens carry the idea of aesthetic relaxation and enjoyment. Many new varieties were obtained in the 19th century, during the period of numerous botanical breeding experiments. At this time, gardening ceased to be the property of the elite of society and became publicly available. In the XX–XXI centuries. rosaries, as before, are popular. Many of them are located on the territory of ancient villas, palaces and other structures, continuing the tradition.
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Rolska, Irena. "Ferula świętego papieża Pawła VI – innowacja i symbol tradycji." Roczniki Humanistyczne 68, no. 4 Zeszyt specjalny (2020): 73–80. http://dx.doi.org/10.18290/rh20684-5s.
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Among the topics of the Second Vatican Council were issues related to art. Pope Paul VI wanted contemporary art to open up to a new post-Conciliar era in the history of the Church. Artistic events and the works of modern art themselves, under the patronage of the Pope, in conservative environments, provoked discussions on contemporary religious art, and even the lack of consent for artists to depart from accepted canons of art. Perhaps the greatest opposition of conservatives was caused by the papal ferula, a centuries-old sign of the pope’s religious authority given by God. Paul VI ordered a new ferule from the sculptor Lello Scorzelli. Paul’s VI ferule is an example of a work of modern art, but the symbolism contained in it refers to the old tradition. The arrangement of the tormented, elongated body of Christ refers to medieval doloristic crucifixions – painful crosses. Christ on the ferule was crucified on the Tree of Life, which symbolically gives food to life for Christians. The form of a bent, not straight cross beam was also taken from the period of medieval art. It was a symbolic break with the statement that the pope’s authority came from God. At the same time, he symbolically stated the pope’s obedience to the mystery of the cross and his apostolic mission. Ferule St. Pope Paul VI in his apostolic mission used Popes: John Paul I, and the longest St. John Paul II.
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Bugaev, Vasily Ivanovich. "V.S. Solovyov’s characters of Christian ideal in the humanization process of Russian artistic education." Samara Journal of Science 5, no. 2 (June 1, 2016): 146–49. http://dx.doi.org/10.17816/snv20162302.
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The article explores the development of Russian culture and education symbolism at the end of ХІХ in a question about Filioque. The prominent Russian thinker V. Solovyov considered that the unity of spirituality of Christian ideal faith was carried out in the unity of catholic and orthodox Christian churches. He doubted the question of division of Character of Vera perception. V. Solovyov notified the ideal of iconographic art, which was fundamental conception of development of Russian artistic culture and education. Semantic Christian character-kernel is an interpretation of our Hail Mary for us. The ideal of this character is incarnated in the divine beginning through the free exploit of man, adding the faith in Godman and God-flesh (Hail Mary) to the faith in God. This ideal was announced by F. Dostoevsky. The trinity of Christian ideal must have become the background for conscious spiritual development of Russia and all humanity. Essence of beauty symbolism is perceived in the actual available phenomena - nature and art. The conception of Sofia - Wisdoms of God character influenced the development of the Russian artistic culture and modern education. The character overflows in concepts: reasonable essence, Divine Bosom, Eternal femininity, Basis, law of life, reason, connection of God and created World. The character of Sofia is oriented to the Russian culture and education development, as a future and final phenomenon of Deity. As a founder of Russian Christian philosophy V. Solovyov defined subsequent motion of symbolism of Christian ideal in the synthesis of Orthodox, revivalist and comparative trends. We notice positive motion in Russian modern artistic education.
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Барбалат, О. В. "ЗНАКОВА СИМВОЛІКА ФІТОМОРФНИХ ОРНАМЕНТІВ ВІЗАНТІЙСЬКОГО ЗОЛОТАРСТВА IV–IX СТОЛІТЬ." Art and Design, no. 2 (August 11, 2021): 63–74. http://dx.doi.org/10.30857/2617-0272.2021.2.6.
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Purpose of the research is to analyse of the peculiarities of the symbolic meaning and specific use of phytomorphic ornamentation in Byzantine goldsmithery of the IV–IX centuries. Methodology.The research is applied historical-cultural and art critic approaches combined with comparative and presentational methods. Results.The results of the research prove the relationship between Eastern and Greco-Roman traditions of using floral ornamentation in Byzantine jewellery in the IV–IX centuries is highlighted. The traditions and application of floral ornamentation in Byzantine jewellery of the indicated period are identified. The system of transformation of plant motifs into meaningful symbols of spiritual truth embedded in Christianity is analysed. The stylistics, symbolic meaning and artistic peculiarities of plant ornaments applied in jewellery of the above period are investigated on the example of outstanding jewellery items. Jewellery items decorated with floral ornaments from the early Byzantine and iconoclastic periods from renowned museum collections worldwide are examined. The peculiarities of the sign symbolism of phytomorphic ornaments in the Byzantine jewellery of the IV–IX centuries are identified. Artistic technologies and terminology of the Byzantine goldsmith's period are characterized and specified. Scientific novelty. The sign symbolism of phytomorphic ornaments in the Byzantine goldsmith's art of the IV–IX centuries was investigated in a comprehensive way. The causes for the use of phytomorphic ornaments in jewellery items of that time as elements specifying Christian images at certain stages of their canonical formation have been revealed. The article proves the importance of the use of the sign symbolism of phytomorphic ornaments in Byzantine jewellery for further qualitative formation and perfection of Christian traditions. Practical significance. The material of this research can be reflected in the writing of academic disciplines related to artistic technologies in jewellery. As a source of inspiration they can be applied in the process of creating new jewellery collections of Christian themes.
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Orgad, Zvi. "Prey of Pray: Allegorizing the Liturgical Practice." Arts 9, no. 1 (December 30, 2019): 3. http://dx.doi.org/10.3390/arts9010003.
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Numerous images embedded in the painted decorations in early modern Central and Eastern European synagogues conveyed allegorical messages to the congregation. The symbolism was derived from biblical verses, stories, legends, and prayers, and sometimes different allegories were combined to develop coherent stories. In the present case study, which concerns a bird, seemingly a nocturnal raptor, depicted on the ceiling of the Unterlimpurg Synagogue, I explore the symbolism of this image in the contexts of liturgy, eschatology, and folklore. I undertake a comparative analysis of paintings in medieval and early modern illuminated manuscripts—both Christian and Jewish—and in synagogues in both Eastern and Central Europe. I argue that in some Hebrew illuminated manuscripts and synagogue paintings, nocturnal birds of prey may have been positive representations of the Jewish people, rather than simply a response to their negative image in Christian literature and art, but also a symbol of redemption. In the Unterlimpurg Synagogue, the night bird of prey, combined with other symbolic elements, represented a complex allegoric picture of redemption, possibly implying the image of King David and the kabbalistic nighttime prayer Tikkun Ḥaẓot. This case study demonstrates the way in which early modern synagogue painters created allegoric paintings that captured contemporary religious and mystical ideas and liturgical developments.
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Luba, Iwona. "Sources and Contexts of Modernism in the Art of Vilnius in the Interwar Period." Acta Academiae Artium Vilnensis, no. 98 (June 26, 2020): 16–32. http://dx.doi.org/10.37522/aaav.98.2020.22.
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The paper is an attempt to define the term “Vilnius modernism”, its earliest manifestations in various, and even contradictory, formulas. The sources of modern art in Vilnius after the end of the Great War, artistic, historical and ideological contexts of the dynamically changing phenomenon of Vilnius modernism – from late symbolism, through neoclassicism, to strictly avant-garde art –are indicated. Both theoretical declarations/ manifestoes as well as works of art and their interpretations at that time are taken into account.
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Helgeland, John. "The Symbolism of Death in the Later Middle Ages." OMEGA - Journal of Death and Dying 15, no. 2 (October 1985): 145–60. http://dx.doi.org/10.2190/kln2-b0cf-7ucr-ec7e.
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Historians of medieval art and letters have failed satisfactorily to explain the gruesome images of death occurring at the end of that period. The explanation offered here is that the images are a form of symbolism based on body metaphors. By means of the decomposing bodies, the artists and poets symbolized the disintegration of medieval institutions and the transition to the early modern period in Europe. This view of symbolism depends on the work of Mary Douglas who has shown that the human body is the first, most natural symbol for describing social groups and institutions. A corollary of this argument is that the relationship between the vividness and fear of death and the collapse of institutions is reciprocal.
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Hioki, Naoko Frances. "Depictions of the Journey to the Heavenly Realm in Early Modern Catholic and Japanese Buddhist Iconography." Religion and the Arts 20, no. 1-2 (2016): 135–59. http://dx.doi.org/10.1163/15685292-02001007.
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This article works to identify an intersection of the Catholic and Buddhist pictorial traditions with regard to the symbolism of the journey to the spiritual world. In both Christian and Buddhist traditions, the river/ ocean is a popular symbol that designates the border between this world and the other world. A work of western-inspired Japanese folding screens known as Yōjin Sōgakuzu (Europeans Playing Music) is an outstanding example that makes use of the symbolism of the river to allude to one’s pilgrimage to the other world in the guise of a secular waterfront scene. The folding screens were painted in the seventeenth century by Japanese artists who were affiliated with the art studio founded by the Jesuits. An investigation of European sources of the painting will show how the painters modified the famous Catholic iconography of “The Ship of the Church” to match the taste of the Japanese patrons of the time. Further, comparisons with other Japanese paintings that similarly deal with the theme of the river will show that such secular scenes of waterfront leisure could demonstrate to the Japanese audience the life in the world beyond, as well as a journey to that world they anticipated.
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Sychenkova, Lidia A. "Christian Art in D.V. Aynalov’s Legacy of the Kazan Period." Observatory of Culture 19, no. 5 (November 14, 2022): 524–35. http://dx.doi.org/10.25281/2072-3156-2022-19-5-524-535.
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D.V. Aynalov (1862—1939), a Russian Byzantinist, art critic and historian of Russian art, during his years at Kazan University (1890—1903) studied the issues of ancient Christian culture. For the first time, the article involves Aynalov’s newly studied iconographic heritage, which allows describing the creative laboratory of the Byzantinist and his original method of analyzing monuments. The author finds that the development of a new research methodology was facilitated by the expansion of the empirical base, which, in addition to apocryphal texts, included Aynalov’s own drawings, and photographs of monuments made by order of the scientist. In the article, D.V. Aynalov’s lectures on “Ancient Christian Art” are introduced into scientific circulation for the first time, allowing to reveal the argumentation of the scientist’s main idea about the connection between the late Antique style and early Christian art. Aynalov made two important discoveries in the history of Christian art. The first discovery was that, using the example of the mosaics of the church of Santa Maria Maggiore, Aynalov managed to identify an important moment in the transformation of the image of the Virgin Mary into the image of the royal Virgin. The second discovery was the transformation of the symbolic image of Christ in the form of a lamb into the image in the form of a man, using the example of the mosaics of Albenga. The implementation of a comprehensive interpretation of Aynalov’s iconographic heritage in the context of his ideas allows us to understand the scientist’s system of evidence and reveal his original concept of the development of Christian art in the West and East. His research made a significant contribution to the new concept of the universal history of art, in which a special place belonged to Byzantium, and later to ancient Russian art. Aynalov’s works contributed a great deal to the development of the scientific base on Christian art, art history and Byzantine studies in Kazan. The republication of D.V. Aynalov’s legacy of the Kazan period is of interest for both modern Byzantine studies and the history of cultural studies.
