Journal articles on the topic 'Icon painting – Russia'
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1
Yurieva, Tatiyana V. "FEATURES OF THE AMERICAN PERIOD OF ICON PAINTER P.M. SOFRONOV’S WORK." Verhnevolzhski Philological Bulletin 23, no. 4 (2020): 214–20. http://dx.doi.org/10.20323/2499-9679-2020-4-23-214-220.
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The article for the first time gives an analysis of the work of the world famous, but little studied in Russia, Old Believer icon painter and restorer icons Pimen Maksimovich Sofronov in the third, American period. The author systematizes scattered information about his artistic activities in the United States, makes a chronology of the creation of his works during this period, and makes an analysis of them. The description of the temples where P.M. Sofronov worked, and the painting of their interiors, is given for the first time in scientific literature. Analyzing the biographical data and the work of the icon painter in the third, American period, which turned out to be the longest, the author of the article concludes that at this time the quality of the master's work is changing. Since, in Europe, P.M. Sofronov gained the experience of wall painting of churches, now, in North America, he was able to fully realize this side of his talent by making the transition from easel icon painting to monumental painting. Now the researcher's attention has been given to extensive temple complexes, often consisting of both stenographs and iconostases, which have their own specific program. The author interprets the canon in accordance with the architectural space that is provided to him for painting. Each time it is a new theological and artistic task. Having completed such major works as paintings of the interiors of Trinity Cathedral in Brooklyn, the Church of the Three Saints in Ansonia, the Church of Peter and Paul in Syracuse, the Vladimir Church in Trenton, St. Trinity in Weinland, the artist made a significant contribution to the church art of Russian emigration.
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Nikolskaya, Tatyana M. "Tambov icon painting direction as a way to preserve and enhance the traditions of statutory icon painting." Neophilology, no. 24 (2020): 807–18. http://dx.doi.org/10.20310/2587-6953-2020-6-24-807-818.
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We consider the current situation associated with the revival of icon painting traditions. It is believed that the icon, despite all the difficulties of understanding, is the element that contributes to the revival and formation of internal foundations, so necessary at the current stage of society development. The work traces the situation associated with the destruction of traditional spiritual values in the post-revolutionary period. We tell about those people who, in such a difficult time, tried to preserve the basic dogmatic canons of icon painting. We prove that it is their constant desire to preserve and spread the original values, as well as tireless work, that help such a vibrant cultural heritage not disappear. We analyze the features of traditional statutory icon painting existence in Tambov. We substantiate that the emerging Tambov icon painting direction with its own traditions, development stages and expressive means, based on the pious and artistic expe-rience of our ancestors, preserves and enhances the icon painting traditions in Russia. Also, the use of malachite color gives the created images uniqueness, filling them with its own semiotic context. We note the peculiarities of this direction. We conclude that it is necessary to revive a highly spiri-tual personality by studying this direction.
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Nicholsky, E. V., and Dorota Walczak. "HERETICAL MOVEMENTS: THE FIRST INCENTIVE FOR THE DEVELOPMENT OF RUSSIAN THEOLOGY OF THE ICON ITSELF AND RUSSIAN POLEMICAL LITERATURE." Bulletin of Udmurt University. Series History and Philology 30, no. 3 (July 15, 2020): 492–96. http://dx.doi.org/10.35634/2412-9534-2020-30-3-492-496.
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This article is devoted to the analysis of the influence that the emergence of heretical movements had on the development of Russian theology of the icon. The theological idea of icon painting appeared in Russia only in the 16th century and its beginning was connected precisely with the spread of heretical movements - Strigolniki and “Judaizers”, who rejected icon veneration. The polemic with heretics, expressed in the epistles of St. Joseph of Volotsk, helped to develop new aspects of the theology of the icon, especially since regardless of some terminological and factographic errors, St. Joseph defended not only the veneration of icons in itself, but also began to justify the specific iconic plot, which was the Old Testament Holy Trinity.
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Etinhof, Ol’ga E. "“CHRIST PANTOCRATOR” OF THE 13TH CENTURY FROM THE COLLECTION OF RUBLEV MUSEUM IN THE CONTEXT OF GREEK-RUSSIAN RELATIONS." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 1 (2022): 98–113. http://dx.doi.org/10.28995/2686-7249-2022-1-98-113.
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It still seems to me correct to date the icon “Christ Pantocrator” from the Rublev Museum back to around 1200 or to the first quarter of the 13th century, that is, the pre-Mongol period. Masterfully painted, but far from the refined roots of the Constantinople style, the icon bears clear signs of the art of Northern Greece and Macedonia, and the tradition of Kastoria seems to be especially close. The origin of the object remains unclear; it could have been the work of both a Greek and a Russian master. However, even if we consider both the icon board and its painting to be by Russians, it is very close to Byzantine art, and precisely of this region. Probably, such closeness is an indication of the influence of Northern Byzantine art on the development of regional features of the painting of 13th century North-Eastern Russia.
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Konstantinova, Elena Yu. "PAVEL FLORENSKY’S CONCEPT OF THE ICON." Scientific and analytical journal Burganov House. The space of culture 16, no. 4 (December 10, 2020): 19–32. http://dx.doi.org/10.36340/2071-6818-2020-16-4-19-32.
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This article is an analysis of the concept of the icon as seen by Pavel Florensky, a priest, philosopher of religion, and theologian. He expressed his views on the art of icon painting in the articles The Church Ritual as a Synthesis of the Arts, Devotional Icons of St. Sergius of Radonezh, and Reverse Perspective, as well as his work Iconostasis. Florensky’s theory is of great interest for art history, contributing to it not only by highly evaluating Russian icons of the 14th and 15th centuries but also by offering a new approach to realism in art. Yet as his concept is complex, it is also controversial. Viewing the icon as a work of art and following Plato’s philosophy, Florensky believes the objective reality of the Realm of Ideas to be the basis of artistic creativity in general and icon painting in particular. According to him, the creation of art is not an artist’s subjective search for the ways of self-expression but the result of the soul’s ascent to the truth, the world of prototypes. The icon reflects divine reality and is thus realistic in nature. Highly evaluating the icon painting in the 14–15 century Russia, he believes Andrei Rublev’s Holy Trinity to be an art masterpiece. However, developing his concept, Florensky discards the term “image”: for him, the icon is merely a symbol pointing to the prototype. The artistic image is born in the artist’s soul and exists independently from the icon, and can then be born in the soul of the beholder, who is guided to the prototype by the symbol. This is how the icon, as a result of artistic creation, is reproduced in the person viewing it. Florensky underlines the importance of aesthetics in assessing an icon, for a work’s artistic perfection is inseparable from its ability to testify to the prototype, and beauty is measured with the truthfulness of this testimony. Yet by acknowledging the fact that all icons created according to the canon are of the same value, he renounces the artistic criterion and makes the masterpieces of icon painting equal to many other artworks of average quality. For Florensky, the icon is an integral part of a synthetic work of art – the church ritual – and its existence as an art phenomenon is dependent on certain conditions: if these are not met, it “dies” as art.
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Rebinsky, G. A., E. S. Gamov, A. V. Martynova, and S. B. Tonkovid. "Temple Art and Icon Painting at The Universities - the Spiritual Formation of Students in Russia." International Journal of Engineering & Technology 7, no. 3.5 (July 7, 2018): 54. http://dx.doi.org/10.14419/ijet.v7i3.5.15202.
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This article shows the results of the research of the term "icon". The importance of icons in the Orthodox Church is shown. The main aspects of the methodology of making icons, traditions and modern problems in church art are described. The main aspects of the methodology of making icons, traditions and modern problems in church art are described. Information on achievements in the field of icon painting at the Lipetsk State Technical University is adduced. (FSEI HE «LSTU»)
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Dobrolyubov, Petr. "Painting as a prayer of the spirit." Scientific and analytical journal Burganov House. The space of culture 16, no. 4 (December 10, 2020): 113–32. http://dx.doi.org/10.36340/2071-6818-2020-16-4-113-132.
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The article is devoted to the work of the Russian painter Dobrolyubov Vladimir Petrovich, who in 2020 marks the centenary of his birth. Special attention is paid to the presentation of his ideals, which inspired the artist to create wonderful paintings depicting the world around him, landscapes and landscapes, urban environment, monuments of ancient Russian architecture, decoration and interiors of the oldest churches from Moscow to Yaroslavl, Pereslavl Zalessky, Staraya Ladoga. From the Russian North to the Crimean mountains and Tsemeskiy Bay. Vladimir Petrovich Dobrolyubov (05.07.1920-24.02.1975) - a student of I.I. Mashkov, N.P. Krymov, G.G. Ryazhskiy, K.F. Yuon, V.V. Krainev, P.I. Kotov, V.I. Finogeev, K.G. Dorokchov. Dobrolyubov V.P., was the veteran of the Great Patriotic war (1941-1945), - the 75th anniversary of the Victory which we celebrate this 2020 year. The author analyzes the paintings of V.P. Dobrolyubov - a natural colorist, nugget, artist, philosopher and citizen of his country. His thoughts on the art of painting based on the beauty and traditions of the Russian school of iconography were the Foundation, the spiritual platform, for all of his painting, created in a short period of life. The author's paintings Dobrolyubov V.P. is of well-deserved interest for art studies and make a worthy, significant contribution to it not only by their high appreciation of color, color spot, and lyrical appearance, but also as works of the history of Russian painting and in particular, the Moscow school of painting, 30-60-ies of XX century, of which he was a representative. Also noteworthy is his understanding of art, his creative pictorial, original, author's handwriting, and also an amazing vision of color and color spot, his own, individual. As well as the interpretation of personal perception, the attitude and understanding of the fundamental foundations of realism in the domestic and world fine arts, expressed and approved in their own, no one repeats, coloristic pictorial language. Dobrolyubov V.P. considered icons, the Russian icon, as a work of art, which following the tradition of Byzantine masters of iconography, undoubtedly constitutes the core of the soul of the artistic creative process, and especially the work of iconographers such as Andrei Rublev, Theophanes the Greek, Vladimir-Suzdal, Moscow, Yaroslavl school of icon-painting as an objective reality of the world of spiritual images in their own work. Artistic creativity, in his opinion, as a representative of the Moscow school of painting, is not an abstract search and self-expression of the artist's beliefs and ideas, but the result of a deep, divine transformation of the soul, its path to truth and to the foundations of realistic art, through the perception of artistic images. Russian iconography of the XIV-XVII centuries, brought to Russia from Byzantium, Dobrolyubov V. P. considered the Russian school of iconography the main, unsurpassed, imperishable Foundation and a masterpiece of Russian fine art. Everywhere in his memories, in his understanding of the basics of art, the artist renounces the concept of copying the image and the icon for him is like a conditional historical symbol, indicating the spiritual image of past centuries. An artistic image is born in the soul of the painter and of course exists outside of iconography, but then it can appear in the minds of other people who contemplate the master's canvases, in which the image of the universal universe and the beauty of the universe is encoded, if you want, encrypted in the very deep images of Russian iconography. Therefore, the icon itself, its image and composition, as a work of art created once in the depths of past centuries, is personified in the mind of the author, as grace and inspiration sent from heaven. Dobrolyubov V.P. confirms the aesthetic and spiritual platform created for any person. Therefore, Russian icons created as spiritually and artistically perfect, self-sufficient works of Russian culture are inextricably linked to the General process for Russian art history, its ability to testify to its highest level in the hierarchy of world art. For the artist Dobrolyubov, Russian iconography is an inseparable part of his spiritual platform, and his works of painting – and, temple art, in conjunction with ancient Russian architecture, with the interiors of churches and their decoration, as well as the sacrament of divine services, baptisms, weddings and funerals, and are the most essential foundation, being, as the very artistic image of all his art work and now, in 2020. Today, 45 years after his death in 1975, his artistic paintings are just as beautiful and heartfelt.
