Artistic Environment Research Articles

Art Market as a Factor in Shaping the Artistic Environment of Ukraine: Institutional Foundations and Development Prospects

The purpose of the article. The article is devoted to the influence of the leading persons and institutions of the Ukrainian art market on the formation of the circle of the most famous figures in the artistic environment, the dominant trends in the artistic life of the country, the tastes of the public, as well as the growing influence of representatives of the art business on the activities of state institutions in the field of culture. The methodology of the work is based on the application of methods of observation, analysis and generalisation, as well as the structural-functional method, considering the art market and the artistic environment as closely related social phenomena. A sociological approach to art as a collective activity is applied, in which not only artists are involved, but a large network of other participants in cultural life and the art market. The scientific novelty of the work consists in the study of the role of local art business in shaping the structure of the contemporary artistic environment of Ukraine. For the first time, the question of how decisive is the influence of the participants of the Ukrainian art market (primarily – art dealers, collectors and institutions related to them) on the formation of a certain hierarchical ranking of artists in the Ukrainian art environment on representatives of the mainstream and the rest of other, less well-known figures was highlighted, a significant part of which is, so to speak, on the periphery of cultural life; the impact of the art market on public tastes and the activities of state bodies in the field of culture is also outlined. Until now, the topic of close interdependence of the art world and the art market has been avoided in the Ukrainian art history discourse. Conclusions. The art market selects artists who become the most famous figures in Ukrainian artistic life and get the opportunity to represent the country at the international level. The art market shapes public tastes; the most successful participants of the art market (primarily art dealers and collectors) seek to participate in the formation of state cultural policy by integrating into state institutions. In accordance with world trends, the private sector will gain more and more influence in the modern cultural life of the country, which will have both a number of advantages for the development of the Ukrainian art market and artistic life, as well as certain, potentially possible, disadvantages.

Archeology of Cheboksary: Problems of Study, Protection and Museumification

The paper focuses on issues of Cheboksary’s archaeology. The article briefly describes the city’s location and provides information on its name, establishment and development. Particular sections concentrate on the state registration of archaeological sites within Cheboksary. These sections are also dedicated to the borders of the city’s cultural layers. It draws conclusions about the exploration degree and critical problems in studying Cheboksary. The authors highlight the importance of rescue archeology within the city. The article discusses methodology for excavations in the anthropogenic environment. In terms of this methodology the authors analyze the notion of “ballast layer”, record keeping methods and selection. The research concerns methodology for working with finds aiming to distinguish mass and individual findings and determine their storage. The paper reviews options for introducing archaeological finds into the historical & cultural, architectural & artistic environment (museumification of archaeological sites) in Cheboksary.

A CRITICAL REVIEW OF CHILDREN'S PAINTINGS FROM A VISUAL ANALYSIS PERSPECTIVE

This study explores the qualitative and stylistic differences in paintings created by preschool-aged children aged 5 and 6 years, aiming to understand how developmental factors influence their artistic expression. Painting, as a universal medium for artistic expression, captures emotions, ideas, and moments through colors and textures, particularly evident in children's uninhibited creativity and spontaneity. Variations in children's painting abilities based on age reflect differing stages of motor and cognitive development, highlighting the need to comprehend these differences for effective early childhood art education. Employing observational methods and visual analysis, this research examines artworks from 13 preschool students at Holistik Preschool in Sarawak, Malaysia, analyzing artistic elements such as lines, shapes, colors, and composition. Findings reveal that 5-year-old children often depict simpler shapes, vibrant colors, and direct representations of objects, indicative of developing motor skills and cognitive abilities. In contrast, 6-year-olds exhibit more refined motor skills and cognitive development, creating artworks with intricate details, complex compositions, and sophisticated use of color and shading. These developmental milestones underscore the importance of nurturing creativity through enriched artistic environments and diverse stimuli in early childhood education. Recommendations emphasize integrating art into interdisciplinary learning to foster lifelong engagement with the arts from an early age, supporting holistic cognitive and emotional growth in children.

