Russian Style Research Articles

Architecture of the Far East in the first third of the XX century

The architecture of the Enlightenment is considered as a derivative of the architecture of the Far Eastern frontier, which consists of garrison and railway buildings. The article analyzes the projects of Far Eastern schools and colleges first identified in archival funds. To explain the phenomenon of “Russian style” schools, the author puts forward a version of the existence of a corporate “railroad Russian style” uniting a number of buildings from 1900 to 1926. Repeated elements speak of a plan, which was realized during a quarter of a century. The railway schools of the CER can be considered together with the Far Eastern railway stations as an integral part of a single ensemble.

New Russian style and features of its implementation in modern culture

History constantly alternates between periods when the general, the universal, and the non-national, and then the specific, the local, and the unique become relevant. The most striking example of the change of such eras was the boundary between the Enlightenment and Romanticism: during this period, faith in the universality and generality of reason, the desire for the universal, and the rejection of traditionality gave way to a passion for ethnic uniqueness, emphasizing the special significance of the peculiarity, emotionality, and beauty of ancient folk history. The article describes the new Russian style and examples of its implementation in various forms of culture.

Stylistic features of the development of Muravyov-Amursky Street in Khabarovsk in the pre-revolutionary period

The work presents a systematic picture of the development of the historical core of the architectural ensemble of the central main street of the city of Khabarovsk - Muravyov-Amursky, which was formed during the second half of the 19th - early 20th centuries, and is currently of absolute interest from the point of view of studying the history of regional architecture of the pre-revolutionary period associated with the economic development of the eastern outskirts of the Russian Empire, the construction of new cities and settlements and the creation of transport infrastructure that connected the Pacific region with the central part of the country. The study was based on materials obtained by the authors during the study of scientific and local history literature, Internet resources and archival searches, as well as their own field surveys of street development. As a result, the stylistic and space-planning characteristics of the buildings and structures included in the ensemble, determined by the specifics of the development of the city and its architectural and construction complex, were considered. The study showed that the status of Khabarovsk as the administrative center of the Amur Governor-General and, as a consequence, the presence in it of three categories of customers: the city administration, the military department and private merchants, as well as the characteristics of local building materials, determined the typological and form-creative diversity of the ensemble of the central street of the city , which developed during the period under review in four stylistic systems: Russian style, retrospectivism, “brick” style and modernism. The authors identified a range of problems of interaction between historical buildings and new construction objects, which are actively being introduced into the urban fabric and changing the perception of the cultural landscape of the city.

Культурный код в пространстве современного человека, русский стиль — истоки дизайна

The study examines areas of modern design in which the traditions of Russian art are preserved — folk or national clothing, artistic crafts and analyzes ways of rethinking, transforming or using unchanged cut, ornament, painting, texture, related to the authentic characteristics and recognition of the Slavic or Russian style. The study relates to ways of preserving Russian traditions — in fashion, historical reconstruction, costume festivals and folklore groups. The paper provides links to the works of F.M. Parmon and showcases models of a collection of costumes from fashion shows and stage images by V.M. Zaitsev for folklore groups. The research highlights the works of some Russian and foreign clothing designers, inspired by examples of Russian art. The authors display examples of the use of paintings and decorative art in modern designer accessories, jewelry and household items and analyses the features of the approach to preserving historical samples — reconstruction, exact copying, repetition with minor differences or stylization as an authentic sample. The paper has studied approaches to the creation of modern accessories, involving the production of modern versions of original headdresses while maintaining the technological approach to manufacturing, yet with a slight variable change in shape and design. The study issued in thorough consideration of almost all existing options for the presence of Russian art in an unchanged or transformed form in the space of modern man.

