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1
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.
Повний текст джерелаАнотація:
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.
2
Ezerova, Daria V. "Shifting Peripheries: The Case of Russian Symbolism and the Pre-Raphaelite Brotherhood." Slavic Review 78, no. 2 (2019): 481–505. http://dx.doi.org/10.1017/slr.2019.98.
Повний текст джерелаАнотація:
The influence of the Pre-Raphaelite Brotherhood on Russian symbolism has not been adequately explored in the significant body of scholarship dedicated to it. To give but a few examples, Pre-Raphaelite motifs such as the enigmatic female figure, a jewel-toned palette, and elements drawn from a mythical European past widely appear in Russian symbolist poetry and painting. Drawing upon archival research, this article demonstrates that the symbolists did not simply borrow these motifs in passive imitation, but that they arose out of the symbolists' substantive engagement with modernity itself. Tracing the genealogy that links symbolism to the Pre-Raphaelite Brotherhood, the article develops a transactional model of influence that encourages us to think of the development of Russian modernism with greater nuance. By destabilizing the notion of the Russian symbolists' marginal position in relation to western Europe, this investigation provides a theoretical challenge to the notion of Russia's peripheral modernity.
3
Stoia, Adrian. "Images of Chalices in Transylvanian Panel Paintings." Review of Ecumenical Studies Sibiu 6, no. 1 (December 1, 2014): 121–35. http://dx.doi.org/10.2478/ress-2014-0107.
Повний текст джерелаАнотація:
Abstract The study of the items illustrated on mural and panel painting, in connection with still existing items, can document medieval material culture. The representation of chalices on almost half of such paintings from Transylvania is a proof of its important symbolist value in religious rituals. These representations also certify the high level of the goldsmiths’ art from Transylvania. The present study is intended both as a repertory and an analysis of these sacral objects illustrated in mural and panel paintings.
4
MOSENDZ, Oksana. "Symbolics of colour in the painting of Ukrainian symbolist artists of the early 20th century." Humanities science current issues 2, no. 36 (2021): 50–58. http://dx.doi.org/10.24919/2308-4863/36-2-8.
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5
Taroff, Kurt. "The Spectacle Within: Symbolist Painting and Minimalist Mise-en-Scène." Nineteenth Century Theatre and Film 42, no. 2 (November 2015): 211–27. http://dx.doi.org/10.1177/1748372716643336.
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6
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.
7
Kostetskaya, Anastasia. "Symbolism in Flux: The Conceptual Metaphor of "World Liquescence" Across Media, Genres and Realities." Slavic and East European Journal 59, no. 3 (2015): 413–30. http://dx.doi.org/10.30851/59.3.004.
Повний текст джерелаАнотація:
“Symbolism in Flux: the Metaphor of World Liquescence across Media, Genre and Realities” examines cultural implications of conceptual metaphor, in this case the metaphor of liquescence of the human emotional domain. The central question discussed in my paper is how poetics of water is metaphorically present in visual discourses of boundary transgression and blending, both static and dynamic, namely painting and film of the Russian Symbolist period. In my analysis of the painterly and cinematic texts selected, I apply concepts from cognitive linguistics, specifically Conceptual Metaphor Theory and Conceptual Blending Theory that see the roots of the human proclivity for metaphor in somatic embodied experiences. They provide tools and terms useful for theorizing discourses that implement the “water principle” as their modus operandi in approaching various metaphysical issues. They are particularly instrumental within the specific historical-cultural context of Russian Symbolism with its close attention to stirrings of the soul which in many cases are expressed via the “water metaphor.” I look at representations of the conceptual blend fusing human and water ontologies in these “Silver Age” texts: two paintings by V. Borisov-Musatov and two scenes from a film by E. Bauer. The innovative aspect of my work is found in my applying it to interacting art forms, which supports the central stance of Conceptual Metaphor Theory: that metaphor is not just a figure of language, but first and foremost, a figure of thought.
8
Walden, Lauren. "Transmediality in Symbolist and Surrealist Photo-Literature." Open Cultural Studies 1, no. 1 (November 27, 2017): 214–31. http://dx.doi.org/10.1515/culture-2017-0020.
Повний текст джерелаАнотація:
Abstract The fin de siècle period throughout Europe undoubtedly cultivated the “interdisciplinary principle of la fraternité des arts” (Genova 158). Literature, poetry, visual art and music superseded former hierarchical structures favouring the painterly. Correspondence between intellectuals would cross-fertilise between disparate realms through publishing in interdisciplinary cultural journals that were distributed internationally across cosmopolitan cityscapes. The ability for the photograph to be mechanically reproduced, postulated by Walter Benjamin in 1936, allowed for one of the first transmedial aesthetics, to become known as photo-literature. Previously, reproduction had been confined to the textual realm. Bruges La Morte by Georges Rodenbach was the first ever work of photo-literature to commingle these respective art forms, sixty-five years after the invention of photography in 1827. Rodenbach’s novella was first published in 1892 at the height of the symbolist movement which spanned literature, painting, photography and more. Its pseudo-progeny, Andre Breton’s surrealist text Nadja was published in 1928 depicting the author’s meandering through the Parisian cityscape. In these works, text and image engender a sense of cosmopolitanism through the function of transposition.
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Davenport, Nancy. "Christ aux Outrages by Henry De Groux: Fin de Siècle Religion, Art Criticism, and the Sociology of the Crowd." Religion and the Arts 7, no. 3 (2003): 275–98. http://dx.doi.org/10.1163/156852903322694645.
Повний текст джерелаАнотація:
AbstractThe Belgian symbolist painter, Henry De Groux (1866-1930), produced in his life one masterwork, Christ aux Outrages (1888-1889), a vast painting (293-363 cm.) which both embodies his own tormented nature and that of many similarly unsettled fin de siècle Catholics in that age of Positivism, secularization, European sabre rattling, and anarchism. Following its success in the Salon Triennal in Brussels, Henry De Groux, financed by King Leopold II of the Belgians, brought his painting to Paris in 1890 where it was exhibited in the Salon des Arts Liberaux, after being rejected by the salon jury. The image of a timorous, bound, and defenseless Christ and a savagely screaming mob of women, dogs, and children repelled faint-hearted academically-minded critics concerned with religious art and moved the ardent and orthodox. While these writers of religious orientation had their own reasons for praise and blame, this research considers the connection between the painting and the dominant concern among socialists such as Gustave Le Bon in Le Psychologie des Foules (1895) and novelists such as Emile Zola in Germinal and other of his novel for "Crowd Theory." It is the fearful and irrepressible crowd attacking Christ, it is argued, that gave Christ aux Outrages its peculiar significance in fin de siècle Paris.
10
Lloyd, Rosemary, Mallarme, and James Kearns. "Symbolist Landscapes: The Place of Painting in the Poetry and Criticism of Mallarme and His Circle." Modern Language Review 86, no. 3 (July 1991): 739. http://dx.doi.org/10.2307/3731087.
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McGUINNESS, P. "Review. Symbolist Landscapes: The Place of Painting in the Poetry and Criticism of Mallarme and his Circle. Kearns, James." French Studies 51, no. 4 (October 1, 1997): 494. http://dx.doi.org/10.1093/fs/51.4.494.
