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1
Yang, Guangyu. "temporal spirit, expressiveness and nationality of contemporary Chinese painting." Linguistics and Culture Review 5, S2 (July 31, 2021): 472–86. http://dx.doi.org/10.21744/lingcure.v5ns2.1384.
Повний текст джерелаАнотація:
The relevance of the study is determined by the fact that China, like Japan, took oil painting relatively recently. Japan became closely acquainted with Western technology in the 19th century, but at that time they still imposed a taboo on oil painting, the authorities in every way prevented its spread, protecting the traditions of national art. Only the 20th century allowed new trends to finally settle down. The work shows that the understanding of the European painting technology was widely represented in the imperial Celestial Empire. The article shows that the artists did not make a big problem to learn painting skills from the Europeans (originally the Portuguese). They learned the lessons, techniques and technology of European art, despite the fact that they had never had a similar school before. Separately, it is stipulated that cooperation after the formation of the USSR played a great influence on contemporary paintings. This explains the fact that many paintings by Chinese painters are very similar to Russian school of fine art. The authors determine that the Russian style, fully perceived by the PRC, was formed collectively from the Renaissance approach, with the inclusion of impressionism motifs.
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PARSONS, C. "An Outline of 19th-Century European Painting from David through Cezanne." Oxford Art Journal 11, no. 1 (January 1, 1988): 74–75. http://dx.doi.org/10.1093/oxartj/11.1.74.
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Pavlova, Anna. "Yaroslavl traditions in the classicist period of church wall-painting in Tver region." St. Tikhons' University Review. Series V. Christian Art 51 (September 29, 2023): 155–73. http://dx.doi.org/10.15382/sturv202351.155-173.
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In the article an attempt is made of clearing up the source of the North-East Tver region artistic culture flourishing in the 19th century that especially became strikingly apparent in church wall-painting. Beginning with the early 19th century the painters from the city of Yaroslavl were actively working in the Tver region and introduced various traditions of Yaroslavl into the fine arts. One of the characteristic features of the Yaroslavl painters’ language was the combination of Old Russian and West European devices in the classicism stylistic context that found a reflection in the Tver region monuments. At present the phenomenon of different trends coexistence in the beginning of the 19th century is well known in the specialized literature through the example of icon-painting. A similar occurrence took place in the monumental art but so far it hasn’t been investigated in the scholarly literature. The works of the Yaroslavl painters Banshchikov and Smirnov are preserved in the Resurrection cathedral in Kashin as a masterpiece of wall-painting without renovations or restorations. Through the example of the cathedral paintings the devices of the Yaroslavl painters are being analyzed, in particular the use of the rare Old Testament cycle in the painting programme created on the basis of the popular German engravings from Christoph Weigel Bible (1695). A comparison of the Yaroslavl painters’ style in the Korsun Icon of the Mother of God church in the village of Zelentsovo and a number of the North-East Tver region murals is carried out. The analysis of the interregional connections and the study of the Old Russian traditions firmness in the classicism period favour the deepening one’s knowledge about the view of the Russian art development in the first half of the 19th century. For the Yaroslavl region bordering the Tver region districts Yaroslavl as a strong monumental art centre became one of the main sources of the new artistic traditions.
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Both, Mária Gabriella. "Mozaikok a tájfestészet és a geográfia kapcsolatából." Kaleidoscope history 11, no. 22 (2021): 379–88. http://dx.doi.org/10.17107/kh.2021.22.379-388.
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At the turn of the 18th and 19th centuries, natural sciences supported and drove economic development in a previously not experienced way. Europe created a new “mental image” of nature, scientific ideas with a newly emerging confidence while combining theoretical and practical researches. The Age of Enlightenment is best characterized by A. Humboldt’s discovery travels. The utilitarian approach of the age radically changed the relationship between landscape and people, first in the English speaking countries. This study endeavours to present the interrelations of men and landscape through the changes in landscape painting at the beginning of the 19th century while emphasizing the earlier definition of the geographic environment and indicating geography as an heir of the landscape painting. John Constable broke with the tradition of academic painting and found the idyllic landscape in rural England. In the New World, landscape painting used the European traditions, exemplified by the works of Thomas Cole, the first major American landscape painter. His iconic painting ’Oxbow’ followed the patterns of the traditional European landscape imaging, indicating ideas of the Sublime and the Beautiful of Poussin’ works.
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Antropova, Nataliya D. "HISTORICAL AND PHILOSOPHICAL ASPECTS IN THE RENEWAL OF THE LANGUAGE OF CHURCH MONUMENTAL PAINTING IN FRANCE AT THE TURN OF THE 20th CENTURY ON THE EXAMPLE OF PAINTINGS BY MAURICE DENIS." Architecton: Proceedings of Higher Education, no. 3(71) (September 29, 2020): 21. http://dx.doi.org/10.47055/1990-4126-2020-3(71)-21.
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The study analyzes the historical and philosophical origins of the renewal in church monumental art in French culture at the turn of the 20th century. The crisis that broke out in the second half of the 19th century within the philosophical knowledge and classical religion and an attempt to rethink the evolution of Christianity entailed significant changes in artistic creativity devoted to the sacred theme. The author explores the topic based on the church mural paintings of the French painter Maurice Denis, who stood at the origins of the transformation of the language of religious painting and whose role is significant for the further history of European art. The relevance of the work lies in the fact that all previous studies on this topic were primarily art criticisms. They paid special attention to the analysis of the artistic language and pictorial and expressive means. At the same time, questions of historical and philosophical nature and their role in the formation of new European religious painting were analyzed to a much lesser extent.
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Pérez-Jiménez, Aurelio. "The Lamp of Anaxagoras (Plu., Per. 16.8-9) and its Reception in the Art of the 17th-19th centuries." Ploutarchos 14 (October 30, 2017): 69–106. http://dx.doi.org/10.14195/0258-655x_14_4.
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In this article I follow the trails wich the famous anecdote of Anaxagoras, Pericles and the lamp (Plu., Per. 16.8-9) has let in European art of the last centuries. I will comment the details of different artistic pieces from the17th century emblematic and from Neoclassical painting and sculpture of the 18th and 19th Centuries, as well as some 19th French ‘pendules’, to put in value the importance that this anecdote has had in European art, due to its didactic strength and to its litterary plasticity.
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Stavrianos, C., N. Petalotis, O. Pantelidou, C. Papadopoul, A. Pantazis, and L. Grigoropou. "Humans Biting Themselves or Others: Nine Cases in European Painting (15-19th Century)." Research Journal of Medical Sciences 5, no. 3 (March 1, 2011): 155–60. http://dx.doi.org/10.3923/rjmsci.2011.155.160.
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Borozan, Igor. "Simbolistički opus Mihe Marinkovića i njegova recepcija u srpskoj sredini." Ars Adriatica 9 (February 28, 2020): 133–50. http://dx.doi.org/10.15291/ars.2928.
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The paper analyses the symbolist works in the under-researched opus of painter Miho Marinković. Trained at the Munich Academy of Fine Arts, he is primarily known as a painter of intricate themes that can be categorized as late 19th-century symbolism. In 1904, he settled in Belgrade and became an active participant in the cultural scene of the Serbian capital. In 1911, Marinković’s paintings were exhibited in the Pavilion of the Kingdom of Serbia at the International Exhibition in Rome. His symbolist oeuvre covers the standard themes of symbolist painting, such as Medusa, Lucifer, or The Sinner, which speaks both of the artist’s personality and of the eclectic turn of the century. Symbolism in Marinković’s work reflects his training in Munich, which in the late 19th and early 20th centuries was the European centre of somnambular themes and artistic experiments. In this paper, his oeuvre has been considered in the context of general symbolist structures, with particular references to the Munich symbolism. Some reviews of Marinković’s symbolist paintings have been pointed out, which testify to the history of the reception of his work in the Kingdom of Serbia in the early 20th century. The positive reception of Marinković’s paintings in the Serbian setting is evident from the fact that as many as thirty-five of his works have been included in the holdings of the National Museum in Belgrade.
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Guoyi, Qin. "COLLECTING CHINA ART OBJECTS IN ENGLAND IN THE 19TH CENTURY." Articult, no. 3 (2022): 18–24. http://dx.doi.org/10.28995/2227-6165-2022-3-18-24.
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In the article, in the form of a brief overview, the Chinese influence on European art, in particular on English art, in the 19th century is described. The history of the emergence of Chinese art in Britain is summarized, the main stages of collecting and their prominent representatives are described. The article describes such areas of art as porcelain, engravings, painting, architecture, shows a description of their influence on European art, gives the reasons for the appearance of Chinese art in Europe. This article corrects the current picture of the development of collecting, based mainly on English-language material. The relevance of the study lies in the fact that the relationship of the studied cultures, the influence of Chinese culture on English is considered in the prism of social and political factors. The novelty of this study lies in the fact that the influence of Chinese art on the art of Europe depended on their position in the respective hierarchies: the higher the status of art in China, the less influence it had in Europe; and the higher the status of art in Europe, the less susceptible it was to Chinese influence.
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Kizyma, Yuliia. "The sacred aspect of the image of the child in the early 20th century Polish and Western Ukrainian painting: socio-historical context and local specifics." Text and Image: Essential Problems in Art History, no. 1 (2021): 64–82. http://dx.doi.org/10.17721/2519-4801.2021.1.04.
