Artistic Taste Research Articles

About the Turkestan exhibition of V.V. Vereshchagin (based on the article in the magazine «Family Parties»)

In the article we talk about the review of the fi rst personal Vasily Vereshchagin’s paintings exhibition, that was devoted to Imperial Russia's Central Asian territories and held in 1874 in St. Petersburg. Vsevolod Krestovsky, the well-known fi ction writer, journalist and a contemporary of Vasily Vereshchagin, offered his understanding of the life of the Asian people reproduced by a talented painter who begins the triumphal march around the world. Vsevolod Krestovsky's review is fi lled with both enthusiasm for the mastery of the artist’s work and criticism about the desirability of detailing the representation of the exotic world. Taking into account the importance of the exhibition of Vasily Vereshchagin's canvases for the development of the artistic taste of the younger generation, Vsevolod Krestovsky, nevertheless, did not fail to note the dubious nature of the detailing of the battle,often causing confusion and possible false conclusions from the viewer.

КІНСЬКА ЗБРУЯ ТА УПРЯЖ КІНЦЯ ХІХ – ПОЧАТКУ ХХ СТОЛІТТЯ І. П. ЧОРНОГО У ФОНДОВОМУ ЗІБРАННІ НАЦІОНАЛЬНОГО ІСТОРИКО-ЕТНОГРАФІЧНОГО ЗАПОВІДНИКА «ПЕРЕЯСЛАВ»

The purpose of the study of this article is to highlight the history of the discovery of horse harnesses and rig at the end of the nineteenth and early twentieth centuries, and their characteristics. That objects belonged to Chorniyfamily from Kiev and were transferred in 1979 to create an exposition of museums. Presently, the items of horse harnesses and harnesses from the stock collection NHER «Pereyaslav» are exhibited in the museums «Postal Station», «Museum of the National Land Transport of the Middle Dnieper».These museums are located on the territory of the first Museum of Folk Architecture and Life of the Middle Dnieper, established in 1964 in Pereyaslav-Khmelnytskyi city and is the part of the National Historical and Ethnographic Reserve «Pereyaslav». This collection has been gathering for decades. Mikhail Zham (1927–2002) was an ideological inspiration and active collector of horse harness and rigs. Among the large number of horse ruminant, which is in the exposition of museums, there are 25 harnesses and rigsof I. Chorniy. At the beginning of the twentieth century Ivan Chorny, like his father was. I. Chorny, was engaged in camping, had a camping and caravan artillery, a large collection of vehicles, horse harnesses and rigs. Horse rigs – a collection of items for harness, as well as a way to harness them. Rigs should be distinguished from harness, which is a more general term and includes both objects and accessories for harnessing, and for hanging horses and other animals (for horseback riding, or the use of pets). Among the items (harnesses and rigs) belonging to the Black family are: Yoke – a cervical part of a horse's rigs, through which the weight of the transported cargo is transmitted to the horse's neck. There are four in their collection. The arc is a part of a horse's rigs from a bent trunk of a tree, which serves to attach a hawk (one of the two poles, attached to the ends of the front of the car's vehicle) to the yoke. There are three of them. Squares – a long belt, a rope, etc., by which horses are ruled, fixed on both sides to the bridle. The stock collection consists of four units of the box. Bridle («knot») – a piece of harness, which is worn on the animal's head to control it. The collection consists of five pieces of bridles. Breast-bandis a long belt that covers the horse's body and holds the band from slipping around the neck, for example, during descent from the mountain, braking. The collection has four units. Сherezsidelko- a strap that passes through a saddle from one hole to the other, supporting them. Saddle – a part of the rig, in the form of a pillow, which is enclosed under the cherezsidelko. Serves to convey force on the back of a horse. There are 3 of them in collection. Attention is focused on the features of manufacturing, material, technology, and the analysis of harnesses and rigs were made. Also, authors focus on the fact that, depending on the used harness, rigs are divided into: «holobelʹno-postoronkovyy» harness, sidewalk harness; a combined harness. An overview of the declared assembly, analysis of the species, typological, structural features of the horse harness, the comparison of these elements, shows that the samples presented in it are the same type of design, material, technology and characteristic of the entire territory of Ukraine. At the same time, some of them are distinguished by the original artistic decoration, which is a manifestation of the preferences and artistic tastes of the masters who made them. The horse harness and rigs of Chorniy family organically complements the structure and subjects of the exposition of the Museum of National Land Transport and the Museum «Postal Station» of the National Historical and Ethnographic Reserve «Pereyaslav».