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Makhonina, Valeria A. "Sketch 'God the Father beholding dead Christ' of Vladimir L. Borovikovsky as a synthesis of the western European and the Orthodox tradition." Scientific and analytical journal Burganov House. The space of culture 18, no. 1 (March 10, 2022): 72–83. http://dx.doi.org/10.36340/2071-6818-2022-18-1-72-83.
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Vladimir Lukich Borovikovsky, little Russian icon painter and St. Petersburg portrait painter, combined western European painting language and the Orthodox religion in his creativity. The sources of the painter's susceptibility to western European influence lie in his Ukrainian origin — the atmosphere of active interaction of Orthodox and Catholic cultures developed in Little Russia of XVIII. At XVIII—early XIX century icon and temple painting was approaching secular art and came under influence of European baroque and academism. Religious painting, that is the subject of the study, occupied an important place in the creativity of the painter. Master's icons and pictures demonstrate nontrivial iconographic, conceptual and dogmatic solutions. The sketch 'God the Father beholding dead Christ' from collection of the State Tretyakov Gallery is example of an original thought of the artist, who based it on the western European composition scheme, but gave it new meaning. The study theme is exploring features of interpretation by V. Borovikovsky of Catholic the Holy Trinity iconography. In order to identify specific motifs and ideas borrowed from Western European art and the Orthodox iconography of the Otechestvo (the Fatherland), which influenced the composition of the sketch, a comparative iconographic and stylistic analysis of works with similar iconography was carried out: with a fresco from the church in Marino (Rome) attributed to Guidoreni, and a painting by P.P. Rubens 'The Holy Trinity'. The iconographic analysis showed connection between of the sketch and wester European scheme 'God the Father contemplating the dead Christ', which goes back to iconographies 'God the Father holding a Crucifix' and Pieta, and to orthodox iconography Otechestvo. V. Borovikovsky rethinks traditional motifs, typical for the European painting (motifs of parental grief and reminder of sinfulness) and for the Orthodox icon painting (motifs of triumph over death). Stylistic analysis showed that the master formulates his own interpretation of the images of God the Father and God the Son, unifying both the Orthodox and the western European approaches. V. Borovikovsky borrows reception of relationship the Sabaoth and Christ as loving the Father and the Son, but doesn't borrow tragic reception of the plot, replacing it with the idea of the comprehensive divine love and the triumph over death. Thus, V. Borovikovsky combines icon symbolism and immediacy of realistic painting.
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Petrova, Evgeniya I. "PRESERVATION OF ICON-PAINTING HERITAGE IN RUSSIA (based on Yaroslavl regional materials)." Tractus Aevorum 3, no. 2 (2016): 139–46. http://dx.doi.org/10.18413/2312-3044-2016-3-2-139-146.
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Крупина, О. В. "Newly discovered icon “The Intercession of the Theotokos” by the Vyatka icon painters Kuznetsov from the collection of the Vyatka Art Museum." Iskusstvo Evrazii [The Art of Eurasia], no. 2(25) (June 30, 2022): 104–11. http://dx.doi.org/10.46748/arteuras.2022.02.010.
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Статья посвящена иконе «Покров Пресвятой Богородицы», которая поступила в собрание Вятского художественного музея по результатам экспедиции в п. Лальск в 1976 году. Состояние сохранности памятника вызывало серьезное беспокойство. После плановой реставрации удалось получить один из замечательных образцов иконописного искусства. Кроме того, была открыта подпись, позволяющая датировать икону 1734 годом, а также были открыты имена династии иконописцев — Стефан Артемиевич Кузнецов (1707–?), Иван Григорьевич Кузнецов (1707–?), Борис Григорьевич Кузнецов (1687–?). Исследовательский интерес вызывает выбранная авторами иконография праздника Покрова Пресвятой Богородицы и отражение в ней традиций ведущих иконописных школ России и местных традиций. В статье представлены результаты реставрационных работ и искусствоведческо-стилистического анализа иконы. Она является одним из редких произведений древнерусского искусства с выявленным авторством и датированным памятником вятского иконописания первой половины XVIII столетия. The article is devoted to the icon “The Intercession of the Theotokos (the Protection of Our Most Holy Lady Theotokos and Ever-Virgin Mary)” from the collection of the Vyatka Art Museum. The researchers discovered the icon of the expedition to Lalsk in 1976. The state of preservation of the monument caused serious concern. As a result of the planned restoration, it was possible to obtain one of the remarkable examples of icon painting art. In addition, a signature was discovered, allowing the icon to be dated 1734, and the names of the Kuznetsov dynasty of icon painters were also discovered. The iconography of the Feast of the Intercession of the Theotokos chosen by the authors is of research interest. As well as the reflection in it of the traditions of the leading iconographic schools of Russia and local customs. The icon is another newly discovered signed and dated monument of Vyatka icon painting of the first half of the 18th century.
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Краснова, И. В. "An Electronic Сatalogue of Slobozhanshchina Icons of the Late 18th – Early 20th Centuries: Prerequisites for Creation, Purposes, Functions." Nasledie Vekov, no. 1(25) (April 22, 2021): 109–17. http://dx.doi.org/10.36343/sb.2021.25.1.009.
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В статье обосновывается необходимость создания виртуального каталога слобожанских икон и ставится цель разработки основных характеристик проектируемой электронной коллекции. Проведен анализ документальных источников, использованы результаты исследований российских и украинских ученых. Исследована история музеев Слободской Украины, собиравших произведения иконописи, изучено влияние событий ХХ в. на иконописное наследие Слобожанщины, которое вследствие атеистической кампании 1930-х гг. и действий оккупантов в период Великой Отечественной войны утратило единство и оказалось раздробленным между многочисленными музейными и частными коллекциями. Данный фактор, а также несомненная уникальность региональной иконописной традиции стали предпосылками к разработке концепции электронного каталога, который призван объединить все сохранившиеся на сегодняшний день произведения слобожанской иконописи. The article substantiates the need to create a virtual catalogue of Slobozhanshchina (Sloboda Ukraine) icons and sets the aim of developing the main characteristics of the projected electronic collection. Based on the use of systemic-historical and historical-genetic methods, documentary sources were analysed, the results of research of Russian and Ukrainian historians and culture scientists were studied. The history of museums in Sloboda Ukraine, which collected works of icon painting, is considered; special attention is paid to the Historical and Church Museum. Until the revolutionary events of 1917, this museum’s collections were constantly replenished with new exhibits. The history of the creation of the Museum of Ukrainian Art and the Central Art and History Museum named after Gregory Skovoroda (Museum of Sloboda Ukraine) is analysed. The influence of the events of the twentieth century on the icon-painting heritage of Sloboda Ukraine is considered. This heritage, as a result of the atheistic campaign of the 1930s and the actions of the occupiers during the Great Patriotic War, lost unity and was fragmented between numerous museum and private collections. The consequences of the German fascist invaders’ plunder of the museums of Sloboda Ukraine were especially grave: hundreds of thousands of exhibits were destroyed or taken out of the country. The fact of huge and often irreparable losses in the cultural heritage of Sloboda Ukraine by the middle of the twentieth century is stated. At present, the museums of Sloboda Ukraine have already collected a significant part of icon-painting works (about 500), but this number is not comparable with the richest heritage of Sloboda Ukraine of the beginning of the twentieth century. The author emphasises that a certain number of Slobozhanshchina icons continue to remain in churches and private collections in both Ukraine and Russia. Information about icons received from individuals is insufficient for attribution and museum documentation compilation, so many of the icons have not yet been fully introduced into museum circulation. The way out of this situation, according to the author, is to create an electronic catalogue of Slobozhanshchina icons, which will be a database of icon-painting works from museum and private collections with texts and images. The concept of the electronic catalogue has been developed. The catalogue is designed to unite all the works of Slobozhanshchina icon painting that have survived to date.
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Stosic, Ljiljana. "The bay of Cattaro (Kotor) school of icon-painting 1680-1860." Balcanica, no. 45 (2014): 187–202. http://dx.doi.org/10.2298/balc1445187s.