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Panok, T. "H. Skovoroda in the Works of Ukrainian Artists." New Collegium 4, no. 109 (November 14, 2022): 14–22. http://dx.doi.org/10.30837/nc.2022.4.14.
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This paper analyzes the creative heritage of H. Skovoroda, his literary pronouncements on the role of art in the cultural heritage of the reference period. Along with dialectics of philosophical thought of H. Skovoroda, an important principle of his work, namely symbolism, which was inherent not only in Baroque emblematic poetry, but also in the visual art in general at the time, is revealed. Philosophical reflections and symbols of H. Skovoroda were understandable and highly sought not only in the Baroque period, but also throughout the time. It is thus with good reason that philosophical and ethical views of H. Skovoroda influenced the artistic conceptions of many Ukrainian artists, first and foremost those belonging to M. Boichuk, H. Narbuta, V. Krychevskyi, O. Bogomazov, K. Malevich and others.
This paper expands the concept of emblematics, symbolism of the Baroque and its quotation in the modern Ukrainian art. It has been brought out that the image symbolism of H. Skovoroda in their creativity expressed the idea of Ukrainian Sacrum, sophistication and cordocentrism. The philosophy of Ukrainian art, based on the idea of Sacrum, as well as on the sacral signatures of the national fine arts, developed its own understanding of both art and artistic concepts that reflected the revolutionary “mythmaking” and transformed the stable Ukrainian archetype into new artistic images.
Skovoroda’s teachings have always attracted artists by their uniqueness, the significance of opinions, the depth of spiritual understanding of both the world and man, while his mystical symbolism is still quoted in the works of Ukrainian artists. Skovoroda’s figure is embedded in the historical process of understanding both the man and the world around, and his views can be projected not only onto the past, but likewise onto the present. In Ukrainian fine art and iconography, the philosopher’s dream of the harmony of human existence, the greatness of his spirit and self-knowledge is still maintained.
The expressed allegorical nature of Skovoroda’s philosophical meditations is reflected in the symbolism of both the past and contemporary works of art. The illustration of a conceptual idea in terms of images-symbols is kind of “l'instant épié”, which aims at the most adequate expression of the artist’s point of view, when reality is transformed by flair, and everything that the artist’s brush touches rises above everyday life and becomes poetic.
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Voskresenskaya, V. V. "Symbolism in Russian Painting of the Early 20th Century: the Vitality of Plastic Expressiveness." Art & Culture Studies, no. 4 (December 2022): 108–39. http://dx.doi.org/10.51678/2226-0072-2022-4-108-139.
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The purpose of the article is to reveal the understanding of vitality as the intensity of innovative plastic expressiveness in Russian painting of the early 20th century. It was in that period, since the turn of the 20th century, that the means of artistic expression and the tasks of art were changing fundamentally, which had a great impact on the future development of art. This study, based on the relevant theoretical and methodological perspective of the material already explored, allows identifying the conceptual aspects of Russian artistic culture of the indicated period and outline further area of scientific research. The author proceeds from the belief that vitality is an innovative vital capacity of art that is expressed in the strain of the artist’s creative energy embodied in the plastic expressiveness of the work. The appeal of a number of Russian painters of the early 20th century in line with symbolism to the innovative aspects of the plastic thinking and the consistent fixation of plastic innovations reveal this provision, demonstrating the uniqueness of Russian art in the world artistic culture of the epoch. In this context, it is important to foreground both the recognized achievements of such masters as M. Vrubel or V. BorisovMusatov and the early period of creativity of N. Roerich, K. Bogaevsky, p. Kuznetsov, M. Saryan or K. Malevich. The research problem determines a complex approach, which involves the combination of historical, cultural, chronological, and comparative methods and the formal-stylistic analysis. One of the most important results of the study is the identification of the significance of vitality as innovative plastic expressiveness for the evolution of art of the Modern times.
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Thakur, Meenakshi. "RELIGIOUS SYMBOLISM IN THE WORKS OF GRAPHIC ARTIST-NARENDRA SRIVASTAVA." ShodhKosh: Journal of Visual and Performing Arts 3, no. 1 (May 7, 2022): 187–93. http://dx.doi.org/10.29121/shodhkosh.v3.i1.2022.81.
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Religious symbolism implies the use of unique symbols by a particular religion, that describe anything pertaining to its culture and psyche, including archetypes, events, natural phenomena or even the art that evolved in that land over a period of time. All religions of the world, irrespective of how ancient or modern they are, use symbols to help create a resonant ethos, which in turn, reflects the moral values, teachings and culture of that society. The concept of religious symbolism is very ancient and may well have had its roots from the start of mankind itself. This can be seen in the series of paintings with the word ‘DHARMA’ painted in 1984, done basically for calendar, depicting six great religions of world Hinduism, Buddhism, Christianity, Islam, Confucianism, and Judaism by renowned graphic designer, eminent artist, and art educationist, Narendra Srivastava. By seeing these drawings it seems that artist must be highly religious which is not true because he had used the word graphically only. He did it for his pleasure of creating something new out of it, which makes his artworks very creative. These paintings do have some religious symbolism in it, which the artist had graphically depicted in a very innovative and impressive style.
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Goren, Ahuvia. "The Lulav: Early Modern Polemical Ethnographies and the Art of Fencing." Religions 12, no. 7 (July 1, 2021): 493. http://dx.doi.org/10.3390/rel12070493.
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In recent years, scholars have devoted a great deal of attention to the history of scholarship in general and, more specifically, to the emergence of critical historical and anthropological literature from and within ecclesiastical scholarship. However, few studies have discussed the Jewish figures who took part in this process. This paper analyzes the role played by historiographical and ethnographical writing in seventeenth- and eighteenth-century Italian Jewish–Christian polemics. Tracing various Christian polemical ethnographical depictions of the Jewish rite of shaking the lulav (sacramental palm leaves used by Jews during the festival of Sukkot), it discusses the variety of ways in which Jewish scholars responded to these depictions or circumvented them. These responses reflect the Jewish scholars’ familiarity with prevailing contemporary scholarship and the key role of translation and cultural transfers in their own attempts to create parallel works. Furthermore, this paper presents new Jewish polemical manuscript material within the relevant contexts, examines Jewish attempts to compose polemical and apologetic ethnographies, and argues that Jewish engagement with critical scholarship began earlier than scholars of this period usually suggest
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Стихина, М. И. "The symbolism of color in the painting of Lyubov and Vasily Antsiferov: red and gold." Iskusstvo Evrazii [The Art of Eurasia], no. 3(26) (September 30, 2022): 206–15. http://dx.doi.org/10.46748/arteuras.2022.03.017.
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Статья посвящена большой серии живописных работ Любови и Василия Анциферовых: «Красное и Золотое» (2002–2005). Продолжительная работа над ней стала для художников обращением к началам русской истории и культуры, осмыслением их истоков, возможностью лучше понять самих себя. В основе серии лежит диалог с христианским искусством, интерпретация его образов и сюжетов, воплощенных в современной обобщенно-абстрактной форме. На примере конкретных работ анализируется символика цвета и художественный язык серии. The article is devoted to a series of paintings «Red and Gold» (2002–2005) by Lyubov and Vasily Antsiferov. The long work on the series has become for the artists an appeal to the beginnings of Russian history and culture, an understanding of its origins, an opportunity to better understand themselves. The series is based on the dialogue of artists with Christian art, the interpretation of its images and plots embodied in a modern abstract form. The article analyses the symbolism of colour and the artistic language of compositions.
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Bychkov, V. V. "The Symbolic Essence of Art in Friedrich Schlegel’s Romantic Aesthetics." Art & Culture Studies, no. 1 (2021): 266–87. http://dx.doi.org/10.51678/2226-0072-2021-1-266-287.
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According to Friedrich Schlegel, one of the leading theorists of German Romanticism, the “highest” art is always symbolic, and it would be more precise to name the discipline that deals with it “symbolics”, rather than “aesthetics”. According to Schlegel, the highest arts comprise painting, sculpture, music, and poetry as the “arts of the beautiful and the ideally significant”. Using the examples of painting and literary arts, he demonstrates the symbolic character of art in general. Schlegel thinks that masterpieces of old Italian and German painters exemplify symbolic art. Schlegel is against separating painting into genres. He thinks that portrait, landscape, or still nature are merely sketches in preparation for a large, multi-figure, historical painting — as a rule, with Christian content — which leads the spectator to divine spheres. At the same time, painting must perform its symbolic function by means purely pictorial. The best examples of poetry (this is how Schlegel styles all belles lettres) also have been symbolic, especially during its “Romantic period”, from the Middle Ages and up to the 1600s. Schlegel refers to its symbolic meaning by the term “allegory”. The Bible — as an artistic, symbolic book — became the foundation of the “Romantic” literature of the Middle Ages, which took two routes: “Christian-allegorical”, which transfers Christian symbolism on to the entire world and life, and properly speaking Romantic, which presents every phenomenon of life as leading up to symbolic beauty. Using the example of drama, Schlegel divides works of art into three categories: superficial, spiritual-profound, and eschatological. According to the German philosopher, contemporary art has lost its symbolic content and mostly remains at the superficial level.
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Serdiuk, Oleksandr. "Karol Szymanowski and multiculturalism." Aspects of Historical Musicology 19, no. 19 (February 7, 2020): 206–29. http://dx.doi.org/10.34064/khnum2-19.12.
