scholarly journals Surrealism and the Reliefs of the Sasanian High Priest Kartir

CLARA ◽  
2021 ◽  
Vol 6 ◽  
Author(s):  
Mohammad Soltani
Keyword(s):  
Art History ◽  
Religious Leader ◽  
High Priest ◽  
Central Figure ◽  
Sasanian Empire ◽  
Iranian Art ◽  
Traditional Construction ◽  
First Time

Kartir was the most important religious leader in early Iran at the time of the Sasanian empire. The rock reliefs and inscriptions left by him contain some important features that occur for the first time in Iranian art history. Specifically, Kartir’s rock reliefs reveal that someone who was not a king could still be influential enough to commission a monument in which he was the central figure. Kartir’s inscriptions appear next to the reliefs of the previous king, or were even inserted into the same panel. In this way, the traditional construction of these reliefs was altered, as were their respective meanings. Furthermore, Kartir describes an imaginary journey to another world in his inscriptions. The article considers the role of dreams in Kartir's art and what influence this had on this new style of composition, comparing it with what we now call ‘surrealism’.

Agafonov’s Early Kharkiv Creative Period: Dialogue with the Theatre

2020 ◽  
Vol 2020 (3) ◽  
pp. 82-93
Author(s):  
V. Chechyk ◽  
Keyword(s):  
Art History ◽  
Artistic Practice ◽  
Partial Reconstruction ◽  
Theatrical Space ◽  
Native Art ◽  
History Of ◽  
Artistic Values ◽  
First Time ◽  
History Of Formation

This article is dedicated to the study of the nature of E. Agafonov’s creative ties with the theater – a topic that has been insufficiently covered in the native art history. The author’s field of view is set in the artist’s early Kharkiv period, marked as the years of 1905–1913. The article focuses on the exceptional role of E. Agafonov in the organization and the artistic practice of the first modernist theater “Blakytne Oko” in Kharkiv (1909–1911). Agafonov belonged to the constellation of masters who was very sensitive to the problem of evolving the artistic speech. He viewed the theater as a convincing platform for promoting and approving of the latest artistic values, discovered by Impressionism and Post-Impressionism. Experiments in easel art (with color, plastic, line, techniques, materials, etc.), largely inspired by the work of D. Burliuk (1906–1908), were directly reflected in Agafonov’s stage practice, namely in numerous designs of the modernist productions based on plays by M. Maeterlinkc, A. Schnitzler, S. Pshybyshevsky and O. Blok. In turn, it was established that theatrical motives were reflected in E. Agafonov’s easel art, as well as in the art of the students of his artistic studio – O. Rybnikov, I. Terentyev, M. Sinyakova, and K. Storozhnichenko. In this regard, a special attention is given to the linocuts by F. Nadezhdin. It was found that the program of “total” design of theatrical space (stage and auditorium), as well as the implementation of production ideas in the cabaret theater “Blakytne Oko” were the result of the master’s fascination with the concepts of artistic synthesis, actualized in the era of Modern. Agafonov moved from dramatization of paintings (of A. Beklin, F. Malyavin, and O. Rodin) to staging experimental show-programs like “The Evening of Autumn”, “Visiting Pierrot” and “In the Middle of Nowhere”, partial reconstruction of which was undertaken for the first time by the author of the article. Agafonov was close to the idea of artistic synthesis, identified by him in F. Malyavin’s paintings, in V. Komissarzhevska’s theatre and I. Duncan’s choreography. The study of E. Agafanov’s theatrical art expands the understanding of the history of formation and development of Ukrainian scenography at the beginning of the twentieth century.

scholarly journals Technology as a factor in the cultural development of mankind: a study of the production nature of primitive culture

2021 ◽  
pp. 57-60
Author(s):  
Tetiana Sovhyra
Keyword(s):  
Art History ◽  
Integrated Approach ◽  
Cultural Development ◽  
Fire Control ◽  
Production Technologies ◽  
The Subject ◽  
Organization Of Production ◽  
First Time ◽  
Metal Melting

