Issue 32 (2018, 4) Summary

ARTICULT #32 (4-2018) October-December

SUMMARY

THEORY OF ART

OBJECT AND THING. METHODOLOGICAL REMARKS ON THE DEFINITION OF THE DISCIPLINARY IDENTITY OF ART STUDIES
UDC 001.8+7.01
Author: Schtein Sergey Yuryevich, PhD in Art Studies, assistant professor, Chair of the Cinema and Contemporary Art Studies, Russian State University for the Humanities (6 Miusskaya sq., Moscow, Russia, GSP-3, 125993), acting Head of the Departament of Film, television and multimedia directing, GITR Film & Television school (32a, Horoshevskoe sh., Moscow, Russia, 123007), e-mail: sergey@schtein.ru
ORCID ID: 0000-0002-4419-1369
Summary: The article is devoted to the description of object-thing relations, which have two on principle different meanings - philosophical and methodological, which are not always obvious to non-specialists in methodology and theory of cognition. In binding with these terms, there is a need to actualization such terms as the object area and the thing area. The resulting correct understanding of the “bundles” of the terms object-thing and object area-thing area, as well as their application to the conventions of art studies as a specific disciplinary thing, allows articulating the key methodological aspects related to the disciplinary identity of the existing “science of art”. The constructions made are in fact the primary fundamental methodological base for the disciplinary identification of various isolated directions of art studies researches and can be used both in art studies researches itself and in the conditions of conducting educational programs connected to the study of art.
Keywords: art studies, methodology of art studies, art theory, the science of art, science studies, theory of cognition, disciplinary identity, interdisciplinary researches, object of research, thing of research, object area, thing area

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HISTORY OF ART

ANCIENT EGYPTIAN STELE WITH REWARDING SCENES IN THE MIDDLE AND NEW KINGDOM
UDC 7.032(32)+726.852
Author: Ershova Elena Sergeevna, lecturer, Department of theory and history of art, School of Art History, Russian State University for the Humanities (6 Miusskaya sq., Moscow, Russia, GSP-3, 125993), e-mail: lena.s.ershova@gmail.com
ORCID ID: 0000-0002-1345-7056
Summary: In New Kingdom Egyptian private tombs the development of the so-called “Rewarding scenes”, illustrating the awarding of court officials by the king or on behalf of the king was in progress. This article devoted rewarding scenes on Middle and New Kingdom private stele. The analysis arranged has allowed us to explore the peculiarities of honour scene composition, define typology of Egyptian stele with awarding scenes during the New Kingdom.
Keywords: Ancient Egypt, New Kingdom, stele, rewarding scenes

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СULT OF THE “EMPTY THRONE” AND THE IDEA OF THE UNITY OF SECULAR AND ECCLESIASTICAL POWER IN THE PROGRAM OF ST.MARY AND ST. CLEMENT'S CHURCH IN SCHWARZRHEINDORF
UDC 7.033.4(430)+726.5
Author: Khripkova Elena Avenirovna, Ph.d. in Art Studies, associate professor, Chair of the theory and history of art, Russian State University for the Humanities (6 Miusskaya sq., Moscow, Russia, GSP-3, 125993), e-mail: elenasamary@gmail.com
ORCID ID: 0000-0002-8101-680X
Summary: Article is devoted to the church of St. Mary and St. Clemens in Schwarzrheindorf which has preserved a unique ensemble of wall-paintings of the XII century. Among the possible models that inspired the construction and decoration of this temple, a special place is occupied by the Palatine chapel in Aachen, where the “throne of Charlemagne” is located in the gallery. In this paper the author shows that the presence of the empty throne at the upper church of Schwarzrheindorf, as well as the “throne of Charlemagne” in the Palatine chapel of Aachen symbolically represented the idea of the unity of God and Emperor, Church and the “Roman Empire”. This idea was important for the founder of the сhurch in Schwarzrheindorf Arnold von Wied and his associates who put a lot of effort to preserve peace between the church and secular power after the conclusion of the Сoncordat of Worms.
Keywords: Schwarzrheindorf, Arnold von Wied, empty throne, Palatine chapel in Aachen, Church, Empire, peace, power

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KOREAN PANORAMIC LANDSCAPE PAINTINGS 15-17 C.
UDC 75.03 (519)
Author: Khokhlova Elena Anatolievna, lecturer, School of Asian Studies, National Research University “Higher School of Economics” (#207, 17/1, Malaya Ordinka, Moscow, Russia, 119017), e-mail: Lena.khokhlova@gmail.com
ORCID ID: 0000-0001-8532-9988
Summary: Korean landscape painting developed in several directions in XV–XVII centuries. The article discusses landscapes of panoramic view. The author describes main examples of Korean panoramic landscapes, shows the influence of Chinese pictorial tradition. The content of the pictures is discussed in the context of sijo poetry of XV–XVII centuries.
Keywords: Korean panoramic landscape paintings, Korean art, sijo poetry, Choson era, Neo-Confucianism