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Background. The problem of self-determination of an artist who apprehends oneself as a representative of a certain nation, but is forced to selfactualize in the cultural space of a multinational empire, remained relevant for a long period for the majority of representatives of the Polish creative intelligentsia. Among them, it is appropriate to recall, in first, Karol Szymanowski, whose creative development took place in a multicultural environment. The outstanding musician was feeling his involvement not only in the European tradition in general, but also in the Antique, Eastern, Polish, Russian, and, especially, Ukrainian culture, because his life for 36 years was related with Ukraine. The temporal distance that has formed between the eras, the changes in cultural paradigms that have now taken place, encourage us to rethink the approaches to the various cultural-creating activities of artists in past eras, to evaluate them from modern positions. If we consider multiculturalism in a positive sense – as a phenomenon of social life characterized by coexistence and active interaction within one society of many cultures, then the analysis of Szymanowski’s creative evolution in this context looks relevant for modern cultural figures. At the same time, in Ukraine, there has not yet been a steady interest of scientists in the work by K. Szymanowski, although certain steps are being taken in this direction: PhD theses by Anatolii Kalynychenko, Hanna Seredenko, Oleksandr Serdiuk, Dmitriy Poliachok have appeared that explore some aspects of the Polish artist’s creativity, taking into account modern methodological tools. An important function of stimulating interest in the creative figure of Szymanowski is performed, in particular, by the “Kropyvnytskyi Museum of Musical Culture named after K. Szymanowski” (headed by Olexandr Polyachok) that initiates various projects related to the popularization of Shimanovsky’s creative heritage, including holding scientific conferences and publishing. A significant contribution to the study of various aspects of the K. Szymanowski’s creative activity was made by Polish scientists, in particular, Malgorzata Komorowska, Zofia Helman, Teresa Chilińska, but their works are in a greater degree focused on the analysis of the musician’s creativity in the Polish cultural context. Objectives of the study. This article is destined to examine the creative personality of the Polish artist in a new problematic field. The purpose of the study is to identify the features of the creative formation and growth of K. Szymanowski in the context of multiculturalism. The object of analysis is the creative activity of K. Szymanowski; the subject, on which the attention is focused, is the peculiarities of cultural and creative attitudes formation, the principles of artistic activity, the means of cultural communication of K. Szymanowski in the conditions of multiculturalism. Research results. The scientific novelty of the research consists in the identification of little-known facts of the creative biography of K. Szymanowski and their new interpretation, the formation of new ideas about the specifics of his creative approaches both in composing and literary work. The important role of self-education in his creative development, the ability for self-development, conscious cultural pluralism formed in the context of multicultural conditions, a tendency to innovate (for example, intense interest in new artistic and stylistic trends) are emphasized. Attention is drawn to the originality of Szymanowski’s relationships with various cultural environments, with which he was closely linked by fate. After all, his formation as a personality took place under the influence of several cultures, the features of which were intertwined, coexisting in the everyday life of his family estate in the Ukrainian village Timoshivka and Elisavetgrad, the city of his childhood and youth. The significant influence of regular visits to European cultural centers and travels to the countries of the Arab East on the formation of the cultural identity of the artist is also noted. The analysis of archival materials, in particular, comments in the margins of the pages of books from the family library, showed the enormous influence of literary texts on the composer’s cultural identity. Szymanowski carefully read, thought over and discussed with his close ones literary works, various works of philosophers and art historians. Szymanowski’s archives contain notes on the history of art of Ancient Greece in French, the history of the culture of Ancient Rome in German and Russian, extracts from the history of the origins of Christianity, the culture of Sicily and the life of King Roger II, notes from the letters by Seneca, Leonardo da Vinci, Machiavelli, works of Novalis, studies on oriental culture, etc. The composer was fascinated by the ideas of the synthesis of cultures (Ancient Greek, Ancient Roman, Byzantine, Arabic, Proto-Slavic), of religious syncretism in various forms (Christian modernism, paneroticism, etc.). Embodying his creative intentions, Szymanowski went through a fascination with a wide variety of aesthetic ideas. In the process of realizing artistic synthesis, along with the idea of cultural syncretism, signs of aesthetics of romanticism and impressionism, symbolism and modernism, expressionism and neo-folkloric trend often coexisted and intersected in his works. As a conclusion, we note: the creative formation and evolution of K. Szymanowski took place in multicultural conditions. Realizing himself a descendant of the Polish gentry family, he was at the same time a citizen of the Russian Empire and was formed as a person under the influence of many cultures, which were intricately intertwined in the space where the formation of his individuality took place, which, eventually, determined the multicultural profile of his artistic work. Szymanowski’s cultural positioning we propose to consider, to a certain extent, according to the formula: “one of our own among strangers, a stranger among our own”, because his creative searches, in which the polylogue of cultures acquired signs of multiculturalism, were not always perceived adequately by his contemporaries, especially in those cultural centers, where the traditional values of the national culture were considered priority. The artistic, aesthetic and cultural paradigms of the 21st century turn out to be largely consonant with those that determined the creative preferences of the Polish artist, which leads to the actualization of the creativity of the latter in the conditions of the dominance of the postmodern situation in the contemporary cultural space.
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Davidko, Natalya. "The Great Divorce: A Dream by C.S. Lewis: A Comeback of the Medieval Genre." Athens Journal of Philology 9, no. 3 (September 1, 2022): 235–64. http://dx.doi.org/10.30958/ajp.9-3-3.
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It is universally acknowledged that the Renaissance has exerted a great influence on modern literature and art. This view has been so overwhelming that it has ousted other possibilities, as a result, the influence of medieval literature has been grossly underestimated. In the current article I want to show the role of the “dream vision” genre in shaping the modern genre of spiritual philosophical fiction elaborated in the works by C.S. Lewis, specifically in his exceptionally original novel The Great Divorce. The aim is to examine systematically and expose the intrinsic affinity of Lewis’ work with the ground breaking works of the father of the genre, a French Cistercian monk Guillaume de Deguileville (1295-1358). Separated by time and culture, the works display a remarkable congruity of both form and content including the narrative structure, themes and motifs, allegorical representations and symbolism. The discovered similarities are not accidental because they draw upon the same epistemological position concerning understanding and interpretation of essential properties of the Christian doctrine. Keywords: dream vision, pilgrimage, cardinal sins, comparative analysis
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Sakhno, Irina. "Kazimir Malevich’s Negative Theology and Mystical Suprematism." Religions 12, no. 7 (July 16, 2021): 542. http://dx.doi.org/10.3390/rel12070542.
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This article examines Kazimir Malevich’s Suprematist art in the context of negative (apophatic) theology, as a crucial tool in analyzing both the artist’s theoretical conclusions and his new visual optics. Our analysis rests on the point that the artist intuitively moved towards recognizing the ineffability of the multidimensional universe and perceiving God as the Spiritual Absolute. In his attempt to see the invisible in the formulas of Emptiness and Nothingness, Malevich turned to the primary forms of geometric abstraction—the square, circle and cross—which he endows with symbolic concepts and meanings. Malevich treats his Suprematism as a method of perceiving the ineffability of the Absolute. With the Black Square seen as a face of God, the patterns of negative theology rise to become the philosophical formula of primary importance. Malevich’s Mystical Suprematism series (1920–1922) confirms the presence of complex metaphysical reflection and apophatic thought in his art. Not only does the series contain icon paraphrases and the Christian symbolism of the cross and mandorla, but it also advances the formulas of the apophatic faith of the modern times, since Suprematism presents primary forms as the universals of “the face of the future” and the energy of the non-objective art.
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Spivey, Nigel. "Art and Archaeology." Greece and Rome 64, no. 2 (October 2017): 204–7. http://dx.doi.org/10.1017/s0017383517000122.
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Visitors to modern Istanbul struggle to imagine how the city as created by Constantine appeared. But the elongated promenade now usually indicated as Sultan Ahmet Parki, but also known as the At-meidam (‘Horse-Square’), is vaguely conceivable as the ancient Hippodrome, the centre of public life in imperial Constantinople; and of the numerous monuments that once adorned this area, a trio persists along the site of the ‘spine’ of the ancient racetrack. Two obelisks are still conspicuous; between them lurks the ‘Serpent Column’, which was already a piece of antiquity when Constantine had it removed from Delphi. Of all bronzes to survive from the classical world it is perhaps the most deserving of its own ‘cultural biography’. This is what Paul Stephenson offers with The Serpent Column. He starts in the broadest possible terms – mankind's general phobia of snakes – and then guides the reader through two and a half millennia of the vicissitudes endured by a sacred object wrenched from its ‘pagan’ purpose and somehow accorded special status within first Christian and then Muslim theocracies. Several times damaged, but never destroyed, the structure originally erected to mark the Greek victory over the Persians at Plataia in 479 bc now serves as a sort of talisman against snakebites. Stephenson calls upon some esoteric sources to inform its symbolic genesis – though disappointingly attempts no reconstruction of how it originally supported a tripod with cauldron – and shows how that symbolism could be adapted in biblical terms. Constantine's motives for relocating the monument remain obscure; nonetheless, we can surely dismiss Gibbon's conclusion that the emperor reveals merely ‘the rapacious vanity of a despot’. Recall the tradition that in his new forum he buried, beneath a pillar, an ensemble of relics comprising the Trojan-Roman Palladium, Noah's axe, Mary Magdalene's ointment jar, the crosses of the two thieves, and twelve baskets used by the apostles at the feeding of the five thousand. Superstitious he may have been; yet, by his choice of objects, Constantine also shows a fine sense of cumulative tradition at the juncture of Europe and Asia.
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Berkieta, Aleksandra. "Between practice and theory – the case of the Russian avant-garde." Tekstualia 2, no. 49 (June 5, 2017): 113–27. http://dx.doi.org/10.5604/01.3001.0013.3104.
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The article is concerned with Russian avant-garde literature and modern literary theory in its „heroic” period between World War I and the Russian Revolution of 1917. It analyzes selected works by and biographies of the Russian Futurists and the literary theorists who sympathized with them, i.e. the founders of the so-called Russian formalist school gathered in OPOYAZ („Society for the Study of Poetic Language”) in St. Petersburg and Moscow Linguistic Circle in Moscow. The article shows that the revolution in art which they proclaimed and the resulting negation of the academic and literary tradition (especially the rejection of Russian symbolism) was rather superfi cial. It was a consequence of a generational change on the Russian literary scene as well as in the modernist literary studies.
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Mdivani, T. G. "Composer’s interpretation of the Christian ethos in the music art of sovereign Belarus." Proceedings of the National Academy of Sciences of Belarus, Humanitarian Series 65, no. 2 (May 18, 2020): 203–8. http://dx.doi.org/10.29235/2524-2369-2020-65-2-203-208.
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For the first time in the Belarusian liturgical musicology analysis of the attitude of domestic composers to Christian sources: themes, images, style, church singing culture in general is carried out. It is proved that the interest of the Belarusian musicians of the period of state sovereignty focuses on two Christian denominations – the Western and Eastern European; that the compositions of composers in their essence are representatives of musical art, and not of liturgical singing practice, and also, that the basis of the composer’s work is the phenomenon of interpretation. Three types of composer interpretation of church tradition are distinguished: «leverage» (transposition, re-establishment), author’s transcription and conventionality. The main conclusion of the work: the spiritual stratum of the national musical culture of modern times, presented by composer creativity, is a peculiar aesthetic euphemism between Eastern and Western Christianity, which manifests itself in various aspects.
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Nikolić, Jovana. "Symbolism and imagination of the medieval period: The lady and the unicorn in the works of Gustave Moreau." Kultura, no. 168 (2020): 51–68. http://dx.doi.org/10.5937/kultura2068051n.