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Relying on post-Byzantine tradition, eleven painters from five generations of the Dimitrijevic-Rafailovic family, accompanied by Maksim Tujkovic, painted several thousand icons and several hundred iconostases between the late seventeenth and the second half of the nineteenth century. They worked in major Orthodox Christian monasteries in Montenegro, Kosovo and Metohija, Bosnia and Herzegovina and Dalmatia, but their works can mostly be found in modest village churches in the Bay of Kotor (Cattaro) and on the South Adriatic coast. The decoration of these churches was financially supported by the local population headed by elders. Along with a reconstruction of their biographies and a chronological overview of their major works, this paper seeks to trace stylistic changes in the Bay of Kotor school of icon-painting. While simply varying a thematic repertory established in earlier periods, the painters from the Bay of Kotor were gradually introducing new details and themes adopted from Western European Baroque art under indirect influences coming from the monastery of Hilandar, Corfu, Venice and Russia. This process makes this indigenous school of icon-painting, which spanned almost two centuries, comparable to the work of Serbian traditional religious painters (zografs) and illuminators active north of the Sava and Danube rivers after the Great Migration of the Serbs (1690). Despite differences between the two, which resulted from different cultural and historical circumstances in which Serbs lived under Ottoman, Venetian and Habsburg rules, similarities in iconography and style, which were inspired by an urge to counteract proselytic pressures, are considerably more important.
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Kuznetsov, N. G. "Schools of Icon Painting in Russia and Abroad in the 20th and early 21st Centuries." Университетский научный журнал, no. 60 (2021): 63–70. http://dx.doi.org/10.25807/pbh.22225064.2021.60.63.70.
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Kovalchuk, Igor. "The development of the Ukrainian icon during the fourteenth and nineteenth centuries." Ukrainian Religious Studies, no. 76 (December 1, 2015): 91–108. http://dx.doi.org/10.32420/2015.76.600.
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There are very few monuments of icon art of the 13th-15th centuries, but they give a great opportunity to learn a lot about the state of the Ukrainian Church of that time, about the strengthening of faith, and also about the stylistic quest for Ukrainian artists. The development of the iconography of those centuries in Ukraine marked the Tatar-Mongol invasion. When a person or a whole nation falls into a difficult situation, faith in God grows, spirituality rises. Monuments of culture of the XIII-XV centuries record especially jealous hope in God, the strengthening of the religiosity of different sections of the people. From this time there is hardly any secular art: everything preserved is permeated with Christian religiosity. In these years, such great temples are not already built, as in the early centuries of Christianity in Russia, but small, but well-fortified churches throughout Ukraine are built. There are also various centers of icon-painting. Their masters focused mainly on the ancient art of Kiev, introduced in their samples many local elements. Icons painted in various spiritual centers, in particular in the monasteries, are striking by their monumentality and severity, which reflected that day (See: The History of Ukrainian Art, Vol. 6, vol., 1968).
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Aitova, Sofia N. "The Image of a Saint through the Prism of Earthly Living: On the Compositional Role of a Saint in Icons with Vita Scenes in ‘Srednik’ in the Second Half of the 17th Century." Vestnik of Saint Petersburg University. Arts 12, no. 4 (2022): 612–27. http://dx.doi.org/10.21638/spbu15.2022.403.
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In this article we take up a problem concerning the compositional and semantic role of the saint’s image in the new vita (living) icons type, appeared in the 17th century in Old Rus’ (for example, vita icon of the Saint John the Forerunner taking place in the iconostasis of the church of Elijah the Prophet in Yaroslavl, beginning of the 1660s). Such an approach is unique except for Preobrazhenskii’s article. This article is interdisciplinary in nature dealing with a problem of narration inherent to the Christian art, of the relationship between icons and sociocultural tendencies in the transitional period of the Late Middle Ages in Russia. This study allows to consider icons not only in the context of Old Rus’ painting, but also like an expression of the universal functioning, compositional structure and rhetoric of the image. Attention to the saint’s image, represented as a “portrait”, is explained by the fact that the narrative cycle is placed in the saint’s zone. In the traditional vita (living) icon a saint is placed in the central zone (“srednik”) being semantically the same as the saint in the new type. The narrative cycle is placed on the border. Thus the saint in the new icons’ type is regarded from the perspective of the earthly living. Through the Christian history of image a saint’s “portrait” is often presented in some implicit narration even if there’s no plot. In our article this effect is more intensified because of the focus on the earthly world occupying almost all the composition. The painting technique called “life-likeness” (“zhivopodobie”) also contribute to this effect. Moreover, we think that the saint’s image in these icons follows the Stroganov school icons in the context of the transformations of the self-consciousness in the 17th century.
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Koltsova, Tatiana Mikhailovna. "Icon-Painting Workshop of the Solovetsky Monastery. 17th - Early 20th Century." Secreta Artis, no. 3 (November 20, 2020): 50–75. http://dx.doi.org/10.51236/2618-7140-2020-3-3-50-75.
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Founded in 1429, the Solovetsky Monastery has throughout several centuries preserved and maintained the traditions of Russian icon painting in the North. In its iconpainting chamber (the building was constructed in 1615), new iconostases were created and icons from the churches of the monastery and patrimonial lands in Pomorie were repaired. In the 17th century, 45 icon painters worked on Solovki in different years, among them were monks, monastery servants, and “trudniks” (lay workers). In the 18th century, the artists of the Pomor patrimonial lands underwent their initial training at the monastery school of icon painting. Families of hereditary icon painters Chalkovs and Savins from Sumsky Posad are particularly well-known. The monastery sent the most gifted students to St. Petersburg and Moscow to improve their art. In 1880, the Solovetsky painting school was inaugurated, where many northern icon painters acquired basic painting skills. Copying and painting from life formed the basis of the educational process; students were offered paintings from the Academy of Arts as samples. The icons and paintings made in the workshop are distinguished by their characteristic stylistic, technical and technological features. The most prominent graduates of the school (A. A. Borisov, N. G. Bekryashev) contributed significantly to the history of Russian art. The article contains new archival documents and rare photographs.
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Ryndina, Anna V. "The Semantic and Artistic Evolution of Images of Nicholas the Wonderworker. Russia and the West." Scientific and analytical journal Burganov House. The space of culture 18, no. 6 (December 10, 2022): 10–36. http://dx.doi.org/10.36340/2071-6818-2022-18-6-10-36.
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In the article, devoted to the research of the image of St. Nicholas the Wonderworker, the author focuses on new trends in the study of ancient Russian art and, above all, in the study of architectural monuments, "minor forms" of liturgical purpose and plastics. The author especially emphasises that at the present stage, the issue of content, the connection of form formation with the structure of symbolic thinking within the cultural space of the era is actively brought to the fore. In this regard, the work of Pavel Florensky, The Church Ritual as a Synthesis of the Arts, is perceived as a program work, proving that church space and each object, regardless of its size and sacred significance, originally formed a single whole. From these positions, it is necessary to study the monuments of ancient Russian plastic art, approaches to the interpretation of which need to be clarified. The material is truly huge and varied: from small plastics in the form of miniature carved icons, folds and panagias to monumental kiot statues, gravestone sculptural images, white stone and wooden crosses. It is in this context that the author explores the evolution of the images of Nicholas the Wonderworker, who is especially revered by the Orthodox Church and particularly in Russia. Analysing the scientific facts in the article, the author argues that the shrine resting in the crypt (the relics of St. Nicholas the Wonderworker) more than once became a living source of many legends, iconographic versions, customs in the veneration of the saint and, most importantly, structural icon models for Russia during the 14th-18th centuries. Apparently, it is no coincidence that in most churches with revered wooden statues of the saint, the main celebrations of St. Nicholas fell precisely on May 9 - in memory of the Translation of the Relics to Bari. Keywords: Nicholas the Wonderworker, relics of Nicholas the Wonderworker, wooden sculpture, medieval painting, sacred image, Bari.
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Burganova, Maria, and Malsch Friedemann. "Interview with Director of the Liechtenstein National Gallery." Scientific and analytical journal Burganov House. The space of culture 16, no. 1 (March 10, 2020): 12–18. http://dx.doi.org/10.36340/2071-6818-2020-16-1-12-18.
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We are pleased to present an interview with Director of the Liechtenstein National Gallery Kunstmuseum Liechtenstein, Dr. Malsch Friedemann Dr. Friedmann Malsch, has been cooperating with Russia for more than 15 years in organizing and conducting exhibitions, preparing publications. He is actively engaged in educational and publishing activities. In 2018, with the support of the Liechtenstein Museum, a translation of the book dedicated to the Black Square painting by Kazimir Malevich was released. At the presentation, Friedman Malsch called this book a publication that turns the prevailing ideas about the icon of Suprematism. The architecture of the new building of the Liechtenstein State Museum in Vaduz, which opened in 2000, interprets in its own way the plastic idea of Suprematism, the idea of a black square. The creation of the Swiss architects Meinrad Morger, Heinrich Degelo and Christian Kerez with a very complex and extensive internal infrastructure from the outside is a combination of two laconic volumes: a white and black cube. Material for the construction is taken from the vicinity of the city. We thank Dr., Professor Alexander Lavrentiev for professional support and assistance in arranging the interview with Dr. Malsch Friedemann
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Etinhof, O. E. "Николай Иванович Петров и коллекция византийских икон Церковно-археологического музея при Киевской духовной академии." Iskusstvo Evrazii [The Art of Eurasia], no. 4(19) (December 30, 2020): 228–40. http://dx.doi.org/10.46748/arteuras.2020.04.018.
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Nikolai Ivanovich Petrov (1840–1921) – Russian and Ukrainian scholar, professor of the Kiev Theological Academy, long-term curator in the Museum of Church Archaeology at the Kiev Theological Academy. A significant place in this collection belonged to the Byzantine icons bequeathed to the museum by A.N. Muravyov and Porfiry Uspensky. N.I. Petrov himself was engaged in the acquisition of these collections. The works of icon painting (unique in themselves), originating mainly from Sinai and Mount Athos gave impetus to the development of the science of Byzantine art in Russia. Unfortunately, most of them were lost during the World War II, but photographs from the archives make it possible to continue studying them. N.I. Petrov managed to appreciate the collection of ancient Sinai and Athonite icons at its true worth, lay the foundation for their systematic scientific study, make many correct dating and iconographic descriptions of the works acquired by the Museum, sometimes even more accurately than Academician N.P. Kondakov. Николай Иванович Петров (1840–1921) — русский и украинский ученый, профессор Киевской духовной академии, многолетний хранитель Церковно-археологического музея Киевской духовной академии. Значительное место в этом собрании принадлежало коллекциям византийских икон, переданных музею наследниками А.Н. Муравьёва и Порфирия Успенского. Именно Н.И. Петров сам занимался приобретением этих собраний. Произведения иконописи, происходившие главным образом с Синая и Афона, уникальные и сами по себе, дали толчок развитию науки о византийском искусстве в России. К сожалению, большая часть из них утрачена во время Второй мировой войны, однако архивные фотографии позволяют продолжать их изучать. Н.И. Петрову удалось оценить по достоинству коллекцию древних синайских и афонских икон, положить начало их систематическому научному изучению, сделать много верных датировок и иконографических описаний произведений, приобретенных музеем, иногда даже точнее, чем это делал академик Н.П. Кондаков.
