Art In Russia Research Articles

И. И. Горностаев – архитектор, историк искусств, педагог: к 200-летию со дня рождения

The theme of preserving national culture is associated with the work of the famous architect and art historian Ivan Ivanovich Gornostaev (1821–1874), who popularized Russian culture and its unique originality. The article examines the activities of I. I. Gornostaev as the architect of the Imperial Public Library (his main works are a special room for storing incunabula («Faust’s Cabinet») and the New Reading Room (together with the architect V. I. Sobolshchikov)), as well as Saint-Petersburg University (according to his designs, a building was built for a botanical laboratory with a greenhouse, and the building was rebuilt «for playing ball» to accommodate a library, a physics study and an observatory there). He is the author of two projects – the Iversky Cathedral of the NikoloBabaevsky Monastery and the Kazan Cathedral of the Transfiguration Ust Medveditsky Monastery. Reflected his achievements in teaching as the author of the first systematic course in the history of fine arts in Russia. The role of I. I. Gornostaev in the study of the history of art of the Ancient World, the Middle Ages and the Renaissance is shown.

С.И. Мамонтов и В.А. Теляковский – два поля притяжения в судьбе Ф.И. Шаляпина и русского оперного театра

Using meaningful historical material, the article explores the parallels of the creative careers of such great developers of the Russian opera of the late 19th – early 20th centuries as F. Chaliapin, S. Mamontov, and V. Telyakovsky. It was the period of rapid development of innovative stage direction, vocal art, and stage design. The outstanding organizers of theater business S. Mamontov and V. Telyakovsky were at the heart of that creative seething. Being representatives of different social strata (the merchant class and higher nobility), they attracted vivid talents and opened them the way of the private and state opera, respectively. The flourishing of operatic art led to a completely new level of performance. F. Chaliapin and a number of other outstanding representatives of Russian opera began their careers at that time. S. Mamontov’s Private Opera which played a significant role in the development of Russian operatic art was founded in 1896. The repertoire of this theater consisted of works by Rimsky-Korsakov, Mussorgsky, and Borodin. Innovative approaches to the opera performance which was considered as a living synthetic phenomenon integrating the concepts of production and stage design were implemented on the Russian stage for the first time. In its productions, Mamontov’s Private Opera used the principles of realism, which corresponded to the spirit of the works performed. Meanwhile, the development of Russian opera during this period was taking place against the background of complex social relations which aggravated many contradictions both in the life of the society as a whole with its differentiation into metropolitan and provincial life, and in the life on the stage with its specific very mobile interpersonal communications. The article focuses on the careers of S. Mamontov, F. Chaliapin, and V. Telyakovsky. Each of them made an invaluable contribution to the development of Russian opera. From the perspective of the historical culturological approach, the article examines the complicated relationship between the prominent Russian philanthropist and theater director Savva Mamontov, the flexible administrator Vladimir Telyakovsky, and the outstanding opera singer Feodor Chaliapin, and their influence on the formation of the personality of an opera performer and on the development of operatic art in Russia as a whole. The article presents abundant documentary evidence of the peculiarities of their relationship which ultimately determined the vector in the development of the Russian opera theater.

The Practice of Decorative and Applied Arts in Russia at the Turn of the Nineteenth and the Twentieth Centuries (as Seen in the Pages of Russian Periodicals)

The Practice of Decorative and Applied Arts in Russia at the Turn of the Nineteenth and the Twentieth Centuries (as Seen in the Pages of Russian Periodicals)

