Artistic Life Research Articles

Polyculed: A Writer’s Tale of Surviving the Pandemic and a Polycule

Through the lens of life writing, this essay explores contemporary and historical polyamory and its relationship with identity-formation and artistic personae. In particular, the essay triangulates the lives of Virginia Woolf and members of the Bloomsbury Set with a current-day polycule of artists. Polyamorous sexual identities and politics are further explored through descriptive depictions of social class, mobility, and wealth, especially within the realm of academia, and examines how the resultant poly lifestyle bears upon the lives of creative writers, literary scholars, and artists.

The Artists’ Association branches of Revolutionary Russia: experience of interaction with regions

Importance. The activities of the Artists’ Association branches of Revolutionary Russia (1922–1932) are considered. During this period, the organization had a significant and sometimes decisive place in the artistic life of the country. The subject of the study relates to the culture of the country as a whole and touches on local history issues. The purpose of the work is to assess the influence of the central organization on the local branches development and analyze their importance in the Association work.Materials and Methods. The research is based on materials from the Russian State Archive of Literature and Art, the State Archive of the Yaroslavl Region and published memoirs of participants in the events. In the course of the work, the biographical method is used, as well as historical-genetic and historical-comparative methods traditional for historical science.Results and Discussion. It is noted that the Association participants paid great attention to the creation of representative offices at the local level. The presence of artistic traditions in a particular region played an important role in the development of local branches of the AARR. At the same time, established traditions are not the determining factor. The presence of a bright creative personality in it, who set a certain pace of work, could be of significant importance in the development of a particular branch.Conclusion. It is revealed that some of the regional branches ceased their activities even before the liquidation of the AARR. Despite this, the work of branches of the Artists’ Association of Revolutionary Russia contributed to the accessibility of art for the local population, attracting regional residents to artistic life and preserving cultural monuments. Museums and creative studios are created, and active exhibitions and lectures are carried out.

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.

The image of Kyiv in a landscape painting by a Ukrainian artist Serhiy Shyshka of the second half of the 20th century

The purpose of the article is to study the representation of the image of the city of Kyiv in the landscape painting of the outstanding Ukrainian artist S. Shyshko, through the prism of the author's artistic vision and stylistic development. Research methodology. Methods such as analytical and comparative art studies were used in the work, which made it possible to holistically consider the given problem and obtain scientifically based research results. Scientific novelty. The article first analyzes the artist's stylistic features, in particular the combination of realistic traditions with elements of impressionism, which are clearly visible in his works. The main topics, motives and techniques that characterize his creative path and the importance of the artist in the context of the development of Ukrainian art are considered. Conclusions. The article examines the work of the outstanding Ukrainian artist S. Shyshko, one of the leading masters of Ukrainian landscape painting of the 20th century, whose work left a significant mark on the artistic life of Ukraine of that period. The main attention is paid to his contribution to the development of landscape painting, in particular to the depiction of landscapes with views of the city of Kyiv. The importance of S. Shyshko as an artist who made a significant contribution to the development of Ukrainian art, in particular realistic landscape painting, and his influence on subsequent generations of Ukrainian artists is emphasized. The work of S. Shyshko is an important component of Ukrainian art of the 20th century, which clearly reflects the cultural and historical significance of Kyiv. His works, focused on the urban landscape, enrich our perception of Kyiv as a symbol of national identity, as a space that combines history, culture and natural beauty. Through masterful command of light, color and composition, Serhii Shishko was able to convey the multifaceted nature of Kyiv, showing it not only as an architectural or natural object, but as a place where the spiritual and the material are closely intertwined. The artistic image of Kyiv on the canvases of S. Shyshka serves as a kind of bridge between the past and the present, because the artist not only captured the appearance of the city at specific moments, but also conveyed its spirit, its eternal essence, which remains relevant decades later.

Interplay of art and faith in women’s communities: Developing a heightened awareness of research perspectives and evolving methodologies

The Lost and Found: Revising Art Stories in Search of Potential Changes marked the inaugural conference of a collaborative initiative between the University of Wroclaw, Universidade Nova de Lisboa and the Polish Institute for World Art Studies in Warsaw. This unique meeting brought together university researchers and artists, creating a stimulating atmosphere. The collaborative artistic endeavours undertaken aimed to build community and explore alternative knowledge production rooted in affectivity and openness to surprise, rather than an immediate quest for success. The focus was on a shared experience of being together and learning about each other’s roles beyond the conventional boundaries of scholars and artists. At the heart of the conference was the project Residua of Pre-Modern Relations with Art in Selected Contemporary Convents in Lesser Poland and Lower Silesia, supported by the National Science Centre in Warsaw. Although the residues and anachronisms discussed during the meeting did not explicitly refer to religious orders, they provided insights into the significance of faith and the evolving nature of the sacred in contemporary art. The project’s premise challenged the distinction between the religious and the spiritual, emphasizing the roles of community, respect, and care. It was hypothesized that female religious orders maintain these values in relation to the place of art in everyday life. Consequently, if an art historian wishes to study the relationship between women’s art and the sacred in everyday life, they should learn from nuns and female artists, not merely study them.