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he late 19th and early 20th centuries marked significant changes in the social perception of children and childhood in Europe and the US. The phenomenon was vividly reflected in works of art, including painting. Images of children and childhood acquired new positive connotations. A rather ambiguous notion of “innocence” became one of the most important characteristics of childhood. The category was associated with children’s ability to receive more profound and intense religious experiences in comparison to those of adults. Poetry, philosophy, and art of that time emphasized this aspect of idealised childhood. In this research, we examine and compare works of easel and monumental painting on religious subjects by American and Western European as well as Polish and Ukrainian artists which depict children and childhood. We address both works intended for sacred spaces and secular paintings containing symbols and allusions borrowed from Christian imagery. The article looks into the genesis of the sacralised image of children and childhood in Western cultures, its specific features and ways of its representation in painting, including local traditions. The study focuses on the portrayal of peasant children in paintings by Polish and Ukrainian artists (Jacek Malczewski, Kazimierz Sichulski, Wlastimil Hofman, Oleksa Novakivskyi, Yulian Butsmaniuk) on religious subjects. The sacralisation of village children in Central and Eastern European art constitutes a peculiar artistic phenomenon closely associated with the social structure as well as political situation in the region. In the course of the research we employed a range of methods—formal, iconographical, iconological analysis, content analysis and semiological analysis.
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Dorofeev, Daniil Yu. "Wanderers of Russian roads: Images of folk religiosity." Vestnik of Saint Petersburg University. Philosophy and Conflict Studies 39, no. 2 (2023): 340–54. http://dx.doi.org/10.21638/spbu17.2023.210.
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The article is devoted to the study of the philosophical, theological and religious significance of the Wandering in Russian Orthodox culture, primarily as a unique image of folk religiosity. The author considers the concept of ‘Wanderer’ as one of the fundamental concepts in Russian culture. Its multiple meanings and semantic heterogeneity are revealed and analyzed both in European and domestic cultures; for this, in particular, the author refers to the experience of European and especially Russian literature of the 19th–20th centuries, in which a polysemantic image of a wanderer appears. The author is indicated value of visual image of Wanderer is studied in more detail in Russian painting of the 19th century. The valuable material on the cultural characteristics of Russian Wandering was collected by S.V.Maksimov in the second half of the 19th century. The main attention is directed to the image of Wanderer in the religious and philosophical perspective of Russian Orthodoxy. The author refers to the Christian origins of the image of Wanderer. The specificity of Wanderer’s attitude to the world, his existence, other people, God is specified, as well as the connection of the concept of Wandering with the principles of Hesychasm. The author draws a special attention to the importance of good looks and tenderness as important characteristics of the image of Wanderer. Through an appeal to the traditions of Christology and patristic Orthodoxy, Hesychasm and eldership, the writings Russian literature, the anonymous author of ‘Frank Stories of a Wanderer to His Spiritual Father’, Russian painting of the 19th century, and modern Orthodox religious and philosophical thought, the author of the article is to reveal the unique meaning of the image of Wanderer and emphasize its special meaning-forming role for Russian Orthodox culture.
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Chin, Gail. "Creating From Ashes: Huang Zhongyang’s Memories of The Shadow of Mao." Journal of American-East Asian Relations 20, no. 2-3 (2013): 234–55. http://dx.doi.org/10.1163/18765610-02003017.
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As new immigrants to Canada, Regina painter Huang Zhongyang and other cultural workers add to our diverse visual heritage. Although he left the People’s Republic of China after the end of the Chinese Cultural Revolution, his memories of senseless violence, with Communist leader Mao Zedong pitting neighbor against neighbor, son against father, scarred his psyche, which he has turned into oil paintings. These paintings of Huang’s memories of the Cultural Revolution rarely are displayed publicly, except occasionally. The intent of this article is to discuss his paintings in relation to actual events during the 1960s to 1970s. History painting, a 19th Century European genre, has become a bygone category of art, but in the hands of Huang, memory, a postmodern concern, is aroused by these very poignant images often created after popular images taken from newspapers and television, thus reflecting the contemporary interest in photographs.
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Sitnikova, A. A. "NORTHERN EXPEDITIONS AND THE IMAGE OF THE ARCTIC IN FOREIGN PAINTING OF THE 19TH CENTURY." Northern Archives and Expeditions 6, no. 1 (March 30, 2022): 240–49. http://dx.doi.org/10.31806/2542-1158-2022-6-1-240-249.
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The article presents the results of a philosophical and art study of works of European and American pictorial art of the 19th century, in which artists, using various methods (personal expeditions and travels, based on drawings from diaries of polar explorers and photographs, discovering a nature similar to the North nature in an accessible environment etc.), create an image of the Arctic and the North, as well as images of people involved in the study and development of the northern expanses of the Earth. The research was conducted on the basis of the study of paintings by such artists as K.D. Friedrich, W. Bradford, F.E. Church, J. Buck, E.G. Landseer, B. Riviere, J.M. Swan, S. Pierce and H.Yu.L. Portman. Based on the results of the study it was concluded that the Arctic was a source of previously unseen images (icebergs, animals — Inhabitants of the northern expanses, etc. attracted special attention of artists) in the visual culture of the 19th century; as well the Arctic was the source of ideas about the mystical secrets of the universe since the main impulse for attention to Arсtiс from the side of artists in the 19th century became mysteriously (at that time) disappeared expedition of John Franklin.
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Dewa Gede, Purwita. "Foreign Figures in the Paintings of I Ketut Gede Singaraja." KALPATARU 30, no. 1 (May 31, 2021): 87–98. http://dx.doi.org/10.24832/kpt.v30i1.828.
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I Ketut Gede Singaraja always portrays figures adopted from the depiction of wayang pattern. It is similar to Wayang Kamasan but more expressive. Aside of painting the local figures, he also painted foreign figures such as Javanese-Muslims, Chinese people, and Europeans. They were narrated as the cultural actors in the life of Singaraja City at the end of the 19th Century. This paper compares those figures, especially their attributes and faces thorugh iconographic studies. The result shows some cultural diversity through figures painted by I Ketut Gede Singaraja. The diversity is a plurality that occurred as a result of cultural unification from the previous period, namely the spice route period. The purpose of this paper is to identify the ethnic foreign figures described by I Ketut Gede Singaraja in his paintings as part of the multicultural life in Singaraja city at the end of the 19th century.
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Fan, Xiaobing. "Cross-Cultural Art from the Perspective of Aesthetic Education: Cultural Exchange in Chinese Export Paintings (18th - 19th Century)." Journal of Education and Culture Studies 8, no. 2 (June 2, 2024): p128. http://dx.doi.org/10.22158/jecs.v8n2p128.
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During the late Ming to early Qing dynasties, the great demand for Chinese export porcelain laid the foundation for the development of export paintings. From the 18th to the 19th century, a unique form of cultural hybridity emerged in the coastal area of Canton: export paintings. This paper attempts to explore the interaction, conflict, and fusion with foreign cultures within the frameworks of Homi Bhabha's "third space" theory and Mary Louise Pratt's concept of the "contact zone." It examines how this cross-cultural art form manifests hybridity in materials, painting techniques, and themes.From the perspective of aesthetic education, these paintings provide profound insights into the cultivation of aesthetic sensibilities and cross-cultural appreciation. Predominantly produced by Chinese painters and workshops, with a few contributions from visiting European painters, these artworks cover a broad range of subjects, including Chinese social life, flora and fauna, and folk customs. By examining the aesthetic value and educational potential of these works through the lens of aesthetic education, we can better understand their significance in cross-cultural art exchange. This cross-cultural art form not only holds aesthetic importance but also provides a new perspective for studying Sino-Western cultural interactions, enriching the discourse on art education and cultural exchange.
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Rohit Reddy, Karmuru, Riya Barui, and Sayantani Biswas. "Kalighat Paintings as a medium of communication in Colonized Bengal province." International Journal of English Learning & Teaching Skills 3, no. 4 (July 1, 2021): 2582–91. http://dx.doi.org/10.15864/ijelts.3410.
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Kalighat’s paintings originated in West Bengal, India in the 19th century, near Kalighat Kali Temple, in Calcutta, India, and and from being souvenir pieces taken by visitors to the Kali Temple, the paintings developed over a period of time as a distinct Indian form of painting and art. The Kalighat Paintings developed to depict a range of themes ranging from mythological characters to depictions of the social scene. The paintings served as a kind of mirror of the society in which they worked. Under the influence of an increasingly growing European society, they underwent a transformation. They were able to rapidly adapt the interests of then popular interest and reflect different contemporary themes., and to represent different contemporary themes. The charm of the Kalighat paintings lies in the fact that they captured the essence of everyday life and have inspired contemporary artists like the late Jamini Roy even to this day. Experts find the brushwork on these paintings to be precise, flawless, elegant and one of India’s smoothest art types.
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Horbal, Bogdan. "Mihály Munkácsy’s Blind Milton Dictating Paradise Lost to His Daughters: Contemporary Views." Z Badań nad Książką i Księgozbiorami Historycznymi 17, no. 4 (March 28, 2024): 673–93. http://dx.doi.org/10.33077/uw.25448730.zbkh.2023.823.
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At the pick of his career, Mihály Munkácsy (1844–1900) was seen in the first rank of living artists. Many of his works were acquired by American collectors, including Blind Milton Dictating “Paradise Lost” to His Daughters. This large work had been displayed in many European cities before it arrived in New York City to be permanently displayed at the Lenox Library, the predecessor of the New York Public Library. The article discusses the marketing and the reception of the painting in the late 19th century.
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Omelyanenko, Mariya Valer’evna. "The evolution of Max Liebermann’s method and European art of the second half of the 19th century." Vestnik of Saint Petersburg State University of Culture, no. 3 (52) (2022): 166–70. http://dx.doi.org/10.30725/2619-0303-2022-3-166-170.
