Letteratura scientifica selezionata sul tema "Tatar Painting"
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Articoli di riviste sul tema "Tatar Painting"
1
Janonienė, Rūta. "Apie oberbombardyro Vaitiekaus Ivaškevičiaus 1791 m. Vilniaus piešinį". XVIII amžiaus studijos T. 6: Personalijos. Idėjos. Refleksijos, T. 6 (2 gennaio 2020): 323–34. http://dx.doi.org/10.33918/23516968-006015.
Testo completoAbstract (sommario):
ABOUT THE 1791 PICTURE OF VILNIUS BY OBERBOMBARDIER WOJCIECH IWASZKIEWICZ The article discusses a watercolour painting from a private collection authored by Wojciech Iwaszkiewicz, artillery ober-bombardier of the Grand Duchy of Lithuania. In the background of the urban landscape are objects that allow easy identification of the capital of Lithuania: partly ruined Upper Castle and the Bekesh Hill. Other objects and figures are identifiable by the inscriptions on the other side of the painting. Particularly interesting is the first plan of the drawing, which depicts the Tatar Gates and a few wooden houses standing near them. This is the only known view of the Tatar Gates of the Vilnius defensive wall. The buildings also depict a number of city dwellers, most of them being military personnel of the Grand Duchy of Lithuania (artillery officer, cannoneer, ober-feurwerker, etc., as well as the author of the painting himself ), thus the picture is also interesting as a source of research into different military uniforms. Inscriptions by the Upper Castle and Bekesh Hill reflect legends and stories, popular among Vilnians at the end of the eighteenth century. In the former case, one tower of the castle is named as the temple of the pagan god Lelum Polelum Swistum po Swistum. Yet above the Bekesh Hill is written a legend about the reckless death of this cadet on the way down while riding a horse. Through historical sources we were able to determine that W. Iwaszkiewicz enlisted into the army of the Grand Duchy of Lithuania as a cannoneer in the spring of 1790, soon was raised to the rank of the bombardier and in the spring of 1791 to the ober-bombardier, yet in the summer of 1793 he was raised to the rank of stykjunker. The painting in analysis is related to a particular event: attempts to reform and strengthen the Lithuanian artillery at the end of the eighteenth century and the amassing of the military in Vilnius. In spite of somewhat primitive style of the painting, it’s a very interesting and valuable document of urban iconography. Keywords: Vilnius, Wojciech Iwaszkiewicz, Bekesh Hill, Upper Castle, Tatar Gates, artillery.
2
Kovalchuk, Igor. "The development of the Ukrainian icon during the fourteenth and nineteenth centuries". Ukrainian Religious Studies, n. 76 (1 dicembre 2015): 91–108. http://dx.doi.org/10.32420/2015.76.600.
Testo completoAbstract (sommario):
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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Shishka, Evgeniy A. "Visual image of the Mongols in the Battle of Legnica in visual monuments of the 14th–15th centuries". Issues of Museology 12, n. 2 (2021): 222–37. http://dx.doi.org/10.21638/spbu27.2021.206.
Testo completoAbstract (sommario):
The Western campaign of the Mongols in Eastern and Central Europe in 1236–1242, led by Batu and the military commander Subedei, has long been imprinted in the memory of contemporaries and descendants. The central place in the historical literary and visual monuments of the Late Middle Ages was occupied by the Battle of Legnica — a battle between the Polish-German army and the Mongols on April 9, 1241. This article examines the image of the Mongols in book min-iatures of the Shlakenwerter Codex, presented in the Getty Museum (USA), on an altar painting created in the 30–40s. The 15th century is currently in the collection of the National Museum in Warsaw and in the images of the Freytag Codex, stored in the collections of the library of the University of Wroclaw (Poland). The author notes the preserved interest of Europeans in the Gentiles and in the events of the past centuries. The corpus of ethnic markers used by European artists to designate “strangers” is highlighted. Also, an association is made between the creation of images with Mongols in regard to the invasions of Tatar and Hussite troops in Silesia in the 14th–15th centuries and the struggle with the Moors on the Iberian Peninsula as well as the need to consolidate Christian society in the fight against the enemies of the Catholic Church.
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ТУАЛЛАГОВ, А. А., e А. А. ТУАЛЛАГОВА. "ON THE HISTORY OF BUILDING OF THE SUNNI MOSQUE IN VLADIKAVKAZ". Известия СОИГСИ, n. 51(90) (22 marzo 2024): 25–47. http://dx.doi.org/10.46698/vnc.2024.90.51.009.