The Art as a Representation of the Existential

The survey research was fulfilled within the interdisciplinary approaches “anthropology of art” and “existential art science”, updating the concept of “anthropic principle in artistic creativity” demanded by modern humanitarian science. The relevance of the topic is due to the special attention of the art of modern times to existential problems: art practice of the late 19th – the first two decades of the 21st century to the present day in its species, style and genre diversity actively present anthropological terms and meanings. The author of the article emphasizes the immanent nature of the existential foundations of artistic creativity, points to the special role of the phenomenon of Homo faber (man creating) in the composition of Homo sapiens as a biological species, but at the same time pays attention to the role of existential philosophy (starting with S. Kierkegaard), which influenced shaping strategies in world art. The author is interested in ways to represent existential meanings with the plastic capabilities of fine art, procedural forms of neo-avangard, screen arts, theater, poetry, and artistic prose. Special attention is paid to the anthropological potential of the art form — minimal elements of the language of art, plastic nuances of the means of artistic explanation. Within the stereoscopic existential-art-historical approach, the reader is invited to evaluate both the works of modern painting, graphics, sculpture, poetry and fiction, cinema and video art of Russia and the world, which have already become classics and practically unknown to the general public. A detailed panorama of images and languages of art is designed to represent the hypostasis of an existential person — transcending, creating, free, suffering, lonely, loving, frightening, experiencing the experience of death. The mentioned phenomena are considered as structural elements of the system of the existence of human being created by the author, analyzed from an aesthetic and artistic perspective. A similar method of analysis in this context is used for the first time in world science.

Assisted reproductive technologies in Russia: medical breakthroughs and social problems

The paper considers the role of assisted reproductive technologies in changing the qualitative and quantitative characteristics of Russian fertility. The author analyzes the quantitative and qualitative characteristics of ART in Russia in 1986-2020, their public perception and current problems based on the data of national ART registers, reviews of international professional associations of reproductive specialists, secondary sociological information and hospital statistics. The general trend is the expansion of the geography of reproductive centers and the diversification of services, but the growing demand for ART as methods of alternative conception in the absence of reproductive disorders intensifies public debate around them, especially in the context of religion and children’s health. Nevertheless, in conditions of low fertility, the state considers ART as instruments of a pronatal demographic policy and finances them even against the backdrop of the coronavirus pandemic.

The Enlightenment Philosophy Impact on the Musical Culture of Russia in the 18th–19th Centuries

this article discusses the key ideas of the philosophy of the Enlightenment (applying democratic attitudes, referring to real-life problems and issues, promoting humaneness and humanism) that have influenced the Russian musical culture. A connection is traced between the worldview of the West-European philosophers of the Enlightenment and the works of European composers and musicians that influenced the Russian musical culture in the 18th and 19th centuries. The article highlights how the philosophy of the Enlightenment affected the development of the operatic and singing art in Russia and how it in many ways dictated subsequent trends in the Russian music.

CHALLENGES AND DEVELOPMENT PROSPECTS FOR OLYMPIC MARTIAL ARTS IN RUSSIA

The aim of the study is to carry out assessment and analysis of the development of Olympic martial arts in Russia. Methods and organization of the research. We used the following methods in our research: analysis of scientific and instructional literature, documentary sources and web-based documents. We reviewed scientific papers, official documents and Internet sites of All-Russian Olympic martial arts federations to accomplish the survey-related objective of the study. We analyzed documentary materials about the development of Olympic martial arts according to 9 criteria identified in the framework of research. Results and discussion. The article contains the research findings illustrating the development of Olympic martial arts. The study includes the description of historical development of Olympic martial arts in Russia. We carried out analysis of performance of the Russian national team over the last 20 years. We have identified the number of regional federations and participants. We have provided an assessment of the qualifications of coaching staff. We have presented the cost of equipment for practicing Olympic martial arts. We have analyzed the scientific development of these sports. We have demonstrated the importance of interaction of sports federations with specialized departments of Russian universities. We have displayed the experience of partnership of All-Russian federations with sponsors. We have identified the indicators of awareness raising activities regarding considered sports. Conclusion. The research revealed promising avenues for the development of Olympic martial arts in Russia. The research outcomes enable specialists to form an idea of the development of certain martial arts.