Common and Special Features of the First School of Drawing in Albania and the First School of Applicative Arts in Kosovo

Abstract This article tries to give a vivid frame of the historical background of the development of figurative art in both sides of Albanian boarders, thus that of Kosovo and Albania, as a unique belonging of the same national features. It is represented through a historical and theoretical background so that to show the roots and the layers of the development of art in Europe, which is in all senses the impact Albanian art, but not only has taken from. Pure and concrete examples of Albanian painters of the very first generation and as an inspiration to what follows later, are given to demonstrate the will and need of Albanian society to cultivate artistic tastes.

Publitsystyka Kostiantyna Rodyka v konteksti suchasnoi knyzhkovoi zhurnalistyky

The paper seeks to develop new avenues for a study of book journalism. Specifically, it deals with a problem of institutionalization of book journalism as a self-sufficient thematic direction in contemporary cultural journalism. More specifically, the article aims to explore a publicism of Kostiantyn Rodyk, the well-known Ukrainian cultural journalist formerly a book journalist. He is the former editor-in-chief of one of the most professional specialized magazine Knyzhnyk-Review (2000―2007s), the television and radio presenter, the founder and top manager of the annual National book rating Knyzhka Roku, columnist of the newspapers Den’ and Ukraina Moloda, author of the book series Ukrainian Best. Knyzhka Roku, some non-fiction books Actualna Literatura and Sizif XX. Knyzhka vs. polityka. The latter feature numerous essays dealing with actual publishing and literary process in Ukraine. We show that combined in one book; it created continuous nonfiction (publicist) meta-narrative or nonfiction (publicist) meta-text. The latter makes it possible to distinguish the most specific features of quality book journalism. The paper attempts to define concepts of the «book publicism» and «book journalism», highlight differences between book journalism and literary-critical journalism. The author proposes to consider book publicism as a generalized phenomenon uniting both texts and the process of their creation. On the contrary, we argue that book journalism is one of the possible mediatized practices. It is a discourse that implies both the creation and the public reflection on the products of journalistic activity. In the course of the textual analysis of publicism works of Kostiantyn Rodyk, we have identified essential features of his book, non-fiction criticism. Those were: a broad subject (so-called «book culture»); socio-communicative approach to comprehension of literary and publishing artifacts; multi-functionality (informing about new books and literary works by the Ukrainian and foreign authors as well as publishing houses; criticism; creating culture; worldview, aesthetic and artistic tastes shaping and so on); hypertextuality and cross-mediality; preference given to genres such as essay and review; masterful use of expressive stylistics and linguistic means of popularization of knowledge. We conclude that such specific features can be considered as criteria for quality book journalism, a benchmark for mastering creative writing about the «world of books». Key words: publicism, book journalism, literary criticism, Kostiantyn Rodyk, literary and publishing process, essay.

THE BUSINESS OF ART. THE MARKET FOR ART IN NETHERLANDS IN 17TH CENTURY

The art market is a system by which the artwork reaches the public - collectors, museums, public institutions. Thus, the artwork becomes “merchandise” and its journey begins in the artist’s workshop and ends by being shown to the public. During centuries, the art market has registered many changes, according to different factors, such as: political regimes, economical and social crises, artistic tastes of the collectors. Until the 16th century, the public of the artwork was the church, the royal families or the aristocracy; in time, the work of art gained a wider audience. At the beginning, the transactions on the art market were made between the artist-producer and the commissioner-buyer. The market evolved and between the artist and the commissioner have interfered other persons or institutions such as the merchant, the dealer, auction houses, galleries. There are collectors in the history of art that started from the idea of making their own collections, building up powerful empires that promote and sell artists and their works. Depending on centuries or historical moments, the “rules of the game” have changed, and the evolution of the art market has led to the evolution of collective and individual perception of the artwork. As the rules and principles of the actual art market begun in Netherlands, in 16th-17th centuries, this article intends to study the historical context that has led to the evolution of the art market.

