Collage as the basis of creative methodology of Sergey Paradzhanov

In this article we have analyzed the artistic features of S. Paradzhanov’s art. We have investigated the interaction of Paradzhanov’s cinematic works with his collages. Analysis of creative work of S. Paradzhanov suggests that the master deliberately abandons a number of opportunities provided by the director of traditional cinematic language, manifesting such an “screen painting”. Analysis of films, artworks and screenplays by S. Paradzhanov allowed us to identify three main features of his collage tools: 1) work with color and visionary elements; 2) features of visual representation of texts; 3) textures and volumes of images in the frame. Collage techniques have a number of purely visual properties, which are reproduced in different ways in cinematic artistic background. It is likely that S. Paradzhanov, fully aware of this peculiarity, emphasized certain qualitative features of the collage technique, achieving the desired effect in the frame. That is why, in our opinion, Paradzhanov’s collage could exist only within the framework of author’s cinema in the aesthetics of Soviet art. Postmodernist thinking came to Soviet art through author’s cinema, where S. Paradzhanov was one of the key figures.

Thematic Approach and Derivation of Subject Matter as an Avenue for Expression and Expressiveness in Painting: Analysis of Selected Paintings by Kenyan Contemporary Artists in Nairobi, Kenya

In painting, just like in other disciplines of art, a thematic approach is often applied by artists in their work because themes define all aspects of human endeavour. A thematic approach is also important in the derivation of subject matter that artists ultimately pursue in their work. It can be said that any painting that is executed can be compartmentalised to fit within a given thematic pattern. Artists often, but not always, actively consider the essence of the theme itself; at times, they instinctively or spontaneously express something on canvas. It is presumed that the ‘intent of the artist’, at any given time, is to depict or express some phenomenon that is derived from the intricacies of human endeavour, behavioural traits, experiential sources, or from an individual’s own emotions and feelings. Ideally, a subject matter emanates from a particular theme, but it is also generally acknowledged that artists do not always necessarily base their work on a theme as a springboard to their core intent, but that the theme ultimately emerges by implication. A theme is too broad to be compressed into a single pictorial composition and, hence, each theme is interpreted into a retinue of ideas by cohorts of artists. A theme, by its description, is also not explicit because it is a guiding or emanative factor; therefore, it is often implied. It would be unusual, however, that an artist fails to put in perspective his or her thematic foundation in describing the final piece of work because artworks always have some thematic connotation even if it is not deliberately intended by the artist. In this regard, there are some kinds of artworks that bear weighty thematic foundations and others that bear some form of useful thematic content embedded in their meaning. This paper seeks to determine the extent to which the concept of the thematic approach is used by artists to derive subject matter in their painting and whether their subsequent paintings are, therefore, theme-specific or are as a result of creative spontaneity. Further, it seeks to find out the nature of the subject matter, the artist’s motivation and inspiration and whether the resultant paintings are effective in rendering the intended visual message to the audience. A powerful theme is not necessarily a fundamental prerequisite for powerful artwork since artworks are rendered differently by different people, but a powerful artwork is often a good indicator of a potent theme. This paper also examines the stylistic approach, content and context applied by the artists in their paintings. The paintings featured in this paper are those done by some of the contemporary Kenyan artists working independently at different studio locations in Nairobi, Kenya. They were identified and interviewed by fourth-year students at Kenyatta University in their study of the local art scene as part of their wider development of individual painting styles.

"SOIL" OF MODERN CHINESE LANDSCAPE PAINTING—ANALYSIS OF RACE, ENVIRONMENT AND THE TIMES

As we all know, material civilization and spiritual civilization depend on three factors: race, environment, and times. [1] As a kind of culture, modern Chinese landscape painting has undergone new changes, mainly because the "soil" and "climate" on which it depends for survival have changed. In order to clarify how the changes of modern Chinese landscape painting in recent years are affected by three factors, this article will take the modern Chinese landscape painting as the research object, and study its influence on modern Chinese landscape painting from three aspects: race, environment, and times. The author hopes that this article can provide a reference for the future development of Chinese landscape painting.

The results of investigations at the Trypillia settlement of Hordashivka II in Cherkassy region

Rescue archaeological excavations at the Trypillia settlement of Hordasivka-II (Zvenigorodka district, Cherkassy region) were started in 1996. This settlement is located at western bank of Hirs’kyy Tikych river, in 2.5 km to the west from the south-eastern edge of the village. It is placed on a part of plateau formed by the creek valley from the north and long cavin from the east. Visual observations indicate elliptic structure composed of a single row of dwellings. Settlement size did not exceed 3 ha. The rectangular-shaped Dwelling 1 excavated in Hordashivka (12.5 x 5.0 m) was oriented from north-west to southeast. It is reconstructed as a house with the lower storey’s floor covered by clay and massive ceiling of the lower storey (= floor of the upper storey). Most of the interior details were found on the floor of the lower storey. These are the fireplace, working space, elevations. Collection of finds is mostly represented by pottery (70% of the assemblage is referred to kitchen pottery and 30% of the assemblage is referred to table pottery). Part of the table pottery is decorated in black monochromic painting. Analysis of ceramics allows dating the settlement to Tripolye CII. Considering the relative and absolute chronology (radiocarbon dates obtained for Sharin III), this site may be dated to c. 3400 – 3200 BC. Materials from Hordashivka are “genetically” linked to post-Kosenovskaya group populations in the Southern Bug and Dnieper interfluve. This is traced by the specifics of the technology of vessels production and their decoration. It is important to admit ceramic influences from Sofievskaya group populations in the Middle Dnieper region. Settlements which are chronologically similar to Hordashivka II in the Southern Bug and Dnieper interfluve are not numerous. Later sites in this area are not known, while Trypillia traditions continued in other regions. Keywords: Hordasivka-II, Late Trypillia (C II), settlements, houses, reconstruction, ceramics, chronology.

Chromosomal Signatures Corroborate the Phylogenetic Relationships within Akodontini (Rodentia, Sigmodontinae)

Comparative chromosome-painting analysis among highly rearranged karyotypes of Sigmodontinae rodents (Rodentia, Cricetidae) detects conserved syntenic blocks, which are proposed as chromosomal signatures and can be used as phylogenetic markers. In the Akodontini tribe, the molecular topology (Cytb and/or IRBP) shows five low-supported clades (divisions: “Akodon”, “Bibimys”, “Blarinomys”, “Oxymycterus”, and “Scapteromys”) within two high-supported major clades (clade A: “Akodon”, “Bibimys”, and “Oxymycterus”; clade B: “Blarinomys” and “Scapteromys”). Here, we examine the chromosomal signatures of the Akodontini tribe by using Hylaeamys megacephalus (HME) probes to study the karyotypes of Oxymycterus amazonicus (2n = 54, FN = 64) and Blarinomys breviceps (2n = 28, FN = 50), and compare these data with those from other taxa investigated using the same set of probes. We strategically employ the chromosomal signatures to elucidate phylogenetic relationships among the Akodontini. When we follow the evolution of chromosomal signature states, we find that the cytogenetic data corroborate the current molecular relationships in clade A nodes. We discuss the distinct events that caused karyotypic variability in the Oxymycterus and Blarinomys genera. In addition, we propose that Blarinomys may constitute a species complex, and that the taxonomy should be revised to better delimit the geographical boundaries and their taxonomic status.