Testo completoAbstract (sommario):
История создания одного из красивейших памятников архитектуры Владикавказа – Суннитской мечети – до сих пор не получила своего исчерпывающего освещения. Представлены не только различные ее аспекты, но сохраняются частные вопросы к конкретным деталям строительства. Данное положение определяет актуальность рассматриваемой проблемы. Научная новизна работы заключается в привлечении к анализу ряда оригинальных источников, в том числе вводимых в научный оборот впервые. Соответственно целью исследования является реконструкция строительного этапа создания мечети на основе рассмотрения всего выявленного к сегодняшнему дню фонда письменных источников. В исследовании использовались методы текстуального и хронологического исследования источников, индуктивного и логического анализа на основе принципа историзма и системности изложения. В ходе исследования было надежно подтверждено, что строительство мечети происходило в 1902–1908 гг. Оно включало в себя и период ее росписи в 1906–1908 гг. Роспись мечети велась под руководством Ф.Я. Долежаля. Главными инициаторами строительства Суннитской мечети были представители татарской общины Владикавказа. Через них, скорее всего, был представлен и первоначальный проект мечети. Авторство проекта остается под вопросом. Договор на строительство с конкретными подрядчиками – Г.П. Якуниным и Ермаковым был подписан, надо полагать, представителями именно татарской общины города. Вероятно, что инженерно-архитектурное сопровождение строительства изначально осуществлялось подрядчиками по утвержденному местными властями плану. В роли главного мецената строительства и, видимо, владельца мечети изначально выступил М.М. Мухтаров. Ему приходилось активно вмешиваться в процесс строительств в условиях возникавших по его ходу конфликтных ситуаций. The history of the creation of one of the most beautiful architectural monuments of Vladikavkaz – the Sunni Mosque – has not yet received its exhaustive coverage. Not only its various aspects are presented, but also private questions remain regarding specific details of building. This thesis determines the relevance of the problem under consideration. The scientific novelty of the work lies in the involvement in the analysis of a number of original sources, including those introduced into scientific circulation for the first time. Accordingly, the purpose of the study is the reconstruction of the building stage of the creation of the mosque based on the consideration of the entire fund of written sources identified to date. The study used the methods of textual and chronological study of sources, inductive and logical analysis based on the principle of historicism and systematic presentation. During the study, it was reliably confirmed that the construction of the mosque took place in 1902–1908 years. It also included the period of its painting in 1906–1908 years. The painting of the mosque took place under the direction of F. Ya. Dolezhal. The main initiators of the construction of the Sunni mosque were representatives of the Tatar community of Vladikavkaz. Most likely, the initial design of the mosque was also presented through them. The building contract with specific contractors – G.P. Yakunin and Ermakov was signed, presumably, by representatives of the Tatar community of the city. It should be assumed that the engineering and architectural support of the construction was initially carried out by the contractors according to the plan approved by the local authorities. M.M. Mukhtarov initially acted as the main patron of the construction and, apparently, the owner of the mosque. He had to actively intervene in the construction process in the context of conflict situations that arose along the way.
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SOLCANU, Ion I. "THREE INITIATIVES TO RECOVER THE NATIONAL CULTURAL HERITAGE AND HISTORY DURING THE REIGN OF ALECSANDRU IOAN CUZA". Annals of the Academy of Romanian Scientists Series on History and Archaeology 12, n. 1 (2020): 5–29. http://dx.doi.org/10.56082/annalsarscihist.2020.1.5.
Testo completoAbstract (sommario):
The new social context after the 1859 Union of the Principalities saw an increase in the interest to recover the national history and the Romanian cultural heritage. Alongside the private attempts made by some passionate collectors (General Nicolae Mavros, Ban Mihalache Ghica, Major D. Papazoglu, etc.) the Wallachian and Moldavian Governments initiated several actions in an attempt to recover the national patrimony. The movement was all the more legitimate due to the criminal carelessness of the Greek hegumens in the dedicated monasteries in obedience to the Greek Church whose main preoccupation was to acquire huge incomes from renting the estates while letting the monuments and the national cultural values fall into decay. This study, which relies on historical archives, presents three such unknown initiatives: one of the Moldavian governments and two others carried out by the Wallachian governments. 1. In 1860, in Moldova, Vasile Alexandrescu-Urechia, director of the Ministry of Cults and Public Instruction urged the protopopes and the school teachers in the county seats to identify in churches and monasteries the old religious books that were valuable for the history of Romanian literature so that the state could purchase them and store them safely in the Public Library. 2. In Wallachia, we can see a similar concern for the salvation of the Romanian cultural heritage. Here, in may 1863, Christian Tell, the Minister of Cults, granted 2880 lei to Cezar Boliac, to embark on an “archeological journey” that was to last two months, starting from “Zimnicea downwards and to the Bessarabian region that had been returned to Moldavia.” In the same year in September, Christian Tell’s successor, Al. Odobescu, delegated Grigore Bengescu to make a similar journey to the monasteries in the counties of Dolj, Romanați, Gorj and Mehedinți which had not been visited in the summer of 1860 when a similar research had taken place. 3. In order to recover the heroic moments in the national history, minister Barbu Vlădoianu organised a painting contest with a prize of 300 golden coins to evoke the battle of Teișani, from September 1602, between the boyar Stroe Buzescu and the Tatar Khan’s nephew. Since no participants entered the first stage of the contest on 12th February 1860, the Ministry organised another contest on 2nd May 1860, where they also invited painters from Moldavia to take part.