THE RUSSIAN STYLE OF THE MASTERS OF THE ABRAMTSEVSKY CIRCLE: FROM THE THEATRICAL STAGE TO THE SUBJECT-SPATIAL ENVIRONMENT

This article is devoted to the issues of the inextricable connection between the development of the Russian style in the interiors of the late XIX-early XX century with innovative finds in the theatrical and decorative activities of the masters of the Abramtsevo circle. The creative universalism of the Vasnetsov brothers, Korovin, Golovin and Vrubel marked a new stage in its development, which was called the “neo-Russian style” due to the appeal to a wide range of primary sources of borrowings to create author’s interpretations of the subject-spatial environment. The behind-the-easel activities of a new generation of bright individuals resulted in a variety of artistic works in different types of art. Theatrical decorations and furniture, menus and stage costumes, interior items and jewelry, vases and tiles, stoves and fireplaces, panels and sculptures, textiles and lighting fixtures, sketches and monumental cycles of their authorship have remained reference works in the history of Russian artistic culture. For them, the stage became a place for the realization of a total synthesis of arts, an integrated approach and testing of creative solutions that extended to residential and public interiors. In turn, the audience perceived theatrical productions of operas by N. A. Rimsky-Korsakov, M. P. Mussorgsky, M. I. Glinka as a showcase and advertisement of the Russian style, which led to the expansion of the typology of furniture, the repertoire of architectural and decorative motifs, formative approaches and finishing options. The subject of the author’s consideration was the transformations initiated by the above-mentioned masters in order to spiritualize the surrounding reality, which equally enriched both scenic spaces and interior practice in the era of symbolism and modernity.

Dealing with unique minerals in petrophysical logs

Most petrophysical equations and methods are designed to deal with hydrocarbons found within mineralogies, such as quartz and feldspars or calcite and dolomite. Petrophysical tools and techniques have also largely been designed to investigate rocks containing these minerals. Hence, when log analysts encounter a field containing unique mineralogies, determining an appropriate petrophysical evaluation process for such unconventional reservoirs can be a challenge. In this paper, we aim to discuss our learnings using two unique case studies. The first is a well which had intersected opalines and logged with conventional modern “western style” tools. The second is a well which has intersected tuffs and volcanics and which was logged with older “Russian style” tools.For opalines, we discuss the potential mineral signatures observed on the well log data and the reservoir potential of the rocks. We find that the unique microporous structure created by opal-CT microspheres/lepispheres, combined with either fracture or matrix-porosity dominant properties, potentially allows for storage of hydrocarbons within the rock. Hence, we hypothesize that opaline reservoirs could be classed as “Low Resistivity Low Contrast” (LRLC) pay and should not be glossed over just because typical hydrocarbon indicators are not seen.For tuffs and volcanics, we first share some of the challenges faced and methods used in conducting modern petrophysical interpretation with data from older Russian-style logs. Again, we discuss the potential mineral signatures observed on the logs and look at properties such as pore throat radii, size, and mineral composition and how that affected reservoir potential. Our findings indicate that the distribution of pore sizes allowed for greater connectivity within the rock, where the pore geometry effects aided in low residual oil saturations.

Православное храмостроительство на территории современной Литвы в начале ХХ в.

The publication is devoted to a previously unexplored topic - the late Orthodox church building on the territory of modern Lithuania. It is based on unpublished materials from the Lithuanian State Historical Archives, as well as the Russian State Military Historical Archive, Kaunas Regional State Archives and local periodicals. The article contains a significant number of new attributions, the vast majority of churches and the names of architects were introduced into scientific circulation for the first time. The biographies of the largest builders of Lithuanian churches in the early 20th century are given – Diocesan architects M.M. Prozorov and A.A.Shpakovsky, the names of other architects of the Vilna diocese are established. The mechanisms of financing the construction of churches, mainly state-owned, with the support of the Peasant Land Bank, the composition of parishioners - in rural areas - Orthodox peasant settlers, in cities - Russian officials, military men, merchants, are considered. The special importance of resettlement (on the lands confiscated from Catholics), military, and station churches is considered. The style of temple building within Lithuania corresponded to the general imperial one: the dominance of the Russian style (Thon, Moscow-Yaroslavl, neo-Russian) and the presence of the Byzantine style. The long-term use of the style of K.A. Thones, the lack of local funds for construction, the proximity of the prerequisites for the construction of churches and their style in Lithuania and Belarus, and the difference from the situation in the territory of modern Latvia (except Latgale) and Estonia.