On the question of technical features modern bayan-accordion

The purpose of the article – related to the coverage of historical preconditions the emergence and evolution of the bayan-accordion structure and its technical capabilities, repertoire and composer currents. The research methodology is the application of arts studies, culturological and biographical approaches and a few methods: historical and typological – which is associated with problems the historical formation of the phenomenon through the prism of the instrument’s evolution in its modern modifications; functional – which makes it possible to outline the amplitude of artistic and expressive, technical and timbre-acoustic qualities in conjunction with the accumulated arsenal specifically-performing means which enable involvement today to the repertoire of bayanist countless pieces of music different directions and styles, with consideration even fundamentally opposite artistic tastes. The scientific novelty is determined by the analysis of the technical condition of the bayan-accordion in the light of modern instruments and repertoire. Conclusions. The outline genre varieties of the repertoire (processing of folk songs, transposition of the world musical heritage, work of the baroque era, variety music) modern bayan-accordion, obviously, can be freely replenished with works other stylistic trends of the twentieth century (neoclassicizm, neoromantizm, neofolkloryzm, etc.). Therefore, intensively progressing repertory policy of the individual – is a modern, original academic music. The rapid evolution – from the amateur harmonica of the XIX century to the ready-elective multi-timbre concert instrument second half of the XX century, reflected in the repertoire of the artist, directly affecting the quality of concert programs. Today, when the tool parameters allow to operate freely any available in musical arts style, we are inclined to the definition of academician Mykola Davydov: «modern bayan has a significant potential of timbre and acoustic capabilities, which have not yet been fully revealed in the composer’s neither in the performing, nor in engineering designer inventive practice» [2, 14].

Pun in the Poetry of the Mamluki Era and it is Effect on Intensifying the Meaning

Pun is regarded as one of the sophisticated and most important art of eloquence and the higher in rank. It depends on the ambiguity in meaning in a way that the intended meaning is referred indirectly. It was highly used by the poets during the Mammalia era in a way that they were well known for using it and we rarely see one of their poets that do not use it in his writing. Choosing this period in particular was because they used pun a lot in a way that they were highly known for using it till the point that it became a characteristic of their poetry. The poets competed with each other in using pun and they were indulged in it more than any other time. This is not an excuse to underestimate the value of their poetic production; because being fond of pun is part of their literary style which they adopted in a way that it became a prominent feature of their literature regarding it a necessity to elaborate speech. The most prominent feature of pun in this era is its richness and variety; it is an image of the culture where the aesthetic touches which pun creates through the profoundness of the meaning which creates an intellectual continuity between the text and the recipient by digging deep for the intended meaning. This is what confirmed the importance of the subject to be researched and make a scientific work related to eloquence. The poets of that time used pun a lot to express their feelings; through it the poet can reveal his creativity, sensation and sophisticated artistic taste in using the utterance to refer to more than one meaning, as well as the meditation it arouse and comparisons it leads to indicating a great energy of creativity and a wide artistic ability in investing in this art suitable for the meaning which the poet does not want to reveal.The rhetoricians declared anonymously that pun has two basic cornerstones; the explicit meaning and the hidden meaning, the intended one. Based on that, the rhetoricians have divided pun into several types