Decorative art of Russian painted spinning wheels and the art of painted lacquer products in China during the Warring States of Qi Lien

The article is devoted to the comparison of Mezen painted spinning wheels actively produced in Arkhangelsk province (Russia) in the XIX century and objects of Chinese art of Qi Lien painting of the Warring Kingdoms period. In this era, the skill of creating Chinese lacquer products was very developed, and the spinning wheel industry of the XIX century became the basis for the existence of a vital craft for Russian people. The spinning wheels were decorated with colored paintings with repetitive plots. The subjects of the study represent the most important part of the folk art of the two cultures, reflecting at the same time the aesthetic and spiritual preferences of the population. Their prevalence in both cases made it possible to identify the commonality of artistic techniques used by folk craftsmen. Scientific work assigns an important role to the techniques of manufacturing household items that demonstrate the prevailing artistic environment at the time of their regular use. The leading method of research is formal stylistic analysis, revealing characteristic compositional features. Comparative analysis makes it possible to identify similarities and differences in the works of DPI, which make it possible to hypothesize a paradoxical objective community. Considerable attention is also paid to the coloristic analysis and symbolic meaning of the murals. The scientific novelty of the study is due to the presence of a very limited number of sources mentioning the possible similarity of the two fields of folk art, none of which is fully devoted to the formal and stylistic features of objects created by unknown masters. The article closes this gap, aiming to discover specific unifying features. Its tasks become a detailed study of plots, compositions, techniques and materials used. The research allows us to come to the conclusion that the work of both Russian and Chinese artists reflected the main artistic aspirations of contemporaries, who often endowed objects and phenomena with symbolic meaning. There is a noticeable interest in the use of wood, the use of warm shades and the embedding of patterns in compositions. There is a similarity in the desire to reflect reality when including plant and animal motifs in their works. Also, the decorative and planar nature of the painting combines the rich details of the product. The relevance of the research is due to the convergence of Russian and Chinese cultures, so that the study of the issue can contribute to finding new points of spiritual contact.

Wayang Gajah Mada In Visual And Performing Arts: Research-Based Innovation of Javanese Puppetry and its Reception in the Academic and Artistic Environments

Wayang Gajah Mada In Visual And Performing Arts: Research-Based Innovation of Javanese Puppetry and its Reception in the Academic and Artistic Environments

Gian Giacomo Poldi Pezzoli and Florence

Abstract Gian Giacomo Poldi Pezzoli visited Florence repeatedly throughout his life, starting in childhood, when he accompanied his mother, Rosina Trivulzio (1800–1859). Drawing on a number of documented visits, such as one that took in the Italian National Exhibition of 1861 and another to the Dante celebrations of 1865, the aim of this essay is to examine Poldi Pezzoli’s relationship with the artistic environment, the collections and the important art market of Florence.

Esoteric Dance Practices of the Early Twentieth Century: Case Study of George Gurdjieff’s Movements

Abstract The beginning of the twentieth century was marked by colossal changes in various spheres of life, including art, where appeared numerous choreographies produced by both professional dancers and esoteric teachers. This article analyzes the choreography of George Gurdjieff, a dance practice simply called “Movements.” This practice was often considered as closely related to and being a product of the artistic environment of the time. The article argues that even though being the product of the time, Gurdjieff’s dance requires a close attention. It will show that his approach to dance downplays aesthetic and emotional aspects. Applying the hybrid methodology, this article will first identify the place of the Movements in Gurdjieff’s teaching. It will then illustrate how the Movements differ from modern German dance. Finally, it will analyze and describe the author’s ethnographic experiences in the study and practice of the Movements.

Avant-Garde Inspirations in the Art of Ukrainian Monumentalists of the 1960-70s:

The purpose of the research is to introduce into scientific circulation the results of documentary reconstruction and art analysis of the lost monumental panel, which was created by a tandem of talented artists in the Palace of Culture of the BilotserkivMAZ plant in Bila Tserkva. The research methods involve a combination of art analysis with methods of documentary reconstruction and interviews with the author of the studied artifacts. Scientific novelty consists in the introduction into scientific circulation of a previously undescribed and destroyed monument of monumental art – a panel in the Palace of Culture of the BilotserkivMAZ plant in Bila Tserkva. For the first time, the stylistics of the execution of an unexplored object of monumental and decorative art were analyzed. Through a personal interview with Oleg Yerzhikivskyi, a direct participant in the process, the circumstances of the order and execution of the work were recorded. For the first time, a photo from a private family archive was made public, and an attempt was made to reconstruct the panels based on individual photos. Conclusions. As a result of the artistic analysis of the work, the ideological inspirations that manifested themselves during the execution of the large-scale panel were established. Despite the isolation of the Soviet artistic environment from world artistic currents, the dosage of information coming from the West was enough for Ukrainian artists to create their own interpretations of seen foreign or banned domestic samples. Sensing this on an intuitive level rather than being in the full context of theoretical and art history discourse, the best representatives of the process managed to create a work of decent quality, the execution of which was financed by the state of that time. Despite the presence of Soviet symbols in the work (as a tribute to the totalitarian system for the opportunity to work in the field of art at all), the monumental panel is made at a high artistic level and is valuable for its innovative approach. As it follows from the results of the research, the effort to adapt samples of Western European art to the realities of the orders of the Art Fund of the Ukrainian SSR was not the least important in this process. This became possible thanks to the high level of specialized art education in higher educational institutions, as well as the personal self-improvement of each author-performer and his personal giftedness. In addition, the mentioned works were created by Ukrainian artists on Ukrainian territory and they are far from glorifying the regime.

