Works Of Monumental Art Research Articles

ЗАБВЕНИЕ КАК ФОРМА СТРАДАНИЯ АРТЕФАКТОВ. Статья II

The text is a continuation of the article published in the previous issue of the journal. In the first part, the problem of abandoned and forgotten objects was posed, its individual facets were revealed (in particular, culturally conditioned features of the perception of abandonment and the psychomental foundations of the «experience» of this phenomenon), and groups of artifacts whose oblivion is most acute were identified. Objects of religious worship and human burials were examined through the prism of the problems of abandonment. This article provides an overview of such groups of artifacts as deserted manors; abandoned cities and individual urban locations and structures; monuments consigned to oblivion (including monumental works of art). Various theoretical aspects of the studied sphere are touched upon, which finds expression in many cultures and has great social significance: attention is paid to the relationship of a person with the «world of things»; the sacred and everyday levels of perception of the phenomenon of abandonment, as well as various parameters and markers of oblivion are considered; the deep connections of the phenomenon under consideration with the problems of historical and cultural memory are noted. It is indicated that culturology has a special heuristic significance in the study of the problem of abandonment of artifacts, the potential of which allows us to reach a high level of generalization of the topic under study.

Transformations of Hryhorii Skovoroda’s visual image in the XIX century

The relevance of the study. Ukrainians have been interested in the figure of H. Skovoroda for 200 years. A great number of portraits with the philosopher’s diffe-rent faces have been created. In modern informational space we can come across a statement that there is no picture reflecting his real features. Yet, in fact such portraits do exist, though they are sparsely known to the public that is currently using mostly the variants transformed during the XIX century. Taking all the mentioned into account, the relevance of the research is extremely topical. The purpose of the article. To characterize the changes in the visual image of H. Skovoroda on the basis of the changes in depicting his face in the portraits of the end of the XVIII–XIX centuries. The methodology is based on the historism principle in combination with comparative method, which allowed to reveal common and different features in the portraits of the philosopher. The results. The article presents the results of analysis of 9 portraits of H. Skovoroda dated as the end of the XVIII–XIX century, printed on separate sheets and painted with oil paints. There is information about the authors of one painted (the work of a painter from Slobozhanshchyna, Lukianov, still non-identified) and two printed ones. One of them was stipple engraved by a Moscow artist Petro Meshcheriakov at the beginning of the XIX century. During the first half of the XIX century, while some people who personally knew H. Skovoroda were still alive, there were two editions of separate sheets of this work (an imprint from the first edition was pasted in the manuscript of Mykhailo Kovalynskyi’s memoir) and published in a book and two magazines. As there was no criticism from the contemporaries, there are grounds to consider the portrait to reveal H. Skovoroda’s facial features accurately. Five copies of this image painted with oil paint dated approximately as the XVIII–XIX century were analyzed. The one was singled out, which had been kept by V. A. Zadonskii till the beginning of the XX century and before that had belonged to his ancestors, the philosopher’s friend Donets-Zakharzhevskyi. The second, older engraving, which author was not identified, first used to be not well-know. Yet, after its lithographic copy was published in a Petersburg edition of the philosopher’s works in 1861, its reproductions started to dominate. In 1894 the artist from Petersburg, V. Mate, created on its basis a syncretic engraving by order of D. Bahalii and for his publication. Skovoroda’s face on this engraving is distinguished by a different picture perspective and by having become flatter. Conclusion. Two variants of H. Skovoroda’s face created by engravers at the beginning of the studied period were actualized in different periods of the XIX century and changed due to copying and rethinking, which resulted in transformation of the philosopher’s visual image spread in mass culture. The scientific novelty of the research. The first complex analysis of all known portraits of H. Skovoroda of the end of the XVIII–XIX centuries has been made. The practical significance of the article. The results of the work should be taken into account when writing scientific, popular-scientific articles and educational publications or courses, as well as when creating works of monumental art.