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12
Williams-Hogan, Jane. "Influence of Emanuel Swedenborg’s Religious Writings on Three Visual Artists." Nova Religio 19, no. 4 (May 1, 2016): 119–44. http://dx.doi.org/10.1525/nr.2016.19.4.119.
Повний текст джерелаАнотація:
Emanuel Swedenborg (1688–1772) claimed to be an eyewitness to the Apocalypse. Called to be “Servant of the Lord,” he wrote eighteen works in which he defined a new Christianity. While he never formed a church, he distributed his books widely throughout Europe. They stimulated some people to found new religious organizations, some to write in new poetic and literary forms, and others to revolutionize sculpture and painting. These artists found in Swedenborg’s works a vibrant source of a new aesthetic vision. The elements of Swedenborg’s theology that helped to shape that new aesthetic are presented here, as well as the application of different aspects of it in the works of three artists: the English sculptor John Flaxman (1755–1826); the French Symbolist painter Paul Gauguin (1848–1903); and American sculptor Lee Bontecou (b. 1931). Each artist attempts to capture the spiritual reality that Swedenborg portrayed as existing behind and within the natural phenomenal world.
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Sokolyuk, L. "Ladislav Trakal’s Art and Crafts Workshop of Decorative Painting in Kharkiv (1899–1921)." Vìsnik Harkìvsʹkoi deržavnoi akademìi dizajnu ì mistectv 2020, no. 3 (December 2020): 62–72. http://dx.doi.org/10.33625/visnik2020.03.062.
Повний текст джерелаАнотація:
The article attempts to outline the activities of Kharkiv art and craft workshop of decorative painting, headed by a Czech creator Ladislav Trakal in 1899. The introduction of some new archival documents into scientific circulation showed that there was a close connection between the pedagogical system of Rayevska‑Ivanova’s school, founded in 1869, and Trakal’s decorative‑handicraft workshop. The 4‑year industrial art school in Prague, which Trakal graduated from in 1896, did not have the status of a higher art institution at that period of time. When Trakal arrived in Kharkiv and headed the decorative‑handicraft workshop, which was housed in an edifice that Colonel Borodaevsky devised to Kharkiv Society for the Dissemination of Literacy, Trakal got on a well‑worked ground, which was prepared by Rayevska‑Ivanova. In 1869 this outstanding person, the first woman‑artist with a European level education and a diploma from St. Petersburg Academy of Arts in Russian Empire, founded an industrial art school in Kharkiv. Later, in 1896 she was forced to leave teaching at her school due to a complete loss of vision. However, the need for specialists of this profile did not disappear. Kharkiv was experiencing a real construction boom, and decorators, one of whom Trakal was, were in great demand. Although Trakal’s workshop did not become as multidisciplinary as Raevska‑Ivanova’s school, it used a lot of the pedagogical system developed by the founder of industrial art education in Kharkiv, to its advantage. Trakal’s workshop gave its students an initial industrial art education, prepared them for the activity in decorative painting. Unlike Rayevska-Ivanova who taught free of charge in her private school for more than 27 years, trying to lay solid foundation of industrial art education in Kharkiv, Trakal turned out to be a rather enterprising person. He successfully completed highly paid orders for the decoration of buildings in Kharkiv and also opened his own private studio. Having a good command of Russian, Trakal easily entered Kharkiv’s artistic life. He actively participated in exhibitions, where he showed his paintings, made in the Art Nouveau Style with an enhanced symbolist sound. However, the question remains about how bright and original this artist was in comparison with artists from other Ukrainian cities (M. Zhuk, Yu. Mykhailiv, M. Sapozhnikov). Similarly, the contribution of other art institutions to the development of some of Trakal’s students who eventually became famous masters, also requires further studying.
14
Chlenova, Masha. "Staging Soviet Art: 15 Years of Artists of the Russian Soviet Republic, 1932–33." October 147 (January 2014): 38–55. http://dx.doi.org/10.1162/octo_a_00165.
Повний текст джерелаАнотація:
A documentary photograph from the exhibition 15 Years of Artists of the RSFSR (Khudozhniki RSFSR za 15 let) that opened in Moscow in June 1933 shows the extent to which contemporaries perceived this show as a watershed, a moment when the last remnants of the bourgeois culture of prerevolutionary Russia definitively gave way to the proletarian culture of the rapidly modernizing Soviet Union. A clean-cut and athletic Soviet youth looks straight into the eyes of the refined symbolist poet, playwright, critic, and translator Mikhail Kuz'min as painted in 1926 by a fellow member of the artistic group World of Art (Mir Iskusstva), Nikolai Radlov. In this confrontation, Kuz'min seems to embody everything the Soviet Union had done away with. The height of his fame as a Symbolist poet was the 1900s and 1910s; in the early 1930s, he was still writing poetry, but was unable to publish and increasingly marginalized. In the painting's background, a mythic landscape set within an arched window typical of Renaissance portraits ties him to the Western humanist tradition. Kuz'min's bodily posture invites contact: Seated close to the picture plane with open arms, he appears to look out. Yet the poet also seems reserved and distant, perhaps because of his formal dress, and introspective: The lit cigarette at the level of his mouth and his semi-open book signal that he is preoccupied with a subject other than his interlocutor. The youth, on the other hand, has the confident, even somewhat condescending look of a master of the universe (khoziain zhizni), with folded arms and a slightly skeptical glance. Wearing a fashionable sports shirt on his fit body, he represents the ideal of the times: a healthy, physically strong, and ideologically prepared builder of a socialist society who, both literally and figuratively, embodies the Soviet future. Such an ideal is exemplified by Aleksandr Samokhvalov's contemporaneous painting Girl in a Soccer Jersey (Devushka v futbolke), which was displayed in the same exhibition and quickly became an iconic symbol of Soviet athletic youth. This seemingly antagonistic encounter between representatives of the Soviet past and future simultaneously reflects the change in the official rhetoric. By 1933 it was conciliatory in tone, having firmly replaced the open class conflict of the preceding years, and bourgeois specialists were not only welcomed back into the fold of Soviet society, they were offered privileges if they worked for the new state.
15
Gillespie, G. "The spaces of truth and cathedral window light." Literator 17, no. 3 (May 2, 1996): 93–118. http://dx.doi.org/10.4102/lit.v17i3.624.
Повний текст джерелаАнотація:
Major writers and painters of the Romantic period interpreted the church or cathedral in its organic and spiritual dimensions as a complex expression of a matured Christian civilization. Artists of the mid-nineteenth century continued to produce both secular and religious variations upon this established referentiality. Although divergent uses reciprocally reinforced the fascination for the central imagery of the church and its multiple contexts, they also came to suggest a deeper tension in Western development between what the church had meant in an earlier Europe and what it might mean for late modernity. The threat of a permanent loss of cultural values was an issue haunting Realist approaches. A crucial revision occurred when key Symbolist poets openly revived the first Romantic themes but treated them as contents available to a decidedly post-Romantic historical consciousness. There was an analogous revival of interest in the church as a culturally charged symbol in painting around the turn of the century. Although they might apply this poetic and pictorial heritage in strikingly different ways, writers of high Modernism such as Rilke, Proust, and Kafka understood its richness and importance.