Bibliodiversity and Cultural Policy as Instruments of Change

The study deals with the issue of book traffic as a cultural and artistic environment and tries to introduce the theoretical framework of the broader research. It introduces more closely two concepts that can be instruments of a change. Firstly, there is briefly described the concept of bibliodiversity, which builds on a close analogy with biodiversity in the sense of preserving and protecting an ecosystem with an emphasis on locality and attention to the individual members of that environment. The text introduces selected ideas and approaches of this concept, such as sustainability, actors, etc. The chapter concludes by outlining the mechanism whereby the independent scene acts as an experimental lab from where the mainstream then takes over and appropriates topics. This illustrates the interconnectedness of the whole system. The second concept or approach is through cultural policies, which can be an effective tool to promote and develop culture. More specifically, the study focuses on one of the currently discussed tools – the status of the artist. It looks at different approaches to addressing the working conditions of artists and cultural professionals. The aim of the text is to present and show possible approaches to the conception of literature as a cultural and creative sector and its care. The list is not exhaustive, but a selection of different perspectives on the subject.

Two Peters: Queer Domestic Space and Artist’s Sensibility in Soviet Latvia

The article focuses on the phenomenon of queer domesticity in Latvia in the 20th century, analysing evidence of a homosexual couple living together in a house they built in Rīga. Adapting to different political regimes, two men who met while working in the theatre could maintain their lives together for about twenty years. To do this, they had to use various adaptation tactics and subterfuge and create their own concept of family in their daily lives. Their subterfuge tactics have been so successful that their queerness and cohabitation are forgotten today. This case study adds to the knowledge of queerness during the Soviet era by highlighting the complex relationship between personal freedom and conformism concerning state power in the artistic environment.

Interactive art objects as systems of attractors of the urban environment

The possibility of using art objects as a system of attractors of the urban environment is investigated. The results of research on the possibility of the influence of interactive art objects through artistic means on the perception and formation of modern urban space are presented. The results of the study allow us to conclude that the demand of society for a highly artistic environment is steadily growing. The placement of interactive art objects in an urban environment justifies itself from an economic point of view, contributes to the formation and development of the aesthetic taste of the population, allows citizens to draw attention to socially significant topics.

Ivan Vasilyevich Ekskuzovich — Architect and Theater Figure

For the first time the article gives a biographical study of the major theatrical figure and St Petersburg architect I. V. Ekskuzovich. Having graduated from the Institute of Civil Engineers in his youth, he has built several buildings in the capital of the Russian Empire, but his lifework was the management of academic theaters in Leningrad and Moscow. In this article there was first established the existence of the “Ekskuzovich coterie” in 1917, which also included V. E. Meyerhold, conductor N. A. Malko and a certain number of the artists of the Mariinsky Theatre; the role of the coterie in the nomination of Ekskuzovich to the post of the head of the theater department at the end of 1917. The article summarizes the extensive material related to his administrative activities in theaters: the role of Ekskuzovich in the creation of the association of academic theaters, his official and personal correspondence with artists and the People’s Commissar of Education A. V. Lunacharsky. Based on the reviews of memoirists, private correspondence of artists and a number of anniversary addresses, a conclusion is made about the significant popularity of Ekskuzovich in the artistic environment. It is emphasized that the resignation of Ekskuzovich in 1928 took place against the will of Lunacharsky, who lost by the end of the 1920s his real power in the People’s Commissariat for Education. The activity of Ekskuzovich as a theorist and practitioner in mechanization of the theater stage, as well as one of the leading engineers in the park management of Leningrad in the 1930s, is also traced. The monograph “The Theater Stage in the Past and Present” published by him in 1930, Ekskuzovich’s work on the continuation of this research, as well as his work on equipping the stages of Soviet theaters, including the work on the theatrical part of the Palace of Soviets, are considered. The article is based mainly on archival data; materials used 13 archives and manuscript departments of museums and libraries.