ОСОБЛИВОСТІ УВІЧНЕННЯ ПАМ’ЯТІ ЖЕРТВ НАЦИСТСЬКОГО ТЕРОРУ НА ХАРКІВЩИНІ У ВОЄННИЙ ТА ПОВОЄННИЙ ЧАС

The aim of the work. The article is devoted to a comprehensive study of commemorative initiatives and building of monuments connected with the commemoration of victims of Nazi terror on the territory of the Kharkiv region. The article explains the specifics of honoring the memory of different groups of victims of Nazi terror on the territory of the Kharkiv region in wartime and in the post-war period. The methodological base consists of general scientific methods (analysis, synthesis, deduction, induction, systematic approach) along with special historical ones (historical-comparative, historical-systematic). The principles of scientificity, objectivity, and historicism are also applied. The scientific novelty of the research is defined by the fact that the author conducted for the first time a comprehensive study of commemorative initiatives of victims of Nazi terror on the territory of the Kharkiv region. Conclusions. During 1941–1945, the Kharkiv region was controlled by the German Military Administration. The German occupation regime established in the Kharkiv region led to numerous deaths among civilians and prisoners of war. The people's initiative served as the first step in commemorating the victims of war. Further, the state assumed control over the building of monuments. Works of monumental art became the instruments for the distribution of Soviet myths about «The Great Patriotic War». The official Soviet ceremonial model of commemoration was characterized by an intrusive cult of internationalism, heroism, Soviet patriotism, and self-sacrifice. The authorities stayed indifferent to people, keeping no record of victims and depersonalizing the dead. Due to the fatal defeats of the Red Army, the Kharkiv region lost about half a million citizens, but it wasn't highly ranked in the national narrative about the war. The state demonstrated discriminatory methods for commemoration of certain categories of the dead. Some of them were represented in the memorial space, and others were deprived of their rights. First of all, this concerned victims of mass terror – Jews, orphans, and prisoners of war. Only with the collapse of the communist regime and the independence of Ukraine these categories of victims of Nazi terror got the opportunity to convey their own vision of war to the general public.

Monumental mosaics as places of memory in public spaces of Ukraine

Background. Modernist monumental mosaics as an intrinsic part of Soviet cultural heritage are ubiquitously present all over the urban environments of Ukraine. With rare exceptions, they remain predominantly unacknowledged as being valuable objects of cultural heritage. Many fine works of monumental art are already lost and others remain under constant threat. The precarious situation of modernist mosaics calls for a thorough reexamination of a complex situation with memory politics in Ukraine overall. The goal of this article is to explore the theoretical-methodological framework of memory studies for its applicability to the analysis of socio-cultural value of Soviet monumental modernist mosaics within the context of their destruction by the ongoing process of commercialization and decommunization of public spaces in post-socialist cities. The research objectives are to investigate the current status of modernist mosaics within contemporary Ukrainian heritage preservation discourse and conceptualize it within the memory studies framework. Methods. Case studies, narrative and textual analysis, interdisciplinary integration of cultural and memory studies, application of the "collective memory" approach, synthesis of "postmemory" and "places of memory" concepts. Results. Created by Ukrainian monumental artists of the Soviet period, modernist mosaics are already deeply embedded within the urban environment. Within the framework of memory studies, modernist mosaics may serve as 'places of memory' of that particular period of history and in that way contribute to its reinterpretation and further formation of the complete image of city memory and of inclusive memory politics of Ukraine. Conclusions. The theoretical-methodological framework of memory studies appears to be an appropriate tool for analysis of socio-cultural value of monumental mosaics. There is a necessity for further inquiries into this field and its further engagement in the development of Ukrainian heritage preservation discourse.

Monumental art in the urban fabric of St. Petersburg

The article examines the role of monuments in shaping the identity and aesthetics of St. Petersburg. It delves into the interaction between key works of monumental art from the 18th to the 19th century, scrutinizing their relationship with the urban environment and architectural landscape. Furthermore, it investigates their design intricacies and creation processes, ultimately elucidating their profound influence on the visual identity and character of the city.