The transformation of propaganda: The continuities and discontinuities of information operations, from Soviet to Russian active measures

ABSTRACT This article focuses on the transformation of Soviet Cold War propaganda into the contemporary Russian information operations, bringing together two distinct periods characterised with the rise of new and sophisticated techniques. By comparing propaganda instructions in KGB manuals and the practices of the propagandists behind the 2014–2020 Secondary Infektion campaign, we find out what of the “analogue” Cold War propaganda remains in the present-day computational propaganda and how exactly Soviet propaganda techniques evolved into the new mediascape. This highlights both strong continuities of methods and techniques and certain discontinuities. Our analysis also contributes to the understanding of the very concept of propaganda, singling out such aspects as covertness, negativity, and inauthenticity as especially ingrained features of the Russian style of propaganda that are also regrettably often overlooked in generic definitions.

КОМПОЗИЦИОННЫЕ ОСОБЕННОСТИ АРХИТЕКТУРЫ РУССКОГО СТИЛЯ ГОРОДА ВОРОНЕЖ

The article outlines the role and significance of the period of the Russian style in the historical development of the city of Voronezh. The stages of the development of the Russian style from the middle of the XIX – early XX centuries in the city of Voronezh and their characteristic regional features are considered. For the first time, a comprehensive analysis of the architectural buildings of the Russian style of Voronezh is carried out to identify the techniques of spatial composition, architectural planning solutions, compositional construction and artistic methods of facade design. Particular attention is paid to stylistic, compositional and morphological analyses of architectural details of building facades and decor. The research of the composite structure of facades is based on the scientific methodology developed by S.V. Sementsov, which allowed to analyze the facade construction system and present a comparative analysis of two periods of the development of the Russian style. The compositional principles of the axial construction of facades, the analysis of rhythm and meter, the breakdown of the facade into horizontal and vertical divisions, the location of plastic decor and the choice of color solutions are described. Then, on the basis of the theory of architectural forms, a morphological analysis of the architectural decor of buildings was carried out: crowning elements, window and door frames. The characteristic facade forms for the architecture of the Russian style of Voronezh are revealed, the variants of their layout and the varieties of building materials used are analyzed.

ПРОСЛАВЛЕНИЕ ИВЕРСКОЙ ИКОНЫ БОЖИЕЙ МАТЕРИ В АРХИТЕКТУРЕ (НА МАТЕРИАЛАХ ОРЛОВСКОЙ ГУБEРНИИ)

The purpose of the article is to consider the features of the glorification of the Iveron Icon of the Mother of God in the architecture of the period of the Grand Ducal Couple Sergei Alexandrovich Romanov and Elizaveta Feodorovna Romanova. The article describes the history of two architec-tural projects to glorify the Moscow shrine – the Iveron Icon of the Mother of God, embodied with the partici-pation of the Moscow Governor-General, Grand Duke Sergei Alexandrovich, Grand Duchess Elizabeth Feodorovna, as well as representatives from their entourage. The significant contribution of Grand Duke Sergei Alexandrovich to the development of the "Russian style" in architecture is mentioned, and individual architects and engineers – to its popularization in the Russian province. The decisive role of the Moscow Governor-General, Grand Duke Sergei Alexandrovich, in the creative fate of some architects and engineers is traced. The methodology of studying this topic includes a number of stages and approaches, which may vary depending on the specific task in the study. As a result, the author concludes that the spread of the "Russian style" in the regions of Russia was due to the state patronage and the highest support of this architectural direction.

“Russian style” by Evgenia Kirichenko

The review of the book “Russian style” by Evgeniya Kirichenko (BuksMArt, Moscow, Russia, 2020) draws attention to the lasting relevance of the research on the historical and artistic processes of 1830s–1910s in Russia conducted by this prominent Russian historian of art and architecture.