Purpose of article. Explore technological progress in the context of the development of a primitive culture. The methodology is based on an integrated approach and relies on analytical (when analyzing philosophical, art history, cultural studies literature on the subject of research), historical (when clarifying the stages of development of primitive culture), and conceptual (when analyzing the role of technology in the cultural development of mankind) research methods. The scientific novelty of the article lies in the fact that for the first time the formative role of technology in the cultural development of mankind is investigated, and also the cooperative nature of the production of artifacts of primitive culture is determined. Conclusions. As a result of the study of archaeological finds of primitive culture, it has been established that in the course of cultural evolution, tools of labor have become cultural artifacts, works of art. The emergence of production technologies (stone processing, fire control, metal melting) radically transformed the specifics of the organization of production activities, and therefore changed the course of cultural development. Therefore, in the course of the study, the formative role of technology in the formation of artistic culture was proved.

scholarly journals Studying the Place of Intertextuality in Iranian Painting (Case Samples: Qajar Era)

2016 ◽  
Vol 10 (12) ◽  
pp. 156 ◽  
Author(s):  
Panahi Siamak ◽  
Farazjou Forough ◽  
Majdi Shima
Keyword(s):  
Art History ◽  
Julia Kristeva ◽  
Roland Barthes ◽  
Community Art ◽  
First Time ◽  
Gerard Genette

Intertextuality studies are as one of the significant approaches in literature and art. This term for the first time was proposed by Julia Kristeva 60s and later it was expanded by persons such as Roland Barthes, Gerard Genette & et al. Nowadays we are living in a world which is full of texts and these texts are born in it, grow and finally give their place to other texts but they aren’t disappeared. These texts are knotted to each other with intertextuality rules and they have interaction with each other. They sometimes deny or confirm each other but any way they influence on each other. In fact existence of sign world and existing texts and their effects in creation of each artistic effect are inevitable.This paper intends to consider the applicable studies of intertextuality in Iranian community art by concentrating on Qajar era painting. And it refers to the role of intertextuality in producing and reading the works by studying the case samples.The methodology in this research with review of art history and due to the analyses done on the works (sample to sample) will be analytic-descriptive according to the allegorical method.

scholarly journals Crym Girey I – the founder of the classical theater in the Crimea (on the issue of 257 years experience of the Crimean Tatar`s first theatrical productions of the European type theater)

2020 ◽  
pp. 100-135
Author(s):  
Ismet A. Zaatov ◽  
Keyword(s):  
Formation Process ◽  
Art History ◽  
Xviii Century ◽  
Puppet Theater ◽  
The Crimea ◽  
Round Dance ◽  
S Period ◽  
First Time ◽  
Crimean Tatar

The formation process of the Crimean Tatar theater can be divided into the following periods: medieval – folk theater (the initial round dance and toy puppet theater of shadows “Karagoz”, the theater of one actor “meddah”, the arena theater “orta oyuny”); Khan`s theater in the middle of the XVIII century (penetration into the Crimea of European theater traditions in the era of the Crimean Khan Crym Girey I); the revival of traditions of the Crimean Tatar theater late XIX–XX centuries (the activities of a theater-goers group of the Jadidist Crimean Tatar youth–followers of I. Gasprinsky, under the leadership of J. Meinov – the efforts of the Crimean Tatar noblewoman-myrzachkas under the leadership of A. Taiganskaya; organization of a professional Simferopol Tatar theater troupe under the People’s Commissar of Education of the Crimean ASSR in 1921 and creation and activities of the Crimean Tatar Drama Theater, headed by A. Taigan, and the Crimean Tatar amateur movement in the Crimea, and among the Crimean Tatar foreign diaspora of 1923–1944 (Soviet pre-deportation period); recreation and current activities of the Crimean Tatar theater in the Crimea,1989 (post deportation period). In this article, for the first time in the art history, is revealed the so-called Khan`s period in the formation of the Crimean Tatar theater, discussed the revolutionary activity in the field of Crimean Tatar art, the ascetic activity of the Crimean Khan Crym Girey I to promote the ideas of European theater traditions and create a classical theater in the Crimea. The picture of the actions undertaken by the Crimean ruler in the construction of theater business in the Crimea, as well as his thoughts and statements about the theater, was recreated according to the text published in the XVIII century, memories of personal meetings and conversations with Crym Girey I of European authors: German – von der Goltz, Polish – Pilshtynova, Russian – Nikiforov, Frenchman – de Tott, Austrian – Kleeman. Based on these recollections is built a clear and explicit picture of a role of Crym Girey I as a pioneer in bringing European theater traditions and creation of a classical theater in the culture of the Crimea, the Turkic and Muslim worlds.