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Khrystan, Nazarii. "History as an Image: Ecranisation of King Danylo Romanovych". Науковий вісник Чернівецького національного університету імені Юрія Федьковича. Історія 2, n. 46 (20 dicembre 2017): 48–56. http://dx.doi.org/10.31861/hj2017.46.48-56.
Testo completoAbstract (sommario):
The formation of the Soviet image of the past in the context of the doctrine of «our great ancestors» was extended not only to historiography, fiction and journalism. A special place was occupied by cinema. The Bolsheviks were very early realized the tremendous role of cinema as a means of influencing mass culture. With the help of cinema, the party leadership sought to form a «true» view of reality, thereby educating people in the spirit of «communism and internationalism». Founded in the early 30’s oftheXX century. the genre of historical cinema, became the basis of all Soviet cinema. Rejecting the leading role of the «masses» in the tapes, bolsheviks turn to the biography of outstanding and «progressive» historical personalities, first of all, rulers and generals. Throughout the period of existence of Soviet cinema, the historical biographies of Alexander Nevsky, Ivan the Terrible, Peter I, Michael Kutuzov, Alexander Suvorov and others were filmed. The most important document of the memory of Danylo Romanovich in the era of Soviet patriotism was the film of Ukrainian director Yaroslav Lupiya – «Danylo – Prince Galician». The Film was created in 1987 at the Odessa Film Studio named after O. Dovzhenko. Before us is a work that was supposed to create a stable image of Prince Danylo Halytsky in the consciousness of Ukrainian society. The image is dictated «from above». The ecranisation of Danylo Romanovych requires a detailed study of not only the history of the film, but also the reception of the ruler in the Soviet image. This will allow us to trace and analyze the struggle for the appropriation and stylization of the image in detail, as well as contradictory directions in forming the concept of the «Soviet patriot» of Danylo Halytsky.
The figure of King Danylo as well as the political history of the Galician-Volyn was state remained unknown to a wide cinema. In the official historical discourse of the USSR, the image of Danylo Romanovych was used very carefully and only where «party» leadership needed it. Despite the growing interest in the history of Kievan Rus in the cinema, Danylo’s film adaptation resembled his «popularity» in the scientific literature of that time. Certain changes occurred only during the Perestroika period. The directorate of the Odessa film studio named after O.Dovzhenko was interested in the history of the medieval past of Ukraine. Here the Ukrainian director Yaroslav Lupi created his picture «Danylo – Prince Galitsky».
The film is considered to be the banner of publicity. The tape appeals to the heroic Ukrainian past of the times of Kyivan Rus and Galicia-Volyn state, which became the shield of Europe against the Mongol-Tatar invasion. On the posters devoted to the premiere of the film, it was indicated that the tape glorifi the famous Ukrainian prince Danylo Halytsky. However, we have doubts about the screen image of the key hero of the Western Ukrainian myth. What was the real stylization of the image of the Old Russian ruler in the eponymous painting that had so long been in the «shadow» of the Soviet historical culture?
Keywords: thesoviet image, soviet historical culture, wide cinema, ecranisation of King Danylo Romanovych, historical discourse
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ILYASOVA, RAZILYA. "ILDAR ZARIPOV'S ART AND STYLE DEVELOPMENT (1939-2012)". Культурный код, n. 2023-4 (2023): 61–72. http://dx.doi.org/10.36945/2658-3852-2023-4-61-72.
Testo completoAbstract (sommario):
The article examines the stylistic evolution of the Tatar national artist Ildar Zaripov in the late Soviet period (1960-1980s). A characteristic is given to his work, where special attention is paid to the early stage. For the first time, an analysis is made of previously unknown paintings by the artist. His inclination to the traditions of the Russian avant-garde during the formation of Ildar Zaripov is revealed. It is concluded that stylistic collisions were a natural and necessary stage for the formation of the artist's individual style.