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The art of Max Liebermann (1847–1935) is characterized by a strong evolution of artistic method and style. Lieberman was interested in the experiments of the 19th century French school as an artist, critic and collector. He was close to the art of the Barbizon school, E. Manet, the Impressionists and PostImpressionists. This process covers the time from the 1870s to the beginning of the 20th century and does not have a clear periodization. The study of Lieberman’s artistic method requires an analysis of the thematic and genre aspects of his work. The subjects of his genre painting make it possible to distinguish between the stages of evolution and to reveal the relationship between various influences and a unique personal concept.
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Le Pape, Yannick. "Peindre l’Antiquité romaine à l’heure du pacifisme victorien : considérations sur un portrait d’Hadrien par Alma-Tadema." Vita Latina 202, no. 1 (2022): 205–25. http://dx.doi.org/10.3406/vita.2022.2004.
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Roman antiquity was a major reference for artists all along the 19th century. In this time of European crisis, critics as public did appreciate how striking pictures (battles and sacrifices) depicted heroism and bravery. Although Sir Lawrence Alma-Tadema was the flagship of the British Classic Revival, he definitely chose to paint a different kind of serene Antiquity that was known to illustrate, at the very end, the current mood of English society. Hadrian in England Visiting a Romano-British Pottery, a 1884 painting, let us guess how Alma-Tadema used Antiquity that way, as Hadrian was the only emperor who came to England, not to mention that it was quite significant to figure the main actor of the pax Romana whereas European pacifist expectations were challenging British imperialism. Full of archeological details, this puzzling painting will help us to understand why ancient Rome became a prime model as well as an ideological authority for Victorian England in search of legitimacy.
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Лю, Тяньцюань. "China - Japan - Europe: Chinese painting‘s absorption of western European traditions in the late 19th - early 20th century." Академический вестник УралНИИпроект РААСН, no. 3(54) (September 30, 2020): 85–90. http://dx.doi.org/10.25628/uniip.2022.54.3.014.
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В статье исследуется влияние западноевропейского искусства на китайскую живопись, которое шло через опыт японских художников и обучение в Японии китайских мастеров. Роль японской культуры в освоении китайским искусством западноевропейских традиций до сих пор остается недооцененной, часто исследователи не упоминают о связях с Японией, обращаясь сразу к периоду обучения китайских художников в европейских странах, прежде всего во Франции, который был по времени позднее. Однако именно мастера Страны восходящего солнца в конце XIX - начале XX века серьезно повлияли на формирование нового «европейского» языка изобразительного искусства Китая. The article examines the influence of Western European art on Chinese painting, which went through the experience of Japanese artists and training of Chinese masters in Japan. The role of Japanese culture in mastering the Western European traditions in Chinese art is still underestimated, and often researchers do not mention the ties with Japan, referring directly to the period of training of Chinese artists in European countries, primarily in France, which was later in time. However, it was the Japanese masters in the late 19th and early 20th centuries that seriously influenced the formation of the new «European» visual language of China.
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Zavyalova, Anna E. "Konstantin Somov’s Early Works and Impressionism: A New View on the Issue." Observatory of Culture 18, no. 4 (October 11, 2021): 409–15. http://dx.doi.org/10.25281/2072-3156-2021-18-4-409-415.
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The article reveals literary (Emile Zola’s novel “L’Œuvre”, Richard Muther’s work “History of Painting in the 19th Century”), literary and artistic (magazines “Mercure de France”, “L’Ermitage”, “La Revue Blanche”, “La Plume”) and artistic (exhibits of the French art exhibition of 1896) sources of Konstantin Somov’s acquaintance with the art of French impressionism at the beginning of his independent activity (before leaving for Paris in the late 1890s). There are also identified sources of phenomena in his work that are similar to impressionism only externally. These issues become the subject of special consideration for the first time. The scientific novelty of the work lies in the fact that it first reveals that the artist did not address to impressionism in the period before his departure to France, as it has been long believed. To study the tasks set, the article involves sources of personal origin (letters and diaries of K.A. Somov and his friend A.N. Benois), as well as A.N. Benois’s articles of the 1890s, published on the pages of the magazine “World of Art”. The author comes to the conclusion that K.A. Somov did not turn to the artistic method of the impressionists in his work at that time, since the information he had been able to get from the identified sources was of a verbal and theoretical nature. Black-and-white reproductions of impressionist paintings in literary and art magazines and in Muther’s “History of Painting in the 19th Century” had not provided sufficient information for the artist. The phenomena similar to impressionism in Somov’s works are based on the study of nature, the heritage of the old European artists, the art of the Barbizonians, J.-F. Millet, W. Turner.
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Oleynik, Maria. "Visual Representation of the Marine Theme in the Artistic Culture of Russia (XVIII–XX Centuries)." Ideas and Ideals 14, no. 2-2 (June 27, 2022): 350–62. http://dx.doi.org/10.17212/2075-0862-2022-14.2.2-350-362.
Повний текст джерелаАнотація:
Тhe meaning of visual representation includes perception of information through the visual image. This form of information delivery to the general public was known in pagan cultures and asserted itself in Christianity. Since the late 20th century the concept of visualization united in itself not only religious and artistic images, but also the vision of mass culture. The performed research places emphasis on the establishment and the development of visual representation in Russia’s art culture of the ХVIII-XIX centuries. During the reign of Peter the Great, in a succession of state reforms and due to the influence of samples of European art, a transformation of national art culture occured. In this context, maritime art is viewed as one of the visual representation forms. The seascape, as a separate genre of painting, originates in the Dutch landscape. The first marinas were brought by Peter the 1st to decorate palaces and country residences. The victory in the Battle of Chesme (1770) and the joining of Crimea to the Russian Empire prompted Catherine the 2nd to invite J. P. Hackert to perpetuate the glory of Russian weapons. The artist became the first marine painter on Russian soil and performed a series of twelve paintings. The flourishing of the national seascape in Russia took place in the 19th century. The first who took the post of artist at the Ministry of the Sea was I.K. Aivazovsky. Since then the seascape acquired special significance and perpetuates the sea victories of Russia. A subtle metaphysical meaning is present in some romantic landscapes by I.K. Aivazovsky. Sea battle paintings acquired clear realistic features in the painting of A.P. Bogolyubov. The artists are concerned not only with the image of the sea, but also with the architecture of the ship, which forms a separate painting genre: the ship portrait genre. The image of the ship in the paintings of the XIX-XX centuries combines the lines of scripture and poetry, focusing the attention of the viewer on a deep semantic reading of the landscape.
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Usacheva, Svetlana V. "WORKS OF WESTERN-EUROPEAN MASTERS AND RUSSIAN SCHOOL OF LANDSCAPE PAINTING THE LATE 18TH – EARLY 19TH CENTURY." RSUH/RGGU Bulletin. Series Philosophy. Social Studies. Art Studies, no. 4 (2017): 84–91. http://dx.doi.org/10.28995/2073-6401-2017-4-84-91.
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Papp, Júlia. "Magyar történelmi témák 18. századi bécsi festői: adatok Wenzel Pohl munkásságához és az August Rumelnek tulajdonított mohácsi csata-képhez." Művészettörténeti Értesítő 71, no. 2 (September 19, 2023): 233–54. http://dx.doi.org/10.1556/080.2022.00015.
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Media news made the name of Wenzel Pohl known in Hungary in the early 2000s, for the two large history paintings (The Battle of Mohács, Saint Stephen converting the Hungarians to the christian faith), which had cropped up in the art trade and which were purchased by the Hungarian state and deposited in the Hungarian embassy in Vienna, were attributed to him. Although more recent research has proposed that the painter of the cycle once consisting of six pieces was most probably August Rumel and not Pohl, it is worth knowing of Pohl’s artistic activity irrespective of the Hungarian relevance, too, because his person is gradually fading out of art historiography – for example, his name is missing from the 96th volume of the Saur Allgemeines Künstlerlexikon published in 2017.The best-known Pohl portraits are the ones he painted of the noted Jesuit astronomer, mathematician and physicist Miksa Hell. A full-figure portrait shows the scientist in traditional Sami costume during his research trip to the North, and we know of a portrait showing Hell is a monk’s frock. His engraved copies of paintings in the Viennese imperial collection, real forerunners to the representative 19th century album of prints presenting the collection, probably belong to a series. In the cycle of paintings about the coronation of Joseph II as Holy Roman Emperor (Frankfurt, 1765) he was assigned the painting of architectural details, which is confirmed by the fact that he was sent on a study trip to Frankfurt to make drawn sketches of the venues of the event. After the representative painting of Martin van Meytens he made a small-scale version of the group portrait of Maria Theresa and her family. His chef d’oeuvre is the representative painting series showing the events of the coronation of Maria Theresa in Pozsony in 1741 painted for the Hungarian court chancellery in Vienna. He painted it with Franz Messmer in the second half of the 1760s. In contrast, the three portraits of monarchs in Riesensaal in Innsbruck so far attributed to him by researchers were actually painted by Jakob Kohl.The other part of the paper contributes a few new viewpoints to the examination of the painting about the battle of Mohács earlier attributed to Pohl. In addition to contemporaneous woodcuts of the tragic battle of 1526 in news-letters and pamphlets in German, to 16th century Turkish miniatures, and diverse 16–18th century European manuscript and book illustrations, a ceiling fresco in Garamszentbenedek and several large paintings – including Rumel’s work – also conjured up the battle in the 18th century. Since in the nation’s historical consciousness and cultural memory the battle of Mohács did not acquire its symbolic, mythic position represented to this day before the 19th century, the two works of art were way ahead of their time in anticipating the salient position of the tragic event, because, unlike, for example, István dorffmaister’s late 18th century pictures ordered in Mohács, they show the battle as a fatal even in the history of the entire nation. on the other side, by the terminating piece of the series ordered for the Transylvanian court chancellery being the battle of Mohács, the client departed from the 18th century imperial, dynastic outlook which presented as positive parallels to the battle of Mohács and the capture of Szigetvár by the Turks the victorious battles of the late 17th century liberating war led by the Habsburg Empire: the second battle of Mohács and the recapture of Szigetvár, partly as examples of divine justice and partly as legitimation of the Habsburg Empire’s territorial expansion “earned with blood”. It is noteworthy that the right side of central scene of Rumel’s Battle of Mohács resembles the composition of leonardo da Vinci’s Battle of Anghiari surviving in copies only. It is presumable that the renaissance battle scenes served as a model example for the painter.