Russian style in a modern design model. Experience of genre allusions

Russian style in a modern design model. Experience of genre allusions

«Russian style» in the interpretation of modern Russian creative jewelry workshops: the development or preservation of tradition

«Russian style» in the interpretation of modern Russian creative jewelry workshops: the development or preservation of tradition

«ЛАРЕЦ ИЗ УРАЛЬСКИХ САМОЦВЕТОВ». ОБРАЗ, МАТЕРИАЛ И ФУНКЦИЯ В СОВЕТСКОМ КАМНЕРЕЗНОМ ИСКУССТВЕ

Russian stone-cutting art of the soviet period represents a relatively new field of art historical research related to issues of style and image of works. The article is dedicated to the analysis of those questions on the one example from the assortment of the Sverdlovsk-based factory “Russkie samotsсvety” (“Russian gems”) of the 1940s–1960s. On the base of the unpublished archival documents and a large choice of the art works discovered in the museum collections in Russia and abroad the article covers the following issues — formation of the type of casket (laretz) under the influence of the post-war interest in the heritage of ancient Russian art which reflected the impact on the artistic search of the early 20th century “Russian style”; a number of technological details, the choice of materials, including expanding the palette of colored stones used, as well as its actual narrowing; gradual minimization of the precious stones decoration; market aspects of production. For some of the works in this publication, attribution information is provided for the first time. Particular attention is paid to the circulation of objects on the international art market, as well as the use of caskets as diplomatic gifts from Soviet government to foreign leaders in the 1950s. In conclusion, a reasoned correction to the established attribution of works is proposed.

Russian style in theatrical wooden architecture of the second half of the XIX century

Russian style in theatrical wooden architecture of the second half of the XIX century

MONGOLIAN MEDICAL EDUCATION: THE PAST, PRESENT AND FUTURE

The ancient traditional system of medicine and medical education has a long history of several hundred years, whereas it has been merely 80 years since modern medical education developed in Mongolia. Beginning in the 17 th century when Mongolia was under the rule of Manchu Qing dynasty and had suffered for over 220 years, a Mongolian traditional medical school named Mamba Datsan was founded and has been developing ever since. In 1911 the National liberation movement abolished Manchu ruling and the nation stepped onto the path towards independence. As Manchu Qing dynasty laws and rules were abandoned, Manchu Tibetan script fell out of use and monasteries were closed down, the country’s shift into a new system caused the old system of medical education to be demolished and altered. In 1921 People’s revolution won in Mongolia, feudalism was abolished and Soviet style culture started flourishing. Overcoming obstacles is a difficult and a time consuming challenge while transitioning from an old system to a new one. Through the relations built with the USSR, the first steps were built for Europian Medicine and the Europian Medical Education [EME] system started to pervade. In specific, preparation of junior physicians and nurses commenced in Mongolia. In 1942 the government of the Mongolian People’s Republic made the historically pivotal decision to found National University of Mongolia (NUM) with three faculties including Faculty of Medicine . Initially the Faculty of Medicine had a shortage of teaching staffs, textbooks, laboratories and other resources, but thanks to the contributions made by Russian teachers the Medical Institute of Mongolia (MIM of) became an integral part of the curriculum. This is how the contemporary medical education system developed in Mongolia scince 1942 until 2022. By starting to select and train the first graduates as the teaching human resource base by 1942-1961, the faculty of medicine stood on its feet as an independent Medical Institute of Mongolia . At that time Russian style curriculum for preparing physicians was still being used. In 1990, the Medical Institute of Mongolia expanded and became the Medical University of Mongolia (MUM). From the founding of NUM and until mid 1990s, MUM single handedly fulfilled the role of preparing generations of medical doctors in the healthcare system in Mongolia.

Станция метро «Комсомольская-кольцевая»: рождение замысла

As part of the study “Komsomolskaya-Koltsevaya Metro Station. The project of architect A.V. Shchusev”, the authors investigate the birth of the idea of one of the best Moscow’s metro stations. Komsomolskaya-Koltsevaya is considered as part of the urban-planning ensemble of Komsomolskaya Square and as a kind of continuation of the architectural ensemble of Kazan railway station. The station was dedicated to the victory in the Great Patriotic War and was created in the Russian style, reflecting the rise of the national consciousness of the winners. This dedication also left an imprint on its architecture and decoration. The Russian-style pro­jects brought Shchusev fame even before the October Revolution. After the revolution, the architect turned to this direction again in a number of his works, the last of which was Komsomolskaya-Koltsevaya. Shchusev's participation in the creation of the Moscow Metro since the 1920s has also been considered, a number of metro facilities co-engineered by Shchusev have been identified. The new data present a completely different picture of the early metro station design.