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Startsev, Anton Vladimirovich. "Features of the Composition in the Iconography of the Crucifixion on the example of the works of Old Russian iconography of the late XV - early XVI centuries." Культура и искусство, no. 4 (April 2022): 112–40. http://dx.doi.org/10.7256/2454-0625.2022.4.37849.
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The concentration of research attention on the construction of an artistic form is a necessary part of the study of monuments of fine art. This article is devoted to the artistic analysis of the iconography of the Crucifixion by the example of considering several monuments of ancient Russian painting of the late XV - early XVI centuries. The studied paintings are the reference works of the heyday of Russian icon painting art. They are distinguished by the good preservation of the author's pictorial layer, which allows to fully analyze the art form. The fundamentals of the methodology in this study are the historical approach, formal-stylistic and comparative analyses. The article draws attention to the distinctive properties of the composition of the paintings, searches for an iconographic source, analyzes the relationship between changes in composition and semantic content of the painting. Focusing on a certain iconography allows to reveal the character of a particular image, to reveal its artistic uniqueness. With such an integrated approach, it becomes possible to present the interpretation of the plot and the history of the creation of the icon image. Author compares the iconography created within one decade to another, one artistic tradition or school to another. As a result of the research, a specific feature of ancient Russian painting is revealed - following a narrow iconographic tradition or artistic school does not limit the artistic interpretation and independence.
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Kozorezenko, Petr. "The Image of the Icon in the Works of the Severe Style Artists." Scientific and analytical journal Burganov House. The space of culture 17, no. 2 (June 10, 2021): 79–100. http://dx.doi.org/10.36340/2071-6818-2021-17-2-79-100.
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The appeal to the artistic traditions of different eras – peculiar perception of the techniques of post-impressionism, the heritage of the Russian avantgarde, the search of the Soviet painters of the 1920s–1930s, as well as the art of Proto-Renaissance and Ancient Rus, became an important impetus to the creativity of the severe style artists. With artistic experiments and active use of various graphic lines, they skillfully combined the experience of ancient Russian art in their works; they used the icon and fresco painting traditions and primitivism painting together with modern patterns. Ancient Russian art and its primary embodiment – the icon, became the latent, not obvious dominant of the art of the severe style masters. The works of outstanding icon painters of the past (Theophanes the Greek, Andrei Rublev, Dionisius), who embodied a new, sublime understanding of man’s spiritual beauty and moral strength in their works, were the pinnacle of skill for representatives of this art movement. In Russian icons, the severe style artists were attracted by local colours, simplified composition and forms, and a “frozen” plot. They were even more attracted by their colour saturation, joyful power or harshness of pure colours. However, the connection with icon painting is not only in the technical aspects of painting. In the works of the severe style artists, as in the icon, emotional stress is focused on the inner life and is not expressed by external exaltation. The appeal to icon painting was not accidental: the artists felt the sad disappearance of the connection between generations, the tragic breakdown of age-old foundations, godlessness and… desperate longing for some other, unearthly Truth. All the complexity of the internal self-determination of the generation of the 1960s‑1970s is seen in these voices of the era. The severe style representatives tried to reveal the theme of Light and Meaning, as much as possible in the conditions of Soviet times. Their paintings showed the truth of this search. The severe style, a phenomenon that was so categorically assigned the status of something episodic, even fleeting, turned out to be compatible in different versions with philosophical and religious postulates that have been relevant at all times, with the national idea, with an attraction to eternity.
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Maroshi, V. V. "With an Icon and a Knife: About the Semio-Aesthetic Causes of А. Balashov’s Vandalism." Critique and Semiotics 38, no. 1 (2020): 279–91. http://dx.doi.org/10.25205/2307-1737-2020-1-279-291.
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The article deals with semiotics of the vandal action of Abram Balashov in Tretyakov gallery aimed at the damaging Iliya Repin’s painting “Ivan the Terrible and His Son Ivan on 14 November 1581”. We compared two acts of Russian vandals who attacked the canvas on 1913 and on 2018. There is considerable difference between Igor Podporin’s reckless ideological action and Balashov’s actions which were carefully planned. Balashov was an icon painter, but wanted to be a painter. Like M. Voloshin we insist that his mental disorder is caused by provocative Repin’s painting. The shocking effect of this artwork caused a similar reaction of Russian viewers on 1885 disgusted and amazed by naturalism and expression of the painting. Repin’s work was inspired by his own bleeding trauma experienced in childhood, by the European paintings of the bleeding Christ, by Russian antimonarchist radicalism, by N. Karamsin’s gothic version of tsar Ivan activity, finally by «le genre féroce» of the modern French painting. Repin added to visual look of Ivan the Terrible some demonic features and to his son figure some Christ features. Balashov belonged to subculture of Russian Old Believers in turn was inspired by hagiography of Old Believer martyr Morozova and by icon like painting “Boiarynia Morozova” of Surikov. Balashov’s vandal act is a typical Russian «fool for Christ» gesture. Probably he followed the tradition of damaging devil's faces in books and on icons.
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Yureva, Tatyana V. "Iconostases of Russian emigration: icon painter V. A. Tsevchinsky." World of Russian-speaking countries 1, no. 11 (2022): 98–111. http://dx.doi.org/10.20323/2658-7866-2022-1-11-98-111.
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The article is the first attempt to present the work of an artist of the Russian emigration, a member and secretary of the “Icon” society in Paris, and the creator of his own iconographic school, V. A. Tsevchinsky, who participated in the revival of Russian Orthodox culture in emigration through his icon-painting activities abroad. The study revealed a number of iconographic monuments that belonged to the iconographer's oeuvre. Despite the active creative, pedagogical and social activity, carried out by V. A. Tsevchinsky, his artistic heritage was little studied, which allowed the author of this article to partially fill this gap. The article discusses both the artist's iconostasis complexes and his individual icons, as well as the temple murals. These are the iconostasis and exterior icon of the Church of St. Nicholas the Wonderworker in Boulogne-Billancourt (Paris), the icon of St. Andrew the First Called from the iconostasis of St. Seraphim of Sarov (Paris), exterior paintings of the Church of the Archangel Michael in Cannes, and certain icons from private collections presented in publications and at exhibitions.
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Прокопец, С. Е. "Following the traditions of the Russian school of icon painting as a phenomenon of the revival of icon painting in the Luhansk region." Iskusstvo Evrazii [The Art of Eurasia], no. 2(25) (June 30, 2022): 142–49. http://dx.doi.org/10.46748/arteuras.2022.02.014.
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Статья посвящена возрождению русской школы иконописи на Луганщине. В частности, показаны процессы воспроизведения русских иконописных канонов в контексте профессионального обучения иконописцев в Луганской государственной академии культуры и искусств имени М.Л. Матусовского. За шесть лет существования иконописного отделения в академии были изучены различные иконописные школы, и именно каноны и разнообразные стилистические особенности русской школы иконописи легли в основу профессионального обучения в академии. Исследование показало, что иконы, выполненные в традиционном русском иконописном стиле, востребованы в храмах Луганщины. The article is devoted to the revival of the Russian school of icon painting in the Luhansk region. In particular, the processes of reproduction of Russian icon-painting canons are shown in the context of professional training of icon painters at the Lugansk state academy of culture and arts named after M. Matusovskiy. The icon-painting department at the Academy has existed for six years. It was the canons and various stylistic features of the Russian schools of icon painting that formed the basis of professional training at the Academy. The study showed that icons made in the traditional Russian icon-painting style are in demand in the churches of the Luhansk region.
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Kravchenko, Marta. "Сучасна ікона: візії та рефлексії. Рецензія на збірник Слово стало тілом. ХІІ міжнародного іконописного пленеру в Новиці." Studia Ucrainica Varsoviensia, no. 9 (December 17, 2021): 205–9. http://dx.doi.org/10.31338/2299-7237suv.9.16.
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The album The Word Became the Body. XII International Icon Painting Plein Air in Nowica was published in Warsaw in 2020. It discusses works on the above topics. The texts of the Russian researcher of icon painting Irina Yazykova and Dr. Waldemar Linke present a broad context of the subject, both theological and artistic. The collection contains images of 50 modern iconographic works. The text is presented in four languages: Polish, Russian, Belarusian and Ukrainian.
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Levina, Tatiana V. "UNCREATED LIGHT AND DAZZLING DARKNESS: BYZANTIUM OF AVANT-GARDE." Articult, no. 3 (2021): 40–55. http://dx.doi.org/10.28995/2227-6165-2021-3-40-55.
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Avant-Garde painters were amazed by fifteenth to sixteenth century “old style” Russian icons, which saw the light of the day in the early twentieth century after two centuries of prohibition. In the seventeenth century, ascetic had been replaced by “Western” mimetic images. Icons had a massive impact on Mikhail Larionov, the founder of Rayonism, who wrote that “Russian icon painters <…> were strongly drawn towards abstraction”. In 1913 he organized an exhibition of his Rayonnist paintings with rays of light reflected from objects. Kazimir Malevich was also influenced by icons. In his theoretical writings, he refers to Gospels. Launching his Suprematism at the “0,10 Exhibition” in 1915, Malevich placed his masterpiece in the “beautiful corner”, as an icon. Alexandre Benois said that the Black Square is a “cult of emptiness, darkness, ‘nothing’”. It will be justified that it was another type of darkness, connected to the concepts of “uncreated light” and “dazzling darkness” in Dionysius the Areopagite and Gregory Palamas’ theology. I refer to Pavel Florensky and Sergey Bulgakov’s philosophy to demonstrate how an application of Palamas’ theory, hesychasm, was reflected in fifteenth-sixteenth-century icon-painting and later in Avant-Garde theory and paintings, in particular by those of Larionov and Malevich.
