Art Of People Research Articles

GENRE OF LANDSCAPE IN THE WORK OF M. M. SHABANOV

The article deals with the genre of landscape in the work of the People's Artist Magomed Magomedovich Sha-banov. The author gives a brief art history analysis of many works of the landscape genre. Comes to the con-clusion that the artist's landscapes changed depending on the era, time of creation.

ABOUT MAHMUDJON TOJIBOEV'S PEDAGOGICAL ACTIVITY

This article is about the creative school of the late Hafiz, composer, musician, People's Artist of Uzbekistan Mahmudjon Tadjibayev, who has his own style of performance in the art of maqom. There are also detailed comments on the traditions, styles and methods of our national art, the tradition of teacher-student.

JEWELLER M. K. DZHAMALUDINOV: ARTISTIC HANDWRITING OF THE MASTER

The article presents an analysis of one of the famous pieces of jewelry – silver cognac set by the People's Artist of Russia M. K. Dzhamaludinov. The author shows the degree of influence of M. K. Dzhamaludinov's creative heritage on the development of the jewelry industry in Dagestan, in particular on the filigree style, traces the development of engraved and cut floral ornament in the work of a master. The legacy of the significant works of the masters determined the further development of Avar metal-plastic in the XX century.

TATAR CULTURE: A SOCIOCULTURAL ANALYSIS IN THE CONTEXT OF ETHNOCULTURAL DIVERSITY IN THE MODERN AGE OF DIGITAL LIFE

This study explores how ethnic minority activists in Russia appropriate digital technology and forms of creative cultural production that are widely disseminated around the world. The study also illustrates the ways in which these forms influence alternative ethnic cultural expressions and innovative interpretations of minority cultural heritage. Tatarstan, an autonomous region of the Russian Federation, has seen a growth in the number of innovative cultural and digital initiatives launched during the last five to seven years. These initiatives are driven primarily by young Tatar businesspeople and activists, most of whom are based in the Republic of Tatarstan. Tatarstan has long been the epicentre of traditional Tatar culture, including the Tatar people's theatre, music, visual arts, and literature. It is also the primary location for the instruction of the Tatar language. Tatarstan's political autonomy arrangements from the 1990s have been primarily undermined due to Russia's efforts toward centralization and cultural unity under the presidency of Vladimir Putin (beginning in the year 2000). Activists working to preserve the languages and identities of ethnic minorities face new challenges directly from the new, more conservative ideologies that have taken hold in the country. The emergence of new forms of cultural production in Russia is influenced by the growth of digital technology as well as by international cultural production. The younger members of the Tatar community are adopting the international formats and genres popular elsewhere and applying them to their cultural activities, thereby creating new forms of ethno cultural activism. When it comes to matters of ethnic identity, they devise innovative approaches to depict and articulate it, which are distinct from the models of ethnic culture that were inspired by the Soviet Union. Environments are becoming increasingly ideologically and politically restrictive. Minority participation in urban activities is frequently linked with secession. Due to these groups' activities, it is possible to depoliticize ethnic activism.