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Chikhladze, Nino. "Images of St Eugenios in Georgia and Cultural and Political Ties with the Empire of Trebizond". Caucasus Journal of Social Sciences 2, n. 1 (10 novembre 2023): 59–70. http://dx.doi.org/10.62343/cjss.2009.19.
Testo completoAbstract (sommario):
According to Georgian and foreign sources it is believed that TrebizondEmpire was created by the help of Georgian kingdom. Thispolitical event is revealed not only in the literature sources, but alsoin mural painting of Georgian churches. In particular this refers tothe representations of St. Eugenios of Trebizond: the patron of thenewly created empire. The fact is that St Eugenios was never morethan local saint and his representations are very few outside theTrebizond area. That is the reason why the representations of StEugenios in Georgian churches are so important and could be consideredas the part of contemporary Georgian politics.There is a figure of holy soldier with old Georgian inscription“St. Eugenios of Trebizond” in the mural painting of Timotesubanidated by 1205-1215 years. Another example of declaring the politicalproject that has been prepared by Georgian kingdom a longtime ago, can be seen in Vardzia (1184 -1185), where the royal donators_ King Giorgi III and his daughter Queen Tamar are representedwith St. Eugenios of Trebizond.
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WRIGHT, B. "Review. Modernity and Modernism: French Painting in the Nineteenth Century. Frascina, Francis, Nigel Blake, Briony Fer and Tamar Garb". French Studies 49, n. 2 (1 aprile 1995): 209. http://dx.doi.org/10.1093/fs/49.2.209-a.
Testo completo
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Plomp, Michiel C. "Leonaert Bramer (1596-1674) als ontwerper van decoratie op Delfts aardewerk". Oud Holland - Quarterly for Dutch Art History 113, n. 4 (1999): 197–216. http://dx.doi.org/10.1163/187501799x00373.
Testo completoAbstract (sommario):
AbstractThe Delft artist Leonaert Bramer (1596-1574) appears to have been intensively involved in the decoration of Delftware. Hitherto four separate examples were known, mostly dating from the 1650s and 1660s (figs.1, 2, 4, 6). The article presents ten (perhaps eleven) new examples of 'Bramer ware' (figs. 8, 9, 11, 13, 15, 17, 19, 21, 23(?), 26; see also note 19) produced between possibly as early as 1630 and 1670. Furthermore, eight of his designs have been found in the archives of the Koninklijke Tichelaar Makkum pottery; the compositions were 'pounced' onto the pottery, i.e. stencilled by dusting powder through a pricked paper pattern (figs. 24, 25, 27, 28, 29, 31, 32). Two early series of drawings by Bramer from the 1630s (most of them in London-scenes from the Old Testament-and Bremenscenes from the New Testament), or derivations from them, seem to have frequently served as patterns for pottery painters (figs. 3-21). Oddly, one of these compositions, Joseph cast into the well by his brothers (fig. 10), occurs on a dish decorated with grotesques which is often regarded as Haarlem work (fig. 11). The use of a Delft artist's composition, combined with the fact that Marion van Aken-Fehmers (Haags Gemeentemuseum, The Hague) has traced a similar grotesque dish bearing the mark of the Delft pottery 'De Porceleyne Bijl' (see note 18), clearly shows that I laarlem did not have a monopoly on grotesques. A total of ten pounces are kept at Makkum: four drawings by Bramer (figs. 24, 25, 27, 29; two pricked repeats of the composition Jacob's Dream: fig. 28) and four pricked stencils (figs. 31, 32). Stylistically, the drawings can be dated to the late 1650s. All ten are pricked along the outlines; the four original drawings are 'matrixes', the others were used as stencils. The composition of Judah and Tamar (fig. 25) is virtually identical with Bramer's version of twenty years earlier. The Judah and Tamar pounce was used until well into the 18th century, judging by a plate dated 1783 in Paris (fig. 26). The coarse manner of painting demonstrates that the use of a pricked paper pattern based on the design of a professional artist was no guarantee for the quality of the result, which depends enti rely on the pottery painter. This accounts for the frequently mediocre standard of the painting on most plates. Nevertheless, a few plates and dishes display painting of such high quality and a manner so similar to Bramer's that it is not unlikely that they were painted by the Delft artist himself (figs. 2, 6, 21). 'Bramer ware' is unmarked. However, on grounds of circumstantial evidence three potteries can be identified where Bramer ware might have been produced: 'De Porceleyne Fles', 'De Grieksche A' and 'De Dissel'. 'De Dissel', where Abraham de Cooge worked, is a likely candidate, in view of a large series of drawings which Bramer made for De Cooge in 1646 (see note 7). In the past, much surprise has been evinced at the gap between the artists of Delft and the potters and decorators of pottery. Despite the heyday of both painting and the pottery industry in Delft in the mid-17th century, and despite the fact that artists and potters were members of the same guild, they seem to have operated quite separately. The material assembled here has brought artists and potters a little closer to each other.