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Maksimov, Yu I., A. B. Mambetova, and A. I. Krivichev. "STRAIGHT TO THE NORTH: ARCTIC EXPLORATION IN ARTISTS’ WORKS." Herald of Kola Science Centre of the RAS 13, no. 1/2021 (September 9, 2021): 7–22. http://dx.doi.org/10.37614/2307-5228.2021.13.1.001.
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The article provides an overview on the history of the Kola Arctic region and the Arctic artistic exploration based on the “Straight to the North” temporary exhibition in Murmansk Regional Art Museum, 2019. Pieces of icon painting, decorative and applied arts, books, household items, painting and graphic arts and collection of the Kola Peninsula minerals were exhibited there. Some art works are described in details: paintings of Russian artists of the late 19th and early 20th centuries and Soviet artists, including painters from Murmansk and members of “The Arctic” creative team in 1978–1985. The authors analysed, how social and economic development of the Kola Arctic region influenced new art styles and directions: from plein air painting under the Extreme North conditions to industrial landscapes and creation of an art community. The authors dedicate the article to the memory of Honored Artist of the Russian Federation, the leader of “The Arctic” creative team Arvi Ivanovich Huttunen (31.08.1922–27.08.2020).
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Соколов, Роман Александрович, and Максим Алексеевич Костыря. "HISTORICAL MEMORY ABOUT ALEXANDER NEVSKY: SCULPTURAL VISUALIZATION." ΠΡΑΞΗMΑ. Journal of Visual Semiotics, no. 1(27) (April 2, 2021): 95–123. http://dx.doi.org/10.23951/2312-7899-2021-1-95-123.
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Истоки поздних версий скульптурной визуализации Александра Невского были заложены еще в древности; важно, что в допетровскую эпоху иконописный канон по преимуществу предусматривал изображение князя в образе схимника, но не был единственно возможным. Установлено с высокой степенью достоверности, что первым дошедшим до нас его изображением является неатрибутированная ранее фигура, представленная на иконе «Богоматерь Тихвинская с протоевангельским циклом и святыми» (первая половина XVI в.). Изменение иконописного канона на «светскую» версию (1724) имело объективные предпосылки, поскольку и до этого Александр изображался в княжеских одеждах в монументальной живописи, миниатюрах, на житийных иконах. «Переходный» характер имеет фреска из Софийского собора в Вологде. Изготовление первой скульптуры Александра Невского («грудной статуи», 1754) связано с именем М. В. Ломоносова, из мозаичной мастерской которого происходят и два портрета князя. Указанному скульптурному произведению предшествовал барельефный портрет князя на его раке (1747–1752, ГЭ (Санкт-Петербург)). В XIX в. статуи князя установили на южных вратах Исаакиевского собора в Санкт-Петербурге (И. П. Витали, 1841–1846) и памятнике «1000-летие России» в Великом Новгороде (М. О. Микешин, И. Н. Шредер, 1862). В постреволюционную эпоху власть отказалась от использования в идеологических установках прежних символов, и герой Невской битвы оказался в забвении. Ренессанс произошел после выхода кинокартины С. М. Эйзенштейна. Это привело к появлению новой версии визуализации князя – в образе Н. К. Черкасова. В послевоенные годы эта версия была отражена и в скульптуре (памятник в Переславле-Залесском). Однако в Российской империи и Советском Союзе скульптурных изображений князя было создано все же слишком мало. На примере установки стелы в Усть-Ижоре (Архив Санкт-Петербургского Дома ученых) показано, что процесс согласования даже небольших памятных знаков был крайне сложным. С начала 1990-х годов ситуация изменилась. Памятники князю и скульптурные композиции, связанные с его именем, появились во многих городах страны, что делает актуальной задачу их типологизации. Самым ранним по времени появления является тип «часовни», представляющий собой вертикальную архитектурно-пластическую композицию, завершенную «куполом» и крестом. Сам же князь представлен в виде воина (Пушкин, Усть-Ижора, Кобылье Городище, отчасти пос. Ленинское). К этим памятникам примыкает еще один тип – «инок» (Городец). Данные скульптурные изображения можно соотнести с образцами иконописной традиции – допетровской («инок», клейма житийных икон) и петровской («святой воин»), а также с миниатюрами лицевых сводов. Остальные типы монументов представляют князя в образе воина, где атрибуты его святости, за редким исключением, играют второстепенную роль. В первую очередь это относится к конным памятникам (Псков (гора Соколиха), Санкт-Петербург (пл. Александра Невского) и др.). В статье показана связь этих произведений с отечественной и зарубежной художественными традициями. Широко распространенным типом памятников Александру Невскому является скульптура в виде одиночной фигуры (Городец, Курск, Волгоград, Владимир и др.). Несмотря на то, что в большинстве случаев связь с тенденциями визуализации, идущими из глубины веков, в этом типе сведена к минимуму, тем не менее она прослеживается, прежде всего, через элементы православной символики. И только два памятника этого типа – в Петрозаводске и Александрове – представляют Александра Невского в образе и воина, и святого. The origins of the later versions of Alexander Nevsky’s sculptural visualization were laid back in ancient times. It is important that, in the pre-Petrine era, the icon-painting canon mainly provided for the image of Nevsky as a schemamonk, but it was not the only possible one. It has been established with a high degree of certainty that the first image of Alexander that came to us is the previously non-attributed figure represented on the icon “Our Lady of Tikhvin with the Proto-Gospel Cycle and Saints” (first half of the 16th century). The change of the icon-painting canon to the “secular” version (1724) had objective prerequisites, since, before that, Alexander had been depicted in princely robes in monumental painting, miniatures, on hagiographic icons. The fresco from Saint Sophia Cathedral in Vologda has a “transitional” nature. The creation of the first sculpture of Alexander Nevsky (the “chest statue”, 1754) is associated with the name of Mikhail Lomonosov; two portraits of Nevsky also come from his mosaic workshop. This sculpture was preceded by a bas-relief portrait of Nevsky on his shrine (1747–1752, State Hermitage, St. Petersburg). In the 19th century, statues of Nevsky were erected on the southern gates of St. Isaac's Cathedral in St. Petersburg (I.P. Vitali, 1841–1846) and on the monument “1000th Anniversary of Russia” in Veliky Novgorod (M.O. Mikeshin, I.N. Schroeder, 1862). In the post-revolutionary era, the government refused to use the old symbols in ideological settings, and the hero of the Neva battle was forgotten. The renaissance occurred after the release of the film Alexander Nevsky by Sergei Eisenstein. This led to the emergence of a new version of the visualization of the prince – in the image of Nikolay Cherkasov. In the postwar years, this version was also reflected in sculpture (a monument in Pereslavl-Zalessky). However, in the Russian Empire and in the Soviet Union, too few sculptural images of the prince were created. Using the installation of a stele in Ust-Izhora (Archive of the St. Petersburg House of Scientists) as an example, it is shown that the reconciling of even small commemorative plaques was extremely difficult. Since the early 1990s, the situation has changed. Monuments to the prince and sculptural compositions associated with his name appeared in many cities of the country, which makes the task of typologizing them urgent. The earliest type is a “chapel”. It is a vertical architectural plastic composition completed with a “dome” and a cross. The prince himself is represented in the image of a warrior (Pushkin, Ust-Izhora, Kobyl’ye Gorodishche, partly the Leninskoye village). One more type adjoins these monuments – a “monk” (Gorodets). The sculptural images of this type can be correlated with samples of the icon-painting tradition, both of the pre-Petrine (“monk”, the scenes of life of hagiographic icons) and Petrine (“holy warrior”) eras, and with miniatures of illustrated chronicles. The remaining types of monuments represent Nevsky in the image of a warrior, in which the attributes of his holiness, with rare exceptions, play a secondary role. First of all, this refers to equestrian monuments (Pskov (Sokolikha Mountain), St. Petersburg (Alexander Nevsky Square), etc.). The article shows the relationship of these works with domestic and foreign artistic traditions. A widespread type of monuments to Alexander Nevsky is a sculpture in the form of a single figure (Gorodets, Kursk, Volgograd, Vladimir, etc.). Despite the fact that in most cases the connection with visualization trends that come from the depths of centuries is minimized in this type, it can still be traced, first of all, through elements of Orthodox symbolism. Only two monuments of this type – in Petrozavodsk and Alexandrov – represent Alexander Nevsky in the image of both a warrior and a saint.
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Maslov, Konstantin I. "Sapozhnikovs’ Ecclesiastical Painting from the Points of View of Archimandrite Photios and the Archeologist G. D. Filimonov." Observatory of Culture, no. 6 (December 28, 2015): 52–56. http://dx.doi.org/10.25281/2072-3156-2015-0-6-52-56.
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The article is devoted to the points of view of archimandrite Photios and the scientist-archeologist G. D. Filimonov on the creative work of Sapozhnikov brothers, Moscow guild icon-painters of the early 19th century. While Photios would see in the mural and iconic works by the Sapozhnikovs the evidence of firmness of the ancient icon-painting school, Filimonov conversely perceived them as a proof of development opportunities for the authentic Russian folk art. The reason for such a sharp difference between their opinions was a distorted understanding of the ecclesiastical painting’s nature in the Modern Age as well as of the origin of its stylistic and iconographic dissimilarity.
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Burganova, Maria A. "LETTER FROM THE EDITOR." Scientific and analytical journal Burganov House. The space of culture 17, no. 5 (December 10, 2021): 8–9. http://dx.doi.org/10.36340/2071-6818-2021-17-5-8-9.