THE PHENOMENON OF SOCIAL MEDIA IN THE DISCURSIVE FIELD CONTEMPORARY CHOREOGRAPHIC ART

The rapid penetration of social media into all spheres of life dictates the need to shift research attention towards the interactions between social media and art. Global conditions of prevalence have made media communications a leading field for obtaining and representing information. The multimedia tools of modern media in the field of art allow for the continuous expansion of its audience. Consequently, there is a constant search for varied mediation technologies between cultural institutions and society. The aim of the study is to examine the phenomenon of social media as a condition for the representation of the artistic process. The methodological foundation of the research is based on the key concepts of media research pioneers G. M. McLuhan, N. Luhmann, R. Margreiter, and others, as well as the works of several domestic scholars (G. Tasbergenova, G. Begembetov, and others). The main tasks of the article include clarifying key concepts and their theoretical content, as well as analyzing the strategies and tactics of art management in the Astana Ballet theater in the context of the interaction between contemporary choreographic culture and social media. The scientific and practical significance of the research is justified by the need to study and master creative tools for promoting cultural products in the media field of the art industry and the informational mission of art management as a mediator between the author, the art product, and the recipient. In Kazakhstan’s modern media space, a certain experience has been accumulated in influencing society through regular communication about various events in artistic life. An analysis of the PR digital tools used by the Astana Ballet theater reveals their potential for image-building. In its early stages, the theater utilized traditional PR methods with minimal digital content. However, the pandemic amplified the marketing potential of social networks, and now a large part of Kazakhstan’s society turns to media content. The key conclusion is the necessity for the theater to be present not only in sources of information but also in places where like-minded people communicate. The value of this research on the role of social media in the context of contemporary choreographic theater is highlighted by the practical significance of modern art management tools, which open up opportunities for cultural events to influence Kazakh society.

Memorialization of V. I. Surikov in Cultural-Historical and Urban Space of Krasnoyarsk (1916–1926)

This article examines the process of memorializing the legacy of V. I. Surikov (1848– 1916) during the pre-revolutionary and Soviet periods. As a renowned artist, he remained connected to his homeland, significantly influencing the development of artistic life in Siberia. The focus is on the involvement of staff from the Krasnoyarsk City Museum (later known as the Museum of the Yenisei Region) in preserving the artist’s heritage, as well as their activities in 1926, marking the tenth anniversary of his death. The relevance of this study is underscored not only by an interest in the life and work of this eminent artist but also by an analysis of how his remarkable persona shaped historical memory and the cultural-historical potential of the region. Utilizing a wide range of sources, the research encompasses a significant historical period and outlines, in chronological order, a series of initiatives aimed at preserving the memory of this notable figure in his native Krasnoyarsk. The article highlights the close collaboration between the Krasnoyarsk Museum and members of the Surikov family — A. I. Surikov and O. V. Konchalovskaya. The findings conclude that without the active participation of the Museum of the Yenisei Region, preserving the memory of this distinguished local figure would have been impossible. In conclusion, it is noted that the memorialization process unfolded over an extended period, and today, the artist’s name serves as a brand for Krasnoyarsk.

The Early Formation of the Moscow School of Landscape Painting. Landscape Class of the Moscow School of Painting and Sculpture (MUZHV), 1844–1857

The article delves into the formative years of the landscape class at the Moscow School of Painting and Sculpture (MUZHV), whose growth parallels the advancement of the landscape genre in Russia during the latter half of the 1 9th century. It explores the pioneering efforts of Karl Ivanovich Rabus, the inaugural head of the class, and evaluates his instructional techniques in landscape painting. His methods introduced academic traditions of landscape painting to the School, thereby laying the groundwork for its future development. Additionally, the article delineates the challenges encountered by the nascent landscape painting tradition, attributable to a range of internal and external factors.Drawing from archival records and periodical sources, the author endeavors to reconstruct a detailed portrayal of the class's early years (1844-1857), emphasizing the pivotal role of students in the evolution of artistic life and the formation of the art market in Moscow. The research enhances scholarly knowledge by bringing into focus the identities of the class's students, most of whom are lesser-known artists, alongside their artistic creations, enriching our comprehension of Russian landscape painting during the late 1800s.