Opera and Choral Performance in Mykhailo Krechko’s Work

The article considers some aspects of opera and choral performance on the example of analysis of the theatrical period of creativity of one of the prominent figures of Ukrainian choral culture, founder of the choir of the State Children’s Musical Theater — People’s Artist of Ukraine, Professor Mykhailo Krechko (1925–1996). M. Krechko as the first chief choirmaster of the theater built his individual principles of work and theatrical traditions inherent in such a unique opera choir. SCMT is the second in the world and the only professional opera and ballet theater in Ukraine for children and youth).The established traditions and peculiarities of the choir’s work in SCMT are analyzed, based on the repertoire of the newly created Theater and the genre range of performances of choir artists (opera, ballet, musical, cantata and oratorio works, a cappella music performance).Formulation of the problem in general. The relevance of the chosen subject is due to the lack of basic scientific research into the life and work of the famous Ukrainian choral conductor M. Krechko. This is the first comprehensive appeal to the activities of an outstanding master of choral work, active propagandist and collector of folk songs, composer, publicist, teacher and music and public figure, who devoted his entire creative life to the development of national choral culture. A separate task is to study and analyze the basis of the traditions of opera and choral performance initiated by M. Krechko during his work at the State Children’s Musical Theater. Also, it is important to systematically study the methodology and means of educating opera choristers on the example of the work of M. Krechko.
 Analysis of research and publications to solve the problem. General characteristics of the life and work of Mikhail Krechko are examined in the works of O. Bench-Shokalo, M. Kravchuk, A. Lashchenko, L. Mokanu. The issues of choir and opera choir are analyzed in the works of L. Butenko, O. Letychevska, B. Pokrovsky, K. Pigrov, P. Chesnokov, which explores the functioning of the choir and the nuances of managing this process, as well as the work of specialists in the opera house.The problem of the specifics of M. Krechko’s work with the opera choir was not raised in the scientific literature, which determined the relevance of this article. The research materials of the archive of the “Kyiv Municipal Academic Opera and Ballet Theater for Children and Youth” — programs of performances and concerts, reviews; family archival materials of the Krechko family; publications by M. Krechko and devoted to the work of M. Krechko (booklets, articles in newspapers and magazines, author’s books and reference books). Also, below are a number of personal conclusions of the author of the article while working as a choir artist under the direction of M. Krechko.The purpose of the article is to study the life and work of M. Krechko as an opera choirmaster, his methodology and practical implementation of the multitasking of choir artists in a wide range of synthesis of arts in the opera house.Conclusions and prospects for further exploration in this direction. The article explores for the first time the theme of opera and choral performance in the works of the outstanding Ukrainian choirmaster — People's Artist of Ukraine, Professor Mykhailo Krechko. The above facts from archival materials and analysis of the maestro's artistic activity allow to learn more about the master's contribution to the choral art of Ukraine and its important role in the formation of the vector of development of the State Children's Musical Theater. Emphasis is placed on the specifics and universalism of the theatrical choir. Summarizing all the above, we can say that the modern creative life of the choir Kyiv Municipal Academic Opera and Ballet Theater for Children and Youth is fundamentally based on the high artistic principles laid down by the founder of the choir — Mykhailo Krechko. The Maestro’s great love for the Theater Choir, which he called his “swan song”, high performing skills and a wide range of genres of repertoire, education of followers and like-minded people, and deep traditions established by the choirmaster are a strong foundation and guide to new artistic victories.

Система Станиславского играет важную роль в театре Вьетнама

K.S. Stanislavsky plays an important role in the theater of Vietnam. Konstantin Sergeevich Stanislavsky (real name Alekseev; 1863–1938) — actor, director, theater teacher, founder and director of the Moscow Art Theater (Moscow Art Theater). People's Artist of the USSR (1936). An activist, thinker and major theater theorist, he, on the basis of modern science, created a school of theatrical art — the Stanislavsky generation. In addition to a successful psychological approach to the performing arts, he also contributed greatly to the formation of progressive art and art for the people. English version of the article on pp. 280-285 at URL: https://panor.ru/articles/stanislavskis-system-plays-an-important-role-in-vietnamese-theatre/65897.html

RETRACTED: App design of distance art education platform under internet ecological environment

With the rapid development of computer and network technology, the application of mobile app has been involved in all walks of life, especially the traditional art teaching mode. Therefore, it is of great significance to design an app with art learning and education as the main content based on the concept of young people's cognitive psychology and art training. This paper first analyzes the current situation and development trend of art education app at home and abroad, then analyzes and studies the design and application needs of education app at home, clarifies the needs of students and teachers, analyzes the visual and psychological characteristics of teenagers and their impact on interface and interaction design, and finally designs an art education app that meets the domestic needs. The results show that the app can enhance the interest of young people in art learning.