Modern and Contemporary Art in the Russian Museum Context

The article considers contemporary and modern art in Russia as reflected in museum curatorial projects. The concepts of large-scale museum exhibitions are based on certain categories that correspond to following qualities: the connection with the centuries-old tradition, myth-making, ludic aspects and internationality – openness to the perception of other cultures. The article analyses exhibition projects in the beginning of the twentieth century, in which contemporary art is demonstrated in the space of tradition, the media context, the everyday context and the context of cultural myths and symbols. The problem of determination of the aesthetic value of contemporary art is stressed in the space of the museum, and represented artworks receive a bigger expressiveness in the neighborhood of works of traditional art. Exhibition curators effectively use aesthetic and formal contrasts; sometimes classical artworks themselves suggest new ways of understanding meanings, hypothetically included in contemporary art – as seen in the projects at the Hermitage, the State Russian Museum and the State Tretyakov Gallery, where curators can unite or contrast tradition and modernity.

Aspects of Study of the 20th Century Naive Art in Russia: Researchers, Collections and Names

This article explores the main stages of the study of naive art in Russia, starting from the first decades of the 20th century and till the 1980s, when naive art was called an “amateur art”. This is the period of IZORAM (Saint Petersburg Art Workshops of Working Youth) activity and the long work of the National University of Extramural Studies. The first amateur art exhibitions took place in the 1970s, later leading to the establishment of specialized collections. In the 1980s, academic research into naive art began to filter through the image of a primitive, or so-called “third”, culture supposed to exist between “high” and “grassroots” art. Only since the 1990s has naive art begun to be perceived as a separate artistic movement. In Russian art criticism, naive art was defined as one of the primitive art areas of the eighteenth to twentieth centuries. During this period, separate museum collections began to take shape in Moscow including a private museum of outsider art, where some works by naive artists were presented, and the Municipal Museum of Naive Art. In Ekaterinburg, Gamayun Municipal Center for Folk Art and Crafts began to study naive art in 1994. In the 2000s, interest in the naive art of the 20th century began to grow. At this time, public and private collections of naive art were being formed in the following museums: B.U.Kashkin Museum at the Ural State University; Soviet Naive Art Museum; and Museum of Naive Art, which in 2015 became the part of the Yekaterinburg Museum of Fine Arts.
 Keywords: primitive art, amateur art, naive art, folk art, outsider art.

Theory and history of traditional applied art. Didactic materials for self-extracurricular work of students

Reference book is addressed to students studying the theory and history of traditional applied art. It is a set of materials for self-extracurricular work. There are of the questions and tasks for research, artistic and creative activities, information and reference materials, dictionaries and references. The presented theoretical and practical material reveals the main aspects of the existence of traditional applied art in Russia, the logic of development, successive artistic and stylistic features of the language of its specific types.

Theory and history of traditional applied art. Didactic materials for self-extracurricular work of students

Reference book is addressed to students studying the theory and history of traditional applied art. It is a set of materials for self-extracurricular work. There are of the questions and tasks for research, artistic and creative activities, information and reference materials, dictionaries and references. The presented theoretical and practical material reveals the main aspects of the existence of traditional applied art in Russia, the logic of development, successive artistic and stylistic features of the language of its specific types.

Controversial Issues on Corpus Delicti in the Field of Art in the Criminal Legislation of the Russian Federation

The choice of the subject of research — the field of scientific knowledge related equally to both criminal law and the limitless world of art — is determined by the goal of finding out the content of modern criminal law policy in the field of art in Russia. In the paper, the author considers the main elements of art crimes existing in the national criminal law through the prism of the specifics of the art sphere, and reveals some shortcomings of legislative structures establishing responsibility for the corresponding crimes. The author expresses her position regarding the possibility and necessity of considering art as an independent and separate object of criminal law protection in criminal law, which is justified, among other things, by the close attention required by modern legislative and law enforcement bodies to the phenomenon of art crimes.

Theory and history of traditional applied art. Didactic materials for self-extracurricular work of students

Reference book is addressed to students studying the theory and history of traditional applied art. It is a set of materials for self-extracurricular work. There are of the questions and tasks for research, artistic and creative activities, information and reference materials, dictionaries and references. The presented theoretical and practical material reveals the main aspects of the existence of traditional applied art in Russia, the logic of development, successive artistic and stylistic features of the language of its specific types.