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Василишина Наталія Анатоліївна. "ЛІТЕРАТУРНІ СЮЖЕТИ В ТВОРАХ Е. ДЕЛАКРУА – “ЗАГИБЕЛЬ КОРАБЛЯ ДОН-ЖУАНА” ТА “ПІСЛЯ КОРАБЕЛЬНОЇ АВАРІЇ”". Science Review, № 5(22) (30 червня 2019): 33–42. http://dx.doi.org/10.31435/rsglobal_sr/30062019/6546.
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In this article, we have studied problems associated with features of the painting development in the Romantic era. We have highlighted questions on the interrelationship between literature and painting and considered new trends in the development of the French painting in the first half of the 19th century. Artists of this era, in particular E. Delacroix, searched for new subjects actively by finding interesting themes in works of the world literature. E. Delacroix was inspired by works of Dante, L. Ariosto, T. Tasso, W. Shakespeare, J. Goethe, G. Byron, F. R. de Chateaubriand, W. Scott etc. Among them we should make the English writer G. Byron stand out: His character personified the romantic ideal of the whole era and his heroic life became a role model for young generation. In Byron’s works Eugène Delacroix was searching for new themes and his romantic hero and every time finding the relevant ways for his artistic solution system. Е. Delacroix’s works show us the integrity of romantic ideas clearly and the close mutual influence of the Western European literature and French painting allows speaking about the uniqueness of this era.
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Cho, Shinae. "Characteristics of Space and Decoration in the Main Halls of Changdeokgung Palace in Modern Period of Korea." Korean Journal of Art History 315 (September 30, 2022): 213–44. http://dx.doi.org/10.31065/kjah.315.202209.007.
Повний текст джерелаАнотація:
When King Sunjong acceded to the throne in 1907, Injeongjeon Hall and Seonjeongjeon Hall of Changdeokgung Palace were refurbished and renovated. The two halls were transformed into audience area for the king and Daejojeon Hall was rebuilt to become the largest area in the palace that could perform various functions including the king’s state affairs, education, and leisure.</br>In the 1910s, the Painting of Phoenixes was installed in Injeongjeon Hall, and Japanese industrial crafts and European Japonisme furnitures were placed here and in Seonjeongjeon Hall by political intentions of the Japanese government, bringing a forced modernity to the palace. European and Chinese crafts were also brought to the palace. In 1920, Daejojeon Hall was renovated and European furniture, imported in the late 19th century at the beginning of Joseon’s modern diplomatic relations, was arranged to complete a European style audience hall for the king. Qing-style furniture and enamelware were also chosen for the palace as they were suitable for the spacious rooms and new lifestyle of using chairs and tables. The Qing-style was mostly Peranakan style, favored by Chinese immigrants to the Southeast Asia who were important customers for the late 19<sup>th</sup> century Qing artisans. On the other hand, traditional court paintings were continued by painters such as Yang Kihoon and Kim Gyujin who tried to maintain the tradition while accepting modernity even though Joseon was occupied by Japan at the time. Moreover, painters provided designs for craftsmen who made products that lay foundations for modern craftworks. The early 20<sup>th</sup> century interior designs at Changdeokgung Palace accommodated the political and social circumstances and the distinct characteristics of the space, and consequently created new values of modernity and cultural diversity particular to Korea.
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Dorofeev, Daniil. "Russian Wanderers. Images of Orthodox Divine Service on the Roads." Logos et Praxis, no. 3 (December 2022): 45–59. http://dx.doi.org/10.15688/lp.jvolsu.2022.3.5.
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The article is devoted to the study of the diverse manifestations of the phenomenon of religious wandering in Russian culture, especially the 19th century, with the study of their external aesthetic image, way of life, Orthodox foundations and principles, characteristic language, methods of organization and institutionalization. The author considers the concept of "wanderer" as one of the fundamental concepts in world and especially Russian culture, emphasizing its polysemantic and heterogeneous nature, and also pointing out its special value as a visible embodiment of the Orthodox understanding of God, man and the world, permeated with the spirit of hesychasm. At the same time, the author confines himself to considering in his article mainly folk religious forms of Russian wandering, which were widely developed and spread in the 19th century. It was at this time that the theme of wandering becomes one of the main ones in Russian and European literature. So, the author dwells in detail on the image of a wanderer in Dostoevsky's novel "The Teenager", on the work of N. Leskov "The Enchanted Wanderer", on the works of I. Shmelev. Particular attention is paid in the article to Russian painting of the mid-second half of the 19th century, in which the figure of the wanderer is one of the central ones, which all leading artists turned to in their paintings. The central place in the study (in the 2nd part of the article) is devoted to the consideration of the richest material of the book "Wandering Rus' for Christ's sake" by S.V. Maksimov, in which the features of life, image, language of the most diverse forms of Russian religious wandering are collected and preserved for us in detail. The author also refers to the composition "Frank stories of a wanderer to his spiritual father" to show the influence of hesychasm on the formation of the idea of wandering, in its highest and most perfect religious form, as a fundamental Orthodox value worthy of being presented and recognized as a separate form of holiness.
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OKROSHIDZE, L. G. "NEW FACTS ABOUT THE LIFE AND WORK OF THE FIRST RUSSIAN RESTORER A.F. MITROKHIN (1765-1845)." LOMONOSOV HISTORY JOURNAL 64, no. 2023, №4 (May 16, 2024): 174–87. http://dx.doi.org/10.55959/msu0130-0083-8-2023-64-4-174-187.
Повний текст джерелаАнотація:
Restoration is one of the most important areas in preserving the world’s cultural heritage. Th e 19th century is a landmark in the history of restoration. At that time, it turned from a private practice of self-taught artists into a real scientifi cally based discipline. Many European countries have faced the problems of cultural heritage preservation, and everywhere they were solved in diff erent ways, depending on local peculiarities and experience. Th is article deals with previously unknown facts from the life and activity of the fi rst Russian restorer Andrei Filippovich Mitrokhin, who was born and studied painting in the town of Toropets. He served as a simple soldier, then on duty he ended up in Saint Petersburg, where he was soon granted a valet at the Hermitage. His career developed under Franz Ivanovich Labensky, who assumed the position of chief curator of paintings in the Hermitage Gallery in 1797. Mitrokhin’s role in the history of Russian restoration and, in particular, the Hermitage cannot be overestimated. He not only restored paintings and trained several apprentices, but also worked independently on the development of new methods of restoring paintings. By mastering new techniques and methods of mechanical restoration, Mitrokhin and his students managed to preserve more than a thousand paintings from the Hermitage collection, many of which are painting masterpieces. Unfortunately, some aspects of Mitrokhin’s biography, especially his life outside the Hermitage, have long been overlooked by scholars. This paper examines the problem of his alleged date of birth, family and friendship ties, etc. Th e archival data cited by the author allow us to take a fresh look at Mitrokhin as a restorer, and also shed light on some socio-cultural aspects of his time.
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Яйленко, Евгений Валерьевич. "Topographical views vs landscape: “The New Rome. The Castle of St. Angelo” by Sylvestr Shchedrin." Искусство Евразии, no. 2(17) (June 27, 2020): 99–115. http://dx.doi.org/10.25712/astu.2518-7767.2020.02.006.
Повний текст джерелаАнотація:
В статье творчество великого русского художника, крупнейшего представителя романтизма Сильвестра Шедрина впервые рассмотрено в контексте сложных процессов, проходивших в европейской пейзажной живописи первых десятилетий XIX века. В качестве основного предмета исследования выбрана эволюция в его искусстве стилистических форм так называемой «видописи», разновидности пейзажа, связанной с показом конкретных природных или архитектурных достопримечательностей. Объектом исследования служат картины с изображением классических и современных зданий Рима, выполненные художником в первые римские годы. Основную задачу составляет показ того, как соприкосновение с практикой пленэрной живописи и применение стилистических приемов идеального пейзажа содействовали формированию в его искусстве новых форм ландшафтного изображения, своеобразие которых показано на примере серии картин «Новый Рим. Замок Святого Ангела». This article deals with the works of the great Russian Romantic painter Sylvestr Shchedrin. These works are for the first time investigated on the background of the broad tendencies, which took place in the development of the landscape in the European Romantic painting in the first half of the 19th century. The main subject of this article is the evolution of some basic schemes and stylistic features, which were used in the tradition of topographic views, dealing with the depiction of architecture and natural landscapes. It treats some paintings in which Russian painter depicted famous views of ancient and modern Rome. The author of the article triesto show how the development of plain-air painting practice and the use of the stylistic forms borrowed from the tradition of ideal landscape transforms the very practice of topographic views, which could be seen on the example of the paintings, which form the coherent series and named “The New Rome. The Castle of St. Angelo”.
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Nikolić, Jovana. "Symbolism and imagination of the medieval period: The lady and the unicorn in the works of Gustave Moreau." Kultura, no. 168 (2020): 51–68. http://dx.doi.org/10.5937/kultura2068051n.