Игровое поле текста в художественной практике «последнего авангардиста» Сергея Маслова

The article examines the forms and functions of the text in the artistic practice of S. N. Maslov (1952–2002), a representative of contemporary art in Kazakhstan. Based on the material of the artistic avant-garde in Kazakhstan, text-centricity and literature-centricity as universal properties of late Soviet and post-Soviet visual culture are analyzed for the first time. The texts created by the Kazakhstani author in various modifications of contemporary art were chronologically different: they appeared before, during and after the creation of the visual image. The features identified in the article include the creation by this post-avant-garde author not so much of a work-result, but more of a work-process, with the author’s obligatory manipulation of the text in space and time, when artistic practice turns into a multilayered game in front of the audience (readers). The article presents how Sergei Maslov managed to capture and convey through the text, woven by him into the plot of his artistic actions, the main issues in the specifics of post-Soviet existence and daily life, and then to transform them into the aesthetics of absurdity. One of these ways, as shown in the article, was the use of the aesthetics of mass media forms of the text: traditional writing, bureaucratic instructions and the horoscope, as well as the form of a multimedia novel. The art practice of S. N. Maslov reflected his characteristic literary centrism with the simultaneous access of this artist and performer to the features of the modern digital artistic environment.

THE IMPACT OF DIGITAL TECHNOLOGY ON THE ARTS

The article analyzes the relationship between digital technologies and art. In the course of the analytical review, the transformations of the artistic environment in the context of interactivity, visualization of perception and evaluation of works of art under the influence of the digital paradigm are considered. The scale, complexity, and diversity of digital technologies make it difficult to assess the entire digital transformation deployment process in a uniform way. The question of the artist’s interaction with modern technologies is raised, as well as the aspect of the convergence of art with scientific and engineering fields. In the context of contemporary art, innovative technologies of virtual reality, artificial intelligence and their impact on the processes of artistic creativity, starting from the creation of works, are considered. Digital technologies are the knowledge, skills, technological and technical solutions for the creation, processing, transmission and use of digital data, as well as the systems and procedures for their practical implementation. The impact of digital technologies on traditional types of art, on culture, on people, shapes their activities in the context of active digitalization, by means of which the creative process is enriched, causes reflection on the essence and goals of art in the modern space, such as emphasizes its potential for innovative development, as well as warns against possible challenges and contradictions that accompany this process of evolution. Finally, the introduction of digital technologies into the visual arts not only democratizes the creative process, but also opens up new aesthetic and conceptual horizons for it. Hence, the study of the impact of digital technologies on art remains relevant today, suggesting its further analysis in the context of the constantly evolving its technological landscape.

Soprano as a phenomenon of artistic representation of the human image in European and Chinese traditions

Soprano as a phenomenon of artistic representation of the human image in European and Chinese traditions

Creative Activity of V. Hegamyan in the Context of the Development of the Odesa School of Painting

The purpose of the work is to investigate the key events of the creative life and activity of the Odesa artist of Armenian origin V. Hegamyan, whose creative output left a noticeable mark in the development of the Odesa school of painting in the second half of the 20th – beginning of the 21st centuries. The research methodology is based on the application of methods of analysis, synthesis, art history, historical-chronological approach, which made it possible to find out the substantiated results of the research. The scientific novelty of the work consists in deepening and systematising the study of the work of the famous Ukrainian artist V. Hegamyan in the context of the development of the Odesa glass painting. Conclusions. The work determined that starting from the 1960s, due to the relocation to Odesa, a new stage began in V. Hegamyan’s creative period, which was determined by the new cultural and artistic environment and the creative searches carried out by the artists of that time. The artistic dominants of V. Hegamyan's works were determined by the artist's inherent monumentalism, traditional colour scheme and characteristic plot, composition, and imagery. Over the decades, having absorbed the main trends of the Odesa school of painting, V. Hegamyan formed his own artistic style in art, which consisted of a combination of graphic, pictorial, and monumental techniques. Being at the intersection of Armenian and Ukrainian cultures, V. Hegamyan's works clearly trace the appeal to ethnic, archaic motifs, symbolism, which created a special mythopoetics of his works, imposing double or even triple meanings on them. At the same time, V. Hegamyan's creative life was closely intertwined with his teaching activities; he was the founder of the graphics department at the Odesa pedagogical institute. He brought up a whole pleiad of artists who later became famous not only in Odesa, but also in Ukraine: such famous artists as V. Volkov, V. Zakharchenko, S. Lykov, O. Nedoshytko, Ye. Rakhmanin, V. Riabchenko, O. Roitburd, A. Furlet and others. Thanks to his creative and pedagogical activity, V. Hegamyan wrote a bright page in modern Ukrainian fine art as an original artist who formed a unique system of artistic imagery. Keywords: V. Hegamyan, Odesa school of painting, nonconformism, stylistic trends, artistic and cultural life, intersection of cultures, regional specificity, art, artist's creativity.