Archival F(r)ictions: A Queer Vocabulary for a Live art Pedagogy

ABSTRACT In this article, I consider the global tradition of live art as a pedagogical force that draws on queer affect and resonance. Scholars of performance studies have situated live art in the field of experimental and undisciplined art but have not given enough attention to its pedagogical potential. In southern Africa, live art has been theorised as a practice that is leaky, transgressive, and undisciplined, emphasising risk, extremity and endurance. These conditions are partly shaped by the region’s historic struggle for liberation since the twentieth century but cannot be reduced to this period alone. As an African practitioner and scholar of live art with a Namibian and South African experience and training, I draw on various experiences of performing, workshopping, curating and researching live art, offering a queer vocabulary to develop the pedagogical potential of live art. I posit that this is a vocabulary for Archival F(r)ictions, emphasising the centrality of archival work in live artistic pedagogies. These pedagogical frameworks rely on the principles of critical consciousness, embodied learning and democratic participation as put forward by the Brazilian critical pedagogue Paulo Freire. As a result, I show how gestures of hoeing and smuggling can produce joy, pleasure, and irritations as sites of queer epistemic work.

История проведения художественной выставки «Урало-Кузбасс» (1935)

The author of the article for the first time in Russian and Ural art criticism refers to the history of the organization of the 1935 Ural-Kuzbass art exhibition. Using the historical and genetic method, the main stages and events on the way to the exhibition are considered. The article summarizes and analyses the scattered historical data about the exhibition which are stored in the Documentation Centre of Public Organizations of the Sverdlovsk region and were found in the Sverdlovsk press of the 1930s. The study is of interest for completing the history of the artistic life of one of the largest industrial regions of the USSR in the 1930s; it provides new information about the functioning of art and the relationship between the government and the intelligentsia during this period.

Основные этапы и некоторые тенденции становления музыкального образования в Курской Мариинской женской гимназии

The article analyses the history and practice of music education in the Kursk Mariinsky women’s gymnasium, which at the beginning of the 20th century became one of the centres of the artistic life of the provincial centre. The three main stages in the formation of the system of female gymnasium education in Kursk are studied both from the perspective of introducing gymnasium girls to musical culture, and in the aspect of identifying the foundations and the process of forming the musical traditions of the educational institution— the predecessor of the modern Kursk State University. A historiographic analysis leads to the conclusion that the information about the musical upbringing and education of pupils of the Mariinsky gymnasium in Kursk is insignificant. Hence, the purpose of the study is to collect, systematize and analyse the main aspects of the musical training of the pupils of the Kursk Mariinsky women’s gymnasium. As a result of the research, three historical stages of musical training in the gymnasium were identified. The first stage is the formation of the spiritual and religious traditions of the women’s first-class pedagogical school (since 1861), the Kursk women’s gymnasium (since 1870), and the Mariinsky gymnasium (since its inclusion in the Department of Institutions of Empress Maria, since 1871). The second is the creation of a system of additional musical education for schoolgirls, which was the result of the arrival of A.M. Abaza in Kursk and the opening of Kursk music classes by him (since 1882). The activity of the outstanding musician led not only to the active professional training of performers on academic instruments and guitar, but also to the growth of vocal and choral skills in the city. It is also significant that the direction of the choirs was carried out by him on a gratuitous basis. The third period is the result of the traditions of the previous stages; it brought musical education and enlightenment to a new level with the acquisition of a new Mariinsky gymnasium building with an assembly hall, which today, already as the hall of the Kursk State University, is recognized as the best in the region in terms of acoustics for academic vocalists, which contributes to the preservation and strengthening of the traditions of the past in our day.

The Catalytic Role of Soft Cities in Urban Development Systems

In the context of Industry 4.0, the development of cities worldwide has shifted from large-scale industrialization towards intelligent and sustainable growth. Contemporary urban researchers classify urban systems into three categories: hard cities, soft cities, and resilient cities. Hard cities refer to the physical framework and infrastructure of urban spaces, while soft cities embrace the art ,cultural, civilized, aesthetic, and humanistic aspects of urban life. Resilient cities, on the other hand, embody the plasticity necessary for sustainable development. This paper will utilize case study methodology and comparative research to analyze the positive effects and catalytic impact of the development of soft urban systems on hard cities and resilient cities.