To the question about the history of uzbek-german cultural relations (1960–1975)

The enrichment and flourishing of art is facilitated by acquaintance and mutual exchange of the achievements of national cultures. Periodicals make a worthy contribution to the implementation of contacts and cooperation. The traditions of organizing events were formed in the 60s and 70s of the last century. Many Uzbek films have gained great popularity abroad. The number of short films has increased significantly. Thousands of German spectators applauded songs performed by People's Artist Botir Zokirov in 1967. Exhibitions, decades of culture and art workers, seminars and symposia, scientific conferences; periodicals.

Проблема научного подхода к изучению родословной скульптора-монументалиста, народного художника России В. М. Клыкова

The famous Soviet and Russian sculptor V. M. Klykov (1939-2006), winner of state prizes of the RSFSR and the USSR, People's Artist of Russia, Honored Artist of the Russian Federation, was an ambiguous figure in the eyes of his contemporaries. His caught the attention not only of professional critics, but also of ordinary people. Many publications and memoirs dedicated to the sculptor had been published during his lifetime. However, V. M. Klykov himself gave contradictory information on the history of his family in his interviews. At the same time, a complete and objective assessment of his life and work and his role in art is impossible without studying his social origin and family history, which determined the relevance of this work. Until now, the history of the Klykov family has been reconstructed from stories and memoirs of those who knew him personally. The study has also been hampered by the fact that there are misconceptions about V. M. Klykov’s ancestors that often spring from desire to create a certain image that fits the worldview of the famous sculptor. The purpose of the study has been to identify and analyze the documentary sources on the subject: archival materials, documents from the museum collection and periodicals. The fonds of the State Archive of the Kursk Region (GAKO) have provided most sources. However, destruction of the archives during the Civil War and the Nazi occupation resulted in a lack of documents and photographs from the early 20th century. Some information has been found in databases available on the Internet. A number of documents are being introduced into scientific use for the first time. The study is based on the key principles of historicism, consistency, and objectivity, which allows the author to avoid mythologization of the sculptor. Comparative analysis of the identified sources has allowed the author to trace V. M. Klykov’s genealogy up to the mid-19th century, to identify the names of his ancestors, to note the family’s difficult fate through the pivots of Russian history, to determine V. M. Klykov’s ancestors and to explore their biographies, achievements, and social status. Several representatives of the Klykov family have been identified, who showed themselves worthily in the military service of the Fatherland. In addition, the author has refuted the tale of the sculptor's grandfather ‘s de-kulakization and persecution by the Soviet power. The author concludes that peasant origin and environment in which the sculptor grew up left an imprint on his worldview, and therefore, on the theme of his monumental creativity and ideas that he defended in public life.

The study of the life and creativity of yunus rajabi and the rich heritage he left to the uzbek nation.

This article looks at the life of Yunus Rajabi, People's Artist of Uzbekistan, laureate of the Republican State Prize, musician, hafiz and composer, multifaceted artist, academician. His life, his entry into the art of music, the lessons he learned from his family, the deep and bright traces in the history of twentieth-century Uzbek music, his contribution to the development of our modern music culture, as well as O He is one of the founders of the Union of Composers of Uzbekistan. given.

Art for People's Sake: Artists and Community in Black Chicago, 1965–1975

Art for People's Sake: Artists and Community in Black Chicago, 1965–1975

People's Artist Of Uzbekistan Gavharkhonim Matyokubova

This article is about the creative laboratory of the People's Artist of Uzbekistan, laureate of the Order of Labor Glory, well-known choreographer, art critic-ethnographer Gavharhonim Matyokubova.