Libri sul tema "Tatar Painting"
1
Suleĭman. Kizlău̇. Kazan: Măgarif, 2003.
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2
V, Akhmetova F., e Tukaĭ Gabdulla, a cura di. Bakyĭ Urmanche ijatynda Gabdulla Tukaĭ: Gabdulla Tukaĭ v tvorchestve Baki Urmanche. Kazan: Tatarstan kitap năshrii͡aty, 2007.
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3
Sui͡urov, Fărit. Peĭzazh, lirika. Kazan: Tatarstan kitap năshrii͡aty, 2008.
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Liebsohn, Tamar. Tamar Liebsohn: Desde al andamio. A cura di Martínez Vera Regina. Mexico?]: Galería Daniel Liebsohn, 2001.
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Akhmetova, F. V. Baki Urmanche i tatarskai︠a︡ kulʹtura. Kazanʹ: Făn, 2005.
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Tātāri, Ānah Muḥammad. Aneh Mohammad Tatari: An exhibition : Ānah Muḥammad Tātāri. Tehran, Iran: Etemad Gallery, 2011.
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Tatah, Djamel. Djamel Tatah: Galerie des Ponchettes, Vitrines du MAMAC, 27 juin-11 octobre 2009. Nice: Nice musées, 2009.
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Tatah, Djamel. Djamel Tatah: Galerie des Ponchettes, Vitrines du MAMAC, 27 juin-11 octobre 2009. Nice: Nice musées, 2009.
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Philippe, Dagen, Galerie des Ponchettes e Musée d'art moderne et d'art contemporain (Nice, France), a cura di. Djamel Tatah: Galerie des Ponchettes, Vitrines du MAMAC, 27 juin-11 octobre 2009. Nice: Nice musées, 2009.
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Tata Institute of Fundamental Research. The TIFR art collection. Mumbai: Tata Institute of Fundamental Research, 2010.
Cerca il testo completoCapitoli di libri sul tema "Tatar Painting"
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Nagib, Lúcia. "Passages to Reality". In Realist Cinema as World Cinema. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789462987517_ch07.
Testo completoAbstract (sommario):
Chapter 7 addresses the utilisation within film of artforms such as painting, theatre, poetry and music as a bridge or a ‘passage’ to political and social reality. Rather than focusing on individual artists and films, the chapter addresses a national phenomenon, more specifically, selected works by filmmakers from the states of São Paulo (Beto Brant and Tata Amaral) and Pernambuco (Cláudio Assis/Hilton Lacerda, Paulo Caldas/ Marcelo Luna), in Brazil, who over the years have bridged across their regions’ very different social history and geographic situation by means of a shared artistic and political platform. Their films commingle in the desire to reassess questions of national identity and social inequality through an enhanced commitment to realism at the point of production.
Atti di convegni sul tema "Tatar Painting"
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Nuredin, Ibram. "Portraits of the Balchik tartars from the paintings of Nicolae Tonitza and Iosif Iser". In Latinitate, Romanitate, Românitate. Conferinţa ştiinţifică internaţională, Ediția a 7-a. Moldova State University, 2023. http://dx.doi.org/10.59295/lrr2023.15.
Testo completoAbstract (sommario):
The communication refers to the portraits of Tatars from the plastic creations of the masters Nicolae Tonitza (1886-1940) and Iosif Iser (1881-1958), painters who brought to Romanian plastic art a modern vision, a universal openness, a compo- sitional maturity supported by chromatic harmonies.Through multiple techniques – oil on canvas, gouache on cardboard, watercolour, drawing, charcoal or ink – Nicolae Tonitza and Iosif Iser reproduced the typologies of ethnic Tatars, captured in decorative backgrounds, in marine fragments or classical Dobrudjan architecture of interwar Balchik – houses, streets, gates, cafés, windows. The expressive, unique figures of Tatars are, most of the time, created with an economy of artistic means, in images full of compassion, love, brotherhood and humanism.