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The French Symbolist painter Gustave Moreau often used the motifs of fantastic beings and animals in his works, amongst which the unicorn found its place. Moreau got the inspiration for the unicorn motif after a visit to the Cluny Museum in Paris, in which six medieval tapestries with the name "The Lady and the Unicorn" were exhibited. Relying on the French Middle Age heritage, Moreau has interpreted the medieval legend of the hunt for this fantastic beast (with the aid of a virgin) in a new way, close to the art of Symbolism and the ideas of the cultural and intellectual climate of Paris at the end of the 19th century. In the Moreau's paintings "The Unicorn" and "The Unicorns", beautiful young nude girls are portrayed in the company of one or multiple unicorns. Similarly to the lady on the medieval tapestry, they too gently caress the animal, showing a close and sensual relationship between them. Although they were rid of their clothes, the artist donned lavish capes, crowns and jewellery on them, alluding to their privileged social status. Their beauty, nudity and closeness with the unicorns ties them to the theme of the femme fatal, which was often depicted in the Symbolist art forms. Showing the fairer sex as beings closer to the material, instinctual and irrational, Moreau has equated women and animals, as is the case with these paintings. Another important theme of the Symbolic art forms which can be seen on the aforementioned paintings is nature, wild and untouched. The landscape in the paintings shows a harmony between the unrestrained nature and the heroes of the painting, freed from strict moral laws of the civil society, or civilization in general. Putting the ladies and the unicorns in an ideal forest landscape, Moreau paints an intimate vision of an imaginary golden age, in this case the Middle Age, through a harmonic relationship of unicorns, women and nature. In that manner, Moreau's unicorns tell a fairy tale of a modern European man at the end of the 19th century: a fairy tale of harmony, sensuality and beauty, hidden in the realms of imagination and dreams.
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Abdullina, D. A. "Images of «educated children» in the Russian children’s portrait of the second quarter of the XIX century." Vestnik of Saint Petersburg State University of Culture, no. 4 (45) (December 2020): 152–58. http://dx.doi.org/10.30725/2619-0303-2020-4-152-158.
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In the field of Russian portraiture in the second quarter of the 19th century, a new «type» of children’s portrait images emerged, which the author conventionally calls «exemplary children». According to him, young models were portrayed as educational models for both the portrayed themselves and their peers and potential descendants. This «type» was formed at the junction of romantic ideas about the virtue of childhood, Christian ideals and, at the same time, growing realistic trends in art. It became widespread among both metropolitan and provincial portrait painters, which testifies to its compliance with the tastes and needs of the public of that time. The article examines portraits of children from the Tomilov families by A. G. Varnek and Kapnist, made by E. F. Krendovsky. They were created at the beginning and end of the specified time period, respectively, which allows tracing the development of the «type» in dynamics. Particular attention is paid to the ways in which the portraitists combined the images of real boys and girls, shown in the natural setting of home activities, with a complex spiritual and moral content. The latter was achieved through the use of the universal language of Christian symbolism, bold comparison of images of children with images of Christ, the Mother of God, angels and saints.
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Litinskaya, Evgeniya. "RHETORIC AND POETICS OF DOSTOEVSKY’S PUSHKIN SPEECH." Проблемы исторической поэтики 19, no. 2 (May 2021): 141–75. http://dx.doi.org/10.15393/j9.art.2021.9583.
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The article examines the F. M. Dostoevsky’s Pushkin's Speech in the context of modern studies of the way ancient heritage was reflected in the writer's work. The analysis of the speech was carried out in the categories of rhetorical poetics. The author proves that the speech is structured according to the rules of epideictic eloquence, with a pronounced emotional component characteristic of Christian preaching. The author identifies established stylistic figures, the use of which is always justified: repetition, parallelism, gradation, amplification, polyphonic forms, period, allusion, irony. Rhetoric is translated into poetics. Pushkin's characters (Aleko and Onegin, Tatiana, Pimen) become images with apparent features of both Christian culture and antiquity. Evangelical motifs and images, allusions to antiquity, concepts of Orthodox and ancient culture are integrated in a journalistic form. Christ and Pushkin are connected figuratively in poetics and rhetoric of the speech. Dostoevsky creates a portrait of the Russian poet, his image, and it is no accident that the "speech" is called an essay by its author.
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Avdykovych, Roksolana. "The Artistic Symbolism of the Chapel’s Lost Interior of the Greek-Catholic Theological Academy in Lviv." Text and Image: Essential Problems in Art History, no. 2 (2019): 99–115. http://dx.doi.org/10.17721/2519-4801.2019.2.06.
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This paper looks at the artistic design of the chapel of the Greek Catholic Seminary in Lviv that was created after the earlier church was destructed in the military events of 1918. Articles in press written after the ceremony of the consecration, the records of greeting speeches of the church leaders who attended the ceremony, and the essays of art critics provide an important insight into the iconographical programme of the chapel and its functioning as the scared space. Rare photographs of iconostasis and photo-fixations of different stages of the interior decoration supplement the narrative sources. Fragments of the iconostasis are stored in the funds of the National Museum in Lviv. These are the works of Petro Kholodnyi the Elder that managed to survive through the destruction of ‘risky’ artworks of 1952. The wall paintings were bleached during the Soviet period, and currently, they cannot be seen, which complicates the research. In this essay, I seek to reveal the initial intentions of the chapel’s patrons and to highlight how the restored interior serves their educational and ideological purposes. I shall discuss the use of symbols of early Christian or Ukrainian origin through the methodological lenses of Yu. Lotman’s theory on construction of interior spaces, semiospheres and their boundaries, A. Lidov’s concept of hierotopy. I shall address the use of particular symbols and signs and their role and provide explanatory texts from the Bible in order to trace their origin. Particular attention shall be paid to the patron’s understanding and articulation of the main purposes of sacral art and to the impact their understanding might have had on the artistic style. Thus, I shall focus on the use of the elements of Byzantine style in decoration of the chapel, for this style was of primary importance for church leaders and artists involved.
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Voderstrasse, Tasha. "Painted Churches of Medieval Lebanon: an Overview." Chronos 24 (March 28, 2019): 129–61. http://dx.doi.org/10.31377/chr.v24i0.433.
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The modern country of Lebanon preserves an important medieval and post-medieval legacy of standing churches and Christian religious art. After their discovery by western scholars in the 19th century, the art of the churches only attracted limited scholarly attention until about 100 years later, when they began to be studied in detail. Now a variety of studies have appeared on the churches and their art, including several books (Nordiguian and Voisin 1999 and subsequent new editions; Cruikshank Dodd 2004; Immerzeel 2009; Zibawi 2009) and numerous articles in both print and online. This article seeks to provide an overview of the studies of these monuments, first discussing the origins of the study of these churches and the viewpoints of the different scholars who have approached the material, and then examining some Of the surviving monuments. The churches discussed here date to what can be most accurately termed as a high medieval period of the 12th-13th centuries AD, when Lebanon was under the rule of the Crusaders. Nevertheless, while the region was under Crusader control, there is a growing recognition that the monuments that were produced were local art that was influenced from a variety of sources. Post-Crusader material will not be discussed, although it should be noted that the country also possesses important Christian art from the subsequent periods. The article will not only examine the standing architecture, but also the wall paintings, which have been the subject of considerable attention on the part of scholars in recent years. Further, other Christian religious items that would have been found or still can be found in the churches, such as icons, will also be treated here, particularly as a number of scholars have related the different art forms to each other. It is by examining all forms of Christian art surviving in Lebanon from this period that we can come to a better understanding of how and why this material was produced, as well as how the studies of this material has evolved through time. It can also help provide new ideas for further research, in addition to the valuable work of documentation, restoration, and interpretation that has been occurring since the end of the 20th century.
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Nováková, Mgr PhD Lucia, and Mgr Monika Pagáčová. "Dexiosis: a meaningful gesture of the Classical antiquity." ILIRIA International Review 6, no. 1 (July 27, 2016): 209. http://dx.doi.org/10.21113/iir.v6i1.213.
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Dexiosis is a modern term referring to the handshaking motif appearing in ancient Greek art, which had specific meaning and symbolism. Though it was a characteristic iconographic element of the Classical antiquity, its roots can be traced back to the Archaic period. Dexiosis was not merely a compositional element connecting two people, but carried a deeper meaning. Most often, the motif was associated with funerary art of the Classical Athens. On funerary monuments the deceased were depicted in the circle of their families, which reflected the ideals of contemporary society. Particularly notable is the contrast between the public character of the funerary monument and the private nature of the depiction. Its meaning should be perceived in terms of both the intimate gesture expressing emotions and the formal presentation of the family. Dexiosis emphasized a permanent bond as the fundamental element of the family in particular, and society in general. At the same time, it was associated with the theme of farewell. The gesture was performed by two people in a dialogical composition, which clearly showed their mutual relationship and the figures were depicted in various compositions regardless of their gender or age. The motif was also used in the Hellenistic and the Roman art.
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Ben-Aryeh Debby, Nirit. "Crusade Propaganda in Word and Image in Early Modern Italy: Niccolò Guidalotto’s Panorama of Constantinople (1662)*." Renaissance Quarterly 67, no. 2 (2014): 503–43. http://dx.doi.org/10.1086/677409.
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AbstractThe focus of this article is a vast seventeenth-century panorama of Constantinople, which is an exceptional drawing of the city, currently displayed at the Tel Aviv Museum of Art. The panorama is an elaborate piece of anti-Ottoman propaganda designed by the Franciscan friar Niccolò Guidalotto da Mondavio. Guidalotto also prepared a large manuscript, held in the Vatican Library, which details the panorama’s meaning and the motivation behind its creation. It depicts the city as seen from across the Golden Horn in Galata, throwing new light on both the city and the relationships between the rival Venetian Republic and the Ottoman Empire. It also trumpets the unalloyed Christian zeal of Niccolò Guidalotto and serves as a fascinating example of visual Crusade propaganda against the Ottomans in the early modern period.
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Ivanenko, Olena. "The semantics of the traditional women's headscarf as a source of modern design innovations." Collection of scientific works “Notes on Art Criticism”, no. 39 (September 1, 2021): 16–21. http://dx.doi.org/10.32461/2226-2180.39.2021.238674.
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The purpose of the article is to reveal the influence of the semantic-symbolic system of traditional women's clothing on the formation and development of trends in a modern design using the example of a scarf. Methodology. Comparative-historical and historical-typological methods have been applied in order to identify the tendency in the development of a headscarf as an element of a woman's costume; the hermeneutic method, which helped to understand and interpret signs and symbols as components of traditional culture; systemic method (for considering the system of symbols of a woman's headscarf as a cultural and artistic phenomenon); the method of art history analysis (according to M. Bakhtin and A. Losev); a method of a functional nature (for identifying the main functions of the elements of a semantically sign system and revealing their significance for expressing aesthetic, sacred and ethical motives), etc. Scientific novelty. The semantics of the headscarf as an element of the female national costume, the peculiarities of the coloristic and compositional solutions of the decorative design of the female headscarf are investigated, the main ornamental motifs and forms are analyzed in the context of their use in modern design; revealed and substantiated the influence of the semantic-symbolic system of the traditional women's headscarf on the development of modern clothing design; the semantisation of the elements of the system of symbols of the traditional women's headscarf has been carried out; the features of the integration of the elements of the ornament of the traditional national headscarf into the designer clothes of the 20th century are characterized; analyzed the problems of meaning and its expression by means of pictorial and colored symbols in a modern woman's headscarf. Conclusions. Preserving the ancient sacred symbolism of the canvas, characteristic of the mythological consciousness, as well as mastering the centuries-old experience of Christian understanding, the headscarf has remained an integral part of the traditional female costume for many centuries. In the design of the 21st-century women's scarf. semiotics of color is actively used, which acts as a symbolic guideline for associations that have developed in history, culture, and philosophy. Floral images are the aesthetic value of the subject environment and are realized in the process of artistic creativity of designers, enriching the aesthetics of human ecological space. At the present stage, the appeal of domestic clothing designers to the ethnic style makes it expedient to deepen the understanding of its semantical sign system. Revealing the peculiarities of the semiotics of the color of a traditional Ukrainian women's headscarf, research and analysis of its symbolism provide a modern designer with an almost unlimited dimension for creativity and contribute to the strengthening of national self-awareness.