Александро-Невский собор в Таллинне – памятник русского стиля в Эстонии

The article is devoted to the most significant church building in the Baltics at the end of the 19th century - Cathedral of St. Blessed Prince Alexander Nevsky in Revel (Tallinn). The semantics of the dedication of the temple and its architectural and construction history are considered in the context of church architecture of the Russian Empire in the late 19th — early 20th century and the political course of Emperor Alexander III, known as Russification. The initiator of the construction of a declaratively Russian imperial structure in the center of Revel Vyshgorod (Toompea) with its predominant medieval German architecture was the Estonian governor, Prince S.V.Shakhovskoy, through whose zeal the construction acquired all-Russian significance. The cathedral is one of the most striking works of the Moscow-Yaroslavl version of the Russian style within the boundaries of the former Russian Empire and the most important in the work of the outstanding master of this style, architect M.T. Preobrazhensky. The cathedral, which has never been devastated, despite attempts to close and rebuild it in the 1920s-1940s, still preserves unique Russian-style interiors in terms of safety and integrity. They allow us to present the style of works known in the early twentieth century masters: A.N.Novoskoltsev, Abrosimovs; most of their other works were destroyed during the anti-church persecution in the USSR. The topic of the article is related to the author's previous publications about the architecture of the Puhtitsa Holy Dormition Monastery and Orthodox church building in Estonia.

Специфика интерпретации Н. А. Бердяевым творчества Н. В. Гоголя

The perception of the Russian character by foreigners can be formed on the basis of fundamental texts of Russian literature and publicism, which are characterised by the comprehension of the Russian character. The aim of the research is to identify the specifics of N. A. Berdyaev’s interpretation of N. V. Gogol’s creative work. Scientific novelty of the research lies in identifying the focus of N. A. Berdyaev’s philosophical interest in the interpretation N. V. Gogol’s texts. The research findings have shown that N. A. Berdyaev’s interpretation of N. V. Gogol’s texts is determined by both a turning point in Russian history and the philosopher’s specific attitude to religion; N. A. Berdyaev’s understanding of the Russian style is based on the comprehension of social and spiritual ailments of the Russian intelligentsia, which the philosopher extends to the entire Russian people.

Margarita N. Kozhina’s Way in Language Studies

This article presents a scholarly biography of Margarita Kozhina (1925–2012), the founder of the well-known Perm School of Stylistics and professor at Perm State University. She developed the theory of functional stylistics, which revealed and described the regularities of stylistic differentiation in literary Russian. In the early 1960s, Kozhina was one of the first researchers in Russian linguistics to study issues of language functioning and form a new scholarly direction, namely speech studies. Based on an interdisciplinary approach, she defined the main categories of functional stylistics. The latter was regarded as the most important component of speech studies. Kozhina’s papers organically entered the episteme of the second half of the twentieth and early twentyfirst centuries. They marked the turn of linguistics from the system-structural paradigm of studying language to the functional one. Kozhina developed the stylistic-statistical method of speech analysis. A statistical survey of the linguistic side of functional styles allowed her to make conclusions about the interaction of linguistic and extra-linguistic factors in speech. Kozhina authored more than 200 scholarly publications, including 8 monographs and the first Russian textbook on Russian-language stylistics. She was a member of the International Committee of Slavists and the editorial boards of several scholarly journals, including Stylistyka (Poland) and Styl (Serbia). The article describes Kozhina both as a prominent theorist and a remarkable organiser of scholarship. She initiated 20 collections of academic works on stylistics, some international conferences, a three-volume collective monograph on the history of Russian scholarly style from the eighteenth to the twentieth centuries, and the first Stylistic Encyclopaedic Dictionary of the Russian Language (a compendium of knowledge on functional stylistics). The author describes Margarita Kozhina as a talented researcher and an unusually strong personality, who managed, having overcome dramatic circumstances, to make an important contribution to European studies of language.