Повний текст джерелаАнотація:
The French Symbolist painter Gustave Moreau often used the motifs of fantastic beings and animals in his works, amongst which the unicorn found its place. Moreau got the inspiration for the unicorn motif after a visit to the Cluny Museum in Paris, in which six medieval tapestries with the name "The Lady and the Unicorn" were exhibited. Relying on the French Middle Age heritage, Moreau has interpreted the medieval legend of the hunt for this fantastic beast (with the aid of a virgin) in a new way, close to the art of Symbolism and the ideas of the cultural and intellectual climate of Paris at the end of the 19th century. In the Moreau's paintings "The Unicorn" and "The Unicorns", beautiful young nude girls are portrayed in the company of one or multiple unicorns. Similarly to the lady on the medieval tapestry, they too gently caress the animal, showing a close and sensual relationship between them. Although they were rid of their clothes, the artist donned lavish capes, crowns and jewellery on them, alluding to their privileged social status. Their beauty, nudity and closeness with the unicorns ties them to the theme of the femme fatal, which was often depicted in the Symbolist art forms. Showing the fairer sex as beings closer to the material, instinctual and irrational, Moreau has equated women and animals, as is the case with these paintings. Another important theme of the Symbolic art forms which can be seen on the aforementioned paintings is nature, wild and untouched. The landscape in the paintings shows a harmony between the unrestrained nature and the heroes of the painting, freed from strict moral laws of the civil society, or civilization in general. Putting the ladies and the unicorns in an ideal forest landscape, Moreau paints an intimate vision of an imaginary golden age, in this case the Middle Age, through a harmonic relationship of unicorns, women and nature. In that manner, Moreau's unicorns tell a fairy tale of a modern European man at the end of the 19th century: a fairy tale of harmony, sensuality and beauty, hidden in the realms of imagination and dreams.
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Sekulic, Nada. "The impact of Japonisme on European art and painting in the late 19th century: Characteristics of cultural exchange during the rise of European imperialism." Bulletin de l'Institut etnographique 72, no. 1 (2024): 117–30. http://dx.doi.org/10.2298/gei2401117s.
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Since the opening of Japan to trade with the West, a cult of Japanese aesthetics in the art and design has been created in Europe. Japonisme exerted a remarkable influence on the emergence of Impressionism and Post-Impressionism, including a recognizable individual influence on key artists within those movements. Motifs, technique, composition, colors were directly borrowed from Japanese art, especially woodcats (ukiyo-e). Japonisme also influenced some later movements in painting and design, but Impressionism and Post-Impressionism represented the initial turning point. Only by considering the imperial expansion of Europe is possible to understand the essential components of that transmission, which requires not only art criticism, but rather, in its complexity, significantly overflows into the field of social critique and anthropology of art. The aim of this study is to trace the pathways and networks of exchange and power that facilitated the spread of Japonisme in Europe - to show how elements of Japanese culture were adopted, assimilated, and to what extent the inventions and originality of new styles and the establishment of new aesthetic standards relied on the dominant position of European culture, which could appropriate elements from other cultures. The study highlights how this transfer was marked by an exotic and Orientalist vision of Japan in Europe and examines the reception of the exoticization of Japan within Japan itself.
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Vostrikova, Ekaterina. "THE НWAJOHWA GENRE (BIRD-AND-FLOWER PAINTING)IN KOREAN TRADITIONAL PAINTING OF THE LATE CHOSŎN PERIOD (18th - EARLY 20th CENTURIES)". Scientific and analytical journal Burganov House. The space of culture 17, № 3 (10 вересня 2021): 31–49. http://dx.doi.org/10.36340/2071-6818-2021-17-3-31-49.
Повний текст джерелаАнотація:
This article is devoted to the hwajohwa artistic genre (bird-and-flower painting) of the late Chosŏn period (18th - early 20th centuries). The study identifies the historical and cultural context and traces the stylistic evolution of the bird-andflower genre. The national features inherent in Korean hwajohwa painting, as well as the influence of traditional Chinese styles and Western European painting techniques on the bird-and-flower genre, are noted. The author outlines the leading artists working in this genre. In the 18th century, the bird-and-flower painting in Korea underwent a significant transformation. The work of professional artists Chŏng Sŏn and Pyŏn Sangbyŏk presents a new realistic approach to hwajohwa painting. Artists began to carefully observe the structural characteristics of the depicted objects of wildlife. Also, artist Sim Sajŏng was a recognised master of the bird-and-flower genre. His work was based on the Chinese “southern school” pictorial principles and aesthetics, the influence of which was strong in Korea. Kim Hondo, the leading artist of the late Chosŏn period, actively used traditional landscape as a background for his works with flowers and birds. However, in depicting living creatures, he did not use formal templates, painting birds in realistic nature scenes. Kim Hondo contributed significantly to the development of Korean traditional painting and the hwajohwa genre. The popularity of the bird-and-flower genre in the late Chosŏn period is mainly due to economic growth and the improvement in the welfare of ordinary people. Most of the works of this genre were created by artists from the people. The works were examples of the so-called minhwa folk painting, which developed in accordance with the requests of a new customer, a native of the lower and middle classes. Such works combined auspicious symbols and were the embodiment of the highest harmony of nature. However, they also began to be used simply to decorate the house. In the hwajohwa painting of the 19th century, a new approach to the depiction of an artist’s personal experiences was reflected; such trends were mixed with the traditional “painting of ideas”. The birdand-flower genre acquired a free style and conveyed fresh aesthetic feelings under the influence of the work of artist Chang Sŭngŏp, whose pictorial approaches were continued and developed by masters at the very end of the Chosŏn era.
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Watzatka, Ágnes. "Puszta, Husaren und Zigeunermusik — Franz Liszt und das Heimatbild von Nikolaus Lenau." Studia Musicologica 55, no. 1-2 (June 2014): 103–18. http://dx.doi.org/10.1556/6.2014.55.1-2.7.
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Foreign travellers provided important documentations about Hungary. In the 16th and 17th centuries, the image of the heroic Christian country fighting the pagan Turks took shape. This image was strengthened through the Hussars who distinguished themselves in the battles of Maria Theresia and played an important role in the war of independence in 1848–1849. The Great Hungarian Plain, a sandy steppe, appeared to the travellers as an exotic place with its sand dunes, sand storms, fata morgana, and its inhabitants: shepherds, hussars, and bandits. In the 19th century, Hungary became a beloved topic of the Western European exotic literature. Through his poetry Nikolaus Lenau brought a high contribution to the image of the exotic Hungary. Born in Hungary and a good violinist, Lenau drew a vivid image of the Gipsy musicians and their music. His poem Die drei Zigeuner (The Three Gipsies) was inspired by a painting of Ferenc Pongrácz, and did inspire another painter, Alois Schönn. Liszt purchased the copy of Schönn’s painting and composed a song on Lenau’s poem. His music proves a deep identification with Lenau’s ideas, with the romantic and yet realistic image of the Gipsies, the representatives of the Hungarian music.
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Mishchenko, Iryna. "Nature and image: a city in the art of Chernivtsi of the 20th – the beginning of the 21st century." National Academy of Managerial Staff of Culture and Arts Herald, no. 2 (September 17, 2021): 149–53. http://dx.doi.org/10.32461/2226-3209.2.2021.239994.
Повний текст джерелаАнотація:
The purpose of this article is to consider the peculiarities of the reflection of the city – its architecture and inhabitants – in the works of Chernivtsi artists of the 20th and early 21st century, to analyze the differences between their views on the reproduction of urban motifs. The methodology consists in the application of the historical-chronological method, art analysis, and generalization, comparative and systematic approach. The scientific novelty lies in the introduction into scientific circulation of works by artists of the specified time, in understanding the evolution in the reflection of the city in the works of authors with various artistic orientations. Conclusions. In the paintings and graphics of the 20th – 21st centuries, several options for solving urban landscapes can be defined, among which the most common is a careful reflection of existing architectural monuments. In the 19th century in European art, in particular in Impressionist painting, the desire to convey not only the appearance but above all the spirit of the city became noticeable, depicting the townspeople, emphasizing the bustle or poetry of squares and streets. At the turn of the 20th-21st centuries the artists are no longer limited to the usual fixation of what is seen, but try to create a conceptual image of the city, to tell a story through iconic images and symbols, reveal their own position in particular and to preserve the authenticity of an object or the city in general. Such a variety of approaches for creating an urban landscape is partly due to differences in preferences formed during studies in art institutions and is also characteristic for the art of Chernivtsi – a city where people of many nationalities with different cultural traditions have lived side by side for centuries. Ultimately, the artists who worked here in the 20th century were often graduates not only of Ukrainian schools or universities, but also of well-known European institutions, including Vienna, Munich, Florentine, Berlin, Kraków, or Bucharest academies. While in the second half of the 19th – early 20th century the city often appears as the sum of certain architectural structures in the works of artists of Bukovina and visiting masters (F. Emery, R. Bernt, J. Shubirs), in the second half of the 19th – first third of the 20th century the artists mostly try to recreate the dynamics of urban life instead, sometimes depicted with a touch of irony, using the grotesque in the image of the inhabitants (lithography and watercolors by F.-K. Knapp, O. Laske and G. Löwendal). Subsequently, we meet emphasized mood images, in which the author's subjective perception of a particular motive, which he seeks to reproduce in a work full of emotions, is important (L. Kopelman, G. Gorbaty). A peculiar historical retrospection is present in the exquisite graphics of O. Kryvoruchko and in the distilled-finished sheets of O. Lyubkivsky, and the lyrical watercolors and sketches of N. Yarmolchuk represent the non-festive side of the city center. In O. Litvinov's paintings Chernivtsi surprises with desolation and restraint, and in M. Rybachuk's paintings it is distinguished by an unexpected riot of colors. Therefore, each of the artists creates his own image of Chernivtsi, which landscapes often become only a stimulus for the author's imagination, allowing him to depict a completely individual sense of space and life of the city.