The Legacy of Soviet Monumental and Decorative Art (on the Example of Tselinograd, Republic of Kazakhstan)

The development of virgin lands (also known as tselina – previously uncultivated or unexplored areas of land, which have not been affected by humans and are typically located in rural or remote regions) has not only boosted the economy but influenced the development of art in Kazakhstan, particularly in Akmolinsk (in 1961 it was renamed Tselinograd, the current name of the city is Astana). Muralists M. Antonyuk and V. Tovtin made a significant contribution to the artistic and aesthetic image of Tselinograd. The purpose of the study is to identify the role of Soviet monumental and decorative art in designing the aesthetics of urban space and to substantiate its historical and cultural value. In this study, the features of stained-glass windows, marquetry, and monumental mosaics of Tselinograd were analysed. Their value as works of art was analysed, the specificities of incorporating national character are described, and their influence on the cultural development of the city is explained. The level of skill of the artists, including the ability to “embed” the artwork in the architectural image of the building is emphasised. The uniqueness of the monumental mosaics of the Soviet period is proved. Conclusions are drawn about their role as agitation. The need to preserve the works of monumental art for future generations is emphasised. This is an important part of the historical period – thoughtless “modernisation” of residential buildings, indifference to and devaluation of the artistic and cultural heritage of the Soviet past are not acceptable.

Classification of the Human Image in the Eastern Halychyna Monumental Art of the Early 20th Century

Eastern Halychyna has always been a territory on the border between the cultural paradigms of the East and the West. At the end of the 19th - the first third of the 20th cen. this region became the center of the multicultural environment formation, where certain typological groups of anthropomorphic images were determined at the regional-provincial level. It was reflected in monumental art, in particular temple murals, stained glass and mosaics, as well as architectural decor and monumental sculptural plastic, such as monuments and plastic tombstones. The subject of this research is the characteristic features of the images of the Human in the interiors, exteriors and spatial environment of the cities, towns and villages of Eastern Halychyna of the Early 20th century. The relevance of this topic arises from the fact that, as a result of long-term silence, concealment and destruction, the artifacts of the outlined period have been introduced into scientific circulation only in the last three decades and require not only a final description and fixation, but also analysis and systematization, which have not yet been fully carried out. At the same time, the monumental art of that time developed on the basis of art synthesis, therefore there is actually a need to outline certain pictorial typological groups for their classification and more detailed study. The research method is the classification of the most characteristic images, taking into account the philosophical and aesthetic principles of contemporary anthropomorphic imagery and the artistic and stylistic features of the work of artists of the specified period. Main scientific issue is in the circulation and research of several little-known works of monumental art of Eastern Halychyna of the first third of the 20th cen. and the formation of several typological groups of human images as proposal for their classification. It is based on the analysis of the largest and most representative examples of the monumental art of Eastern Halychyna in sculpture and painting of that time. In conclusion three large typological groups were formed: biblical-mythological, historical (national)-symbolic and symbolic-impersonal images in the monumental art of Eastern Halychyna of the Early 20th century.

MONUMENTAL ART IN ARMENIA/MONUMENTAL ART, FRESCO PAINTING/

Armenian monumental art is the undisputed leader of the early medieval and medieval art of artistic culture, with its varieties. Armenian monumental art, as well as monumental painting - mural painting, are anchored mainly on Christian themes, which increases its artistic value even more. Modern Armenian monumental works, both monumental and mural, are inspired by the national traditions and customs of medieval art, why not also by thematics. However, often these things have relative independent significance, are the important dominant of the complex. Such works are distinguished by the depth of philosophical meditations on the world, the sublimity of man, and the primacy of the principle of imaging. Other types of works of Armenian monumental art do not carry high ideas and harmoniously decorate walls, roofs, facades and other surfaces in architecture, and border on decorative art with their architectural ornamental expressions (sometimes this direction is indicated by the term monumental decorative art). However, there is no strict boundary between these two types of monumental works of art. The history of Armenian monumental art testifies that our artists have stood at the intersection of three ways in terms of creativity: custom, rule, innovation. That is the reason why their art is not unambiguous and uniform, it is diverse and special. In the field of mural painting, the characteristic features on which modern Armenian art is based, with its inexhaustible artistry, stand out. Monumental art (monumental and mural art) has existed in Armenia for three millennia and continues today. It is not only progressive, but deeply in line with the pretentiousness of Armenian art, with clearly expressed tendencies of monumentality.

PERMANENTIZATION OF THE MEMORY OF INTERNATIONALIST SOLDIERS WHO DIE DURING LOCAL WARS AND MILITARY CONFLICTS OF 1950 – 1991 IN BELARUS: PROBLEMS AND PROSPECTS

The article is devoted to the problem of perpetuating the memory of warriers-internationalists in Belarus. The author consideres key practices of perpetuating memory: works of monumental art, opening and naming of urban infrastructure facilities (streets, squares, parks), holding nominal events. The author records the predominance of the "Afghan" theme in spite of the background of hushing up other military conflicts. Promising directions are marked.