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Bychkov, Victor. "Metaphysics of a landscape in symbolism." Культура и искусство, no. 4 (April 2020): 53–70. http://dx.doi.org/10.7256/2454-0625.2020.4.31966.
Повний текст джерелаАнотація:
This research is dedicated to examination of a specific role of landscape in symbolism. Based on comprehensive analysis of the works of symbolists and artists of their circle – Segantini, Böcklin, Gauguin, Nesterov, Čiurlionis, the author attempts to determine the characteristic features of using the images of nature in the overall system of pictorial artistic-aesthetic expression. Special attention is paid to the problem of inscription of human figures into landscape, as in doing so many symbolists and artists of their circle were bringing the landscape to life, forming a special creative space. Landscape of symbolists is viewed as a peculiar animated space that carries a mediating role between the visually palpable images and indescribable pleroma of metaphysical being. Such approach to symbolism is considered innovative. In the course of this research, it is demonstrated that special artistic space as a carrier of symbolic meanings or a spirit of symbolism in painting emerges in each painters a set of artistic means of expression characteristic only to their works. At the same time, some symbolists view the unreachable in external forms of visible nature by focusing attention of the opposition of earth and sky, life and death, human and divine beginning, reality and its mythological grounds. Some symbolists create the world of practically abstract and musically accented color forms and graphic solutions. While others paint landscape imbued with tranquility, tenderness and picturesque hymns of the Creator. In general, symbolic landscape leans towards a fairly vivid philosophical aspect.
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zendt, christina. "Marcos Zapata's Last Supper: A Feast of European Religion and Andean Culture." Gastronomica 10, no. 4 (2010): 9–11. http://dx.doi.org/10.1525/gfc.2010.10.4.9.
Повний текст джерелаАнотація:
In Marcos Zapata's 1753 painting of the Last Supper in Cuzco, Peru, Christian symbolism is filtered through Andean cultural tradition. Zapata was a late member of the Cuzco School of Painting, a group comprised of few European immigrants and handfuls of mestizo and Indian artists. The painters in Cuzco learned mostly from prints of European paintings, and their style tends to blend local culture into the traditional painting of their conquistadors. Imagery was the most successful tool used by the Spaniards in their quest to Christianize the Andean population. By teaching locals to paint Christian subjects, they were able to infuse Christianity into Andean traditions. Zapata's rendering of the Last Supper utilizes this cultural blending while staying true to the Christian symbolism within the subject. Instead of the traditional lamb, Zapata's Last Supper features a platter of cuy, or guinea pig, an Andean delicacy stocked with protein as well as cultural significance. Cuy was traditionally a sacrificial animal at Inca agricultural festivals and in this way it offers poignant parallel to the lamb, as a traditional Christian sacrificial animal.
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Lawder, Rebecca. ""Erotic Nature"." Athanor 37 (December 3, 2019): 67–78. http://dx.doi.org/10.33009/fsu_athanor116675.
Повний текст джерелаАнотація:
To decode John Dunkley’s dark and sexual landscape is also to reveal a decolonial message in his broader works. Dunkley humanizes nature through both masculinizing phallic and feminizing yonic symbolism as an emancipatory tactic, thereby reflecting a culturally nuanced relationship between people and landscape. Dunkley subverts the expected in Caribbean painting, especially for foreign consumers. By bringing nature to life, his paintings offer subversive anti-colonial themes, too, waiting for decipherment. This paper will examine Dunkley’s use of erotic imagery, arguing that the painter’s sexual landscapes, through layered poetics and symbolism, ultimately served to challenge every day oppressions in colonial Jamaica.
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Payette, Jessica. "Post-WagnerianKlangempfindungen: The Premieres of Maeterlinck Operas in Vienna." Nineteenth-Century Music Review 12, no. 2 (September 10, 2015): 285–317. http://dx.doi.org/10.1017/s1479409815000336.
Повний текст джерелаАнотація:
The Viennese premieres of Dukas’sAriane et Barbe-bleueand Debussy’sPelléas et Mélisandein 1908 and 1911 occurred over a decade after Maeterlinck’s literary style and Fernand Khnopff’s paintings were praised by Secessionist critics, including Hermann Bahr and Ludwig Hevesi. In Vienna, fin-de-siècle discourse treats impressionism and symbolism as aesthetic outgrowths of Ernst Mach’s notion of ‘antimetaphysical’ modes of existence. This article explores the broader Viennese reception of symbolism and its influence on music criticism, which predominantly contends that Debussy and Dukas divert from Wagnerian techniques by cultivatingKlangempfindungen(acoustical sensations) and anti-thematic symphonic approaches to generate musical equivalents to the poetic and painterly incitation of psychophysical stimuli. Julius Korngold and other prominent music critics, some of whom were Debussy’s and Dukas’s exact contemporaries, describe how symbolist compositional syntax emerges as a musical terrain that produces a stark contrast between the suspension of latency and frenetic episodes. Symbolist composers accentuate this contrast to increase sensitivity to a literary device at the core of Maeterlinck’s art: the protagonists’ fixation on environmental conditions and changes, descriptive imagery that apprises audiences of their emotional state.
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Joy, Francis. "To all our relations: evidence of Sámi involvement in the creation of rock paintings in Finland." Polar Record 50, no. 1 (May 20, 2013): 108–11. http://dx.doi.org/10.1017/s0032247413000351.
Повний текст джерелаАнотація:
ABSTRACTResearch undertaken between 1960 to 1990 into what was once a rock painting tradition in Finland, lacked a clear understanding of parallels between the painted figures found at rock painting locations in the southern and central areas of the country, and the motifs painted on the heads of Sámi shaman divination drums from Lapland. However, due to the discovery and analysis of the content of more rock painting sites in Finland from 1990 up to the present, a more comprehensive framework has emerged in which scholars from across different academic disciplines have discovered many more similar characteristics linking the rock paintings and drum symbolism. These recent findings point towards the survival of a nature based sacrificial religion from the Stone Age era in Finland. The source of this was shamanistic in its essence, and is seen portrayed on rock and boulder formations by hunters similarly to how figures were illustrated on drum heads by the Sámi shamans from the nomadic era of the 17th and 18th centuries in Lapland. This more recent recognition strengthens the argument for Sámi involvement in the creation of rock paintings in Finland.
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Belova, Darya Nikolaevna. "Manifestation of female image in iconography of the Tibetan thangka and orthodox icon." Культура и искусство, no. 5 (May 2020): 1–17. http://dx.doi.org/10.7256/2454-0625.2020.5.32764.