Oleg Semenovych Tymoshenko’s Conductor Workshop: Music and Scientific Principles of Repertoire Formation

Longtime experience of creative activity of the People's Artist of Ukraine, Academician, Professor Oleg Semenovych Tymoshenko at the Department of Choir at the P. I. Tchaikovsky National Music Academy of Ukraine is analyzed in the article. Master’s main requirements for the formation of educational and concert repertoire in the class Conducting are considered in order to systematize them and their further application in pedagogical practice. The styles and genres of choral works for the professional development of a conductor and the development of his performing skills are described. The musicological principles applied to the formation of the educational and concert repertoire of the conductor-choirmaster, which were used in the course by Oleg Semenovych Tymoshenko, are singled out and covered. It was found that they were based on the accumulation of traditional and innovative ideas for the interpretation of world masterpieces in vocal and choral music. The Master's musicological principles were aimed at the development of conducting technique, at mastering the secrets of vocal and choral art, at understanding and practical application of knowledge existing in choral singing technology. The individual creative and pedagogical handwriting of Oleg Semenovych Tymoshenko are revealed to realize the Master’s unique experience. It was traced throughout the process of working on the educational and concert repertoire with the conductor-choirmaster, in particular: in the systematic study of choral works in terms of the theory of their construction; in determining the sequence of functioning of musical language elements, which are manifested in form and stylistic meaning; in establishing the connection of the choral work with the historical stages of musical art development; in the study of the author’s individual creative style displayed in the choral work and the variability of its interpretation in different periods of society, etc. In particular, the features of the individual creative and pedagogical handwriting of Oleg Semenovych Tymoshenko were revealed. It was outlining the practical direction of the conductor-choirmaster's work on the educational and concert repertoire. The national paradigm of Oleg Semenovych Tymoshenko's repertoire policy, which determined the strategic model of development of the choir conducting academic national school is substantiated in terms of awareness of its achievements and their implementation in modern training process. It is proved that the priority of the national composer's writing of vocal and choral works was a characteristic feature in the paradigm of Oleg Semenovych Tymoshenko's repertoire policy. The study of choral works in his Choir Workshop taken into account the common ways of choral singing development and world phenomena in history, culture and art was an integral part of his creative paradigm in training conductors.

Петербург в творчестве Анны Остроумовой-Лебедевой

Статья посвящена творчеству народного художника РСФСР, действительного члена Академии художеств СССР, заслуженного деятеля искусств РСФСР Анны Петровны Остроумовой-Лебедевой (1871–1955). Художник большого и многогранного дарования, она оставила нам множество рисунков, черных и цветных гравюр на дереве и линолеуме, литографии и акварели. А.П. Остроумова-Лебедева сумела придать гравюре на дереве подлинную художественную выразительность. Избрав главной темой творчества изображение города на Неве, она с большим поэтическим чувством запечатлела его картины и образы, прошлое и настоящее, его вечно живую историю. Издание третьего тома «Автобиографических записок» в 1951 году совпало с восьмидесятилетием автора. Тогда же в залах Государственного Русского музея была открыта последняя прижизненная персональная выставка художницы. Автор статьи исследует воплощение образа Петербурга в графике А.П. Остроумовой-Лебедевой. The article is devoted to the work of people's artist of the RSFSR, full member of the USSR Academy of arts, honored artist of the RSFSR Anna Ostroumova-Lebedeva (1871–1955). An artist of great and many-sided talent, she left us a lot of drawings, black and color prints on wood and linoleum, lithographs and watercolors. Anna Ostroumova-Lebedeva managed to give the woodcut a genuine artistic expression. Choosing the image of Petersburg as the main theme of her work, she captured its paintings and images, past and present, its eternal, living history with great poetic feeling. The publication of the third volume of her “Autobiographical notes” in 1951 coincided with the author's eightieth birthday. At the same time, the last personal exhibition of the artist was opened at the State Russian Museum. The author of the article explores the embodiment of the image of St. Petersburg (Leningrag) in the graphic work of Anna Ostroumova-Lebedeva.