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Melnik, Natalia D. "In the “Mirror” of Press: Preparation and Conduct of the First “Russian Season” by S. P. Diaghilev (1906)." Vestnik NSU. Series: History and Philology 19, no. 6 (2020): 48–58. http://dx.doi.org/10.25205/1818-7919-2020-19-6-48-58.
Повний текст джерелаАнотація:
Purpose. The purpose of this study is to examine the coverage in the Russian and foreign press the preparation and conduct of the first Russian season in Paris (then in Berlin) by S. P. Diaghilev in 1906, which became the beginning of implementation of large-scale activities of impresario in Western Europe, whose main objective was the promotion of almost unknown at the time for the Europeans the Russian art. Results. Quoting the correspondence of artists-friends of Diaghilev, memoirs of contemporaries, publications in the press, as well as modern research, allows the author to assert that the basis of this cultural project of the impresario was the exhibition “Two centuries of Russian painting and sculpture”, where he exhibited ancient Russian icons, works of Russian artists of the 18th century – the first half of the 19th century, as well as paintings by members of the art Association “World of Art” who were the representatives of Russian symbolism and modernism. Conclusion. The studied materials indicate that the success of the first Russian season set the stage for further cultural activities to acquaint Western Europe with a variety of achievements of Russian art and their success among critics and the public.
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Sharova, Elena A. "THE ARTIST A. N. MOKRITSKY IN ITALY IN THE 1840S: LANDSCAPE ART EXPERIENCE." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 58 (2020): 289–99. http://dx.doi.org/10.37816/2073-9567-2020-58-289-299.
Повний текст джерелаАнотація:
The paper explores the art works of A. N. Mokritsky, the painter who lived in Italy in the 1840s and had a strong passion for landscape painting. Being taught by A. G. Venecianov first and then graduating from the Imperial Academy of Arts under K. P. Bryullov, he himself followed the path of teaching and became an outstanding person in the Russian Art History of the second third of the 19th century. Mokritsky came to be known as a painter of an average talent who didn’t leave a distinctive mark on the national art. However, it was him who as a presumable representative of the artistic milieu became an indicator of the changes taking place in this art environment. The article provides a picture of years Mokritsky spent in Italy which is the most important period of his professional development and a prominent time of the Roman colony of the Russian artists as well. The author considers the artist’s close interaction not only with members of the Russian colony in Rome, but also with representatives of European art schools. Involving of archival materials and literary sources allowed to substantially supplement information about the life and work of Mokritsky during his trip abroad. Upon analysis of a significantly expanded list of landscape works created by the artist in this period, the author identified a number of characteristic features of the Italian landscape of the 40s of the 19th century taking into account the works of other painters.
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Shtolder, Natalia V. "A New Synthesis in the Landscape Painting by Arkhip Kuindzhi and Ferdinand Hodler." Observatory of Culture 17, no. 1 (February 27, 2020): 61–73. http://dx.doi.org/10.25281/2072-3156-2020-17-1-61-73.
Повний текст джерелаАнотація:
The article provides a comparative analysis of the landscape painting of the Russian artist Arkhip Kuindzhi (1842—1910) and the Swiss artist Ferdinand Hodler (1953—1918). In the field of European landscape painting of the 19th-20th centuries, these outstanding masters are noted both as academic figures and as innovators. The cosmic vision of the Universe, the emotional perception of nature and high pictorial skill, as well as the passionate service to art, in many ways unite the creative works of A. Kuindzhi and F. Hodler. For the first time, Russian science takes such a view on the study of their work. By applying the formal-stylistic analysis and the iconographic method, it is revealed that there is a certain synchronicity in their movement from realism to synthetic images of nature in their evolutionary development. In their mature and later works, the realistic, romantic, symbolic features are intertwined in various syntheses. In their spacing solutions, the ornamentalism of Hodler is comparable to the decorativism of Kuindzhi. The artists intersect in the iconographic aspect, addressing to similar motifs, for example: a single tree, a group of trees, mountain peaks, sunsets. The artists’ works are comparable in terms of generalization, selection and application of rhythm in the organization of painting composition. There are ideas of the sublime and the “planetary” of the Universe in the landscapes of A. Kuindzhi and F. Hodler. The artists’ goal to create a generalized image of nature is correlated with the movement to a symbol. This comparative analysis is some kind of a bridge between Russian and Swiss cultures, and it confirms the idea that Kuindzhi and Hodler created the landscapes-ideas in which there were both a subjective vision of the Universe and an innovative painting form of images of nature. Their works influenced the development of European landscape painting in the 20th century.
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Noobanjong, Koompong. "Chakri Maha Prasat: A Colonial Discourse in Siamese Architecture." Journal of Architectural/Planning Research and Studies (JARS) 4 (October 30, 2006): 71–88. http://dx.doi.org/10.56261/jars.v4.169184.
Повний текст джерелаАнотація:
Modernity is a creation of the West. In a non-Western context, it normally reflects a direct interventionof the Western powers by means of colonization. However, the Siamese, known today as the people of Thailand,have argued that they are an exception to such an occurrence.
The shift toward Western culture and Modernity is evident in the production of Thai cultural artifacts,notably its art and architecture throughout the 19th and 20th centuries. Many works have been the results of hybriddesigns—the syntheses between European and Siamese artistic styles, either in painting, sculpture, costume,music, literature, performing art, cuisine, or architecture. One of the best known examples is the Chakri MahaPrasat. Situated at the central location in the Grand Palace or Praborommaharajawung in Bangkok, this thronehall holds more importance than simply evidence of stylistic changes; it is in essence a manifestation of social,political, and cultural awareness, as well as bearers of national identity.
This research illustrates how various architectural ideas have contributed to the physical design andspatial configuration of places associated with negotiation and allocation of political power in 19th century Siam,such as the Chakri Maha Prasat. It also examines the Siamese’s resistance and reconciliation to process ofcolonization.
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Koshelev, Georgy, and Alexandra Spiridonova. "Alexander Melamid’s Portraiture of the 2010s." Scientific and analytical journal Burganov House. The space of culture 16, no. 2 (June 10, 2020): 33–46. http://dx.doi.org/10.36340/2071-6818-2020-16-2-33-46.
Повний текст джерелаАнотація:
The article focuses on a comprehensive study of Alexander Melamid’s portraiture included in his first independent project after thirty years of collaborative creativity with Vitaly Komar. Throughout the entire thirty-year period of cooperation, the painters signed their works with the Komar and Melamid trademark making it difficult to determine the artists’ individual characters. A detailed analysis of the solo works of the 60-70s, before the beginning of collaborative creativity, is presented; it helps us to detect individual traits in the works of the duet and to better identify the artists’ personalities, to reconstruct the technical features of each artist’s painting style. In 2007, Alexander Melamid began creating a large-scale series of paintings which would become his new conceptual line of creative work; later, in 2009, the artist developed and supplemented the series with portraits of Italian clergy and Russian oligarchs. Characteristic features of the Holy Hip Hop! portrait series, exhibited at the Detroit Museum of Modern Art in 2008, are studied in the article. The artist paid special attention to the psychological characters of the portrayed, the entire series is painted in one color scheme, within one scale. The pictorial series is an integral conceptual statement. The purely plastic qualities of the paintings fade into the background. They are not so important for Alexander Melamid - he uses academic painting as a tool to convey more accurately the psychology of the portrayed whom he treats with ironic interest. It is important to note that Alexander Melamid erases the line between the classical and the marginal art, just as Francois Millet did in his time. The article succeeded in updating sociocultural issues with the help of contextual comparison with portraiture by Diego Velazquez and contemporary American artist Kehinde Wiley whose creative life has deeply integrated into the socio-political realities of the United States of the beginning of the 21st century and the African-American cultural tradition. Kehinde Wiley is known for his realistic large-scale portrayals of African-Americans in poses borrowed from works of classical European painting of the 17-19th centuries. The artist openly propagandizes, deliberately emphasizing the didactic function of his paintings. It is in the context of contemporaries’ works and the political situation in the USA of the 2000-2010s that Alexander Melamid’s work should be considered.
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Огородникова, Т. П. "Works by Western European artists in the Irkutsk Regional Art Museum named after V.P. Sukachev." Iskusstvo Evrazii [The Art of Eurasia], no. 1(32) (March 30, 2024): 196–217. http://dx.doi.org/10.46748/arteuras.2024.01.015.
Повний текст джерелаАнотація:
Статья посвящена исследованию и введению в научный оборот ряда живописных произведений европейских художников из коллекции Иркутского областного художественного музея имени В.П. Сукачёва. Рассматриваются картины XIX века, неизвестных мастеров XVII века и копии с целью установить сведения о подлинности картин, времени их создания и авторах произведений, оценить разные виды копий. В исследовании применяются доступные методы атрибуции: на основе стилистического анализа изучаются документальные свидетельства, особенности композиций, колорита, живописной манеры, стиля эпохи, подписи и надписи. Полученные сведения определят художественную ценность произведений, их принадлежность национальным школам Европы и значение для европейской коллекции музея. The article presents the results of research of several paintings by European artists from the collection of the V.P. Sukachev Irkutsk Regional Art Museum and the introduction them into scientific use. The study evaluates the authenticity, creation time, and authorship of paintings, as well as different types of copies, by examining paintings from the 19th century, unknown masters from the 17th century, and copies. The study uses available methods of attribution, including stylistic analysis, documentary evidence, composition peculiarities, colour, pictorial manner, style of the epoch, signatures, and inscriptions. The obtained data will determine the artistic value of the works, their affiliation with European national schools, and their significance for the museum's European collection.