A Concept of Nature in the Modern Animalistic Art of Russia: An Environmental Aspect of the Genre

The study deals with the concept of nature in modern local wildlife art from the perspective of environmental thinking. It is significant in both cultural and artistic aspects. Modern wildlife art has become a vehicle for pressing issues in nature studies and has demonstrated a variety of artistic solutions, creative manners, and approaches, from traditional realistic variants to stylistic interpretations in the spirit of previous epochs. The study reports that the passage of time has caused changes in the historically established genre structure; its boundaries have become vague and the very structure of an artistic image has become polysemic. Nowadays, local art criticism does not cover this issue adequately.
 Meanwhile, modern wildlife art represents a bright example of the thematic and stylistic variety of artistic techniques and has a fresh look at the world of animals in its entirety, which refers to a new perception of nature, human attitude to it and supplements the picture of the development of the entire local arts. Against this background, the study of current wildlife issues is quite relevant. The historical and artistic methods allow us to evaluate the originality of animalism, its different sides, in particular genre, species and stylistic diversity, as a characteristic and an iconic phenomenon of modern art, reflecting the concept of “nature" in its ecological perspective. The significance of wildlife art is stressed in moral respect. It is wildlife art, which is closest to nature that organically reflects the picture of the modern world with its current environmental issues and dire ecological situation. The wildlife art of the end of the 19th Century to the beginning of the 21st Century is characterised by the exploration of new vital issues of its time. Therefore, the material given in the article is important for art criticism since it enriches it with a unique perspective of study and in a wider cultural meaning, and, thus, forms a modern philosophical picture of human-nature-animals interrelations.

Protests Against Controversial Art As a Political Strategy

The article discusses the phenomenon of politically motivated public outrage around art in Russia. The history of protests against art in Russia is relatively short but intense. Since 90’s there occurred a number of attacks on art, the majority of which were protests against art that in some way expressed criticism of current state policy or Russian Orthodox Church. It may seem that in Russia the moral majority decides the fate of controversial artistic events, but as this article argues, that conflicts around art are frequently used by religious fundamentalists and nationalist right-wing groups to pursue their own political agendas and gain popularity in the media.
 Keywords: hate spin, contemporary art, public censorship, offense, Russia, religious fundamentalism, SERB, vandalism

Час пряничных потех или урок?

The article presents the experience of cultural and educational activities conducted with children at the ART-Radouga Creative Development Center under the Association of Russian Culture in Strasbourg (France). Teaching the Russian language and familiarizing yourself with the original Russian culture in a multilingual environment required teachers working abroad to search for new original methodological approaches. The training sessions described by the author based on the use of traditional technology for making gingerbread for Russian folk and applied crafts help to successfully solve many educational problems: turn a child-listener into an active and active participant in the development of the Russian language and literature, motivate to study the folklore heritage and decorative and applied art of Russia, traditions of book illustration, to develop creatively, putting into practice their own projects of «gingerbread theme». The published material can be interesting and useful for all practicing educators.

Theory and history of traditional applied art. Didactic materials for self-extracurricular work of students

Reference book is addressed to students studying the theory and history of traditional applied art. It is a set of materials for self-extracurricular work. There are of the questions and tasks for research, artistic and creative activities, information and reference materials, dictionaries and references. The presented theoretical and practical material reveals the main aspects of the existence of traditional applied art in Russia, the logic of development, successive artistic and stylistic features of the language of its specific types.

The System of Ideas about Chinese Art in Russia in the XIX - early XX Centuries

The System of Ideas about Chinese Art in Russia in the XIX - early XX Centuries

The aesthetics of the receptive response in the postrevolutionary art in Russia. Abstract Art, “Cetodynamos” and Suprematism

The aesthetics of the receptive response in the postrevolutionary art in Russia. Abstract Art, “Cetodynamos” and Suprematism

Theory and history of traditional applied art. Didactic materials for self-extracurricular work of students

Reference book is addressed to students studying the theory and history of traditional applied art. It is a set of materials for self-extracurricular work. There are of the questions and tasks for research, artistic and creative activities, information and reference materials, dictionaries and references. The presented theoretical and practical material reveals the main aspects of the existence of traditional applied art in Russia, the logic of development, successive artistic and stylistic features of the language of its specific types.