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ARCHERS AND MILKMAIDS: EROTIC WIT IN DUTCH AND FLEMISH GENRE PRINTS OF THE TURN OF THE 16TH AND 17TH CENTURIES
UDC 7.034(492)+75.041+75.045
Author: Kachalin Stepan Evgenyevich, MA in Art Studies, research assistant in European University at Saint Petersburg (6/1 A , Gagarinskaya street, Saint Petersburg, Russia, 191187), e-mail: skachalin@eu.spb.ru
ORCID ID: 0000-0002-0027-3506
Summary: The article dedicated to number of Dutch and Flemish genre prints of the turn of the 16th and 17th centuries which contain sexual implications. In these prints some iconographic elements represented objects of mundane reality, but at the same time they had a hidden sexual meaning. Such motives were based on Dutch idioms, used as euphemisms for sex, genitals and other sexually colored lexis. Most of these prints were comic images that can be considered within a larger body of images in which some verbal maxim were embodied in pictorial form (same as emblems and proverbs). These recurrent motifs with double entendre were perceived as witty meaning games and evoked titillating effect. The construction of erotic meaning is analyzed in the case of engraving “Archer and Milkmaid” by Andreas Stock after Jacob de Gheyn II. Along with that the article demonstrates how erotic and comic meanings in these prints interacted in the situation of stylistic changes in the Dutch art of this period, so the functions of these prints could shift from obscene jokes to intellectual wit.
Keywords: Dutch prints of 17th century, eroticism, comic, obscene, iconography, symbolism

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ISAAC NEWTON'S EXPERIMENTUM CRUCIS IN THE EUROPEAN ART OF 18 CENTURY: THEORY AND PRACTICE
UDC 7.01+7.035
Author: Agratina Elena Evgen’evna, Ph.D in Art Studies, associate professor, Ballet Theory and History Department, Moscow State Ballet Academy (5, 2nd Frunzenskaya Street, Moscow, Russia, 119146), e-mail: agratina_elena@mail.ru
ORCID ID: 0000-0001-9842-0967
Summary: It is well-known that Isaac Newton’s prism experiment of 1672 has allowed establishing that the white sunlight is not homogeneous and includes seven spectral colors. Newton’s discovery had a great impact upon the 18th-century scientific and artistic milieu. Painters and scholars have been for a long time interested in color problems so that the appeal to the scientific information seemed to solve special artistic problems. The 18th-century writers would express their opinion on Newton’s theory and its role in the progress of the painting by several ways: in treatises and, at times, in texts of the other kinds in verse and prose. The painters dealing with the motif of rainbow in landscape, portrait and historical painting inevitably demonstrated their attitude toward Newton’s discovery as they accepted or rejected the ideas of the English scientist.
Keywords: the 18th-century art, history of science, art critique, colouring

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TYPOLOGICAL FEATURES OF CHANDELIERS (SECOND HALF OF THE XVII CENTURY - THE FIRST HALF OF THE XIX CENTURY). PART 1. FRANCE, ENGLAND, VENICE
UDC 72.04:748/749
Author: Mitnik Margarita Andreevna, postgraduate student, Faculty of Art History, Russian State University for the Humanities (6 Miusskaya sq., Moscow, Russia, GSP-3, 125993), e-mail: mitrit2299@mail.ru
ORCID ID: 0000-0001-6715-7764
Summary: The current study of chandeliers requires its typology and allocation as a special type of ceiling lamp, based not only on exterior and functional, but also on constructive features. This article shows that the chandelier is a special construction, the design and use of which is directly correlated with its structural development. Current article is based on the study and analysis of many ceiling lighting devices and represents general typology of chandeliers (from the second half of the XVII century to the first half of the XIX century), which appeared and were developed in France, Venice, England and Russia, and investigates constructive and artistic features of ceiling lamps.
Keywords: chandelier, arts and crafts, ceiling lamp, chandelier, design, glass, interior, lighting design, room decoration, artificial light, glass in art, metal in art, constructive typology, stylistic typology