The bassoon as a monument of musical culture: source studies

The article for the first time in Ukrainian historiography, museology and monumentology considers works of European fine art, where there is an image of a wind wooden musical instrument bassoon. Works of painting, graphics, works of monumental art (sculpture) are analyzed. This is a characteristic of the collections of bassoons in museums in Western Europe, the USA and Canada. Publications stored in the funds of the Vernadsky National Library of Ukraine, Yaroslav Mudryi National Library Of Ukraine, the National Historical Library of Ukraine, the National Scientific and Research Restoration Center of Ukraine were used. The expositions of the Bohdan and Varvara Khanenko National Museum of Arts (Kyiv), the Museum of Theatrical, Musical and Film Art of Ukraine (Kyiv), the State Yagotynsky Historical Museum (Yagotyn, Kyiv Region), as well as Internet resources of collections of wind instruments of a number of museums in Europe, the USA and Canada are analyzed. Materials from the personal archive and musical collection of the bassoonist, teacher in the class of wind musical instruments, soloist of orchestra V. Kepin (Kyiv) were involved. Based on the analysis, it was concluded that the Flemish artist Dеnis van Alsloot can be considered one of the first in European painting, which brought to our time the composition of wind musical instruments characteristic of the musical culture of Western Europe of the XVII century. In Ukraine, one of the oldest copies of the bassoon (1730s) is stored in the Museum of Theatrical, Musical and Film Art of Ukraine (Kyiv).

ИСТОРИЯ ОСУЩЕСТВЛЕНИЯ РЕМОНТНО-РЕСТАВРАЦИОННЫХ РАБОТ АРХИТЕКТУРНОГО КОМПЛЕКСА ДОНСКОГО МУЖСКОГО МОНАСТЫРЯ В 2013–2021 ГГ.

The article is devoted to the comprehensive scientific restoration of architectural monuments and historical necropolis located on the territory of one of the most famous monasteries of the country – the Donskoy Stavropegial men's Monastery. The problem of the preservation of stone sculpture (marble, limestone, sandstone, granite) in an aggressive acid-alkali environment, exposed to the open air is raised. It sets out the main restoration principles and methods applied to specific monuments, as well as lists the types of work consistently undertaken by restorers to save architectural objects on the example of the Old (Small) Cathedral, the Church of Michael Archangel (the Tomb of the Golitsyns), towers, a monastery bath of the XVIII century, as well as works of monumental art, artistic tombstones of the old Don cemetery. It is especially noted that many tombstones made by outstanding masters have given the Don Necropolis the fame of the Open Air Museum. The special value of his collection is emphasized, it is possible to study architectural styles, to learn Russian history, to study complexes of monuments of cult, civil, fortification architecture, objects of monumental art and archaeological heritage, as well as to explore the latest types and methods of restoration work. The restorers have been working diligently for many years to restore the entire ensemble. The information presented in the article may be useful for restorers-practitioners and historians- ethnographers.

Monumental art as a means of constructing historical memory in Soviet Ukraine

The article is devoted to the study of the construction of historical memory in the Ukrainian SSR by means of monumental art. The relevance of this problem in the context of Russia's hybrid war against Ukraine is emphasized, in which the existence of the Soviet model of historical memory in society has long been the subject of manipulation and serves the purpose of justifying aggression against our state. Since the narratives of historical memory require external manifestation in works of art and the creation of appropriate places of memory, the latter often become important components of state propaganda for the creation of a single concept of collective memory. Therefore, the main task of the study was to show the role of monumental art in the context of memory politics in Ukraine during the Soviet era and the mechanisms of its transformation into a means of Soviet propaganda. In the research process, the methods of content analysis of archival documents and art analysis of monuments of Ukrainian monumental art of the second half of the 20th century were used. As a result, it is proven that in Soviet Ukraine, monumental art turned into an important element of state propaganda, which aimed to create such a concept of collective memory, which would be included in the general structure of communist ideology and justify the existing socio-political system. Most of the works of monumental art were aimed at building a certain cult, primarily the cult of work and the cult of achievements of the Soviet government, the cult of the "primacy" of Soviet people in certain spheres. Around the greatness of past victories, which were the foundation of the image of historical memory, it was easier to unite a large number of people and form a new Soviet identity. Directing the creative energy of Ukrainian artists to the service of Soviet ideology became possible thanks to the establishment of totalitarian control over Ukrainian artists by state institutions, which often completely destroyed the original authorial concept of the works, but turned them into an effective means of forming a distorted construct of a collective perception of the past.