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Sieruta, Dominika. "The Art of Dying Well according to Erasmus of Rotterdam and Teresa of Ávila." Lumen et Vita 9, no. 2 (May 18, 2019): 67–76. http://dx.doi.org/10.6017/lv.v9i2.11133.
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Contemporary conversations about death and dying are lost and unsatisfying on many levels. This phenomenon subsists not only in fields like bioethics, but also in religion and spirituality. Modern culture is preoccupied with seeking ways to live a longer, youthful life, ignoring the inevitable forthcoming of death. One period during which the topic of death and dying was reflected upon by the common Christian was between the fifteenth and the seventeenth centuries, during which a specific genre of literature was formed: ars moriendi. This genre attempted to provide intellectual, cultural and religious answers as to how death should be understood and ritualized. Two spiritual writers who contributed to the understanding of ars moriendi are Desiderius Erasmus and Teresa of Ávila. What unites these figures of the Catholic tradition is their attempt to show that preparation for death is a lifelong process of cultivating appropriate virtues.
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Hnatiuk, Larysa. "Mykola Grinchenko as a Musicologist-Folklorist (Based on Published Works)." Problems of music ethnology 17 (November 17, 2022): 27–32. http://dx.doi.org/10.31318/2522-4212.2022.17.270898.
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The goal of the article is to characterize Mykola Hrinchenko as a historian of Ukrainian music, a researcher of the folk music; to analyze his “History of Ukrainian Music” (1922) and to identify the place of folklore related problems in it. The activity of M. Hrinchenko as a teacher, scientist, musical and public figure is characterized, its importance in the development of musical folkloristics is highlighted. An overview of the works of the early period of the scientist's creative life has been carried out, the formation of M. Hrinchenko's views on Ukrainian folk art has been traced. Characterizing the creativity of Ukrainian composers (M. Lysenko, K. Stetsenko, P. Kozytskyi), M. Hrinchenko focuses primarily on those achievements related to folklore sources. The scientist considers its genetic connection with the native culture to be a sign of the artistic value of a musical piece. The goal of Ukrainian music, according to M. Hrinchenko, is to reach the heights of world musical art and at the same time preserve its national roots.
The “History of Ukrainian Music” (Kyiv, 1922) has been analyzed and the importance of folk art as a mandatory component of music-historical work is outlined. The author's statement about the fundamental importance of musical folklore for the development of Ukrainian culture, which is unique and different from all other cultures of the world, is defined as the conceptual basis of the monograph. It is proven that M. Hrinchenko initiated certain traditions with his monograph, which are still followed by almost all authors of studies on the history of Ukrainian music. In particular, the presence of a section devoted to the history of folk musical art is mandatory. The periodization of the history of Ukrainian folk art from ancient times to the time of the creation of the book is considered: pre-Christian era, Christian (pre-Cossack), Cossack era, modern period. M. Hrinchenko sees Ukrainian musical culture as a component of the European one. The impact of his ideas on the development of Ukrainian historical musicology and folkloristics in subsequent periods is indicated.
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R., Frankiv, and Khadzhynov V. "NEW ROME, AS AN IDEAL HIERATOPY, IN THE GALICIAN SACRED ARCHITECTURE OF THE INDEPENDENCE AGE." Vìsnik Nacìonalʹnogo unìversitetu "Lʹvìvsʹka polìtehnìka". Serìâ Arhìtektura 2, no. 2 (November 2020): 204–11. http://dx.doi.org/10.23939/sa2020.02.204.
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The aim of the article is to reveal the tendency to use images of the Constantinople capital's architecture in the projects of sacred buildings in Galicia at the beginning of the XXI century. Under the hieratopy of New Rome means the special status of Constantinople - the sacred center of the World Christian (Roman) State. After the fall of Constantinople, the image of New Rome became available for reproduction in previously remote corners of the Byzantine world, including in the construction of the identities of certain modern nations formed in the nineteenth century. It is underlined that the hieratopy of New Rome became an important part of Ukrainian identity searching within the sacred architecture of Galicia. It is determined that in varying degrees, it was characteristic of the search for a national manifestation both in the period of the turn of the XIX - XX centuries, and of the Independence period in the turn of the XX - XXI centuries. It is determined that for this last period, an important factor was the significant improvement of relations between the Western (Latin) and Eastern (Orthodox) churches, the rehabilitation of Eastern traditions in Roman Catholic discourse. Also the article shows examples of a number of buildings, which testify to different variants of architecture work of sacred buildings in Galicia (West Ukraine) with images of hieratopia of New Rome. Furthermore is given a ways in which it fits into the existing stereotypes of architectural manifestation of Ukrainian national identity and symbolism, as well as manifestations of Ukrainian national identity.
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Natalya S., Murashova. "Development of spiritual music in Russia of Peter I’s reign period." Vestnik of Saint Petersburg State University of Culture, no. 1 (50) (2022): 159–64. http://dx.doi.org/10.30725/2619-0303-2022-1-159-164.
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Development features of liturgical and outliturgical spiritual music of the period of Peter I’s reign are associated by the following processes of transition period between Middle Ages and Modern Age: 1) polystylism because of Old Russian Znamenny Chant in a church usage and genetically related demestvenny and peavey chants, strochny singing, as well as influenced by European singing part-song; 2) representation of several genres’ manifests in monodiyny chants, harmonization of bookhood singing and part-song compositions as parts of liturgical singing as well as spiritual cants and psalms as parts of out liturgical singing; 3) coexistence of several Christian traditions – orthodoxy (official and Old Believers), Lutheranism and Catholicism; 4) development of spiritual song writing with two trends. The first one was characterized by creation of part-song compositions with constant polyphony in addition to Znamenny chants by sovereign’s clergy singers. The second trend was associated with the influence of European part-song with variable polyphony. Priority of innovative reforms was typical for secular music of the period of Peter I’s reign. It was driven by introduction of professional secular music art in the mentioned period. However, the reforms in spiritual singing with its deep centuries-long traditions were moderate. Innovations were hold by liturgical intent of singing, the function of the singing in the church usage, Church Slavonic language, and regulation of novelties by representatives of Russian culture.
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Endoltseva, E. Yu. "The Lashkendar Church and the Alan-Abkhazian Cultural Contacts: Prospects of Studying." Observatory of Culture 15, no. 3 (August 19, 2018): 298–308. http://dx.doi.org/10.25281/2072-3156-2018-15-3-298-308.
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The article studies the Alan-Abkhazian cultural contacts by analyzing architectural decorations of these peoples. Actuality of the study is determined by considering the architectural decorations as a cultural marker of Abkhazians and Alans in the period of the 8th—10th centuries. This point of consideration is primarily important for studying the material culture of the ethnic groups living in close proximity to the route of the Silk Road, which is regarded as a powerful catalyst for cultural exchange between the numerous tribes and peoples each having its own unique and diverse artistic skills. The article compares a number of artifacts: some fragments of the altar barrier from Anacopia (Republic of Abkhazia, New Athos) and some fragments of the altar barrier from the Ilyichevskoe Hillfort (Krasnodar Region, Otradnensky District). This allows the author to state that there existed common ornamental schemes in the monumental art of those peoples in the period preceding the 13th—14th centuries. The article analyzes the patterns and zoomorphic images of “animals in a heraldic pose” from the church on Mount Lashkendar (Republic of Abkhazia, Tkuarchalsky District), and a dog from the Alan tomb of the Kyafarskoe Hillfort (Karachay-Cherkess Republic, Zelenchuksky District), providing additional arguments for the animals’ identifi cation. The author explores the system of images of the Alan tomb to determine the semantics of the dog’s image in the Christian church’s decoration and comes to the conclusion that the symbolism of the dog’s image originates from pre-Christian beliefs (namely, those Zoroastrian). The article emphasizes the fruitfulness of studying the Alan-Abkhazian contacts using the example of architectural decoration: it makes possible to identify some images and specify their dates. The author offers a variant of identifi cation of the relief from Mount Lashkendar; defi nes the place of this unique monument in the course of formation of the original artistic culture of the Abkhazian Kingdom; notes the heterogeneous infl uences on this process, coming both from the territories of different regions of the Byzantine Empire (Constantinople, Cappadocia, etc.) and from Transcaucasia (Armenia, Georgia). The Alan-Abkhazian layer of cultural contacts is highlighted.
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Dorofeyeva, L. G. "Visuality in Robert Louis Stevenson’s Novella “Strange Case of Dr. Jekyll and Mr. Hyde”." Observatory of Culture, no. 3 (June 28, 2015): 79–84. http://dx.doi.org/10.25281/2072-3156-2015-0-3-79-84.
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Visuality in Robert Louis Stevenson’s Novella “Strange Case of Dr. Jekyll and Mr. Hyde” (by Ludmila Dorofeyeva) analyzes some visual images connected with the author’s way of writing, the picture of the world created by him, spatial organization of the text, and content of the characters’ images. According to the levels of art space, we can see two basic types of visual images. The world of “visible”, real actuality is accompanied by some visual images generated by an “outward” sight, which are traditional to a realistic prose. Their main function is a characterological one. Visuality of the second type concerns the mystical side of the novel, accompanies the image of Mr. Hyde and the image of London. It is mainly a metaphorical symbolism and a kind of medieval genre of visions. General historical context of the novel relates to the Late Victorian period, accordingly to the Protestantism; and its spiritual space is a Christian one. Therefore, the nature of this novel’s mysticism is not magical, and the visual images associated with it open their spiritual meanings rather than mystical ones. One of the most important conclusions here is the statement that Mr. Hyde’s image is impersonal, that he lacks personality, which means his lack of personal will and of free self-determination. He is not a double who wants to replace and destroy Dr. Jekyll’s personality but just a transformed Jekyll’s body, a mask, a guise, a “container” for dark, demonic powers; the character of his visuality witnesses that.
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Hoshko, Tetiana. "THE VISION OF THE CHILDHOOD IN THE CODES OF THE URBAN LAW IN THE RZECZPOSPOLITA IN XVI - EARLY XVII CENTURY." City History, Culture, Society, no. 4 (November 7, 2018): 37–56. http://dx.doi.org/10.15407/mics2019.04.037.