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THE TOMBSTONE OF J.-B. LANGE DE JERGE BY THE WORK OF R.-M. SLODZ IN THE WORKS OF ALEXANDRE BENOIS: TO THE QUESTION OF THE TRADITION OF THE EUROPEAN ALLEGORY IN THE RUSSIAN ART OF THE EARLY XX CENTURY
UDC 7.036(47+57)+726.825
Author: Zavyalova Anna Yevgenyevna, PhD in Art Studies, leading research associate of the Research Institute of Theory and History of Fine Arts of Russian Academy of Arts (21 Prechistenka street, Moscow, Russia, 119034), e-mail: annazav@bk.ru
ORCID ID: 0000-0003-2704-0486
Summary: The article is devoted to the study of the reflection of the artistic and figurative solution of the tombstone of Jean-Baptiste Lange de Gerge by the work of René-Michel Slodz in the sheets of the series “Death” (1907) by Alexandre Benois. Conclusions are drawn about Benois' conversion to various iconographic variants (“The Old Man and Death”, “The Dance of Death”) of the allegory “Memento mori” under the impression of this sculpture. It is established that Benoit addressed the works of Jean-Michel Moro the Younger, Adolf Menzel, Jacques Cullot, Charles-Nicolas Koshen for the embodiment of these iconography, which determined the artistic novelty of his drawings, made at different times during 1905–1906 and united in the series “Death”.
Keywords: Alexander Benois, the series “Death”, Russian art of the late XIX – early XX century, the allegory “Memento mori”, the iconography “The Old Man and Death”, the iconography “Dance of Death”, René-Michel Szodts, Jacques Callot, Charles-Nicolas Koshen

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ATTRACTION BACK. THE “ANCIENT” CITY OF KHARA-KHOTO IN THE ICONOGRAPH OF RUSSIAN SYMBOLISM (EPISODE FROM CREATIVE WORK ANATOLY MIKULI)
UDC 7.036.45+7.049.1
Author: Davydova Olga Sergeevna, Ph.D. in the History of Arts, Leading Researcher Associate at the Scientific Research Institute of Theory and History of Arts of the Russian Academy of Arts (21 Prechistenka street, Moscow, Russia, 119034), e-mail: davydov-olga@yandex.ru
ORCID ID: 0000-0002-6834-3291
Summary: The article is devoted to the study of the unique inner nature of iconographic searches of symbolic artists, associated with longing for finding an ideal imaginative space, harmonious with creative dreams and saturated with hermetic memory. The attraction to the unattainable and unknown world, which was the result of the sense of time that had become complicated in symbolism, in which the feeling of a continuous connection between the departed epochs arose, between archaic antiquity and the present, organically developed against the background of real geographic journeys and archaeological discoveries of the turn of the XIX-XX centuries that gave the artists an impulse to writing your own visual images. In this article, this poetic synthesis of the physically preserved details of the past with the lyrical fantasy and philosophical intuition of the masters themselves was first considered on the artistic-historical material, completely new for art studies dealing with the creative problems of Art Nouveau. The scientific analysis of the research is based on the history of the influence of the dead city of Khara-Khoto, discovered by Russian scientists in 1907-1909 during the expedition to Mongolia, on figurative thinking of the symbolist artist, poet and musician Anatoly Mikuli, repressed in 1936 and again returned to the historical context of Russian art.
Keywords: Art history, Symbolism, Art Nouveau, Modernism, Iconography, Poetics, romantic travels, ideal space, perfect time, Аntiquity, Buddhist art, Khara-Khoto, Anatoly Mikuli

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VISUAL ARTS

MAN RAY. ART OF STRATEGY
UDC 7.01+7.038.53:77
Author: Averyanova Olga Nicolaevna, PhD, Head of Art of Photography Department The Pushkin State Museum of Fine Arts (12, Volkhonka st., Moscow, Russia,119019), e-mail: olga.averyanova@arts-museum.ru
ORCID ID: 0000-0003-0741-7813
Summary: Man Ray was not the artist's real name. His name was Emmanuel Radnitsky. He was born to America, in the family of immigrants. He was 22 years old when he changed his name, and it was a conscious choice, caused by his desire to become another person, an artist whose biography should not be associated with his family history. This new name surely was conceived as a brand – it was full of parallels and indisputable characteristics of the “product” that the artist intended to create, including himself. All his future life would be proof of “enterprise” and “success” of the strategy called MAN RAY. His “industry” included all known artistic practices, from painting and design, to photography and film. His strategy allowed him to become successful both in the visual and commercial arts, in custom-made portraiture and fashion photography. He worked for two continents, and his “enterprise” proved to be very fruitful both in Europe and America. The article analyzes the artistic practices of modernism and their interaction with the modern capitalist realities of the first half of the twentieth century.
Keywords: Man Ray, photography, modernism, avant-garde, rheography, solarization, cultural strategies, brand, surrealism, Dada, futurism