scholarly journals Peran Tarekat Sammaniyah Dalam Perang Menteng Melawan Kolonial Belanda Di Palembang

2017 ◽  
Vol 13 (2) ◽  
pp. 119-131
Author(s):  
Raudatun Jannah
Keyword(s):  
Descriptive Analysis ◽  
Historical Research ◽  
Major Influence ◽  
The Political ◽  
Religious Leader ◽  
Political Arena ◽  
Central Figure ◽  
Political Role ◽  
Library Research

The background was the involvement of the Sammaniyah order in the Menteng war in 1816, indicating the political role played by the Sammaniyah order. Theologically the tarekat is a group that tries to distance itself from world affairs, while the Sammaniyah order participates in the political arena of the Palembang Sultanate. In writing this study using the method of historical research with the stages. This study is a library research (library research) using descriptive analysis. From the results of the analysis it is known that the Sammaniyah congregation at the level of society in the Sultanate of Palembang is a group of religious elites, who are capable of fostering, guiding their followers towards the path of Allah. . The Sammaniyah Order brought by Shaykh Abdul Shamad al-Palembani had a major influence and an important role in the efforts of politics against the Dutch colonialism with the teachings of jihad fi sabilillah. The role of a central figure in this case is Haji Zain who has charisma so easily invites his followers to fight colonialism. Not only as a religious leader in the Sammaniyah order, Haji Zain in the Menteng war had a role as warlord.

scholarly journals Меценатство и коллекционирование в провинции: на примере галереи искусств М.Ф. Коннова в Оренбурге

2021 ◽  
pp. 76-91
Author(s):  
O.I. Kober
Keyword(s):  
Art History ◽  
Present Stage ◽  
Art Gallery ◽  
Art Galleries ◽  
Cultural Center ◽  
Educational Activities ◽  
The 1960S ◽  
First Time ◽  
The City

Collecting works of art in the modern Russian provinces is still a poorly studied topic of art history. The relevance of the study is determined by considering the main activities of private art galleries in Orenburg, which is being done for the first time. The author points out the factors that led to the collection of works by Orenburg artists, who was influenced by the graduates of the Moscow State Academic Art Institute named after V.I. Surikov since the 1960s. Changes in the methodological work of art galleries with viewers and buyers at the present stage are noted. The object of the analysis is the art gallery “On Pushkinskaya” as an example of exhibition, information and educational activities. The study emphasizes the role of the personality of the gallery owner M. F. Konnov, a collector, philanthropist and artist, thanks to whom the art gallery has become a cultural center of the city. Коллекционирование произведений искусства в современной российской провинции остается малоизученной темой искусствоведения. Актуальность исследования обусловлена рассмотрением основных направлений деятельности частных художественных галерей Оренбурга, что делается впервые. Указываются факторы, предопределившие собирание картин коллектива оренбургских художников, сформировавшегося под влиянием выпускников Московского художественного института им. В.И. Сурикова, приехавших в степной город в 1960-е годы. Отмечаются изменения в методической работе арт-галерей со зрителями и покупателями на современном этапе. Объектом анализа является галерея искусств «На Пушкинской» как образец выставочной, информационной, образовательной и просветительской деятельности по приобщению зрителей к современному искусству. В исследовании подчеркивается роль личности владельца галереи М.Ф. Коннова, коллекционера, мецената и художника, благодаря которому галерея искусств превратилась в культурный центр города.

Culturological survey of primitive art artifacts

2021 ◽  
pp. 181-186
Author(s):  
Tetiana Sovhyra
Keyword(s):  
Cultural Evolution ◽  
Art History ◽  
Technological Progress ◽  
Integrated Approach ◽  
Cultural Development ◽  
Aesthetic Form ◽  
The Subject ◽  
The Aesthetic ◽  
First Time

The purpose of the article is to explore technological progress in the context of the development of a primitive culture. The methodology is based on an integrated approach and relies on analytical (when analyzing philosophical, art history, cultural studies literature on the subject of research), historical (when clarifying the stages of development of primitive culture), and conceptual (when analyzing the role of technology in the cultural development of mankind) research methods. The scientific novelty of the article lies in the fact that for the first time the formative role of technology in the cultural development of mankind is investigated, and also the cooperative nature of the production of artifacts of primitive culture is determined. Conclusions. As a result of the study of archaeological finds of primitive culture, it has been established that in the course of cultural evolution, tools at hand have become cultural artifacts, and in the end – and works of art. The introduction of technological inventions has radically changed the specifics of the manufacture of art products. Consequently, as a result of the transformation of technological devices and understanding the logic of the organization of the production process, there is not only a decrease in the form of artifacts but also an improvement in the aesthetic form.