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Mishurouskaya-Teurtrie, Oksana. "Features of the Development of the Neo-Moorish Style on the Example of Russia and France." Scientific and analytical journal Burganov House. The space of culture 16, no. 2 (June 10, 2020): 70–90. http://dx.doi.org/10.36340/2071-6818-2020-16-2-70-90.
Повний текст джерелаАнотація:
A comparative analysis of the formation and development of the Neo-Moorish style in the architecture and interiors of France and Russia in the 19th century is presented in the article. How did the interest in studying the architecture of medieval Moors form in these countries? What are the main differences and similarities in the development of the Neo-Moorish style in Russia and France? In the 19th century, the first manifestations of the oriental theme appeared to a large extent owing to the work of writers and artists. The mysterious world of the East became a rich source of new plots, palette, exotic customs, and architectural forms. In parallel with literature and painting, the oriental theme was developing in architecture and interior design, and it would later flourish in copying the Moorish style. Among the monuments of medieval Moors, the Alhambra Palace, built in the Emirate of Granada in the period from the 13th to the 15th centuries, became an architectural model for European architects. The French world exhibitions, on which architectural and historical pavilions were exhibited, were a significant source of the proliferation of the Neo-Moorish style in Europe. Russian architects such as Paul Notbek and Carl Rachau also made a significant contribution to the study of the Alhambra. Recognized both in Russia and in Europe, the results of their work allowed St. Petersburg architects to have original samples of Moorish architecture and to develop this style in many St. Petersburg interiors with a high degree of skill of their work during the peak of historicism development. In the second half of the 19th century, the Moorish style spread throughout Europe and became an international historical oriental style. In each country, borrowings showed their own characteristics and developmental features due to cultural, political, and geographical influence. In France, the Moorish style was actively borrowed not only for interior decoration but also in the construction of public and commercial buildings such as casinos, cafes, thermal stations. In Russia, the Moorish style was used mainly in palaces and mansions of the highest nobility and the bourgeoisie. In France, the Mauresque style took on various forms and had different sources, whereas in Russia it referred mainly to the historical examples of the Alhambra. Thus, France and Russia participated in the pan-European trend of the Neo-Moorish style; however, each country has developed its own variation of this oriental style of the period of historicism.
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Krasnova, I. V. "FORMATION OF THEIR OWN STYLE IN THE WORK OF ARTISTS OF CHUGUEV." Topical Issues of Culture, Art, Education 4, no. 38 (2023): 7–24. http://dx.doi.org/10.32340/2949-2912-2023-4-7-24.
Повний текст джерелаАнотація:
The article is devoted to the study of the life and work of representatives of the art school of painting in Chuguev. Due to the huge losses of their heritage, it still remains a blank spot in the history of national culture. The uniqueness of the masters of the brush of a small military settlement, which was Chuguev in the 19th century, consists in the fact that they came from a soldier and peasant environment. Mastering various technical techniques of painting, they worked in different genres. This allowed the Chuguev artists to create works of a secular and spiritual nature, including icons and frescoes. New names of Chuguev painters are introduced into scientific circulation, the characteristic of the works of Chuguev masters that have reached our time is given, and the peculiarities of their creativity are highlighted. The myth of the influence of Western European art on the work of the Chuguev masters is debunked. The Chuguev Art School is part of the Russian art school. Its significance lies in the fact that in the conditions of military settlements, examples of high art were created, understandable and close to every resident. The works created by local artists contributed to the creation of a special spiritual atmosphere in the Chuguev military district, the development of a common mentality and spiritual unification of the swedens – people of different nationalities and faiths.
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Slieptsov, Oleh, Mykola Dyomin, and Olena Kozakova. "THE INFLUENCE OF CHINA AND JAPAN ON EUROPEAN ARCHITECTURE AND ART AT THE END OF THE 19TH AND EARLY 20TH CENTURIES." Spatial development, no. 5 (November 24, 2023): 103–9. http://dx.doi.org/10.32347/2786-7269.2023.5.103-109.
Повний текст джерелаАнотація:
Europe turned to Eastern cultures at the stage of oversaturation with its own traditions or at the stage of finding ways out of the crisis in the cultural and artistic life of society. Obviously, the fascination with Chinese cultural traditions - first at the mundane level, and later at the level of art and architecture - during the Baroque and Rococo period testified to the oversaturation that gradually grew in the Baroque and Rococo styles, and therefore the appeal to China became a hidden attempt to find something fundamentally new, non-standard. It is quite clear that without a deep understanding of the foundations of ancient Chinese culture, such citation of Chinese motifs in art and in the architecture of country palaces and park pavilions turned them into simplified theatrical scenery.
In the same way, the same fascination with Japanese culture in the second half of the 19th and early 20th centuries took place against the background of increasing crisis phenomena in society, when the processes of secularization intensified against the background of the industrial revolutions and the rise to the forefront of the bourgeois class, and that is why Japanese culture with its philosophy of Taoism and Buddhism, which penetrated into all spheres of social life, into art and architecture, was perceived as a desirable way out of stagnation. At the same time, once again, external forms were copied, which were transformed on local soil without a deep understanding of the philosophical and religious background.
It should be noted the impact on European culture of the opening in 1897 of the unique temple complex of Dunhuang. As a result of the unstable situation in China during the reign of the Qing Dynasty, many unique artifacts from the Dunhuang sanctuaries were bought for nothing by Europeans and ended up in museums in Europe. This caused another stage of interest in Chinese culture and architecture. The use of aesthetic properties of traditional Chinese and Japanese culture made it possible to enrich the figurative concept of European Art Nouveau. The painting techniques of Art Nouveau period originate from the characteristic painting techniques of China and Japan. However, there is a difference in the influence of Eastern cultures on the art and architecture of Art Nouveau period: if in art such analogies can be traced quite clearly, in architecture at the end of the 19th and the beginning of the 20th centuries, this influence was a much more complex phenomenon than the "Chinoiserie" style of the 18th century: Art Nouveau architects did not literally reproduce Chinese and Japanese buildings, but instead creatively rethought the principles of their formation, layout, function and decoration.
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Sokolyuk, Lyudmyla, and Serhii Steshenko. "Monumental and Decorative Painting in the Temples of Kharkiv Region of the Modern Era (Features of the Figurative and Plastic Language)." Vìsnik Harkìvsʹkoi deržavnoi akademìi dizajnu ì mistectv 2022, no. 1 (January 15, 2022): 73–86. http://dx.doi.org/10.33625/visnik2022.01.073.
Повний текст джерелаАнотація:
The article describes the features of the figurative and plastic language of monumental and decorative painting preserved to our time in the churches of Kharkiv region of the modern era. Created by the selfless work of many outstanding artists at the turn of the 19th — 20th centuries, in the wave of the inclusion of Ukrainian art in the European cultural context, paintings of churches in Kharkiv region have come down to us in small numbers: most of them were lost due to the destruction of religious buildings under the Soviet regime; some were considerably mutilated or whitewashed by new owners of the buildings when the latter were not used for their intended purpose; the other ones suffered due to non-professional “restorations” of the second half of the 20th — beginning of the 21st century, when modern artists have made their corrective even in the plot iconographic compositions, relentlessly redefining the work of their predecessors. It is shown that the period of the end of the 19th — the first quarter of the 20th century. Was very fruitful for the development of the architectural industry in the region. Both public, residential and sacred buildings were erected at a very rapid pace. The number of the temples doubled (60 instead of 30). The newest style trends spreading across Europe did not bypass Kharkiv either. It is no coincidence that this is where the style, called Ukrainian Modern, was born. However, during this period, the East of Ukraine, including Kharkiv, was part of the Russian Empire, the state ideology of which was built on the basis of the theory of “Orthodoxy, Autocracy, Nationality” as the antithesis of the motto of the Great French Revolution “Liberty, Equality, Fraternity”. The artistic life of the Empire was regulated by the actions of the St. Petersburg Academy of Arts, which was part of the royal court and the only higher educational art institution in the entire vast state. In such conditions, the creators of the projects of outstanding sacral buildings in the East of Ukraine and interior design were most often graduates of the St. Petersburg Academy of Arts. The canonicity of the sacred Orthodox architecture in the East of Ukraine and the need to adhere to the Byzantine cross-domed scheme, however, did not prevent the penetration of the latest trends into the temple architecture of Kharkiv region thanks to the participation of talented
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ZADNIPRYANY, Gennady. "SEARCH FOR ARTISTIC SOLUTIONS IN THE EUROPEAN RENAISSANCE ENGRAVING." ART Space 1, no. 4 (2024): 99–118. http://dx.doi.org/10.28925/2519-4135.2024.46.
Повний текст джерелаАнотація:
The article examines the search for artistic solutions in the European engraving of the Renaissance. The technological, aesthetic and social reasons for the emergence of this new art form are considered. The difference between edge and incisal engraving techniques on wood and metal is highlighted. The main features and mannerisms of famous masters of various national schools of reproduction, creative and book engraving are described. Engraving on the territory of Europe arose at the turn of the 14th and 15th centuries. It had its own technological prototypes that existed before. For xylography, these are stamps-seals and punches, for engraving - the craft of jewelers, for etching – the skill of gunsmiths. But, like a print on paper of an image cut on a special board or etched on a metal plate, it appears only in our time. This coincided with the collapse of the medieval highly synthetic type of art, the growing desire for a more visually accurate depiction of nature, interest in a scientific perspective, secular themes. Unlike painting, engraving took on the qualities of symbolism and abstraction. In addition, engraving differs from other types of fine art by a special quality – circulation. In the second half of the 15th century, books appeared with illustrations showing various tools or the structure of the Solar System, the specifics of certain plants, and city views. The circulation of the engraving contributed to the rapid and convenient distribution of the nobility. This continued until the middle of the 19th century, when photography and photomechanics appeared, which in many ways replaced engraving [4]. But until that moment, thanks to its ability to reproduce, engraving itself can be considered one of the tools for expanding knowledge. Today, in the era of digital technologies, interest in traditional engraving techniques does not disappear. Studying and rethinking the achievements of previous periods makes it possible to expand the expressive means of artistic works.