Повний текст джерелаАнотація:
This article analyzes the female beginning reflected in the Buddhist art of thangka, and emphasizes its specificity in comparison with the Orthodox icon. The author examines symbolism of the key visual elements that form iconography of female characters and their color solution, as well as analyzes the symbolism of light in thangka painting and painting of icons. In drawing parallels between light symbolism of a female image in both types of religious paintings, the author determines their definite similarity in perception of light as a divine beginning of enlightened mind. The subject of this study is the Tibetan thangka and the Orthodox icon, viewed in the context of evolution of the female divine image within the chronological framework of the XV – XVII centuries. The relevance is substantiated by the growing interest of various experts to the religious painting thangka. In examination of sacred images of Buddhist thangkas and Orthodox icons were applied the comparative-historical and iconographic methods that lean on philosophical, culturological and art scientific materials. The novelty consists in the fact that based comparative analysis of the material of Tibetan thangkas and Orthodox icons, the author explores the traditions of depicting light manifestations of sacred images of women. Iconographic plot traces the formation of light and its role in creation of the female guise of wisdom. The conclusion is made that for assessing the Tibetan Buddhist art of thangka and Orthodox icon it is necessary to grasp the essence of female beginning and significance of the symbolism of light that indicates the aspect of wisdom and love on the path of spiritual growth.
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Shevtsova, Anna Alexandrovna. "Ethnicity and traditionalism in the contemporary Kazakhstan art." Samara Journal of Science 5, no. 2 (June 1, 2016): 136–40. http://dx.doi.org/10.17816/snv20162214.
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Popularity of ethnographic plots in contemporary Kazahstans painting let us discuss ethnic mobilization in this region. Also we get possibility to analyze this process using paintings as ethnographical source. Author analyses iconography of painting, graphics, design, decorative and applied art looking for plots with ethnic makers and typical traits linked with ethnic theme, mythology and cultural heritage of Kazakhstan. Research of reconstructing ethnicity through the contemporary visual culture shows us special aspects of complex visual symbol of the country. Among these aspects, we should line references to ethnographical genre and heroical past (often with ignoring of chronology), pursuit to stylization, using of stereotypical landscape, abundance of ethnic markers and motive of the way. Common traits of all these works are symbolism, decorativeness and major tonality.
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Dubey, Kumud. "PLANT SYMBOLISM IN PAINTING." International Journal of Research -GRANTHAALAYAH 7, no. 11 (November 30, 2019): 92–94. http://dx.doi.org/10.29121/granthaalayah.v7.i11.2019.3707.
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The great flower artists have been those who have found beauty in truth, who have understood plants scientifically and who have yet seen and described them with eye and hand of the artist. Plants, flowers and other foliage symbolize emotions, ideas and actions. Each plant has its own meaning. Painting art and plant illustration is beneficial for modern society because nature inspiring art and art preserving nature.
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Hung, Wu. "Art in a Ritual Context: Rethinking Mawangdui." Early China 17 (1992): 111–44. http://dx.doi.org/10.1017/s0362502800003692.
Повний текст джерелаАнотація:
This paper reexamines the famous painting from Mawangdui Tomb number 1. Instead of approaching it as an independent “work” and matching its images with fragmentary textual references, I explore its relationship with other buried objects, the tomb's structure and symbolism, and the ritual process during which the tomb was constructed. Based on ancient ritual canons, I reject the popular opinion that the painting served to summon the departed soul or to guide the soul to Heaven. Rather, the painting formed part of the jiu-group (“the body in its long home”) at the center of the burial, and enclosed by the guan-coffins decorated with images of protection and immortality, and again by the guo-casket, a replica of the deceased's household (zhai). The painting's meaning and function must be comprehended within this architectural-ritual context. Moreover, neither the painting nor the whole tomb represents a coherent conception of the afterlife. This feature separates this tomb from those constructed earlier and later, and represents a transitional period in the history of early Chinese art and religion.
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Kulakova, Olga Yu. "Dutch Flower Still Life of 17th Century: Interest and Oblivion through the Centuries." Observatory of Culture 18, no. 5 (October 29, 2021): 496–505. http://dx.doi.org/10.25281/2072-3156-2021-18-5-496-505.
Повний текст джерелаАнотація:
Over three and a half centuries, the genre of flower still life created by Dutch artists experienced ups of interest and oblivion. There were the maximum assessment of society in the form of high fees of the 17th century artists; the criticism of connoisseurs and art theorists; the neglect in the 19th century and the rise of auction prices and close attention of art critics, manifested from the middle of the 20th century to the present day. In the middle of the 17th century, there was already a hierarchy of genres, based on both the subject and the size of the paintings, which was reflected in the price. Still lifes and landscapes were cheaper than allegorical and historical scenes, but there were exceptions, for example, in the works of Jan Brueghel the Elder and Jan Davidsz. de Heem. Art theorists Willem van Hoogstraten and Arnold Houbraken, resting upon academic tastes, downplayed the importance of still-life painting. Meanwhile, the artists themselves, determining the worth of their paintings, sought for maximum naturalism, and such paintings were sold well.In the 20th century, this genre attracted the attention of collectors in Europe and the United States. A revival of interest in Dutch still lifes in general, and in flower ones in particular, began in the 20th century, the paintings rose in price at auctions, and collecting them became almost a fashion. Art societies and art dealers of the Netherlands and Belgium organized several small exhibitions of still lifes. The course for studying symbolic messages in still lifes, presented by Ingvar Bergström, is continued by Eddie de Jong, who emphasizes the diverse nature of symbolism in Dutch painting of the 17th century. Svetlana Alpers, on the contrary, criticizes the iconological method and presents the Dutch painting of that period as an example of visual culture. Norman Bryson’s view of Dutch still lifes is formed against the background of the development of a consumer society, economic prosperity and abundance. Finally, there has been an increasing interest in the natural science aspects of flower still-life painting in the researches of the last twenty years. Curiosity, skill, and admiration for nature are the impulses that can still be felt in the images of bouquets and fruits.
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Sijia, Liu. "The Scholar’s study in Painting and the History of Collection in Dutch XVII century." Scientific and analytical journal Burganov House. The space of culture 17, no. 1 (March 10, 2021): 83–94. http://dx.doi.org/10.36340/2071-6818-2021-17-1-83-94.
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his article is devoted to analysis the theme of the “scholar’s study” in Netherland XVII century painting. The reason for the rise of this theme is closely related to the great development of science and navigation in the XVII century in Netherland. Under the economic development, the tradition of collecting prevails among scholars. People admire knowledge and work on scientific inquiry. The author analyzes Gerrit Dou’s self-portrait The Artist’s studio and the symbolic meanings of objects in the painting. The author states that his self-portrait portrays himself as a scholar, reflecting the social ethos of worshiping knowledge. The specificity of his work, the themes of the scholar’s study, the influence of science, religion, philosophy on the painting of Gerrit Dou, the symbolic meanings of objects surrounding the scientist are considered. Jan van der Hayden’s paintings Still Life with a Globe, Books, Sculpture and Other Objects reflect the wide-ranging style of the collection at that time, reflecting both the worship of religion and the abundance of Netherland foreign products under the background of the great geographical discovery in the XVII century. During this period, establishment of Netherland universities and advent of the maritime age encouraged a thriving cartography producing. A large number of globes and scientific tools appeared in the paintings. They not only have religious meaning, but also show the progress of the new era. Audience can get a glimpse of the characteristics of a typical Netherland scholar’s collection from his paintings. The purpose of this article is to analyze the scientific progress, social development of the Netherlands. This allows you to take a fresh look at the assessment of creativity on the theme of the scholar’s study. To fulfill that purpose, need to complete following tasks: to characterize the specifics of paintings in the themes of the scholar’s study, to reveal the symbolism in the paintings The Artist’s studio by Gerrit Dou, Still Life with a Globe, Books, Sculpture and Other Objects and A Corner of a Room with Curiosities by Jan van der Hayden, to show the close connection between the development of science in the 17th century and the topic of the scientist’s office. The author concludes that the theme of the “scholar’s study” in Netherland XVII century paintings reflect the collection characteristics and aesthetics in the XVII century.