IMPORTANCE OF AAHAR AND AAHAR VARGA W.S.R. SHOOK DHANYA VARGA AS PER CHARAK SAMHITA AND ITS SIGNIFICANCE IN THE PRESENT ERA

Ayurveda is the science of the knowledge of life and the art of life. The uniqueness of Ayurveda is that it sets values on physical, mental, social and spiritual health. Every living and non-living being in this world/universe are composed of five basic elements in the Panch Mahabhoota, namely Earth, Fire, Water, Air and Ether and this is well known that all goods and medicines are also made of Panchmahabhoot. 1 So the Panchbhautik components of ingested food nourish the body and their respective tissue elements in the body as well. Aahar is the best of all medicines, and the preventive and curative aspects of Ayurveda revolve around the theme of food (Aahar), firstly, later Vihar and Vyasan. The journey of hibernation from the bandage of living can be achieved only through the path of food because food is the Life of living beings. The entire living world runs towards food. All things, physical (Built, confirmation, strength, beauty and complexion ) and mental (Happiness, calmness, satisfaction, intelligence and Goodness ), depend on food. All things are obtained from food only. Hence it is proved that the basis for achieving the desired and eternal objective of Ayurveda science is first of all the food is consumed by man and then the medicine and then the Vihar, Vyasan and medicine.

Engagement with art and meaning in life: the predictive roles of awe, interest, supernatural attributions

ABSTRACT Drawing from Aesthetic Cognitivism, the position that art can lead to meaningful understandings, we predicted that people with more interest in art, experiences of awe around art, and supernatural attributions for art experiences would have higher levels of meaning in life. In Study 1, we tested these hypotheses in three samples (n = 100 in each sample) with varying art expertise. Results showed the strongest support for hypotheses in samples with varying levels of art training. In Study 2, in an online sample with wide variation in art training (N = 1,862), we found strong support for hypotheses. In both studies, multiple regressions including covariates (aesthetic fluency, religious belief salience) showed unique associations mainly for awe around art. Overall, our results were consistent with Aesthetic Cognitivism, providing a rare empirical test of this theory, and pointed to psychological experiences with art as potentially relevant to life meaning.

The role of electronic media in the region in updating cultural codes and forming a complex of identities of the population (the case of Maikop television)

The issue of preserving cultural codes in ethnic communities in the era of globalization is relevant. The departure of a greater share of social interactions into the digital information space raises the need to include elements of traditional forms of culture in it in order to preserve and strengthen the ethnocultural identity of communities, especially in multi-ethnic regions. The most effective means of transmitting and assimilating cultural codes as the basis of identity, both among members of local sociocultural communities and among the larger society of the Russian nation, are artistic practices. The goal of the research is to identify the role of electronic media in the region in updating cultural codes and forming a complex of identities of the population. The research method used was content analysis – a selection of television programs about artistic practices over a certain time period, followed by classification and generalization. It was revealed that the main form of representation of artistic life are fragments of news blocks relating to exhibitions, festivals, competitions, theatrical performances, etc., which presented: a display of the traditions of folk art of local residents – the Circassians, the Cossacks, the Russians; coverage of artistic events with heroic and patriotic content; a story about involving children in activities in the field of academic art (sculpture, music). Taken together, a picture emerges of a stable system of artistic life in the region, within which an environment is formed for the preservation of cultural codes and a harmonious balance of ethno-local and national identity.

RECOLLECTION JOURNALISTIC DISCOURSE ON REVEREND OSTAP NYZHANKIVSKYI

The article examines memorial journalism and articles from the newspapers of the Ukrainian diaspora of the second half of the 20th century dedicated to the social and cultural and educational figure, composer, conductor Priest Ostap Nyzhankivskyi. The author highlights the thematic content of the memoir printed sources by Ivan Bodnaruk, Ostap Bobykevych, Osip Zaleskyi, Andriy Kigichak on the pages of "New Path", "America", "Our Call", "Ukrainian Word", "Path of Victory". The biographical material that deepens the biography and milestones of the artist of Eastern Galicia is analyzed. The popularity of the figure of Ostap Nyzhankivskyi is understood in the context of the development of the socio-cultural space of the region on the basis of investigated newspaper articles. The source-scientific, axiological, cognitive value of journalistic articles that "saw the world" in the non-national world space is argued. Prominent descendants of the Nyzhankivskyi family, as well as pages of the artist's life during different years are mentioned and described in the article. In addition, attention is paid to the choral heritage of Ostap Nyzhankivsky thanks to the printed memories of Ivan Bodnaruk. The Nyzhankivskys' family talent for music is outlined, in particular speaking about his son of Nestor Nyzhankivskyi, as well as creative communication with prominent figures Solomiya Krushelnytska, Ivan Franko, Oleksandr Koshyts, that is described in the publication of Ostap Bobykevych. The value of the composer's artistic flair and public activity in the creation of "Lviv Boyan", "Berezhan Boyan", "Stryy Boyan", "Musical Library" which is presented in the publication of Osip Zaleskyi is determined. The tragic events of the priest's death were clarified through the memoirs of Andriy Kigichak. It has been proven that memorial printed sources are valuable archive material in the modern socio-cultural space of Ukraine. It is argued that the analyzed materials will be a respectable basis for researchers of a number of issues from the historical and musical past period of Eastern Galicia of the second half of the 19th century, in particular the activities of the priestly elite of the region in the development of Ukrainian statehood, the creative work of Ostap Nyzhankivskyi, as well as for cultural scientists and musicologists who study sociocultural pages of the period of belonging to the Polish state.