ЗАСОБИ ФОРМУВАННЯ ХУДОЖНЬО-ЕСТЕТИЧНОЇ КОМПЕТЕНТНОСТІ СТАРШИХ ДОШКІЛЬНИКІВ

The article analyzes the basic means of formation of the artistic-aesthetic competence of the senior preschoolers’; it is substantiated that the well-timed communication with works of various types of art, an introduction the child into the world of beauty and harmony are the important tasks of aesthetic education. Beauty is inseparable from kindness, it ennobles life, inspires for good deeds. An adult helps to find, feel and understand the beauty of poetry, music, and painting. Through art a child can understand more about everything in the surrounding world: nature, objects, work, and spiritual heritage.The artistic-aesthetic development of children at different age stages has its own peculiarities, which determine the specifics of the organization of educational work in this direction. Peculiar to the children of certain age category the notions, skills (relative to various types of creative activity) are manifested in the formation of important components of the artistic-aesthetic competence: emotional-sensory (positive-emotional attitude to the surrounding world and works of art); cognitive component (ideas about different types of art and their features and means of expressiveness); practical (mastering the necessary artistic, creative skills, techniques of performing works); a value component (the presence of own aesthetic preferences, ratings and manifestation of artistic taste); creative (manifestation of initiative, autonomy and creativity).It is determined that the level of the artistic-aesthetic development of a senior preschooler is manifested in a sense of satisfaction from the process and the results of creative artistic-aesthetic activities. This development is established by the art’s influence on the growth of the aesthetic culture level of the child’s personality, the level of aesthetic qualities and abilities, aesthetic experience and aesthetic attitude to the surrounding world, the process and the results of the child’s creativity.

Le testimonianze artistiche medievali della Rocchetta Mattei. Tra mito, riutilizzo e falsificazione

This essay originates in the research developed for the conference “Il Medioevo fra noi. Quinta edizione. Percorsi di frontiera.”, which took place in Urbino and Gradara (June 7th-9th, 2018). The study of the medieval sculptures preserved in the Rocchetta Mattei, in Riola di Vergato (Grizzan Morandi), is meant to analyzed count Cesare Mattei's artistic taste and patronage. Moreover, my reflection investigates two peculiar categories of artworks: the copies, created ad hoc and frequently modified following Mattei's will, and contemporary artworks realized by artists who worked at the Rocchetta. In doing so, this essay reveals some artworks' history, and their stylistic and technical aspects, as well as the strong relationship between these artifacts and Mattei's architectural ideas. As a result, some traditional historiographic hypothesis on this matter are confirmed, important novelties emerged.

Etude in teaching of the first-year students the acting prowess

Etude in teaching of the first-year students the acting prowess

Characteristic aspects of teaching the discipline “Dance” to the students of the specialization “Directing of the Drama Theatre”

Characteristic aspects of teaching the discipline “Dance” to the students of the specialization “Directing of the Drama Theatre”

Ušlechtilé nápoje. Káva, čaj a čokoláda na šlechtických sídlech Čech a Moravy ve druhé polovině 17. a v 18. století na základě výzkumu zámeckých a palácových inventářů

The non-European objects in the interiors of aristocratic residences of the 17th and 18th centuries belong to a little investigated field of interest. For this reason, they provide a vast range of opportunities for researchers. The castle and palace inventories represent one of the possible archival sources that can be used for investigation of exotic objects. These sources allow researchers deeper insights into the mind and intellectual world of the owners and help them to answer questions concerning the exotic objects they had purchased for their castles.This paper is based on an in-depth investigation of eighty inventories on exotic food and delicatessen. The author of the paper describes the rooms in the castles and residences where these beverages were prepared and consumed, the manner, in which they were served, plus the variety of beverages. Furthermore, she focuses on topics such as the matter of representation, the aristocrat's taste in art and world of ideas.

A taste for art in colonial Queensland

This study arose from an encounter with some paintings (still lives, Madonnas and other religious or genre scenes of mainly seventeenth-century Northern European origin) at the Queensland Art Gallery in 2012. They were intriguing because they were part of a bequest by squatter and colonial parliamentarian Thomas Lodge Murray-Prior (1819–92), which formed the nucleus of the original Queensland Art Gallery collection when it opened in 1895. Little is known about them, but they raise questions: What part did they play in the life of the donor? Did he collect them merely to burnish his reputation? Were they hung in a town house or in the bush? How did they enter the collection of the Queensland Art Gallery and what reception did they receive? What subsequent use has been made of them? This article examines the collection and the role it played in Murray-Prior’s life, arguing that it is a coherent collection of Northern European art and more than a status symbol. Furthermore, it has much to say about a period that saw the development of art collecting and exhibiting. As such, it is the perfect foundation for an art gallery in colonial Australia.