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Lebbe, Pauline. "Symbolisme en het kunstlied in België (1884 ‐ 1950). Een nieuwe esthetiek voor muziek op symbolistische gedichten / Symbolism and the art song in Belgium (1884 ‐ 1950): A new aesthetics for music accompanying symbolist poetry." Forum+ 26, no. 2 (June 1, 2019): 3–12. http://dx.doi.org/10.5117/forum2019.2.lebb.
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Abstract In de periode tussen de jaren 80 van de negentiende eeuw en de Tweede Wereldoorlog was België een belangrijk internationaal kunstcentrum. In het bijzonder vond de symbolistische stroming er toen vruchtbare grond. Wereldwijd erkent men de hoge kwaliteit van de Belgische symbolistische literatuur en schilderkunst, maar ook in de muziek speelde het symbolistische gedachtegoed een belangrijke rol. In dit artikel bespreekt Pauline Lebbe het repertorium aan liederen van Belgische componisten, gecomponeerd op teksten van Belgische symbolistische auteurs. Ze heeft daarbij aandacht voor de creatieve werkomgeving van de muzikanten. De nauwe samenwerking tussen kunstenaars, kunstcritici en -theoretici en de organisatoren van concerten en muziekverenigingen vormt een belangrijk maar weinig onderzochte context van die muziek. Het corpus aan liederen blijkt verrassend verfijnd en origineel. In the period between the 1880s and the Second World War, Belgium was an important international hub for the arts. Especially the symbolist movement found the fertile soil in this country, which is renowned all over the world for its high-quality symbolist literature and paintings. But in music, too, symbolism reigned supreme. In this article, Pauline Lebbe discusses songs Belgian artists composed to accompany texts by Belgian symbolist authors. She devotes attention to the musicians' creative work environment. The close collaborations between artists, art critics, art theorists and concert organisers and music groups is a crucial aspect of this kind of music that remains underexplored. The corpus of songs turns out to be surprisingly refined and original.
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Gauzer, Irina V., and Evgeny A. Ermolin. "MYTHOPOETICAL IMAGE OF GENIUS ARTIST IN K. BALMONT’S ARTISTIC EXPERIENCE: RECEPTION OF SPANISH ARTISTRY." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 39 (2020): 12–21. http://dx.doi.org/10.17223/22220836/39/2.
Повний текст джерелаАнотація:
The Russian culture of the turn of the XX century is characterized by actualization of the prob-lems of intercultural dialogue. Thus, the analysis of the Silver age is impossible without considering the fact of such a dialogue as a cultural phenomenon. The problem of hispanism reception is considered in the aspect of creative genius in K. Bal-mont’s works. In the context of Balmont's symbolism, it is important to take into account his specific conceptualization of the artist's status and interpretation of creativity as dreaming. The task of the re-search is to study the implementation of this mental usus within the Spanish theme, the discourse of the painter as a genius-overman by Balmont, and the existentials of the poet's spiritual experience correlated with it. Spain by Balmont is primarily a country of great artists. He creates portraits-myths of the great Spaniards, almost overmen for him. In the article “Poetry of horror” Balmont calls Goya's “a poet-symbolist in painting”, and relates his genius with other representatives of world culture: Poe, Bosch, Teniers etc. Spanish artist is de-clared a predictor of a new art. Goya in Balmont’s interpretation is an actual genius-creator, artist of borderline, mystical experience. Goya’s grotesques are interpreted as a breakout to otherness. Artist's chimeras scare with credibility and live. Goya created an infernal world with the character of universality. Balmont calls “Capricious” a theodicy, as this hymn to the aesthetics of ugliness justifies the existence of evil. The poet highlights in Goya’s aesthetics something close to the era of the early ХХ century. Cultural fashion finds its source and consonance in Spaniard’s drawing (mysticism of terrible, “attraction” to demonism, themes of disease, suffering and dreams). Also, the great painter in the poet’s interpretation is a dreamer reflecting his prophetic dreams on canvas. If Goya’s dreams are marked by a dark, night element in the poet’s artistic metaphysics, the oneirism of Velasquez is marked as sunny. The artist’s mythological image is embodied in the rhyme “Velasquez”. Solar genius of Velasquez organically becomes one of the main figures in the artistic metaphysics of Balmont's poetic collection “Let's be like the Sun”. The last limit of the volitional effort called for in the title of the collection is specified with Velasquez’s image. By binary logic a dark genius should confront Velasquez-Sun. In the book this role is assigned to the painter José de Ribera, Goya’s analog in the context of Balmont’s works. A mythological image was created with reference to the stockpile of ancient myths, the antithesis of Prometheus and Epimetheus. Entering into a dialogue with the culture of Spain and creating myths of Spanish artists, Balmont was looking for a reflection of himself in the Spaniards. Regarding their heroes as the dreamers, he oneirically dreamed about the essence of the Spanish genius basing on his travel impressions but trusting much more his mythic-creative speculation and accentuating the central existentials of his experience.
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Bychkov, V. V. "The Symbolic Essence of Art in Friedrich Schlegel’s Romantic Aesthetics." Art & Culture Studies, no. 1 (2021): 266–87. http://dx.doi.org/10.51678/2226-0072-2021-1-266-287.
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According to Friedrich Schlegel, one of the leading theorists of German Romanticism, the “highest” art is always symbolic, and it would be more precise to name the discipline that deals with it “symbolics”, rather than “aesthetics”. According to Schlegel, the highest arts comprise painting, sculpture, music, and poetry as the “arts of the beautiful and the ideally significant”. Using the examples of painting and literary arts, he demonstrates the symbolic character of art in general. Schlegel thinks that masterpieces of old Italian and German painters exemplify symbolic art. Schlegel is against separating painting into genres. He thinks that portrait, landscape, or still nature are merely sketches in preparation for a large, multi-figure, historical painting — as a rule, with Christian content — which leads the spectator to divine spheres. At the same time, painting must perform its symbolic function by means purely pictorial. The best examples of poetry (this is how Schlegel styles all belles lettres) also have been symbolic, especially during its “Romantic period”, from the Middle Ages and up to the 1600s. Schlegel refers to its symbolic meaning by the term “allegory”. The Bible — as an artistic, symbolic book — became the foundation of the “Romantic” literature of the Middle Ages, which took two routes: “Christian-allegorical”, which transfers Christian symbolism on to the entire world and life, and properly speaking Romantic, which presents every phenomenon of life as leading up to symbolic beauty. Using the example of drama, Schlegel divides works of art into three categories: superficial, spiritual-profound, and eschatological. According to the German philosopher, contemporary art has lost its symbolic content and mostly remains at the superficial level.
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Hioki, Naoko Frances. "Depictions of the Journey to the Heavenly Realm in Early Modern Catholic and Japanese Buddhist Iconography." Religion and the Arts 20, no. 1-2 (2016): 135–59. http://dx.doi.org/10.1163/15685292-02001007.