scholarly journals И.С. Глазунов — меценат, коллекционер, основатель музея Российской академии живописи, ваяния и зодчества

2021 ◽  
pp. 206-219
Author(s):  
E.A. Skorobogacheva
Keyword(s):  
National Culture ◽  
Art History ◽  
Educational Process ◽  
Museum Collections ◽  
Artistic Value ◽  
History Analysis ◽  
History Of ◽  
The Russian Federation ◽  
First Time

The article is devoted to the Museum of the Ilya Glazunov Russian Academy of Painting, Sculpture and Architecture. With the help of a comprehensive analysis, the history of the foundation of the museum by Ilya S. Glazunov in the 1980s and 1990s, the stages of enriching the Museum's collections in the 2000s and 2010s are studied. The purpose of the study is to characterize the activities of the Academy's museum, to justify the importance, the value of Museum collections, primarily in the educational process in mastering the skills of the realist school. The combination of historical, problem-logical, typological-systemic methods made it possible to evaluate the samples of professional art, to give their interpretation against the background of the general historical situation and the processes that determine the development of the national culture of the present time. For the first time among the rarities of the Academy's museum, more than 20 works of painting and graphics of the 19th — first half of the 20th century, included in the state part of the Museum Fund of the Russian Federation, are marked, their art history analysis is given, and their artistic value is revealed. The study revealed the role of I.S. Glazunov as an outstanding public figure, philanthropist, collector. В статье посредством применения комплексного анализа изучена история основания И.С. Глазуновым музея Российской академии живописи, ваяния и зодчества в 1980–1990-х годах, этапы пополнения музейных коллекций в 2000–2010-е годы. Цель исследования — охарактеризовать деятельность музея академии, обосновать актуальность, значение музейного собрания, прежде всего, в учебном процессе — в овладении навыками реалистической школы. При сочетании исторического, проблемно-логического, типологически-системного методов оценены образцы профессионального искусства, дана их интерпретация на фоне общей исторической ситуации и процессов, определяющих развитие отечественной культуры настоящего времени. Впервые среди раритетов академического музея обозначено более 20 произведений живописи и графики XIX – первой половины ХХ века, включенных в государственную часть Музейного фонда Российской Федерации, дан их искусствоведческий анализ, раскрыта художественная ценность. В результате исследования выявлена роль И.С. Глазунова как выдающегося общественного деятеля, мецената, коллекционера.

Psychological Resilience Provides No Independent Protection From Suicidal Risk

Crisis ◽  
2016 ◽  
Vol 37 (2) ◽  
pp. 130-139 ◽  
Author(s):  
Danica W. Y. Liu ◽  
A. Kate Fairweather-Schmidt ◽  
Richard Burns ◽  
Rachel M. Roberts ◽  
Kaarin J. Anstey
Keyword(s):  
Risk Factors ◽  
Well Being ◽  
Current Status ◽  
Psychological Resilience ◽  
Cross Sectional ◽  
Life Project ◽  
Resilience Factors ◽  
First Time

Abstract. Background: Little is known about the role of resilience in the likelihood of suicidal ideation (SI) over time. Aims: We examined the association between resilience and SI in a young-adult cohort over 4 years. Our objectives were to determine whether resilience was associated with SI at follow-up or, conversely, whether SI was associated with lowered resilience at follow-up. Method: Participants were selected from the Personality and Total Health (PATH) Through Life Project from Canberra and Queanbeyan, Australia, aged 28–32 years at the first time point and 32–36 at the second. Multinomial, linear, and binary regression analyses explored the association between resilience and SI over two time points. Models were adjusted for suicidality risk factors. Results: While unadjusted analyses identified associations between resilience and SI, these effects were fully explained by the inclusion of other suicidality risk factors. Conclusion: Despite strong cross-sectional associations, resilience and SI appear to be unrelated in a longitudinal context, once risk/resilience factors are controlled for. As independent indicators of psychological well-being, suicidality and resilience are essential if current status is to be captured. However, the addition of other factors (e.g., support, mastery) makes this association tenuous. Consequently, resilience per se may not be protective of SI.

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