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Dear readers, We are pleased to present to you Issue 5, 2021, of the scientific and analytical journal Burganov House. The Space of Culture. Upon the recommendation of the Expert Council of the Higher Attestation Commission, the journal is included in the List of Leading Peer-reviewed Scientific Journals and Publications in which the main scientific results of theses for the academic degrees of doctor and candidate of science must be published. The journal publishes scientific articles by leading specialists in various humanitarian fields, doctoral students, and graduate students. Research areas concern topical problems in multiple areas of culture, art, philology, and linguistics. This versatility of the review reveals the main specificity of the journal, which represents the current state of the cultural space. The journal traditionally opens with the Academic Interview rubric. In this issue, we present an interview with Alexander Burganov, Academician of the Russian Academy of Arts, an outstanding Russian sculptor, National Artist of Russia, Doctor of Art History, Professor, Director of the Burganov House Moscow State Museum, interviewed by Irina Sedova, the Head of the 20th Century Sculpture Department of the State Tretyakov Gallery. This dialogue became part of the sculptor’s creative evening at the State Tretyakov Gallery, which included a personal exhibition, donation of the sculptural work Letter, screening of a special film and a dialogue with the audience in the format of an interactive interview. In the article “The Apocalypse Icon from the Kremlin’s Assumption Cathedral. Dating and Historical Context”, T. Samoilova points out the similarities between some motifs of the Apocalypse iconography and the motifs of Botticelli’s illustrations to the Divine Comedy, as well as the role of a line in both artworks which testifies to the influence of the Renaissance art on icon painting of the late 15th — early 16th centuries. Studying palaeography and stylistic features of the icon, the author clarifies the dates and believes that the icon was most likely painted after 1500, in the first decade of the 16th century. P. Tsvetkova researches the features of the development of the Palladian architectural system in Italy, in the homeland of Andrea Palladio. On the examples of specific monuments, drawings and projects created during two and a half centuries, the author analyses the peculiarities of the style transformation in the work of Palladio’s followers, the continuity of tradition, deviations from canonical rules. In the article “Artistic Features of the Northern White Night Motif in the Landscapes of Alexander Borisov and Louis Apol”, I. Yenina conducts art analysis and compares the works of the Russian “artist of eternal ice”, A. Borisov, and the Dutch “winter artist”, L. Apol. They were the first to depict such a phenomenon as a white night in the Far North. V. Slepukhin studies the artworks of the first decades of the Soviet era in the article “Formation of the Image of a New Hero in Russian Art of 1920- 1930”. The author concludes that the New Hero in the plastic arts of the 1920s–1930s was formed as a reflection of social ideals. The avant-garde artists searched for the Hero’s originality in the images of aviators, peasants, women. The artists of socialist realism began to form the images of the “typical” heroes of the time — warriors, athletes, rural workers, scientists, as new “people of the Renaissance”. In the article “Dialogues of the Avant-garde”, A. N. Lavrentyev presents a comparative analysis of spatial constructions created by the Russian Avant-Garde Artist Alexander Rodchenko and the famous kinetic European and American artist Alexander Calder in the first half of the 20th century. Wei Xiao continues his analysis of contemporary art in the article “Chinese Sculpture in the New Era”. The author notes that the art of sculpture is in many ways a reflection of social change, both in terms of cultural content and practice. The author emphasises the need for cultural identity to preserve national traditions and spirituality. Xu Yanping’s article “The Dynamics of the Choral Culture Development in China in the 1930s on the Example of Huang Tzi’s Oratorio Eternal Regret” is a scientific study of a particular phase of the active entry of Chinese choral music into the sphere of the oratorio genre, directly related to the name of the great Chinese composer, Huang Tzi. It also highlights the issues of the country’s political life in the 1930s, which actively influenced the creation of nationwide singing movements and new choral works in the country. The author believes that the oratorio Eternal Regret presented in the article is a unique creation that organically combines ethnic musical material and Western composition techniques. The publication is addressed to professionals specialising in the theory and practice of the fine arts and philology and all those interested in the arts and culture.
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Markov, Aleksandr V. "EL GRECO IN RUSSIAN POETRY." Vestnik of Kostroma State University, no. 1 (2020): 93–101. http://dx.doi.org/10.34216/1998-0817-2020-26-1-93-101.
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The name El Greco (Doménikos Theotokópoulos) is rarely found in Russian poetry, although French romanticism included him in the canon of world classics. This article assumes that El Greco’s reception in Russian poetry is due not so much to the infl uence of French romanticism or Spanish surrealism as to the stylistic features of the artist himself, who inherited Cretan icon painting, while in his mature period he followed the Renaissance principles of life-like and rivalry. As a result, El Greco is perceived in Russian culture as a classic imitating nature, and stylistic features are then interpreted as existentially signifi cant rather than a strange and bizarre artist. El Greco is then compared with the characters of his paintings, such as the apostles and evangelists, and is considered to be an artist, communicating something existentially signifi cant about fate. His landscape style was then interpreted as the transformation of artistic conventions into ontologically signifi cant constructions. A close reading of poetic texts dedicated to El Greco (Konstantin Balmont, Anna Akhmatova, Yevgeny Yevtushenko, Viktor Krivulin, Bella Akhmadulina, Svetlana Kekova), and taking into account the theoretical statements about El Greco (Alexandre Benois, Dmitry Likhachov) allows us to show that El Greco was not perceived within the framework of expressionism or surrealism, but in the key of icon-painting ontologism. The techniques of El Greco were then understood in Russian poetry as plotsignifi cant: chiaroscuro and colour turned out to be symbols of life’s upheavals, and the mission of the apostle and Orpheus was then identifi ed as a model for a poetic attitude to everyday life.
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Paaver-Potashenko, Mari-Liis. "Иконное наследие Пимена Софронова в Шеветонском монастыре." Acta Neophilologica 1, no. XXIV (May 15, 2022): 267–76. http://dx.doi.org/10.31648/an.7441.
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This article offers an art analysis of the collection of icons by the Estonian icon painter Pimen Sofronov housed in the Monastery of Chevetogne in Belgium. Sofronov’s icons found their way to this monastery in different ways. All of the seven icons were created in the 1930s, when he taught the orthodox icon painting and worked in various places in Europe and personally acquired an abundance of new knowledge. The author examines the development ofSofronov’s artistic language during these years and discusses the European artistic and cultural context of that time, which is essential to understanding his work. Despite his acquaintance with different cultures and traditions of icon painting, Sofronov remained true to his roots as can be seen in his icons in Chevetogne. Sofronov found his own way of developing and renewing the Old Believers’ icon painting tradition. This can also be perceived as a deeper understanding of the traditional Russian Old Believer icon painting.
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Симакова, Елена Алексеевна. "«This Holy Reliquary». The Bible Museum at the St. Joseph-of-Volotsk Monastery." Вестник церковного искусства и археологии, no. 2(3) (August 15, 2020): 128–45. http://dx.doi.org/10.31802/bcaa.2020.3.2.008.
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Первый и единственный в России музей Библии расположен в Иосифо-Волоцком ставропигиальном мужском монастыре. Он был создан по инициативе и при непосредственном участии митрополита Волоколамского и Юрьевского Питирима вскоре после возвращения Иосифо-Волоцкого монастыря Русской Православной церкви. Экспозиция размещена в трёх музейных залах и содержит более пятисот экспонатов. Научный фонд вместе с экспозиционным составляет более тысячи экземпляров. Музейная коллекция содержит книги Священного Писания, богослужебные книги, святоотеческую литературу, книги по истории церкви, альбомы по иконописи и другие издания. В экспозиции музея представлены книги Священного Писания на 40 языках (европейских, азиатских, народов России). В числе редких экспонатов музея - Острожская Библия (1581), Московская Библия (1663), несколько изданий Елизаветинской Библии (XVIII в.), венецианское издание Вульгаты (1609) и прочее. Также в коллекции музея размещены издания Священных текстов с редкими иллюстрациями: копия знаменитой рисованной Велиславовой Библии (чешской рукописи середины XIV в.), двухтомное издание Библии на французском языке с 228 гравюрами Гюстава Доре (1866); издания, содержащие произведения Лукаса Кранаха, Рембрандта, Альбрехта Дюрера; немецкое издание Библии, иллюстрированное Сальвадором Дали (1990), четырёхтомная Библия на французском языке с иллюстрациями Эди Леграна (1949) и другие издания. Возникший на основе библиотеки владыки Питирима музей в настоящее время прирастает экспонатами, приобретёнными наместником Иосифо-Волоцкого монастыря архимандритом Сергием, а также благодаря вкладам Института перевода Библии и других жертвователей и меценатов. The first and only Russia Bible museum is situated in the St. Joseph-of-Volotsk stauropegial monastery. It was founded on the initiative and with the direct participation of the Metropolitan of Volokolamsk and Yurievsky Pitirim soon after the return of the St. Joseph-of-Volotsk monastery to the Russian Orthodox Church. The exhibition is located in three museum halls and contains more than five hundred items. It makes more than thousand copies counting museum funds. There are books of the Holy Scriptures, liturgical books, patristic literature, books on the church history, some albums with icon painting and other publications. The museum exhibits books of the Holy Scripture in 40 languages - European, Asian and indigenous languages of the peoples of Russia. Among rare museum exhibits there is the Ostrog Bible (1581), the Moscow Bible (1663), several editions of the Elizabethan Bible (XVIII century), the Venetian Vulgate edition (1609) etc. One of the pearls of the collection is a Czech manuscript of the mid XIV century as well as a two-volumed Bible edition in French with 228 engravings by Gustave Dore (1866) and editions containing works of Lucas Cranach, Rembrandt, Albrecht Durer; German Bible edition illustrated by Salvador Dali (1990), a four-volumed Bible in French with Edie Legrand’si llustrations (1949) etc. The museum, which has emerged from the Bishop Pitirim’s library, is currently growing with exhibits purchased by Archimandrite Sergiy, Abbot of the St. Joseph-of-Volotsk monastery, and generous gifts of the Institute of the Bible Translation as well as other donators and patrons.
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Heffermehl, Fabian. "Kuss eines Zyklopen. Die umgekehrte Perspektive Florenskis zwischen Kultbild und Kunstbild." Zeitschrift für Kunstgeschichte 82, no. 1 (April 19, 2019): 115–33. http://dx.doi.org/10.1515/zkg-2019-0005.
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Abstract With his Reverse Perspective (1919) the Armeno-Russian theologian and mathematician Pavel Florensky denounced the monocular, ‘cyclopean’ vision otherwise seen as the main principle in Renaissance painting. Florensky connected the medieval icon with an ‘organic idea’ involving 1) binocular vision, 2) the observer’s movement in pictorial space, and 3) tactile proximity between observer and image. This article explores how ideas of perception relate to Florensky’s cultural criticism. His reverse perspective emerges as a complex controversy, not only between two principles in painting – the icon and the linear perspective. Florensky also challenges himself as a westernized intellectual, who, rooted in Orientalism, fails to defend a Russian Orthodox worldview.