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This article works to identify an intersection of the Catholic and Buddhist pictorial traditions with regard to the symbolism of the journey to the spiritual world. In both Christian and Buddhist traditions, the river/ ocean is a popular symbol that designates the border between this world and the other world. A work of western-inspired Japanese folding screens known as Yōjin Sōgakuzu (Europeans Playing Music) is an outstanding example that makes use of the symbolism of the river to allude to one’s pilgrimage to the other world in the guise of a secular waterfront scene. The folding screens were painted in the seventeenth century by Japanese artists who were affiliated with the art studio founded by the Jesuits. An investigation of European sources of the painting will show how the painters modified the famous Catholic iconography of “The Ship of the Church” to match the taste of the Japanese patrons of the time. Further, comparisons with other Japanese paintings that similarly deal with the theme of the river will show that such secular scenes of waterfront leisure could demonstrate to the Japanese audience the life in the world beyond, as well as a journey to that world they anticipated.
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Ward, John L. "Disguised Symbolism as Enactive Symbolism in Van Eyck's Paintings." Artibus et Historiae 15, no. 29 (1994): 9. http://dx.doi.org/10.2307/1483484.
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AKDENİZ, Defne. "OYSTER SYMBOLISM IN THE ART OF PAINTING." International Journal of Social Humanities Sciences Research (JSHSR) 4, no. 10 (January 1, 2017): 339–54. http://dx.doi.org/10.26450/jshsr.64.
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Sánchez-Mesa Martínez, Domingo. "El deseo de "las otras" artes en la poesía de Antonio Carvajal: la colaboración entre los artistas." Tropelías: Revista de Teoría de la Literatura y Literatura Comparada, no. 15-17 (February 26, 2011): 680. http://dx.doi.org/10.26754/ojs_tropelias/tropelias.200415-1732.
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El caso de Antonio Carvajal (Albolote, Granada 1945) es particularmente significativo de las relaciones intermediales en la poesía del último tercio del siglo XX, por cuanto existe una voluntad y búsqueda consciente desde muy temprano de ese diálogo con la pintura y con la música basada, sobre todo, en el convencimiento del carácter intermedial del hecho poético. Más allá de la filiación clásica y barroca de su poesía, la inclinación y recurso frecuente a la correspondencia entre las artes presenta una clara raigambre simbolista, en diálogo sobre todo con Paul Valéry con quien Carvajal comparte, además de la vocación técnica y la ideología de la música como punto de fuga de la poesía pura, la confianza en el hecho poético como común denominador de lo artístico. Desde la antología de textos de marcada vocación interartística, Raso, Milena y Perla (1996), a algunas de una de sus colaboraciones en exposiciones pictóricas o libros de artista, como la edición ilustrada con serigrafías de Antonio Jiménez de El deseo es un agua (1998), se trata de dilucidar las distintas técnicas y sentidos del diálogo intermedial practicados por Antonio Carvajal. The work of Antonio Carvajal (Albolote, Granada 1945) is highly representative of intermediality within the end of the XXth century poetry. There is an early conscious and voluntary quest in Carvajal`s poetry towards a dialogue with painting and music, mainly based in some certainty about the intermedial dynamics of the same poetic event. Beyond its classical and baroque roots, the poetics of Carvajal inherits the Baudelairian correspondence between the arts, thus a symbolist stance. Through a fruitful reading of Paul Valéry, with whom Carvajal shares a well appreciated vocation towards the ideology of music and the mastery of technical aspects in poetry writing, this writing aims to a renewed practice of pure poetry on the basis of poetry itself as common denominator of the arts. Since his most clearly interartistic book (anthology) Raso, Milena y Perla (1996), to some of his many and varied ways of collaboration and interchange with painters, as it is the case of the livre d’artiste El deseo es un agua (1998), with serigraphies by Antonio Jiménez, this article drives to classify and elucidate these various strategies and meanings of the intermedial dialogue practiced by Antonio Carvajal
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Burganov, Aleksandr A. "ICONOGRAPHY OF LITURGICAL COMPOSITIONS IN THE PAINTING PROGRAM OF THE КRONSTADT ST. NICHOLAS NAVAL CATHEDRAL". RSUH/RGGU Bulletin. Series Philosophy. Social Studies. Art Studies, № 1 (2021): 124–36. http://dx.doi.org/10.28995/2073-6401-2021-1-124-136.
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The painting of the Kronstadt St. Nicholas Naval Cathedral is one of the largest and little-studied monuments of Russian church painting of the early 20th century. Тhe study of the iconographic program of the painting of the cathedral will fill in the gaps in our understanding of the development of Russian art of that period. The article undertakes an iconographic analysis of some compositions united by liturgical symbolism, which brings us closer to a more complete understanding of the artistic method of the authors of the painting.
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Bisaccia, Carmela, Rosa Maria De Santo, Luca Salvatore De Santo, Daniela De Santo, Luigi Bellini, and Natale Gaspare De Santo. "The Symbolism of Salt in Paintings." American Journal of Nephrology 17, no. 3-4 (1997): 318–39. http://dx.doi.org/10.1159/000169120.
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Hodne, Lasse. "Light Symbolism in Gentile da Fabriano’s Vatican Annunciation." Eikon / Imago 3, no. 2 (September 20, 2014): 33–50. http://dx.doi.org/10.5209/eiko.73395.
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Gentile da Fabriano’s Annunciation in the Vatican Pinacoteca is one of the clearest and most interesting visualizations of a famous metaphor from Medieval hymn literature that compares Mary’s hymen to the glass of a window. The painting uniquely combines three elements: rays of light, a Gothic tracery window, and the shape of the window impressed on the Virgin’s body. Gentile’s painting is the culmination of a development in Tuscan art that can be traced back at least until about 1370. This makes it part of an Italian tradition of visualizing the so-called ut vitrum metaphor that must antedate analogous examples from Flemish art.
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Pistsov, Konstantin M. "Modest Worker of Russian Sinology: Remembering Vadim L’vovich Sichev." Oriental Courier, no. 1-2 (2021): 258. http://dx.doi.org/10.18254/s268684310015783-9.
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The author recalls the outstanding Russian sinologist Vadim L’vovich Sichev (1940–2019): He narrates the scientist’s biography and names his main academic works. Vadim L. Sichev was born in the family of famous soviet artist Lev P. Sichev. After graduation from the Institute of Asian and African Countries at Lomonosov Moscow State University, he worked in the State Museum of Oriental Art for a long time. The main areas of his scientific research were the study of Chinese costume and Chinese classical painting. Vadim L. Sichev has published a large number of books and academic articles. The most famous works of the scholar are “Chinese Costume: Symbolism, History, Interpretation in Literature and Art” (1975, co-written with his farther Lev P. Sichev), “Chinese Classical Paintings in the Collection of State Museum of Oriental Art” (2016), “Modern Chinese Prints in the Collection of State Museum of Oriental Art” (2016). The article contains reflections about the creative method and research principles of Vadim L. Sichev.
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Slim, H. Colin. "Dosso Dossi's Allegory at Florence about Music." Journal of the American Musicological Society 43, no. 1 (1990): 43–98. http://dx.doi.org/10.2307/831406.