A. S. MAGOMEDOV: PROFILE AND FULL FACE OF HIS CREATIVITY

The article presents a generalized creative portrait of the people's artist of Dagestan, winner of international, regional and national competitions and festivals, chief Director of the Lak theatre Aslan Sadykovich Magomedov. The main roles performed by A. Magomedov on the stage are named; the general description and analysis of the artist’s work in various roles are presented.

«The exponent of the moral principles of his era, his people»: to the 115th anniversary of the People's artist of the USSR Yuri Vladimirovich Tolubeyev

The paper is devoted to the Soviet actor of theater and cinema Yuri Vladimirovich Tolubeyev (1906–1979). His life and career are traced, the most famous works are mentioned. The materials of the Russian state archive of literature and art (Moscow) and the Central state archive of literature and art (St. Petersburg) are introduced into scientific circulation for the first time, the most interesting of which are letters addressed to the actor from grateful spectators with reviews of his work.

THE TRADITIONS OF ORNAMENTAL UNTSUKUL NOTCHES IN THE WORK OF GAMZAT GAZIMAGOMEDOV

The article considers the main and significant works of the people's artist of the Russian Federation G. G. Gazimagomedov, which characterize his ornamental art in a new perspective, through the prism of innovative forms and traditional heritage of the Avars. The author attempts to give an artistic analysis of these works, examines the applied innovative technological techniques and types of ornamental trends in the modern decorative and applied art of Dagestan.

"Ukrhudozhprom" development in the context of the development of traditional people's arts

The purpose is the coverage of the period of formation and development of the enterprise"Ukhudozproma" as a production that created and produced unique products of the Ukrainianartistic industry.The methodology The study is based on the use of observations of historical,cultural and artistic analysis. The scientific novelty is to disclose the facts about the production of"Ukrhudozproma", a thorough analysis of documents on the activities of "Ukrhudoprom", its statuteand responsibilities. Based on the results of historical research, we can draw the followingconclusions that the state contributed to the development of the artistic industry for themanufacture of products for the population of Ukraine, because all production had branches ineach region and performed products with their own ornaments.Key words: "Ukrhudozprom", artistic industry, production, regulation, artels

С. ЯКОВЕНКО И ЕГО МАСТЕРСТВО В КОНТЕКСТЕ ИНТЕРПРЕТАЦИИ МОНООПЕРЫ Ю. БУЦКО «ЗАПИСКИ СУМАСШЕДШЕГО»

Sergey Borisovich Yakovenko is the People's Artist of Russia, a famous musician, vocal teacher and Doctor of Art History. He entered a bright page in the history of Russian vocal art of the XXth century. Starting from the 1950s, as a vocalist, he was in great demand for chamber vocal performances, with some of them being composed by modern musicians. Yakovenko was able to operate freely with a whole stock of expressive means, inherent for avant-garde music, allowing him to take part in the most difficult performances of the latest vocal and vocal-instrumental compositions, which manifested his inclination to the theater, to the disclosure of the dramaturgy of works. S. B. Yakovenko’s stage talent declared itself in its fullness during the performance of mono- operas, among them "Diary of a Madman" by Yuriy Butsko (1968), which received a great resonance in the theatrical life of Russia. The general content of this article is the analysis of S. B. Yakovenko’s performing skill, which gave birth to a wide range of character images, generated by the protagonist’s imagination. After the analysis of audio and video recordings of the vocalist’s performances, as well as his numerous scientific works and conversations, the author discovers several important features typical for the performing interpretation by S. B. Yakovenko. These are his vocal-dramaturgical principles and vocal-theatrical direction. In Y. Boutsko’s opera "Diary of a Madman" the unique performance palette of S. B. Yakovenko allows the singer to create eight various, rapidly interchanging images, using exclusively the resources of his voice, while being on an empty stage without props and with little or no gesture or mime.

The Role of People's Artist of the USSR Irina Bogacheva in the Formation of Vocal Culture of Modern China

The Role of People's Artist of the USSR Irina Bogacheva in the Formation of Vocal Culture of Modern China