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Даен, Мира Евсеевна. "Some Features of the Icon-painting Art of Academician P. S. T’urin." Вестник церковного искусства и археологии, no. 3(4) (August 15, 2020): 15–27. http://dx.doi.org/10.31802/bcaa.2020.4.3.001.
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Настоящая статья раскрывает особенности малоизученного явления, связанного с русской иконописью второй половины XIX в. Одним из представителей этого направления был старший современник В. И. Сурикова - академик живописи Платон Семенович Тюрин (1816-1882). В Вологодском Государственном музее-заповеднике сохранилась написанная им для вологодской церкви Казанской Богоматери икона «Пречистая Богородица - помощница рождающим чад» (отреставрирована в 2016 г. О. В. Карпачёвой). Она отличается новаторством замысла: образ Богородицы с Младенцем на груди максимально приближен к человеку и далёк от идеализации. Тюрин работал во многих храмах России, но большинство его росписей и икон не сохранились вследствие антирелигиозных гонений советского времени. Представление о его иконописном творчестве может дать фотография С. А. Непеина 1905 г., которая хранится в ВГМЗ. Она воспроизводит интерьер домашней церкви в честь великомученицы Александры (придел храма в честь архангела Михаила в Верхней Вологде, здание не сохранилось). Документально иконостас датируется началом 1870-х гг. Анализ данного иконостаса помог раскрыть высокий уровень мастерства и связь художника с выдающимися представителями русской культуры XVIII-XIX вв., воплощёнными в образах святых на этих иконах. This article reveals the features of a little-studied phenomenon associated with Russian icon-painting in the second half of XIX century.An Academician of painting Platon Semenovich T’urin (1816-1882), who was a senior V. I. Surikov’s contemporary, became one of acknowledged representatives of this movement. In the Vologda State Museum-Reserve there is an icon «The Blessed Virgin Mary is the helper of giving birth» painted by T'urin for the Vologda church of Our Lady of Kazan. It was restored in 2016 by O. V. Karpacheva and remarkable for its innovative image that presents the Virgin with a Baby on her chest and stands closer to a portrait manner than iconic idealization. T’urin worked for many Russian churches but most of his paintings and icons were destroyed due to the anti-religious campaigns in Soviet times. Some traces of his icon-painting work we can find in a photo taken by S. A. Nepein in 1905, which is now in the Vologda State Museum-Reserve. It shows an interior of a home church in honor of the great martyr Alexandra, which was a chapel of a big church in honor of Archangel Michael in Upper Vologda and later demolished. According to archive data, an iconostasis dates from the early 1870s. Its detailed analysis helped to reveal a high-skilled artist’s hand and his representation of prominent Russian intellectuals in XVIII-XIX centuries embodied in the images of saints.
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Mikhaylova, Svetlana I. "Beautifiers of Russian Palestine: Vasily Paskhin." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 66 (2022): 333–52. http://dx.doi.org/10.37816/2073-9567-2022-66-333-352.
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Russian religious art of the 19th century in the Soviet years did not correspond to the official ideological direction, in connection with which many of these works were destroyed, and the names of their authors were forgotten. In this sense, those works of Russian artists that have been preserved in the churches and metochions of the Holy Land allow us to restore these names and fill the lacunae of domestic art. The paper represents an attempt to establish the facts of the creative biography of one of these artists — Vasily Filippovich Paskhin, whose icon-painting works were preserved at the Alexander Podvorie (Metochion) in Jerusalem. The author refers to the surviving documents of the Imperial Orthodox Palestinian Society (IOPS), to documentary descriptions of the lost church monuments of St. Petersburg, to the materials of restoration work carried out in 2006 at the Alexander Podvorie, and also analyzes the surviving works of Paskhin. Basing on the studies conducted, the author made a number of assumptions regarding the biography of the artist, the issue of his possible belonging to the famous St. Petersburg Peshekhonovs Icon Painting workshop, as well as the circumstances of ordering icons for the Alexander Podvorie and the participation of Archpriest Vasily Yakovlevich Mikhailovsky, an active member of the IOPS. Since the name of Paskhin is not found in the lists of the Academy of Arts, or in other lists of Russian professional artists, or in materials devoted to the study of the work of the Peshekhonovs workshop, the author suggests that Vasily Filippovich was a unique native talent that independently comprehended the heights of icon painting skill.
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Azizov, Dilshod. "THE PALETTE OF ICON PAINTING OF ANCIENT RUSSIAN MASTERS." Theoretical & Applied Science 79, no. 11 (November 30, 2019): 675–79. http://dx.doi.org/10.15863/tas.2019.11.79.138.
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Chumak, Maria. "An Expressionist Painter of the Fourteenth Century." OPEN JOURNAL FOR STUDIES IN ARTS 4, no. 2 (December 29, 2021): 47–62. http://dx.doi.org/10.32591/coas.ojsa.0402.02047c.
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Theophanes the Greek was one of the well-known artists of exceptional personality who lived in the second half of the 14th century. His talent stood out on account of the expressionist manner in which he portrayed his art creations and their impact on the school of Russian religious painting. His artistic talent, “swift brush” painting manner and life adventure can be compared with those of Doménikos Theotokópoulos (El Greco), another famous Greek painter, who brought the Cretan dramatic and expressionistic style to the West, influencing the Spanish Renaissance two hundred years after Theophanes. The artistic heritage of Theophanes stands between the short vibrant period of the Palaeologan Renaissance when the Byzantine Empire went through a terminal crisis, and the European Proto-Italian Renaissance. The artist seized the opportunity to unleash his creative work in the ancient Russian cities, unfolding his talent in the creation of large mural paintings. Characterized by his contemporaries as “Theophanes the Greek, icon painter and philosopher”, he enjoyed a high reputation in medieval Russian society. Present article questions Theophanes’ belonging to the hesychast movement and the attribution of the Muscovite icons and manuscripts to the painter. Considering the impact of Theophanes on Russian visual art, D. Talbot Rice stated: “It was thanks to the teaching of Greek immigrants like Theophanes that a sound foundation was established Russian painting, and it was on this basis that local styles were founded.” And it was in the Russian principalities that Theophanes developed his very distinctive style, enjoying carte blanche from the princes and boyars (aristocracy) to apply his creativity in various domains.
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Shamardina, N. V. "GALICIAN-RUSSIAN PRAISE OF THE VIRGIN ICONS OF THE 15th – 16th CENTURIES: GENESIS AND METAMORPHOSIS." Rusin, no. 60 (2020): 22–38. http://dx.doi.org/10.17223/18572685/60/3.
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The Galician-Russian icons of Praise of the Virgin are interesting both due to their origin from the hymns of akathist worship, the circumstances of their appearance in the Galician-Russian lands (probably related to the Western Russian metropolitan Gregory Tsamblak), and their unprecedented abundance. This type includes the outstanding works of the 15th century belonging to the Przemysl School, the main icon-painting centre in Poland. In the 16th century small trading towns, primarily Sambir, housed icon-painters who created icons in the democratic version of the national icon-painting style, associated with the artistic achievements of the neighboring coreligious Moldova. The Lviv Renaissance affected all aspects of the spiritual life of Galician Rusins around 1600 during the events around the Brest Union (1596). A final episode of the twocentury history of Praise of the Virgin in its Galician version is presented in Fyodor Senkovich’s icon from the Ripnev village near Lviv, dated 1599. The Praise of the Virgin icons of the 15h – 16th centuries demonstrate the iconographic type transformation caused by the changes in the mentality of the Orthodox population in the east of the Polish Catholic state, indicating both involvement in the Balkan-Slavic church and cultural impulses, as well as general patterns of sacred art development.
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Bolshakova, Svetlana Evgenievna. "Valaam Monastery School of Painting." Secreta Artis, no. 4 (January 21, 2021): 41–72. http://dx.doi.org/10.51236/2618-7140-2020-3-4-41-72.
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The article is dedicated to the formation of Valaam’s own school of painting for monks and novices of the monastery. This process consisted of several stages connected to both the historical development of the monastery itself, as well as the expanding influence of the Russian Imperial Academy of Arts. The official establishment of the painting school, which trained artists according to academic methods, dates back to the late 19th – early 20th centuries. The entire preceding history of the monastery paved the way for the inauguration of the school. In particular, the monastery gathered a carefully selected collection of engravings and reproductions of famous religious paintings, art manuals, human anatomy atlases and picturesque copies of popular works of art. Construction of the new Transfiguration Cathedral, to be supposedly painted by monastery artists, provided the main impetus for the eventual opening of the school. Gifted Valaam monks Alipiy (Konstantinov) and Luka (Bogdanov), as well as a student of the Russian Academy of Arts, V. A. Bondarenko, taught at the monastery’s school. Among some of the most diligent students of the school were hegumen Gavrill (Gavrilov), the main proponent of its establishment and its trustee, along with monk Fotiy (Yablokov), the future head of the icon painting workshop. The school continued to operate until the monks of the Valaam Monastery were forced to flee to Finland as a result of hostilities that broke out in the archipelago during the Soviet-Finnish war of 1939–1940.
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Bykova, Ekaterina, and Konstantin Tarasov. "Old Believer icon painting in the second half of the 19th — early 20th centuries in the context of historical and cultural modernization (on the materials of the Vyatka province)." OOO "Zhurnal "Voprosy Istorii" 2020, no. 12-1 (December 1, 2020): 237–45. http://dx.doi.org/10.31166/voprosyistorii202012statyi19.
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The article is a study of the peculiarities of Old Believer icon painting in the Vyatka province for the period of the second half of the 19th - early 20th centuries. The authors focus on such issues as the activities of the leading centers of icon painting in the region, the cultural ties of the Vyatka Old Believers with other centers of the Russian Old Believers, the stylistic features of the icons of the Vyatka Old Believers. The influence of modernization processes in the second half of the 19th - early 20th centuries is traced. to the traditional culture of the Vyatka Old Believers. The study was carried out on the basis of materials from the Vyatka province - one of the centers of the Old Belief. It allows us to identify the general and specific in the processes of the impact of social transformations of the post-reform time on the traditional culture of the Russian Old Believers.