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An examination of a dozen paintings and several woodcuts by the Ferrarese artist Dosso Dossi (ca. 1490-1542) suggests that he belongs to the select company of other doubly gifted painters of the sixteenth century who were also musicians. The evidence rests on the accuracy of Dosso's depictions of musical instruments, his knowledge of their symbolism, and above all, from his inclusion of two canons, one circular and the other triangular, in a painting (ca. 1524-1534) once at the Este castle in Ferrara, and now in the Museo Horne, Florence. Whereas the composer of the former canon remains unknown, that of the latter is Josquin Desprez. The work is Josquin's celebrated proportional canon from the Agnus Dei of his Mass, L'homme armé super voces musicales. Musical aspects of Dosso's complex allegory reside not only in the relationships of the two canons on the right side of the picture to three hammers belonging to a blacksmith on the left side, but also in the tablets of stone on which the canons are inscribed. A brief notice of the changing relationships between music and painting at this period sets the stage for a more thorough examination of statements by Leonardo da Vinci concerning both arts, statements that help provide a conceptual framework for Dosso's allegory of music.
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Bragina, Natalia, and Vladislav Stepanov. "PHILOSOPHICAL INTERPRETATION OF SYMBOLISM OF ČIURLIONIS’ PAINTINGS." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 4 (May 25, 2018): 360–71. http://dx.doi.org/10.17770/sie2018vol1.3196.
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The art of M.-K. Čiurlionis is unique and at the same time emblematic of the culture of the art nouveau period. A deep connection of his art to Lithuanian folklore was combined with his fascination with European philosophical trends of the turn of the 19th - 20th centuries. The aim of this article is to identify the cross-cutting themes (leitmotifs) in the artist’s works and, with the help of this, to reveal the philosophical basis of his works. The methods of research are the study and analysis of both individual Čiurlionis’ paintings and his artistic production in general, as well as the analysis of the literature devoted to his works. As the result, two groups of leitmotifs were identified in the Čiurlionis’ paintings: a) figurative themes; and b) non-figurative themes (up to complete abstraction). Analysis of the meanings of these themes and of their influence on the content of the paintings shows that concrete figurative images (themes of kings, bird, hand, and castle) are associated with Lithuanian folklore. Semi-abstract and abstract images (chaos, glance, gesture, and beauty) reveal the connection between the art of Čiurlionis and European philosophy, from Plato's ideas to Nietzscheism and mystic-visionary movements of the early 20th century. Revealing the philosophical basis of his paintings makes it possible to simultaneously review the artist’s entire work in the context of culture of art nouveau, understand this culture more deeply, and thus get a better understanding of some important phenomena of our time.
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Yakovleva, Anastasia Sergeevna. "Artistic space in paintings of Russian symbolism." Vestnik of Saint Petersburg State University of Culture 4 (December 2017): 135–38. http://dx.doi.org/10.30725/2619-0303-2017-4-135-138.
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Kryvoruchko, Y. I. "Symbolism of color in sacred painting of Jerzy Nowosielski." Newsletter Transcarpathian Academy of Arts 1, no. 12 (2019): 114–18. http://dx.doi.org/10.35204/2520-6419-2019-1-12-114-118.
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Bragina, Natalia, and Jelena Jermolajeva. "THE DOLL IN THE PAINTINGS OF THE LATE 19TH – EARLY 20TH CENTURIES: HERMENEUTIC ANALYSIS." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 5 (May 20, 2020): 616. http://dx.doi.org/10.17770/sie2020vol5.4859.
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The semantics of the doll in painting is not sufficiently investigated in art history and culture studies. The doll is never an accidental or unimportant component of a painting; it reveals deep psychological and symbolic undertones, complicates and concretizes the content of the painting. Each art style deals with this topic in its own way. The aim of the article is to analyse the interpretation of the image of the doll in various styles of painting of the second half of the XIX century – beginning of the XX century: in realistic painting, in symbolism, impressionism, and modernism. The research methods are the analysis of literature, the descriptive method, the hermeneutic method, and the comparative analysis method. The article may be useful for researchers in art and cultural studies, and can be used at school and university courses in the History of Art and Culture.
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Kołtan, Jacek, and Anna Sobecka. "Martwa natura Philippa Sauerlanda i narodziny nowoczesnej podmiotowości." Porta Aurea, no. 19 (December 22, 2020): 96–113. http://dx.doi.org/10.26881/porta.2020.19.04.
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The Allegory of Transience by Philipp Sauerland (Gdańsk 1677 – Wrocław 1762), an artist specializing in still life and animal painting, was purchased in 2015 by the National Museum in Gdańsk. The painting allows us to deepen our knowledge of Sauerland’s artistic roots, as well as the interpretation of the painting in the socio-cultural context of the development of Europe in the early 18th century.
In the paper a thesis is put forward about the Leiden sources of Sauerland’s work, which are connected with the painting tradition of the so-called fijnschilders, especially the work of Willem van Mieris. In the first decade of the 18th century, Sauerland painted The Young Woman in the Kitchen Interior, surrounded by perfectly rendered victuals, showing a similar gesture as in the famous painting by Van Mieris The Mouse Trap. In the signed painting from a private collection in New York, Sauerland chose historical themes. He presented a rare scene of David Giving Uriah a Letter to Joab. The painting refers to two famous works by Pieter Lastmann, but it is placed in an architectural set design analogous to Van Mieris’s paintings. An important element of the Allegory of Transience, in turn, is the relief visible by sliding down a carpet. This motif is also taken from the work of Van Mieries, but the iconography of the sculptural representation refers to Gerard de Lairesse’s print showing Chronos prevented by Prudence from destroying the statues. Sauerland is therefore close to the artists from Leiden in terms of the choice of themes, motifs, and the way they are painted. He also usually used a similar format of paintings. Like Van Mieris, the artist from Gdańsk signed his works with longer inscriptions. Although references to the Leydians are obvious in Sauerland’s early works, he does not make copies of their works, but focusing on the still life genre, he transforms them in his own style.
The second thesis of our essay is related to the transformation of vanitas motifs, which in Sauerland’s work reveal their secularized character. The traditional symbolism of transience, which draws on religion, is replaced by the ideas of rationalism, accompanied by the idea of reason that opens a possibility of overcoming sensual and emotional limitations. The work becomes an expression of emancipatory processes that take place at the turn of the 17th and 18th centuries in European culture. Referring to the philosophical work of Baruch Spinoza (notion of knowledge), we interpret Sauerland’s work as an expression of the emerging modern ideal of freedom, which was based on a rationalistic paradigm. It is thanks to wisdom (sapientia) that the subject is able to transcend the reality of the sensual guise.
In the last part of the text we point to the important role of practical wisdom (prudentia) and art (ars) in the process of liberalization that accompanied the social changes of the time. Using illusionism, Sauerland proposes an interpretative key to the viewer: the meaning of life is complemented by art: by making art, understanding art, or collecting artworks, the rational man can free himself from the fear of his own finiteness. The function of this still life is not to remind us of death, but to point out that contemplation of art is an intellectual and spiritual exercise that allows us to find the right attitude to life.