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As the people of the Middle Ages thought in symbolic categories, this symbolism was imposed on the notion of human life. In Europe, it had a distinct Christian colouration and was associated with the symbolism of numbers. This was reflected as well in the idea of the stages of human life, the number of which ranged from three to seven. Childhood, which was the first in this scheme, lasted from birth to adolescence, that is until reaching puberty. For the medieval people who thought concretely, just tangible things were important. It is not surprising, therefore, that the notion of attaining adulthood was not so much based on the formal number of years as on the real external physiological features. However, over time, such a ‘visual’ determination of the age of the personrecedes into the background.Childhood has been linked to a guardianship that has received much attention in the city law codes of the early modern period. Anyone who could not manage their lives and property could count on it.In the Middle Ages, childhood had no place, and until the 12th century, children were hardly depicted. The appearance of the post-mortem images of children in the 16th century was evidence of a change in the emotional attitude to them. This change was reflected in the city law codes of the late 16th century. They protected the right of a child to life and property, even of the unborn or born but not survived child. The born and baptized child was already a complete person with soul and likeness of God.The German town law protected children from too severe punishment, first of all from execution. It was believed that before reaching a certain age the children were unconscious creatures, so they could not deliberately commit crimes. And punishment to death was unacceptable for unconscious wrongdoing. The city law codes in the Polish-Lithuanian Commonwealth of 16th and early 17th centuries reflected the evolution of ideas about childhood from the late Middle Ages to the early modern era. Although they refer to the legal norms of previous epochs, they contain many provisions which appeared under the influence of Humanism and the Reformation. As a result of deeper Christianization of morality at the turn of the Middle Ages and modern era, a new attitude to childhood appears, as to a special and important stage in human life. Therefore, as of the 16th century, there were special articles about children in legal codes. The city law begins to protect the interests of children by considering various aspects, in particular, the rights of the unborn but conceived child, of the children of ‘righteous bed’, orphans, etc., the children’s property interests, their lives and future.
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Kondratyeva, Maria. "The Idea of Progress in the Context of Modern Discourse." Ideas and Ideals 13, no. 3-1 (September 30, 2021): 176–87. http://dx.doi.org/10.17212/2075-0862-2021-13.3.1-176-187.
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The article explores the idea of social progress in the context of the history of human society. The author considers the concept of progress in interrelation with the three revolutions. The first revolution was an agrarian one, which established the dominant religious consciousness and dependence on the divine intervention. Accordingly, the idea of progress as opposed to the perfection of God was not dominant. The world of nature is born, develops, and dies. This approach prevailed for about seven thousand years: from the first civilizations to the XV - XVIII centuries. According to the Judeo-Christian tradition, after the fall, the world fell away from God. This understanding corresponds to the primordial approach and is also opposite to the idea of progress. In the Renaissance, the secularization of consciousness and culture begins. Culture and values are formed on the basis of religious Judeo-Christian values, but a man becomes the bearer and guarantor of these values. The ideas of humanism and worshipping of a human being as the main creator are reflected in philosophy, art, and painting. In accordance with this approach, the idea of progress is born. The idea of progress is fully formed and takes possession of the masses in the age of Enlightenment. During this period, the industrial revolution is taking place. In European culture, the primacy of rationality, machine labor and equality is asserted. But at the same time, the industrial revolution entailed many social crises that are still relevant today. The United States and Europe were gradually able to overcome the challenges of the industrial revolution and create a system of “capitalism with a human face”, while partially imposing their system on other countries where production is cheaper. Therefore, the problems of the so-called “wild capitalism” still take place in the third world countries. By the middle of the XX century, science became the leading factor in manufacturing. Society is changing from industrial to post-industrial. The article focuses on the problems and opportunities of the modern post-industrial society with all the accumulated baggage of the previous stages of development. Humanity has achieved great technological success, and the scientific and technological revolution has brought material benefits to society. But at the same time, the consumer society creates many problems. What is progress in the context of modern discourse? The answer to this question is the purpose of this article.
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MARSHANIYA, Kristina M., and Olga M. USHAKOVA. "LITERARY FELINOPHILIA AND ANIMALISTIC PERSPECTIVES OF MODERNITY (T. GAUTIER, J. JOYCE, T. S. ELIOT)." Tyumen State University Herald. Humanities Research. Humanitates 7, no. 1 (2021): 106–27. http://dx.doi.org/10.21684/2411-197x-2021-7-1-106-127.
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Each literary era is characterized by certain models of literary animalism with their own semantic accents and symbolism, types of communication “man — animal”, genre preferences. The article examines the features of literary felinistics of the Art Nouveau era, identifies the cultural and social causes of artistic felinophilia. As a material for the study there were three texts written in the period from 1869 to 1939, considered both in the wide cultural context of the modern era, and within the boundaries of their time (modern): “Ménagerie intime”, 1869 by Gaultier T., “The Cats of Copenhagen’’ (1936) by Joyce J. and “Old Possum’s Book of Practical Cats” (1939) by Eliot T. S. In the course of our research, we relied on both historical and literary works devoted to the analysis of specific animalistic images, works of a culturological nature, and also turned to the experience of structuralist studies and the ideas of new posthumanistic knowledge (Human-Animal Studies). The animalistic texts of Gauthier — Joyce — Eliot unite not only the acting cat characters, but also certain artistic perspectives, similar types of human-animal relationships, social and cultural contexts in which their heroes are represented. The feline characters of Gauthier-Joyce-Eliot have much in common: they are anthropomorphic inhabitants of the urban space of the industrial era, leading an appropriate lifestyle and possessing qualities inherent in the middle class. Gautier, Joyce, Eliot’s cats have a bright personality, extraordinary abilities, a lively mind, a rich emotional world, they live according to the laws of human society. They are attractive, intelligent, vital, civilized individuals with unique, eccentric characters (humors).
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Schmale, Wolfgang. "Critical Note: Representations of the continents by means of allegorical figures in the early modern period. (Bodies and Maps: Early Modern Personifications of the Continents, edited by Maryanne Cline Horowitz and Louise Arizzoli, Brill, Leiden 2020)." Diciottesimo Secolo 7 (November 18, 2022): 147–52. http://dx.doi.org/10.36253/ds-13179.
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In the early modern period, the representation of the continents by means of allegorical figures enjoyed great popularity. The book Bodies and Maps: Early Modern Personifications of the Continents, edited by Maryanne Cline Horowitz and Louise Arizzoli, is very stimulating, richly documented and fundamental with regard to the detailed source-critical examination of concrete individual visualisations of the continents. The focus of the book rather lies with the 16th century, while part 5 focuses on the 18th century. In the 18th century, continent allegories entered into the public sphere and reached broader strata in the society. In this century, Eurocentrism progressed considerably, but did not invent it. The volume’s co-authors pose the question of Eurocentrism as well as that of racism with regard to the late Middle Ages and the 16th century. Because of their widespread use, continent allegories can be counted among the most important primary sources from which we can draw conclusions about how extra-European cultures could be represented, interpreted and viewed from a European perspective. They represent much more than just an art-historical source, they are, especially when one thinks of their accessibility in public spaces for everyone, actually a historical source of the first rank, behind which not least travelogues and theoretical concepts such as the history of civilisation as a universal history compete with the Christian history of salvation in the Bible.
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Basenko, Ruslan. "RENAISSANCE-HUMANISTIC CONCEPTS OF CULTURE OF PEDAGOGICAL DIALOGUE OF THE TEACHERS OF THE ORDER FROM THE SOCIETY OF JESUS IN EARLY MODERN TIMES." Aesthetics and Ethics of Pedagogical Action, no. 15 (March 9, 2017): 26–35. http://dx.doi.org/10.33989/2226-4051.2017.15.175866.
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A period of European Renaissance is the birth of the modern personality and virtues Renaissance Christian humanism is a model of ethical attitudes today. The first attempt of early modern European youth education in educational system of coordinates of Renaissance humanism, no doubt, was created within the youth Order of St. Ignatius.The proposed article is devoted to the analysis of verbal communicative competence of early modern Jesuit teachers. The author revealed the contents of value-semantic, spiritual and pedagogical concepts of educational communication in the Society of Jesuits, and proved that it was based on Renaissance and Christian- humanistic positions of “brilliance, beauty and sophistication” of the academic word, the skill of public speaking and high style and the art of eloquence of the early modern university speaker.The author concludes that the Jesuits interpreted pedagogically Renaissance and humanistic intellectual heritage to the implementation of the Order implementing schooling some semantic meaning loads of humanism in this article. Recognizing it as "imitation of ancient people", as an appeal to samples of ancient learning,fundamental virtues of the Society of Jesus proclaimed erudition, sophistication of Latin, intellectual culture, exquisite taste, eloquence, perfection scientist speech and public speaking, virtuous behavior. With the Renaissance and humanistic individualism priorities code integrity Jesuit added active devotion, diligence, active, creative enthusiasm and initiative, determination and zeal, compassion, rationality and prudence, the Jesuits appreciated the talent and abilities of youth, drawn attention to the need to care for the physical health etc. Etymological interpretation of humanity as humanity in correctional priorities Jesuits answered task of building virtues of modesty and politeness, prudent and tolerance, respect and attention for elders, love and kindness, ethics, partnership and unity.The article highlights and grounds the components of the Jesuit methodology of formation of conversational competencies in the youth of the Order (didactically and cognitive, rhetoric and stylistic, moral and aesthetic); the article also proves the sonority of the Jesuit practice of teaching literature with the didactic pedagogy of the European Renaissance. The conclusion was made about the significant role of socio- cultural, socio-integrating task and spiritual significance of educational communication of Jesuit teachers for implementation of the European Youth Policy of St. Ignatius rank in XVI – XVII centuries.
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Мельничук, М. С. "РЕЛІГІЄЗНАВЧО-ФІЛОСОФСЬКА ТРАНСКРИПЦІЯ СИМВОЛУ ТА КАНОНУ В КОНТЕКСТІ РЕЛІГІЙНОГО МИСТЕЦТВА." Humanities journal, no. 3 (December 22, 2018): 72–77. http://dx.doi.org/10.32620/gch.2018.3.07.