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Salmond, Wendy. "Viktor Vasnetsov’s New Icons." Experiment 25, no. 1 (September 30, 2019): 131–44. http://dx.doi.org/10.1163/2211730x-12341334.
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Abstract This essay examines Russian artist Viktor Vasnetsov’s search for a new kind of prayer icon in the closing decades of the nineteenth century: a hybrid of icon and painting that would reconcile Russia’s historic contradictions and launch a renaissance of national culture and faith. Beginning with his icons for the Spas nerukotvornyi [Savior Not Made by Human Hands] Church at Abramtsevo in 1880-81, for two decades Vasnetsov was hailed as an innovator, the four icons he sent to the Paris “Exposition Universelle” of 1900 marking the culmination of his vision. After 1900, his religious painting polarized elite Russian society and was bitterly attacked in advanced art circles. Yet Vasnetsov’s new icons were increasingly linked with popular culture and the many copies made of them in the late Imperial period suggest that his hybrid image spoke to a generation seeking a resolution to the dilemma of how modern Orthodox worshippers should pray.
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Koprowski, Piotr. "Malarstwo ikonowe tradycji bizantyjskiej." Studia Europaea Gnesnensia, no. 12 (December 15, 2015): 85–98. http://dx.doi.org/10.14746/seg.2015.12.4.
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The article seeks to reflect upon the manner of perceiving reality (the so-called reversed perspective) associated with the Byzantine tradition of icon painting which was in evidence in the Ruthenian and Russian cultural circle from the 12th to the first half of the 17th century.
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Volkov, Ivan A. "“Antique icons” in the collection of the Intercession Old Believers’ Church in Serpukhov." Russian Journal of Church History 3, no. 1S (March 22, 2022): 84–93. http://dx.doi.org/10.15829/2686-973x-2022-89.
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The article is devoted to an overview to the monuments of the 19th — early 20th centuries from the collection of the Old Believers’ Intercession Church in Serpukhov. Along with the ancient icons this collection also includes quite numerous of late works, which writing technique and style imitates earlier monuments of Russian icon painting of the 15th — 17th centuries. The article gives a definition of the term “antique painting”, provides a description of these certain icons to which this term is applicable. Almost all the monuments described in the article are being published for the first time, since for a long time this kind of icon painting did not enjoy the attention of researchers and collectors. Мany of these icons were placed in the most honorable places of the temple space and venerated by parishioners. In particular this refers to the image of the Mother of God Hodegetria from the central iconostasis, icons of St. Paisius the Great and St. Sergius of Radonezh.
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Voloshinov, Alexander V. "The Old Testament Trinity of Andrey Rublyov: Geometry and Philosophy." Leonardo 32, no. 2 (April 1999): 103–12. http://dx.doi.org/10.1162/002409499553082.
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The philosophical and theological content of a masterpiece of Old Russian icon-painting—Andrey Rublyov's Trinity is regarded in the light of its geometry. The aspects under study are the geometrical properties of the rectangle of the Trinity (which generate a sequence of circumferences related by the golden proportion) and also some of the peculiarities in the composition of the icon. The roles of the circle, the octagon and inverse perspective in the Trinity are discussed. The author establishes correspondence between the theological triad Revelation—Illumination Transformation, which makes up the fundamental content of the Trinity, and the mirror and dynamic symmetries of the icon.
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MCKEVER, ROSALIND. "THE AVANT-GARDE ICON: RUSSIAN AVANT-GARDE ART & THE ICON PAINTING TRADITION BY ANDREW SPIRA." Art Book 16, no. 3 (August 2009): 46–47. http://dx.doi.org/10.1111/j.1467-8357.2009.01043_5.x.
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Дьячков, Герасим. "Last quarter of the 17th century icon of the Transfiguration from the Spaso-Preobrazhensky Monastery in Belevo." Церковный историк, no. 2(2) (August 15, 2019): 89–140. http://dx.doi.org/10.31802/chist.2019.2.2.005.
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Икона Преображения Господня из Белёвского Спасо-Преображенского монастыря - уникальный памятник русской иконописи. Она была выполнена в последней четверти XVII в. мастерами Оружейной палаты Московского Кремля. Настоящее исследование посвящено более чем трёхсотлетней истории этого замечательного образа. The icon of the Transfiguration of the Lord from the Saviour Transfiguration Monastery in Beleu is a unique monument of Russian icon-painting. It was made in the last quarter of the 17th century by craftsmen of the Armoury Chamber of the Moscow Kremlin. This study is dedicated to the more than three hundred year history of this remarkable image.
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Bobrova, Natalia Nikolaevna. "The Late Paleologian icon of the Nativity of Christ from the Patriarch’s museum of church art at the Cathedral of Christ the Saviour in Moscow: on the features of the painting style." Studia Slavica et Balcanica Petropolitana 31, no. 1 (2022): 186–94. http://dx.doi.org/10.21638/spbu19.2022.111.
Full textAbstract:
Byzantine icons of the 14th century in Russian museums are scattered material. In this regard, the situation when it is possible to identify or at least raise the question of whether two icons of such an artistic level from different collections belong to the same master is almost unique. The Late Paleologian icon of the Resurrection of Lazarus from the the Russian Museum can without exaggeration be called the pearl of the collection. The icon was received by the Russian Museum in 1928 from the collection of G. N. Gamon-Gaman through the State Museum Fund. There is a small icon of the Nativity of Christ distinguished by high pictorial skill in the collection of the new Patriarchal Museum of Church Art at the Cathedral of Christ the Savior in Moscow. The study of this late Paleologian monument is just beginning, but the special relevance of its research is due to the fact that the artistic features allow us to compare this image with the aforementioned icon of the Resurrection of Lazarus, a landmark monument of the collection of the Russian Museum. A number of features of the icon of the Nativity painting technique makes it possible to speak about a significant stylistic community of these two monuments despite the fact that the preservation of it is not the best. The similarity of the nuances of color, the principles of shaping, the presence of common characteristic techniques in the construction of gaps, the picturesque solution of clothes, the dashed manner of modeling the light part of the slides, individual handwriting and great similarity in individual details, the general features of the drawing of the hands and feet of the characters, the nature of the vegetation image, the proportions of the figures, the size of the image, the features of gilding halos (on top of the paint layer) ― all these aspects reveal such a close similarity of painting techniques that it becomes possible to raise the question of identifying in this case the individual manner of one master and the belonging of these two icons to the festive row of the same iconostasis. Technical studies of the icon of the Resurrection of Lazarus were carried out by S. I. Golubev during the restoration in the Russian Museum in 1986–1990, the research results of which definitely make it possible for a more substantive comparative analysis of the two icons.
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Dyrdin, Alexander, and Julia Zhukova. "THE EKPHRASTIC CODE OF “THE PYRAMID”, A NOVEL BY LEONID LEONOV." Проблемы исторической поэтики 20, no. 1 (February 2022): 323–38. http://dx.doi.org/10.15393/j9.art.2022.10382.
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The purpose of this article is to study the transformation of plots and motifs of visual art in “The Pyramid” (1994), the last novel by L. Leonov. The authors take a closer look at various types of ekphrasis: mimetic, unattributed and zero type. The theoretical framework for the analysis of the novel’s narrative space in ekphrastic terms includes the works of L.G. Geller, N.V. Braginskaya, J. Heffernan and other Russian and foreign philologists. Based on the idea of the dialogical nature of the concept of “ekphrasis,” the authors of the article consider the ekphrasis of the “The Pyramid” in a broad sense, as a means of concentrating the artistic, visual and philosophical context, inherent in the very nature of interaction between different types of art. The hermeneutic method is used achieve the set objectives, allowing to reconstruct the meanings of the ekphrastic fragments of the novel in the context of the phenomena of the global and Russian culture. Along with the alternation of dialogues and monologues of the implicit author and characters, direct and modified pictorial allusions are Leonov’s leading methods of text generation. Inheriting the traditions of Russian classical literature that tends to inexpressible, the writer integrates images of spatial arts, architecture, and painting into the text of the literary work. The narrative principles of “The Pyramid” are largely determined by the correlation of the author’s reflexive thought with precedent phenomena, the symbolic content of paintings by P. Brueghel, I. Repin, V. Perov, A. Durer’s engravings, temple frescoes, Russian icon painting. This allusive series is contingent on Leonov’s aesthetic preferences. It is on this basis that the ekphrastic code of the work is formed. It expresses the semantic and poetic harmony of the visual and verbal principles of the author’s thinking.
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Lavrentyev, Aleksandr Vladimirovich. "To the history of the appearance of frescoes by Andrey Rublev and Daniil Cherniy in the Assumption Cathedral of Vladimir." Studia Slavica et Balcanica Petropolitana, no. 2 (28) (2020): 141–58. http://dx.doi.org/10.21638/spbu19.2020.209.
Full textAbstract:
The article discusses the reasons and circumstances of the trip made by the famous icon painters Andrei Rublev and Daniil Cherny in 1408 to Vladimir-on-Klyazma in 1408, commissioned by the Grand Prince Vasily Dmitrievich in order to «renew» frescos of the Assumption Cathedral. The trip resulted in one of the most famous fresco ensembles of the Russian Middle Ages. In historiography, it is customary to explain the arrival of the icon painters to Vladimir by the constant concern of the Grand Prince authorities about the cultural and political «Vladimir heritage». The article suggests that a possible reason for the beginning of the works was the preparation of Vladimir and other cities on the former lands of the Grand Principality of Vladimir for their transfer to the governance of the Lithuanian Prince Svidrigailo Olgerdovich. In the summer of 1408 Svidrigailo left for Russia accompanied by the Bryansk bishop, Lithuanian Orthodox princes, boyars and a military squad. Awarding the ancient capital of the Great Principality to the new «servant» of the Grand Prince Vasily Dmitrievich Vladimir was unprecedented. Vladimir-on-Klyazma was never mentioned among the Russian territories granted to other Lithuanian princes who passed into the service of Moscow in the 14–15th centuries. Svidrigailo Olgerdovich’s «departure» and the simultaneous commanding of the icon painters to the city to work on the paintings of the cathedral was hardly an accident. At the end of the same year, Svidrigailo Olgerdovich left his new «service», and due to that the works on frescos were suspended and never not resumed in the future.