The Evaluation of decoratingskill of pottery Al vase bymosaic panels among the female students of domestic education and art profession

The Language of art isreflectedthe understanding and entertainment among all human beings around the world from ancient time until the present time, the art of ornamentation is served the need of moral rights human of in access to artistic taste.
 The technical performance requires sequential steps, to achieve technical production perfectly. The current study aims to reveal the skill of decorating the pottery al vase mosaic panels entirely in the fields (coloring , cutting , pasting ) for third stage student in the department of Domestic Education and art professions / college of basic Education / University of Mustansiryh . Subjects of the research are ( 30 ) fromthe morning study which they have been chosen randomly .
 A result of the application form of performance skill which is constructed of (13 ) items to analyze the work of by the students through adopting various statics tools and means to obtain significant results and findings .

A role for design academic institutions in developing clothing appreciation in university female students

The role of fashion specialization comes as one of the important and distinguished departments in the High Institute of Applied Arts because of its role in developing artistic and clothing taste for students of the department and other departments, through the preparation of seminars and workshops to develop clothing taste for students. In furtherance of this role, the researcher has prepared a guidebook that is an electronic brochure and is being uploaded to the Institute's website. The researcher will update its contents annually to match its contents with the new in the fashion world in a way that suits our societal traditions. The guide includes a simplified view of the general principles of design, women's body styles, and what suits each style of clothing, the most important successful color schemes for choosing a color-compatible clothing set, and finally how to create a successful clothing plan. The research problem lies in the fact that the research recently noticed the emergence of strange clothing styles about the values ​​of our society and our Egyptian identity worn by university girls. Hence the role of the departments of specialization in developing the beauty and clothing awareness of university girls. The research aims to enhance the role of specialized academic institutions in spreading the culture of clothing taste in a manner that is in harmony with the international fashion lines and directing them to suit customs and traditions. Upgrading the aesthetic sense and developing the clothing taste of university students. The research follows the descriptive analytical method. The research sample consisted of a sample of random students from all disciplines at the High Institute of Applied Arts, the first semester of the academic year (2016-2017) and their number (40) students. The research tools are a questionnaire for students to know their tendencies and attitudes towards their choice of the quality of their clothes. Designing the guide: The researcher presented the guide in the form of an electronic booklet. Among the most important results of the study is the activation of the role of specialized design departments in spreading the culture of clothing taste for university students. The design of the guidebook may raise the degree of clothing awareness of university students. Among the most important recommendations of the research is to increase the number of seminars and prepare more guidelines for spreading the culture of artistic taste.

PERKEMBANGAN ILMU PENGETAHUAN PADA PERIODE HARUN AL-RASYID DAN AL-MAKMUN

In some ways the Abbasid Daula has similarities and differences with the Umayyad Daula. As happened in the time of the Umayyad Daula, for example, the nobles Daula Abbasiyah tends to live luxurious and rich in wealth. They love to keep slaves and pet wife (Harem). Life more tends to worldly life than developing Islamic values. But it can not be denied as a khalifah has a high artistic taste and religious obedience. It is no exaggeration to say that the Abbasid Daula experienced a shift in developing government. So it can be classified the period of Abbasid Daula into five periods in connection with the style of government. Meanwhile, according to the origin of the ruler during the period of 508 years Daula Abbasiyah experienced three times the turn of the ruler. That isBani Abbas, Banu Buwaihi, and Bani Saljuk. The fact shows that the period of government was colored by palace intrigue and internal powerstruggle.