Female Representations and Presences in Romanian First World War Commemorative Art.

Art does not represent reality, but it can be an expression of it. Artists always used real-life experiences, including such events as revolutions, wars, etc. as a source for their works. At the same time, political and religious leaders used artistic, visual language for promoting their military victories or the supremacy of their power or faith. So, artworks, buildings, sculptures, or paintings were valuable tools for propaganda. Art can be used as a manifestation of political power or as a form of protesting against it. Sometimes artists were asked to represent abstract values like liberty, victory, peace, or the nation. In such circumstances, artists used the feminine form and not only because the notions were feminine nouns. Considering these general premises, my study explores the female representations and presences in Romanian First World War commemorative art. The study examines how the feminine form was used in the First World War monuments. The personification of abstract notions was examined, together with the presence of real feminine figures in this type of art, and Romanian women’s involvement in creating and sponsoring these kinds of monuments. In addition, the study intends to assess the impact and the extent to which people in general, and women in particular, resonated with these monumental works of art. The main sources for this approach were the public monuments built during the interwar period as part of the commemoration practices of the war. Given the context, reference is also made to other works of art having female representations, created by the same artists who created the monuments under review.

Memorial line in works of monumental art and modern commemorative project in the city of Novosibirsk

Memorial line in works of monumental art and modern commemorative project in the city of Novosibirsk

VISUAL WORLDS OF Y. LYSYK

Contemplating the works of monumental art that surround us in everyday life, you always see the numerous sculptural decorations of Lviv houses, carefully look at the wall paintings of temples, catch the glare of coloured stained glass windows. And the city itself, which has not been subjected to crushing destruction, not only has a considerable number of monumental architectural objects but also acts as a large complex representing the philosophy of different historical periods of society's existence. We see all this almost daily. However, visiting the theatre is always an extraordinary event. You will be especially lucky if the performance is accompanied by scenography developed by the artist Yevhen Lysyk. His style reflects the ideas of the fashion trend of the second half of the twentieth century – postmodernism, which rejected the ideas of rationality and progress and professed to blur the boundaries of artistic genres and interpretive thinking. It erased the boundaries between mass and elite cultures, between the author and the viewer, and plunged into the world of sensations, game and irony. The style of monumental paintings and scenography performed by Y. Lysyk never conveys anything literally. These are the worlds of philosophical worldview, which was reflected in the metaphorical, symbolic, deep-meaning and hyperbolized transmission of images. The main idea is always hidden and does not open immediately. By watching the performance and immersing oneself in it, the viewer emotionally experiences the stories of the characters not only through the performance of the actors but also receiving a visual sensory impulse from the artistic design of the stage. So, a conceptual principle of Y. Lysyk is an idea that art does not reproduce reality, but expresses its essence. The design of the scene should evoke emotions, and should not be taken literally, so visual images through transformation (mimesis) always express a deep philosophical thought. The prototype of scenographic works is often nature, illustrating Leonardo da Vinci's statement that art is a mirror of nature. Y. Lysyk's works are characterized by his attitude to the depicted, a deeply emotional, passionate, and personal attitude. The main idea of the play is expressed by revealing the meanings that are hidden in the visual worlds of Yevhen Lysyk, which is complemented by the libretto and the actors' performance

Development Of Oriental Art

The article examines the early and middle periods of the visual arts of the East. First of all, these are monumental works of art from ancient times, including frescoes found near Samarkand and Dalvarzintep, as well as the works of the great artist Kamoliddin Behzod.

Innocent X Pamphilj's Architectural Network in Rome

This study employs network analysis and microhistory to challenge the standard narrative about architecture and patronage in Baroque Rome, that of celebrity patron-artist relationships. It investigates the artists and artisans below this elite team and the plurality of relationships that developed among them. The subject is Innocent X Pamphilj's monumental works of art and architecture, at the Vatican, Piazza Navona, Campidoglio, Lateran, and Janiculum Hill, commissioned for the 1650 Holy Year. It argues that competent artisans and their relationships influenced the operation of building sites and presents Innocent X as the patron of an industrious architectural enterprise.