Роль академічної доброчесності у навчанні студентів спеціальності «Музичне мистецтво»

The article examines the role of academic integrity in the context of university education and training of future specialists in the field of musical art. The authors reveal the essence of the concept of academic integrity and its importance for the formation of competent students and musicians. The attitude towards plagiarism of students majoring in "Musical Art" was analyzed. The article indicates an increase in cases of violations of the principles of academic integrity in the educational activities of Ukrainian institutions of higher education. The authors highlight the European experience in the formation of ethical competence of future specialists in the field of musical art as an example for overcoming the problems of academic dishonesty, such as copying, plagiarism and illegitimate obtaining of grades. Academic integrity, defined as a high degree of honesty and ethics in the educational process, becomes an important component of the training of specialists in the "Musical Art" specialty. The modern stage of formation of higher music education determines the importance of values that guide students on the way to mastery in art. Academic integrity acts not only as a norm of behavior, but also as a mechanism for the formation of high standards and responsibility. Art students, by adhering to the principles of academic integrity, not only demonstrate their dignity, but also uphold ethical standards in the artistic environment. It has been proven that academic integrity is a set of rules defined by legislation and moral and ethical principles that must be followed by all participants in the educational process. It has been proven that academic integrity is a moral and ethical category based on established norms and rules of behavior of a scientist, which guarantee freedom in the performance of educational and research tasks of students of art specialties.

THE MAIN TRENDS IN HIGHER ART EDUCATION

The innovative progress in improving the professional training of future artists is based on increased attention to the competence-based approach to professional training. When planning the educational path of future choreographers, it is essential to consider the role and specifics of their practical training. An effective practice occupies a prominent place in this process. It would take into account the development trends of the general social and artistic spheres. Such practices should cultivate skills that meet the demands and requirements of the contemporary world. The creation of qualitative conditions for the creative self-realization of a future choreography teacher allows both to consolidate knowledge and skills and to form a model of effective future professional activity. This article aims to identify the key trends in the development of higher art education. The paper outlines the prerequisites and peculiarities of trend formation while considering the features of the modern artistic environment. The study also aims to highlight the most promising change directions in higher art education, assessing the most significant factors contributing to their emergence and development. During the research, analytical methods were employed to process information regarding applying new working methods in higher art education. Additionally, the authors used the methods such as induction, deduction, analysis, synthesis of information, system-structural and comparative approaches, abstraction, and idealization for studying and processing data. The research has identified the leading, most important trends in higher art education, as well as the scientists' viewpoints on the key promising areas of development of higher education institutions in the field of art.

Neo-Byzantine traditions in the work of Helena-Maria Schramm – Boichukist artists from the Polish-Ukrainian border

The article is devoted to the work of a rather unknown Polish artist and a student of Mykhailo Boychuk of the Paris period, Helena Schramm. The works of the artist of a religious and secular nature, executed in the manner of Mykhailo Boychuk „neo-Byzantinism” in the technique of tempera and painting on glass, were known in the Polish artistic environment of the 1920s. However, with the death of the artist, her work was forgotten, and her memory was preserved in the family village of Olkhova on the Polish- Ukrainian border of the Carpathian region.

Callado’s Ascent: Insertion and Modes of Engagement in the Artistic Environment

RESUMO Antonio Callado e seus escritos, de maneira geral, são interpretados por analistas como pertencentes ao campo da esquerda. Entretanto, seus primeiros trabalhos no jornalismo, na dramaturgia e na literatura, quando inseridos nos respectivos campos em que foram concebidos, denotam orientações ideológicas e estéticas conservadoras. Conforme evidências de parte da correspondência - inédita - trocada entre ele e intelectuais de grande projeção pública entre as décadas de 1950 e de 1960, é possível sugerir que Callado, posicionando-se dessa forma, teceu laços com intelectuais de diferentes tendências políticas e artísticas e, assim, conquistou posições mais proeminentes no âmbito da impressa e das letras. Desse modo, os sentidos de suas variadas formas de engajamento poderiam ser compreendidos sob outra ótica.