Research on Aesthetic Education in Higher Vocational Colleges based on Traditional Tea Ceremony

Tea is a traditional Chinese drink, which is not only welcomed and loved by the older generation but is also enjoyed by certain popularity in the world. From tea making and tea brewing to tea tasting in tea culture and tea etiquette, the tea ceremony with rising popularity is the subject of this study. In this regard, this study starts with the tea ceremony, hoping to find some innovative strategies for its integration into the process of aesthetic education in higher vocational colleges. This paper specifically discusses the core meaning of the traditional tea ceremony and aesthetics and points out that the tea ceremony is not only an art of life but also a cultural practice with deep philosophy. The study also points out its positive effects on higher vocational aesthetic education, including cultivating students’ consciousness of civilization and understanding of etiquette and developing students’ interests, hobbies, and specialties. Furthermore, based on the research conclusions, a series of feasible and effective practical strategies for promoting aesthetic education through tea ceremonies are proposed, hoping to provide more references for educators.

Kreativitas Dan Kritis Dalam Pendidikan Seni di Sekolah dan Keluarga

Current developments in technology and art have an impact on creativity and critical thinking which has brought major changes to arts education. The new paradigm includes the integration of technology in the arts curriculum, as well as the use of new media for artistic expression and creative learning. A holistic approach to artistic values ​​also makes this paradigm encourage art teaching that considers environmental impacts, as well as promoting awareness of environmental issues through works of art. Arts education remains sustainable over a long period of time, without destroying the environment so that it can continue to offer a good artistic life for every individual. Assessment of artistic creativity in a learning context is an assessment that accommodates process and outcome aspects. Evaluation of arts education in assessing learning as creative education. The teacher's task is to assess student creativity starting from the learning process to the learning outcomes, because creativity is a process that is inherently related to reflection on a person's self-development process.

Review: Strange Hours: Photography, Memory, and the Lives of Artists, by Rebecca Bengal

Review: <i>Strange Hours: Photography, Memory, and the Lives of Artists</i>, by Rebecca Bengal

The forms of positioning of Russian fine art in the cultural space of modern Shanghai

The purpose of the study is to identify the main forms of presentation and positioning of Russian fine art, in particular the St. Petersburg art school, in the cultural space of modern Shanghai. The research material is the works of fine art by artists from Russia, which were presented during this period at exhibitions and other cultural and educational events in Shanghai. Tasks: to determine the range of events in Shanghai in which the works of Russian artists participated in the 2010-2020s.; to characterize the works of Russian authors presented at exhibitions, including through the artistic analysis of the latter; to identify the authors, themes, genres and images of Russian painting, and historical periods that are in demand by residents of the Chinese city. The theoretical and methodological basis of this research is the works on the history and theory of Soviet and modern Russian art, the art market, philosophy and aesthetics, as well as factual materials related to the artistic life of modern Shanghai, especially those presented in announcements and descriptions of exhibition projects and other events in Shanghai with the participation of Russian painting. The novelty of the study is due to the fact that it highlights the current situation in the field of presentation of Russian art by Chinese institutions on the example of Shanghai, a city that is traditionally famous for its ties with the culture of its northern neighbor, especially with St. Petersburg – the cradle of the artistic traditions of Russian art. By referring to the material of art exhibitions of the 2010-2020s, which took place in different spaces of Shanghai, the author analyzes which approaches the curators of such projects prefer in the presentation of Russian painting, both modern and Soviet period. An artistic analysis of the pictorial material of the exhibitions is carried out. The main function of these events is determined by the comparison of Russian and Chinese painting, which is important for new generations of masters.