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The article makes an attempt to reveal the peculiarities of influence of such components of religious art as symbol and canon, in the context of the impact on man as a whole. The researcher is interested in the process of their functioning in religious art, both from the side of religious-philosophical analysis and from the point of view of art studies.The symbol, as an integral part of religion, serving both a liturgical and ritualistic function, is the embodiment of the existential meaning of the divine world, immutable and eternal. The symbols clearly demonstrate the presence in the earthly reality of the very beginning of the transcendent, formulating the original position of the connection of the world sinful and sacred. This is their main purpose. Hence, the saturation of religious-cultural symbols with a variety of historical, social, moral-ethical, aesthetic, modern, mystical-esoteric, and other meanings syncretically link in one indissoluble sense, which is involved in the transcendental mystery of being. Hence, the exceptional generalization of religious symbols, due to its abstract nature, maintains its cultural content within the enormous time and space dimensions of epochs, supranational and transgovernmental communities in world religions. Symbolism in religious art allows us to relate the experiences of millions of people to some kind of integrality, different in their ethnic origins and cultural traditions; to act as a form-forming and system-forming factor of separate cultures and whole civilizations.The Canon as a certain law, which is a typical example for imitation, may be not only religious, but also artistic. The canons of artistic and religious origins are born as an integrity that is difficult to divide, but each of them has its own specifics. The canon is often considered only as a factor limiting the artist, but it also has the other side. Compliance with the canon allowed the artist - even a mediocre one - to reach a high level of artistic creativity. Thus, the average level of mass art production, for example, the ancient Russian icons due to the hard canon is very high. The true artist, working on nuances of artistic form, could show his personality and creative genius.The symbolic and canonical components of religious art were unable to completely determine peculiarity or uniqueness of artistic thinking. Only in certain historical frameworks they were able to organize the stability of artistic integrity at a specific content-formal level. Moreover, the canon emphasized the talent and originality of the artist who created within its framework, as in order to create a significant work of art within the framework of the canon, it is necessary to have a great creative potential, the ability to overcome existing stereotypes. Thus, for example, Andrei Rublev’s works were carried out within the limits of the Orthodox, Christian canons, but at the same time it went beyond its formal boundaries, becoming a peculiar and unique phenomenon of the Eastern Slavic culture. The same were the works of other world artists who represented religious and sacred art of the Western Church - each of their geniuses went beyond the narrow limits of theological prescriptions, which is due to the unsurpassed perfection of their artistic creativity, and as a result, the world’s artistic heritage.
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Sobkovych, Olha. "Folk poetics in creative work of Petro Kholodnyi Senior." Bulletin of Lviv National Academy of Arts, no. 42 (December 27, 2019): 66–78. http://dx.doi.org/10.37131/2524-0943-2019-42-10.
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Summary. The defined issue is the new angle to study Petro Kholodnyi Sr. heritage, that allows to research the thematic interest features and style synthesis specific to artist`s original language, where we can trace the modernist style, symbolism, byzantine style and impressionism echoes. It was observed an important group of artwork by Kholodnyi Sr. in the article. Together with the sacral heritage, they have played a significant role in the reviving of the Ukrainian national art in the first part of XX century - the compositions on the folk themes. The comprehensive review of the folk poetics in creative work by Petro Kholodnyi Sr., is lightened in context of the current historical and art-cultural realities of the defined period, that allowed to distinguish the characteristic, typical and novel features in creating, by Petro Kholodnyi Sr., the Ukrainian national art through appealing to the folk poetics. It was marked, that Petro Kholodnyi Sr. engagement in folklore was natural in context of two essential interdependent tendencies of that period: the idea of the “national reviving” in the Ukrainian culture in the first part of XX century, among the characteristic features of which – appealing to folklore as the field of the national spirit preserving and “tradition discovery”. It is defined the peculiarities of trendsetting technical performance and ideological-stylistic understanding and rendering of the folk poetics in the visual form, that expanded the idea of this source interpretation abilities in form and sense aspects of that period art searches context. Methods. For holistic analysis, author applied the following methods: form and style analysis to explore the art peculiarities of the artwork, on the Ukrainian folklore motives, by Petro Kholodnyi Sr.; comparative style analysis to detect the features of artist creation manner and its change according to certain one or other ideological-sensitive or emotional message, and to distinguish the differences, between comprehension and visual implementation of the folk poetics in Kholodnyi Sr. creative work in comparison with Russian artists, who, in their creative activities, appealed to the folk well-springs. Results. Through folk poetics, which he felt delicately, Kholodnyi Sr. propagates the most current messages of “national reviving” in early XX century. In particular, the Ukrainian national history pages he exposes via appealing to such source of its study as ballad (thought) (“The thought of the Black sea windstorm”), that added some folk-poetic colours to the theme; also he refers to one of the most famous ancient Rus literature memorials of the late XII century – “The Lay of Igor’s Campaign”, which is saturated with Slavic folk poetry motives. In compositions created by these sources, Kholodnyi Sr. not so much emphasized the ballad subject illustrations or historical annals context as the poetic highness. So there is in his artwork, even on historic themes, a strong, musical in its harmonic melody, rhythm of colourful spots and lines. That’s the important individuality of his creations. The same powerful national poetics we can also feel in his creative works on Ukrainian tales, corals and songs motives, where the emphasis is put on enlarging the emotional-sensitivity edge, but not on the external plot, that we can see in such works as “Oh, there is rye on a field”, “Ivasyk and witch” and “The tale of a girl and a peacock”. Poetry and subjective-emotional components of two last creations point out on the affinity to symbolic-modern worldview, where the reality and tale are mixed at the moment. In his works on folk themes, he combined the style trends early XX century with the national painting traditions. Particularly “The Tale of a girl and a Peacock” corresponds by style to plastic language of modern with its emphasized decorativeness, softness of lines and clear lineal drawing, but in composition “Oh, there is rye on a field” we can see the signs of late modern which includes into its art language the method of stylization one or other famous historical pattern, in this case - byzantinism. Both art work performed in discovered by artist tempera technique which allowed to get that colour tints that enchanted in the ancient Galician icons. So these paintings possess you by delicately harmonized tincture which together with folk motive, its subject and ethnographic details, like heroes’ cloths, creates the folk-national sound of composition.
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Sabău, Nicolae. "„Sok szíves üdvözlettel régi barátos…”. Colegamenti di amicizia di Coriolan Petranu con storici magiari." Studia Universitatis Babeș-Bolyai Historia Artium 65, no. 1 (December 31, 2020): 107–26. http://dx.doi.org/10.24193/subbhistart.2020.06.
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"„Sok szíves üdvözlettel régi barátos...” (“With kind regards, your old friend...”). Coriolan Petranu’s Friendly Connections to the Hungarian Historians. Coriolan Petranu is the founder of modern art history education and scientific research in Transylvania. He had received special education in this field of study that is relatively new in the region. He started his studies in 1911 at the University of Budapest, attending courses in law and art history. During the 1912-1913 academic year he joined the class of Professor Adolph Goldschmiedt (1863-1944) at the Friedrich-Wilhelm University in Berlin. The professor was an illustrious personality from the same generation as art historians Emil Mâle, Wilhelm Vögte, Bernard Berenson, Roger Fry, Aby Warburg, and Heinrich Wölfflin, specialists who had provided a decisive impetus to art historical research during the twentieth century. In the end of 1913, Coriolan Petranu favored Vienna, with its prestigious art historical school attached to the university from the capital of the Austro-Hungarian Empire. There he completed and perfected his education under the supervision of Professor Josef Strzygowski (1862-1941). The latter scholar was highly appreciated for his contributions to the field of universal art history by including the cultures of Asia Minor (Syria, Mesopotamia, Armenia, and Persia), revealing the influence that this area had on proto-Christian art, as well as by researching ancient art in Northern Europe. In March 1920 the young art historian successfully defended his doctoral dissertation entitled Inhaltsproblem und Kunstgeschichte (”Content and art history”). He thus earned his doctor in philosophy title that opened him access to higher education teaching and art history research. His debut was positively marked by his activity as museographer at the Fine Art Museum in Budapest (Szepműveszeti Muzeum) in 1917-1918. Coriolan Petranu has researched Romanian vernacular architecture (creating a topography of wooden churches in Transylvania) and his publications were appreciated, published in the era’s specialized periodicals and volumes or presented during international congresses (such as those held in Stockholm in 1933, Warsaw in 1933, Sofia in 1934, Basel in 1936 and Paris in 1937). The Transylvanian art historian under analysis has exchanged numerous letters with specialists in the field. The valuable lot of correspondence, comprising several thousands of letters that he has received from the United States of America, Great Britain, Spain, France, Switzerland, The Netherlands, Denmark, Sweden, Norway, Finland, Estonia, Latvia, Czechoslovakia, Austria, Hungary, Poland, the USSR, Serbia, Bulgaria, and Egypt represents a true history of the stage and development of art history as a field of study during the Interwar Period. The archive of the Art History Seminary of the University in Cluj preserves one section dedicated to Hungarian letters that he has send to Hungarian specialists, art historians, ethnographers, ethnologists or colleagues passionate about fine art (Prof. Gerevich Tibor, Prof. Takács Zoltán, Dr. Viski Károly, Count Dr. Teleki Domokos). His correspondence with Fritz Valjavec, editor of the “Südostdeutsche Forschungen” periodical printed in München, is also significant and revealing. The letters in question reveal C. Petranu’s significant contribution through his reviews of books published by Hungarian art historians and ethnographers. Beyond the theoretical debates during which Prof. Petranu has criticized the theories formulated by Prof. Gerevich’s school that envisaged the globalization of Hungarian art between the Middle Ages and the Early Modern Period and that also included in this general category the works of German masters and artists with other ethnic backgrounds, he has also displayed a friendly attitude and appreciation for the activity/works of his Hungarian colleagues (Viski Károly and Takács Zoltán). The previously unpublished Romanian-Hungarian and Hungarian-Romanian set of letters discussed here attest to this. Keywords: Transylvania, correspondence, vernacular architecture, reviews, photographs, Gerevich Tibor, Dr. Viski Károly "
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Иерей, Тимофей, Timofe Ierey, Екатерина Топалова, Ekaterina Topalova, Наталья Шафажинская, and Natalya Shafazhinskaya. "Continuity of Church Service and Orthodox Cultural Tradition at the Turn of the Soviet and Post-Soviet Periods." Scientific Research and Development. Socio-Humanitarian Research and Technology 8, no. 1 (March 27, 2019): 51–60. http://dx.doi.org/10.12737/article_5c8f500d7b2c32.53331275.
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The article is devoted to the disclosure of the content of the creative activities of representatives of the Russian Orthodox Church in a crucial period of spiritual service at the turn of the XX–XXI centuries. During this period, the continuity of religious enlightenment culture was interrupted and needed restoration in order to preserve church culture and art for future generations. In the twentieth century — the century of the New Martyrs and Confessors of Russia, when persecution and oppression in varying degrees affected the fate of every Orthodox Christian, preserved and survived examples of theological and spiritual educational work they represent a special value, which should be available for the study of modern citizens of Russia and, above all, young people. Spiritual mentors and elders of the past century, who have undergone persecution, but survived and managed to directly convey to their spiritual children their own inner experience of God communion and an example of asceticism — the great wealth of not only domestic, but also world spiritual culture. In the second half of the twentieth and early twenty-first centuries, the names of many representatives of the Russian Orthodox Church, true devotees of grace, shone with their spiritual experience, wise mentorship and literary works helping thousands of people of different classes to gain faith and the true meaning of earthly existence.
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Kirillova, Natalia B. "Metamorphoses of Russian Mass Culture." Observatory of Culture 16, no. 5 (December 4, 2019): 536–41. http://dx.doi.org/10.25281/2072-3156-2019-16-5-536-541.