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Enina, Ivetta A. "ARTISTIC FEATURES OF THE NORTHERN “WHITE NIGHT” MOTIF IN THE LANDSCAPES OF ALEXANDER BORISOV AND LOUIS APOL." Scientific and analytical journal Burganov House. The space of culture 17, no. 5 (December 10, 2021): 77–87. http://dx.doi.org/10.36340/2071-6818-2021-17-5-77-87.
Повний текст джерелаАнотація:
The article examines the peculiarities of the color and light atmosphere of the phenomenon of white night in the Far North in the seascapes of the Russian and Northern European art. Attention is drawn to the period from the second third of the 19th century to the first quarter of the 20th century, when scientific and artistic exploration of the Arctic begins to take place on a regular basis. The article shows that the motive of the luminous night at the turn of the century appeared in connection with the appeal of artists to the study of natural contrasts of the Far North. Owing to the comprehending of the monotonous northern landscape, the palette of paintings was enriched with cold light shades of a lightair environment, the artists caught its special glow in the reflections in the water, ice floes and on the snow cover. The article mentions works of art by K. A. Korovin, V. A. Serov, V. V. Perepletchikov, N. V. Pinegin, A. A. Rylov and A. N. Benois, created during their participation in polar expeditions in late XIX and early XX centuries. Attention is drawn to the fact that the painters are branching out from marine pictorial art towards the study of special natural phenomena, such as images of light and dark polar nights, the northern lights, floating ice, fogs and snowy shores. It is carried out an art analysis and comparison of the works of the Russian “artist of eternal ice” Alexander Borisov and the Dutch “winter artist” Louis Apol, who were the first to depict such a phenomenon as a white night in the Far North. But their artistic interpretation of this phenomenon differs. A. Borisov perceives the North as a kind of “living” space in his own experience of figurative-symbolic comprehension of the world order, but at the same time does not lose touch with his realistic painting manner. And L. Apol impartially captures the surrounding nature, remaining in the principles of the features of compositional construction, which are characteristic of late romanticism. The European painter prefers muffled coloring, while on the canvas of the Russian artist, the paints literally ring and glow.
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Shapiro, B. "Shakherazada from Bellevue or french boudoir "a la turk" of the XVIII century." History: facts and symbols, no. 2 (June 15, 2023): 63–72. http://dx.doi.org/10.24888/2410-4205-2023-35-2-63-72.
Повний текст джерелаАнотація:
Introduction. The boudoir as a concept of a peculiar female room originated at the beginning of the 18th century, when the Turkish was just beginning to enter European fashion. Among the factors that influenced this fashion, more than anything else is the publication of the first French translation of the fairy tales «One Thousand and One Nights» (1704-1717). France was a trendsetter in those years, and the development of fashion greatly helped by letters from travelers. Materials and methods. The intensification of FrancoTurkish diplomatic relations also contributed: after the arrival in Paris of the Ottoman Embassy of the Sultan Ahmed III (1720-1721) Turkish at the peak of popularity in various fields: in music and in the stagearts, in literature and painting. One of the manifestations of the «à la Turk» fashion was the «Turkish» decoration of boudoirs that came into fashion in the early reign of Louis XV, together with the fashion for a private rather than ceremonial lifestyle. Results. This problem, which has not previously come to the attention of domestic Turquerie researchers, addressed through a study of the earliest known boudoirs «a la Turk» by Louis XV's favorite, the Marquise de Pompadour, at Bellevue (1748-1750). Conclusion. The author comes to the conclusion that it was the Turkish boudoir that was the heart of Bellevue. Here, the marquise, like the fabulous Scheherazade, entertained the king and his friends, "terribly suffering from unbearable boredom." Such boudoirs in the conventional Turkish style will become more common in the late 18th and early 19th centuries, when many European aristocrats will have the opportunity to try on the role of an oriental beauty. The boudoir of the Marquise de Pompadour, whose well-known strength was the ability to surprise, each time finding something new in the ordinary, became one of the first, opening a series of relatively oriental specific female interiors.
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Cataldi, Maddalena. "Les elevés des Wandjina de George Grey. De L’art Aborigène à L'art primitif (1838–1906)." ORGANON 55 (December 12, 2023): 105–30. http://dx.doi.org/10.4467/00786500.org.23.005.18782.
Повний текст джерелаАнотація:
George Grey’s Wandjina Copies. From Aboriginal Art to Primitive Art (1838–1906) The history of the recognition of Palaeolithic art has been written from the perspective of European discoveries in the last third of the 19th century. Through this case study of the publication of the Wandjina paintings (Australian Kimberley) by George Grey between 1838 and 1841 and through the contextualisation of the interpretations attributed to them the article investigates the intellectual and political space in which conceptions relating to the ability of Aborigines to produce this art emerged within the debates of contemporaries and, later, of English and French prehistorians. It also provides an insight into the different contexts that shaped the will to reconstruct the heritage of non–European cultures in a colonial context.
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Sokolova, Iana S. "Some Remarks about the Ceiling Painting of Bartolomeo Tarsia from the Dance Hall of the Great Peterhof Palace." Vestnik of Saint Petersburg University. Arts 12, no. 4 (2022): 628–46. http://dx.doi.org/10.21638/spbu15.2022.404.
Повний текст джерелаАнотація:
This paper is dedicated to the painting ceiling created in the middle of the 18th century by the Venetian artist Bartolomeo Tarsia for the Dance Hall of the Great Peterhof Palace. The plafond was badly destroyed during the Second World War and was re-painted by Soviet artists in the second half of the last century from preserved pre-war photographs and a preparatory drawing. These documents formed the basis of our research. Starting from the 19th century, the subject of the plafond is interpreted mainly as “Apollo and the Muses on mount Parnassus”. An accurate examination and analysis of Tarsia’s preparatory drawing, along with an appeal to well-known prototypes from Western European painting, made it possible to come to some conclusions about the subject of the artwork, the nature of its iconography, and also to revise the established interpretation. In particular, we considered the problem of the iconography of Parnassus and Helikon, we also noted the co-presence on the ceiling of the figures of Minerva, the Muses and Pegasus, referring to one specific episode from Ovid’s Metamorphoses; it was also discovered that in the Tarsia’s native Republic of Venice — in Padua — there is a plafond by Giuseppe Le Gru, known as the “Triumph of the Sciences”, correlated in time of creation and content to Tarsia’s plafond. Like Parnassus, the subject with Minerva and/or Apollo and the Muses on Mount Helicon has an allegorical meaning — the prosperity and glory of the sciences and arts. The Peterhof plafond also has this allegorical character. The image of the supreme goddess Juno crowning the composition serves as an additional confirmation of this, and also allows us to attribute this ceiling to examples of the embodiment of female mythological iconography, which generally corresponds to the logic of the decorative decoration of the palace and corresponds to the spirit of the time. In addition, the possible parallels with other works of the middle of the 18th century, with which the Peterhof plafond shows ideological and compositional similarity, are proposed in the paper. Among such examples, there is one of the illustrations by Giambattista Piazzetta for the grandiose Venetian edition of “La Gerusalemme liberata (Jerusalem delivered)” by Torquato Tasso in 1745.
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Ginter-Frołow, Magdalena. "Księga Papugi Nechszebiego ze zbiorów Biblioteki Uniwersytetu Wrocławskiego." Art of the Orient 1, no. 1 (2012): 153–70. http://dx.doi.org/10.15804/aoto201209.
Повний текст джерелаАнотація:
Tuti-Nameh (Tales of a Parrot) by Nahsabi (Ms. or I 56) from University Library in Wrocław is one of fourteen Persian manuscripts with miniatures, existing in Polish collections. This poem is modelled on The Thousand and One Nights. In this popular work the parrot tells tales to his mistress in order to prevent her from being unfaithful to her absent husband. Tales are recited by the parrot over 52 nights. This copy includes 97 miniatures illustrating these stories. This copy of “Tales of a Parrot” comes from the library of Count Oppersdorf from Oberglogau (now Głogówek). The history of this library reaches back to the 16th century and the times of Hans Oppersdorff. Successive owners continued to purchase new books and thus at the end of 19th century the collection consisted of dozens of thousands of examples. One of the most important trustees was Count Hans Georg von Oppersdorff, who inherited the library in 1889. He was well-educated and interested in oriental languages. He knew Hebrew, and supposedly spoke seven other languages fluently. The fulfilment of his scholarly interests was possible thanks to growing up amidst one of the largest libraries in Upper Silesia. In 1927 Hans Georg donated TutiNameh, and a few other oriental manuscripts, to the University Library in Wrocław (Staats – und Universitätsbibliothek in Breslau). The miniatures in this manuscript bear a close resemblance to miniatures from Divan of Mirza Khan Kabuli from The State Hermitage in Saint Petersburg. This copy of Divan was made in 1813, probably in Kashmir. The invention, composition, colour scheme, subject matter and details are practically identical in both these books. This proves that Tutiname from Wrocław was also made in Kashmir in the end of the 18th, or beginning of 19th century. Although nowadays many miniatures from Kashmir are in European collections, this school of painting is still almost unrecognised. Tuti-Nameh from University Library in Wrocław can play an important role in research of this field.