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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.
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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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Mostovshchykova, Daria, and Nataliia Stryzhko. "Parallels in Development of Modern Painting and Enameling in China." Journal of Visual Art and Design 13, no. 1 (July 6, 2021): 60–73. http://dx.doi.org/10.5614/j.vad.2021.13.1.5.
Повний текст джерелаАнотація:
This paper highlights trends in the development of contemporary visual art in China through a parallel analysis of two of its components: painting and enamel art. The focus of the research is on the work of artists whose works combine a ‘western’ style with ‘eastern’ tradition. It was found that in the 21st century, the layer of Chinese cultural heritage was successfully transformed into new forms of expression, such as art objects, enamel sculptures, brightly colored paintings and more. At the same time, it has preserved the symbolism of color, plasticity of lines, narrative and figurative components, which is typical of the centuries-old traditions of the Celestial Empire. Artistic analysis was carried out on specific pictorial and enamel examples, distinguishing common and distinctive features in the concepts of the artists and their embodiment in the material. The way in which contemporary art enters the urban space of megacities and the interior of public institutions was analyzed. In conclusion, it is emphasized that the combination of ‘traditional’ and ‘recent’ trends in one work help to rethink the role of classical images in today’s art, as well as to identify Chinese artists in the globalized intercultural space.
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Batyreva, S. G. "Буддийские мотивы в живописи Г. Рокчинского (1960–1990-е годы)". Iskusstvo Evrazii [The Art of Eurasia], № 4(19) (30 грудня 2020): 58–67. http://dx.doi.org/10.46748/arteuras.2020.04.005.
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The article analyzes the work of the artist Garry Rokchinsky, People's Artist of the RSFSR, in the context of the fine arts of Kalmykia in the 1960s – 1990s. It is noted that during this period, called the post-deportation period, the autonomy of the republic was restored, and many masters of art experienced a creative take-off. This was reflected in the appeal to the historical genre, as well as in the search for new artistic expression in Kalmyk art of the second half of the 20th century. The work of Garry Rokchinsky became a vivid expression of these tendencies. His works are marked by the desire to find and figuratively embody ethnic identity, which responded to the revival message of the post-deportation development of Kalmyk art. As one of the directions of its development, it is necessary to highlight the appeal to the philosophical and moral foundations of Buddhist teachings. The creative path of the artist from realism to the iconic symbolism of traditional art and pointless composition is shown. В статье анализируется творчество художника Гаря Рокчинского, народного художника РСФСР, в контексте изобразительного искусства Калмыкии 1960–1990-х годов. Отмечается, что в этот период, получивший название постдепортационного, была восстановлена автономия республики, и у многих мастеров искусства наблюдался творческий взлет. Это нашло отражение в обращении к историческому жанру, а также в поисках новой художественной выразительности в калмыцком искусстве второй половины XX века. Наглядным выражением этих тенденций стало творчество Гаря Рокчинского. Его произведения отмечены стремлением найти и образно воплотить этническую идентичность, что отвечало возрожденческому посылу постдепортационного развития калмыцкого изобразительного искусства. В качестве одного из направлений его развития необходимо выделить обращение к философским и нравственным основаниям буддийского учения. Показан творческий путь художника от реализма к знаковой символике традиционного искусства и беспредметной композиции.
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KURETANI, Mitsutoshi. "SYMBOLISM AND DUALISM OF LE CORBUSIER'S LATE PAINTINGS." Journal of Architecture, Planning and Environmental Engineering (Transactions of AIJ) 420 (1991): 105–13. http://dx.doi.org/10.3130/aijax.420.0_105.
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YUXI, MU. "THE IMAGE OF CHINA IN RUSSIAN BLOGS ABOUT CHINESE PAINTING." HUMANITARIAN RESEARCHES 78, no. 2 (2021): 42–48. http://dx.doi.org/10.21672/1818-4936-2021-78-2-042-048.
Повний текст джерелаАнотація:
The article is devoted to the study of the image of China in the Russian-language texts of blogs about Chinese painting. The purpose of this study is to determine the descriptive aspects of the art forms studied, as well as the linguistic and non-linguistic ways of forming a fragment of Chinese image. The material comes from the blogs about Chinese painting published on the online platform LiveJournal and in the online edition Magazeta.The relevance of the work is due to the interest in the humanities in the media image of China. In the process of analyzing empirical material, the methods of contextual analysis and media-linguistic analysis are used. The materials studied reveal five main aspects of Chinese painting description: the status of painting in Chinese and world culture; content and genres of Chinese painting; artist status and skill; perception of Chinese painting through the eyes of another cultural representative; the painting elements of Chinese painting in the text. It reveals the language means of forming the unique part of Chinese art and the functions of the visual components in blog texts. It is concluded that China is presented in Russian-language blogs as an amazing country with an ancient and unique culture, with deep symbolism of various philosophical concepts.
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Morley, Catherine. "Willa Cather and Dutch Golden Age Painting." Modernist Cultures 11, no. 1 (March 2016): 118–36. http://dx.doi.org/10.3366/mod.2016.0128.
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This essay argues that the American regionalist writer Willa Cather was deeply influenced by Dutch Golden Age painters in the compositional strategies of her short stories. Looking at Cather's ‘Coming, Aphrodite!’ (1920), the essay examines the geometric composition of the work, the orthogonal planes used throughout it, and the symbolism of the story to argue that it offers a self-conscious visual experience. The essay makes the case that Cather's transcultural and trans-generic experimentation lifts her literary reputation from the ‘local colour’ or regionalist demarcation and sets her firmly among her modernist peers.
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Postnova, Elena А. "Border Markers in the Structure of Paintings by the Artist Sergey Gavrilyachenko." Observatory of Culture 18, no. 6 (December 21, 2021): 612–19. http://dx.doi.org/10.25281/2072-3156-2021-18-6-612-619.
Повний текст джерелаАнотація:
The article examines the borders of the subject-spatial environment in the structure of paintings and identifies their functions. The object of the study is the elements of the compositional structure in the works of Sergey Aleksandrovich Gavrilyachenko, People’s Artist of the Russian Federation, and their border markers. The article aims to show how objects with stable connotations in cultural contexts allow the artist to transmit his idea. There is noted that the images of the window, the frame, the doorway have a meaningful symbolism. The author examines several painting cycles of the artist. The threshold world is understood as the limit beyond which the time border that determines the life cycle becomes visible. The artist’s metalanguage can be seen in the functioning features of the prodigal son motif in his works “The House Is Empty. The Last Bow” (2014), “Before Your Own Unfamiliar Windows. The Prodigal Son” (2015). The article notes that the threshold can be a meeting place and a place of farewell, for example in “The Last Departure” (2013). The author explores the dual space of the painting “Major’s Marriage Proposal” (2009) through the prism of the compositional frame, which, by isolating the parts of the narrative, makes it possible to view the images of the artistic whole as independent, included in their own storyline. The article reviews the characters’ connection with metatypes containing the memory of culture. A look at the works of the artist S.A Gavrilyachenko through the prism of the border enriches the idea of the border as a phenomenon of artistic language. The observations undertaken make it possible to see how the form allows the artist to actualize his aesthetic views.