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The article is a review of the monograph “Russian Mass Culture: From Baroque to Post-Modernism” by Doctor of Philosophy, Professor of the Russian State University for the Humanities, Academician of the Russian Academy of Natural Sciences I.V. Kondakov. The book, which consists of seven chapters, is devoted to the history of the emergence and development of mass culture in Russia from ancient times to the beginning of the 20th century. Studying its origins dating back to antiquity, the author proves that Russian mass culture received an “impulse of independence” in the 17th century, as the culture was becoming personified, which means a personal principle was coming forward in it. It was during that period, associated with the emergence of Russian Baroque, that two paradigms appeared — Pre-Renaissance and Pre-Enlightenment, which led to the subsequent juxtaposition of “mass” and “elite” cultures in Russia first before Peter the Great and then after his period. The author gives an interesting assessment to the period of the Russian Enlightenment of the 18th century, when there happened a demarcation of the noble culture into liberal-democratic and conservative directions. Moreover, the former contributes to “massification”, and the latter – to “individualization” of Russian culture. The crisis of the classical paradigm in the 19th century, including the “literature-centrism” and “critical-centrism” of Russian culture, ultimately led to the formation of new artistic movements, new genres and styles, that is, to the modernization of Russian culture at the turn of the 19th—20th centuries. In this regard, the Silver Age turned out to be an “exquisite and ephemeral construction of the Russian Renaissance” in paradoxical forms of symbolism and modernism.The review reflected the structural and substantive aspects of I.V. Kondakov’s monograph, the features of his theoretical analysis, the specifics of style and language. The article evaluates the publication, reveals its uniqueness and scientific significance for modern humanitarian science, including history and cultural studies, literary criticism and philosophy, art criticism and aesthetics.
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Dianova, Yuliya Viktorovna. "“Bears in the city”: visual aesthetics of Perm’s urban environment." Урбанистика, no. 3 (March 2020): 37–43. http://dx.doi.org/10.7256/2310-8673.2020.3.33515.
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Visual image of modern Perm resembles the images of bear. Most recognized in urban environment is image of a bear in sacrificial pose (“bear-pray”). This image reflects a phenomenal “core” of Perm archaic cultures of pre-Christian time. Myths and legends about Bjarmia and Parma are currently depicted in the artistic-stylized form in the objects of Perm’s urban environment. The image of “bear-pray” is captured on the facades of public buildings, street lightening, small architectural forms. Painters, architects and designers explain their reference to this image as imposing “Perm character” to their works. At the same time, in festival movement such image of bear is overshadowed by other bear-themed compositions: polygonal “rainbow” bear of the “Great Perm” tourist brand, polygonal bear of the mega festival “Perm Period. Modern Age” in white and red colors. It is demonstrated that Perm animalistic style with its stylized images that retained semantic and symbolic features, can be viewed as the foundation for realization of the strategy of city’s geocultural branding for Perm and other cities of Ural Region. It is suggested to use art potential of animalistic style, useful for visualization of aesthetics of urban environment, through reference to the practices of arranging street space of Perm.
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Malinina, Tatiana. "Iconology and Methods of Studying Artistic Processes of the Modernism Era. Commentary on Mikhail Sokolov’s Article «Iconology and the Study of Soviet Art. On the Problem of Hidden Symbolism»." Scientific and analytical journal Burganov House. The space of culture 15, no. 3 (September 10, 2019): 139–68. http://dx.doi.org/10.36340/2071-6818-2019-15-3-139-168.
Full textAbstract:
The proposed article develops the summarized report presented by the author at the conference of the Research Institute of Theory and History of Fine Arts of the Russian Academy of Arts “Image and Plot in Visual Arts. Poetics from Antiquity to Modern Times” (X.2018) dedicated to the memory of Mikhail Nikolaevich Sokolov who was a consistent and talented successor of the interpretation strategies of Erwin Panofsky’s iconological method. The author refers to a little-known article by a remarkable scientist published in one of the reprint collections of the Research Institute of the Russian Academy of Arts (1991). Sokolov’s reflections on the problems of methodology, the use of iconological analysis connected to the study of the art of modern and contemporary times, in particular, the art of social modernism, bring into focus the content of his article. Special tools are needed to answer the question on what the spiritual world of a man of the twentieth century was, how the tragic events of the century were reflected in it. The tools the researcher used relatively recently to study the artist’s relations with society, the social order, the political system, the dictate of power and its order cannot contribute to solving new issues arising today. Therefore, the need to find (to develop) a method of extracting the desired knowledge in the spiritual life of the artist of the modernist era is the prerogative. The published article is a reflection and a kind of commentary on the methodological strategies proposed by Sokolov. The correlation of his own experience of many years of work on the study of the artistic creativity of the modernist era serves as an additional argument in favour of the applicability and effectiveness of the iconological method. There is a three-part article structure. The first part deals with the aspects of Sokolov’s article. The second and third parts of the article are devoted to the iconological analysis of the works of two painters (St. Petersburg-Leningrad): the landscapes by Nikolai Protopopov (1876-1960) and the still lifes of his wife Elizabeth Uvodskaya (1875-1943). The iconological analysis of N. Protopopov’s works shows the presence of semantic subtexts, symbolic content, indicating a clear difference between the artist’s values and the stilted rhetoric of the semiofficial narrative in relation to the events. The creative work of his wife, artist Elizabeth Vladimirovna Uvodskaya, appears to be completely unresearched due to particular life circumstances: the works were lost in the flow of events of the First World War and the revolution, absorbed by the spontaneous market of the the New Economic Policy (NEP) period and lost in the post-war years. The documents, letters, diaries were used for the kindling the stove in besieged Leningrad. Elizaveta Vladimirovna died during the blockade in 1943. The artist’s analyzed still lifes are being published for the first time. The iconological method of understanding the cultural meanings and deciphering symbols helps to reveal the affirmation of another reality in the structure of the works of both artists, in their style, semantics and symbolism.
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Panasiuk, Valerii. "Ideas’ stories and people’s stories in A. Zholdak’s directorial conception." Aspects of Historical Musicology 19, no. 19 (February 7, 2020): 358–73. http://dx.doi.org/10.34064/khnum2-19.21.
Full textAbstract:
Problematic field, objectives and methodology of the study. The “star” figure of A. Zholdak, one of the most shocking directors intriguing with his unpredictability, cannot be overlooked in the sky of modern theatrical art. True, not of national art, but Western European or Russian – the stage productions of the avant-garde director resonate with the priority world trends in theatrical culture. This also applies to musical performances, where the staging process in last time has been carried out under the sign of the “Regio-Theater”, under the director’s concept, which is often radical and revisionist in relation to the author’s source and the interpretive experience of critics and the public. This is evidenced by the A. Zholdak’s “operatic opuses”, namely, “Eugene Onegin” (St. Petersburg, Mikhailovsky’s Theater, 2012–2013 season), “Love drink” (Poznan, Teatr Wielki named after Stanislav Moniuszko, 2018–2019 season), The “Enchantress” (Lyon, Opera National de Lyon, 2018–2019 season). “Opera opuses” by A. Zholdak, being in the “European trend”, remain unknown in Ukraine, not mastered by domestic scientists and, in general, are ignored by the theatrical community. This also applies to the production of Р. Tchaikovsky’s opera “Iolanta” in the 2018–2019 season at the Mikhailovsky Theater in St. Petersburg, one of the last, carried out by the director. Like any other “director’s” production, A. Zholdak’s performance touches upon problem areas of the modern musical and drama theater. The first of them is the definition of a system of principles that are guided by contemporary directors, embodying their “radical” concepts on stage. The second is related to the choice of interpretive methodology that is commonly used in the process of radical stage expression’s interpretation. The present study, using the parameters of culturological and theatrical critic analysis, aims to determine the conceptual ideological attitudes, aesthetic paradigms, features of the organization of the narrative in the aforementioned production by A. Zholdak. The results of the study. The first of above-mentioned problem is solved through the understanding of the fact that the libretto and the musical text, i.e. the source material, remain indestructible for any modern opera director. On its basis, a director (co-authored with a playwright and an artist) creates a new narrative with the help of own stage means: set design, costumes, light equipment, video etc. As a result, a “radical reading” effect provokes a conflict of interpretations. The second problem, owning or mastering interpretative mechanisms, is related to the processes of sensing text in the receiving area. It refers to the level of development of skills of “unlocking” the text, skillful possessing (often not possessing) the “keys”, which are appropriate for using in work with a text of modern musical theater.These very problems are actualized by P. Tchaikovsky’s opera “Iolanta” embodiment, performed by A. Zholdak on the stage of the Mikhailovsky’s Theater. As the staging practice of the last decade shows, it is the composer’s work that is undergoing a radical conceptual rethinking. The plot of “Iolanta”, its system of characters and basic metaphors, are completely meeting with the aesthetic principles of symbolism. This explains A. Zholdak’s transfer of opera’s action to the end of XIX and early XX centuries, that is, into the period of establishing symbolism as a worldview and artistic dominant of the era. Aesthetically, the visual decision of the performance of the Mikhailovsky’s Theater (artistic directors – Andriy Zholdak and Daniel Zholdak, director of multimedia and author of light design – Gleb Filshtinsky) meets the criteria of postmodernism. At the same time, the stage story is a parallel unfolding of two autonomous stories: blindness, love and insight of Iolanta and the story of the eponymous P. Tchaikovsky’s opera’s creation. For staging the stories, A. Zholdak chooses the principles of the novel genre with its story linearity, psychological reasoning, obligatory causation. At the same time, the director, not refusing basic (symbolist) expressive means, adds to the novel narrative the “visible symbols” of holiness of the main character Iolanta (the nimbus, the interior of the Orthodox church with its exaggerated Byzantine richness and luxury), which are in fact a purely external expression of this internal idea, which is very difficult for scenic implementation. As a consequence, there is a complication of the characters’ system, the restructuring of the primordial playwriting and re-montage of the opera score. The scale of the stage narrative does not fit into the author’s timing of a one-act opera, and therefore P. Tchaikovsky’s musical material is “added to the load” with the fragments borrowed from other works of the composer (for example, from “Nutcracker’). All this leads to a violation of the unbreakable ethical law of the “Regio-Theater” − the inviolability of the author’s (verbal and musical) text. The story of P. Tchaikovsky’s creation of his last opera opus is not convincingly staged. Considering the nature of the theater and its expressive capabilities, it is impossible to reveal on the stage the visual equivalent of the creative process and the artist who is in it. Therefore, in A. Zholdak’s play, the actor depicting the composer in the process of working on “Iolanta” performs the row of consistent physical actions, which only demonstrates his professional movement skills, imitating the convulsive-ecstatic tension of the creator. Conclusions. Thus, A. Zholdak attempts “to open” P. Tchaikovsky’s latest opera score by “the key of symbolism” by working with universal ideas and refining hidden meanings. The hints at this grandiose design are the postponement of the opera action in appropriate “epoch” − the end of XIX to the beginning of XX centuries, in the era of active functioning of symbolism in artistic culture, and the emergence of the “Alter Iolanta” as a new character. But the ideas of symbolism do not have their proper implementation. A. Zholdak tries to presents two stories at the same time (blindness, love and insight of Iolanta and the story of P. Tchaikovsky’s creation of the eponymous opera) based on the principles of the novel genre, which leads to the substitution of “the ideas’ history” on “the human stories”. The result is an artistically contradictory stage build up, which provokes conflict interpretative relationships both by the audience and by the professional criticism.