THE CORE AND PERIPHERY OF THE CURRENT CULTURE OF ARTISTIC CREATION ABOUT THE GREAT PATRIOTIC WAR IN THE STUDENTS’ VIEWS

This article analyzes the degree of demand for works of art (films and television films and series, literary and musical works, works of monumental art) associated with the history of the Great Patriotic War among contemporary students. This research is based on the combination of two theories, which study the dynamics and statics of culture in the society — the theory of the nucleus and periphery by Yu. M. Lotman and the theory of actual culture by L. N. Kogan. The four waves of research (2005, 2010, 2015, 2020) by the Russian Society of Socio¬logists (ROS) have revealed a series of works in various genres on this topic in the core structure and on the periphery of the current student culture; this has also allowed tracing the dynamics of demand and the “movement” of these works in the sociocultural space. The authors introduce the concept of the archetype of the echo of war. The high student recognition of works of all historical periods (from wartime to the present day) is shown. A significant complex of works has been identified, forming two contours of the periphery. Attention is drawn to the artistic work of contemporary students as a way to preserve the historical memory of the Great Patriotic War. This article explains the necessity of preserving the layer of national culture in order to reproduce the national identity in the conditions of informational and ideological pluralism of the post-Soviet period. The authors note the differentiation of youth due to the conditions and specifics of socialization in the polysemantic sociocultural space.

Graeco-Roman and Byzantine traditions in the miniature of the Arab Middle Ages

A comparative analysis of the Middle Eastern art monuments from different epochs urge the assumption upon us that colourful murals, reliefs and mosaics of palaces, religious and public buildings, just as the illustrated Greek, Latin and Syrian scrolls and codes, created in distant and recent the Western Asia pre-Islamic past or in the early centuries of the Caliphate, served as a kind of breeding ground for the development of a new art form for the Islamic world – a book miniature. In the works of monumental art of the city-states of pre-Islamic ancient Syria and Mesopotamia, traits are found that allow us to see in the heritage of the different art cultures of the ancient and early medieval Mediterranean and the non-Mediterranean Hellenized East not only a cradle, but also schools of Greco-Roman and Early Byzantine miniatures that complement and decorate texts of the ancient manuscripts. With the absorption of these regions by the Caliphate and the development of the medieval Islamic civilization, these schools, next to the vivid and developing art of Byzantium, became sources of knowledge and skill for the designers of Arabic manuscripts. The design of Greek, Latin and Syrian codes, along with the illustrations in the text, inspired the inclusion in the Arabic manuscripts of the frontispiece with the "portrait" of the author (or authors) of the book, and 'the dedication picture' – that were the separate miniatures glorifying the patron or the crowned addressee of the book in allegorical form. Over time, the style of Arabic manuscripts had lost the visible connection with both Greco-Roman and Byzantine prototypes. However, the acquisition of their own stylistic devices, methods and norms did not mean either a final deviation or a complete denial of lessons of the classical book painting. In one form or another, their contribution in Medieval Near Eastern arts was also manifested in the later illustrated Arabic manuscripts, although now at most they were oriented toward the models and ideals of Iran and Eastern Asia.

Spirit of Place and Nation Building: Kosovo and Bosnia from Imperial to Post-Communist Times

During the period of nation building, the spirit of place (genius loci), attributing uniqueness to specific locations and ascribing to them close attachment to the nation, became a central vehicle for defending and appropriating territories and even for establishing a diaspora in exile. It was evoked through discursive practices reminiscent of religious rhetoric and around monumental works of art, thereby staging history as mythical sacred theatre. The process of establishing imagined national geographies during the long period of nation building from the nineteenth century to the post-communist period is analysed in comparative perspective in two multi-religious and multi-ethnical regions in southeast Europe—Kosovo and Bosnia. The leading question I will try to answer is why the Field of Blackbirds in Kosovo was successfully established as a national holy place in the collective memory of the Serbs, whereas similar efforts in Bosnia did not result in inscribing mythic places into national memory.