El coleccionismo particular en el siglo XVII: los cuadros y los libros del doctor Antonio de Riaño y Viedma, cura de la iglesia parroquial de San Miguel, Madrid (1659)

En este trabajo se estudian los inventarios de cuadros y de libros de un cura parroquial del siglo XVII, el doctor Antonio de Riaño y Viedma, que murió en el verano de 1659. Primer cura parroquial de la recién construida iglesia de San Miguel de Madrid, el doctor Riaño consiguió reunir una extensa e interesante colección pictórica de más de 300 cuadros, además de una biblioteca de unos 146 tomos. Mediante un examen detallado de estas colecciones, se intenta llegar a un mejor conocimiento del mundo cultural (los gustos y aficiones) de un eclesiástico de la primera mitad del siglo XVII español.

ХУДОЖНІЙ СМАК ЯК НАУКОВА ДЕФІНІЦІЯ: ФІЛОСОФСЬКО-ІСТОРИЧНИЙ АСПЕКТ

У статті розглядається поняття «художній смак» та інші його різновиди. Автор проводить аналіз виникнення та становлення дефініції «смак» в історії філософії. В науковій праці узагальнюється теоретична інформація щодо визначення сутності художнього смаку та його змістового наповнення. Висвітлюється безпосередній зв'язок художнього смаку з художньою потребою, естетичним ідеалом та художньо-естетичними судженнями, які впливають на формування естетичної свідомості особистості. У статті обґрунтовується значущість формування художнього смаку у підростаючого покоління.

„Ezt a Gyönyör tervezte veled...”

This study is about the poetry of Publius Papinius Statius at the end of the first century AD. Statius’s poetry was closely linked to the Flavian-dinasty and also to the emperor Domitianus. In this study I am going to examine Statius’s collection of occasional poems, named Silvae (Forest). From this collection I choose one particular piece of work: a poem about the luxurious villa of Manilius Vopiscus at Tibur (today Tivoli, 30 km far from Rome, at Lazio). Now I am going to write about the possible functions of this collection as a communication form for the contemporary elite. As a social group this elite was based upon different elements, for example traditionally old noble families (like senators or knights), wealthy and talented men from another regions of the ancient Italy or from the romanized provinces of the Empire and the liberated slaves. The collected verses with the establishment of the cliental poetry offered a way for the elite to represent its wealth, taste of art, education and prestige in the roman society. The villa as a poetic motive and a real estate was able to express its owners’ material aboundance and also their philosophical and literary interest. Statius’s villa-poem created not only a toleranted (against Horatius’s poetry) but a celebrated literary image of a lavish villa, like Pliny the Younger about his villas in Latium and Etruria in his letters.

Літературна творчість Бориса Грінченка у пензлі відомих художників

The life and work of artists-illustrators of book editions by Borys Grinchenko have been researched in the article. It has been found out that the writer, public figure Borys Dmytrovych Grinchenko paid great importance to illustrating books and magazines for children. The specifics of the development of book illustrations has been disclosed, there have been presented short biographies of famous artists who in different years illustrated Borys Grinchenko’s works: A. Slastion, Yu. Mykhailiv, V. Zeldis, V. Krychevskyi, P. Lapin, G. Din, N. Sobol, O. Gubaryev, I. Filonov, M. Dmytrenko, S. Sokolov, M. Storozhenko, N. Mudrik-Mrytsa, V. Bokovnya, V. Evdokymenko, G. Zhurnovska, K. Muzyka, K. Shchepkina, M. Pshinka, B. Nazarenko, A. Fedko, V. Yermolenko. The names of the illustrated works have been clarified. It has been discovered that illustrations are not just the accompaniment or decoration of the book, they seem to “participate” in the reading process, help to reveal the plot and the characters’ images more clearly, highlight the climax moments of the literary work, thereby contributing to a deeper and more emotional perception of the text by the reader. Therefore, in the complex process of creating illustrations, the level, artistic taste, life experience of the artist are of great importance. The deeper and brighter his personality is and the greater perfection and persuasiveness the graphic image created by the artist acquires, the more reflection and reasoning the book evokes. It has been proved that each illustrator, relying on the reality recreated by the writer, enriches the literary material with his own life experience, his own associations, personal attitude to the literary work and its characters. From the illustrator’s point of view the choice of the most important thing determines the artist’s worldview and creative personality. This explains the stylistic diversity of the interpretation of Borys Grinchenko’s works in the illustrations of various artists.