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CINEMA

WHAT SIZE ARE THE PEOPLE ON THE SCREEN?
UDC 791.43.01
Author: Filippov Sergei Alexandrovich, Ph.D. in Art Studies, researcher at the Faculty of Journalism, Lomonosov Moscow State University (9 Mokhovaya street, Moscow, Russia, 125009), e-mail: s_a_filippov@mail.ru
ORCID ID: 0000-0001-6032-6641
Summary: The huge range of linear sizes of images of people on modern screens nonetheless does not exclude the possibility that we imagine people in a fictive space of a film screen to have a certain size. To verify this, the cases of movie characters entering/exiting to/from the screen were studied (assuming that a change in the scale of the character represents the sought impression). As a result, it turned out that in films addressed not to children, the scale at such transitions approximately doubles: that is, people on the screen seem to be twice as big as ourselves. In the course of the study, it turned out that the average height of the cinema screen during the film history changed very little: in particular, for the entire sound period, it basically did not go beyond the 4.3m±10% interval.
Keywords: cultural reception of cinema, scale of film image, life-size, film cognitivism, history of film exhibition, height of cinema screen

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THE SCREENING REPRESENTATION OF THE “NEW WOMAN” IN THE SOVIET CINEMATOGRAPH OF THE 20th
UDC 791.43-2+791.43.04
Author: Smagina Svetlana Aleksandrovna, Ph.D. in Art Studies, senior lecturer, All-Russian state institute of cinematography of S.A. Gerasimov (3 Wilhelm Pik street, Moscow, Russia, 129226), e-mail: smsval@mail.ru
ORCID ID: 0000-0002-8502-5383
Summary: The turning point in the historical development of the “women's issue” is the 1917’s the beginning of the period of “experiments” of the Soviet government in the matter of women's emancipation, when a number of decrees were passed that legally freed women from the shackles of the patriarchal way. The country's leadership in the public consciousness is forming an ideological construct “new woman”, designed to serve as a role model for a Soviet woman. The article analyzes how the Soviet cinema of the 1920s realized it, and what was the peculiarity of its representation on the screen.
Keywords: history of Soviet cinema, “new woman”, “the woman's question”, Revolution 1917, Kollontai, Krupskaya, Armand, Kapler, Johanson, Ermler, Dmitriyev, Eisenstein

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PERCEPTION OF AMERICAN CINEMA IN THE SOVIET PRESS DURING THE EARLY COLD WAR
UDC 791.43
Author: Tanis Kristina Aleksandrovna, ABD candidate, European University at St. Petersburg (6/1A Gagarinskaya street, St. Petersburg, Russia, 191187), e-mail: ctanis@eu.spb.ru
ORCID ID: 0000-0001-5389-7761
Summary: This paper considers the Soviet strategies of film propaganda during the early Cold War. Through analyzing articles on American cinema published in the Soviet press, this research reveals the tendencies relevant for representation of American cinema in the USSR during the shift from war alliance to ideological and cultural battle, i. e. in 1947.
Keywords: Cold War, Soviet cinema, Hollywood, Soft power, propaganda

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HISTORY AND THEORY OF CULTURE

POETICS OF THE NOVEL “THE BURIED GIGANT” BY KAZUO ISHIGURO: EUROPEAN INTERTEXT AND JAPANESE SUBTEXT
UDC 821.111
Author: Pogrebnaya Yana Vsevolodovna, Doctor of Philology, Associate Professor of the Department of Russian Language and Literature of the Stavropol State Pedagogical Institute (417 “A” Lenina street, Stavropol, Stavropol Krai, Russia, 355029), e-mail: maknab@bk.ru
ORCID ID: 0000-0002-9974-9147
Summary: Novel by K. Ishiguro K. “The Buried Giant” is a paraphrase of several knightly novels and short stories (C. de Troy “Ivein, or the Knight with a Lion” (1176-1181), “Lancelot, or the Knight of the Cart” (1169-1188)), alliterative poems of the unknown author “Sir Gawain and the Green Knight” (14th century), as well as archaic epics (Beowulf, Celtic sagas). The intertext of the novel is formed by European medieval novels and archaic epics, while in the subtext to the understanding of events developing in Britain, the principles of Japanese aesthetics, drawn from Shintoism, are adapted. Thus, in a novel belonging to multicultural literature, a neo-myth is born, based on a synthesis of literature and cultures.
Keywords: multicultural literature, neomythologism, neomyth, paraphrase, Japanese aesthetics

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