Issue 37 (2020, 1) Summary

ARTICULT #37 (1-2020) January-March

SUMMARY

THEORY OF ART

THE HISTORY OF STUDIES IN MEDIEVAL ILLUMINATED CARTOGRAPHY
UDC 7.04
Author: Krevchenko Elena Viktorovna, Master of Arts, Russian State University for the Humanities (6 Miusskaya sq., Moscow, Russia, GSP-3, 125993), e-mail: danivice304@gmail.com
ORCID ID: 0000-0002-1127-212X
Summary: The study of medieval illuminated cartography has a short history, since for a long time it was widely believed that cartography in the Middle Ages was into a period of its decline. Nevertheless, in Christian cartography, starting from the moment of its inception, at the main focus was the problem of representation of the world within the idea of its inextricable connection with the process of sacred history, while geographical data played here a secondary role. The article presents a review of the literature, the purpose of which is to examine the history of the study of medieval illuminated cartography from the chronological approach, and to analyze the set of the general problems identified during this study, and to establish the level of the studies of the problem of representation history on the medieval maps.
Keywords: Christian cartography, Middle Ages, representation of history, historiography, illuminated cartography, illuminated map, history of cartography, medieval map, world map, world image, mappa mundi, imago mundi, moralized cartography

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HISTORY OF ART

LURISTAN QUIVERS’ COVERS: THE HISTORICAL CONTEXT AND ART ATTRIBUTION
UDC 7.032(358)+739.7
Author: Melchenko Anastassia Viktorovna, PhD student at the State Institute for Art Studies (5, Kozitsky pereulok, Moscow, Russia, 125000), e-mail: am.studiomir@gmail.com
ORCID ID: 0000-0002-1143-4280
Summary: The metal quivers’ covers of Luristan (9-7 BCE) belong to the objects of “typical” Luristan bronzes – the most prominent artistic works of local metallurgy. These original decorated plaques of military equipment are in the collections of world museums and practically not covered in either international or Russian historiography. The study of these objects is complicated by the fact that almost all of them have the status of unknown origin. Analysis of the decor of the only plaque found during the controlled excavations and quivers’ covers purchased by museums and private collectors from dealers allows to trace three stylistic lines of objects. The purpose of the article is to determine the place of Luristan quivers’ covers in the context of archeology and art of ancient Iran, to analyze the artistic features of the three stylistic groups of objects, to clarify their attribution and to consider their possible functions.
Keywords: Luristan, Luristan bronzes, quivers, luristan quivers’ covers, ancient armour, Iranian art, ancient Iran

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SELF PORTRAITS WITH A CHILD BY VIGEE LE BRUN. THE INTERPRETATION OF THE IMAGE OF MOTHER IN 1780S
UDC 7.035(44)+7.041.53
Author: Abramkin Ivan Aleksandrovitch, 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: ivanabramkin@list.ru
ORCID ID: 0000-0001-7648-2446
Summary: The object of the article is the research of several Vigée Le Brun’s self portraits with child created just before the French Revolution. Such type of a portrait took a special place in artist’s creative activity. While using such a type, Vigée Le Brun depicted herself as a creator. It also raised her among men in the sphere of art. The proper analysis of portraits and the context of their creation reveals not only the significant features of cultural development and social consciousness of France, but also the peculiarity of artist’s portrait conception. Its specificity lies in representing the tenderness of maternal feelings and the artistry of female nature. All mentioned formed the artist’s individual manner of demonstration a model with child in self portrait. It is notable that, among the artists’ of the epoch, such a manner was related to Vigée Le Brun only.
Keywords: Vigée Le Brun, self portrait, the Image of Mother, French art, 18th Century, French Revolution

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MAPPING “THE GREAT NEUROSIS” OF THE SECOND HALF OF THE XIXTH CENTURY IN FELICIEN ROPS'S ARTWORKS
UDC 7.036.45+7.04
Author: Martynova Daria Olegovna, PhD student in Art Studies, Repin Saint-Petersburg State Academic Institute of Painting, Sculpture and Architecture (17 Universitetskaya enb., Saint-Petersburg, Russia, 199034), e-mail: d.o.martynova@gmail.com
ORCID ID: 0000-0003-0426-6458
Summary: The article is devoted to the study of the creative work of the Belgian artist Felicien Rops in the context of the popular in the second half of the 19th century sociocultural phenomenon of hysteria, entrenched in the minds of contemporaries of the artist under the name “The Great Neurosis”. Such important problem for F. Rops's creative work as the problem of the representation of the female body by the master through the prism of eroticism, voyeurism and satire peculiar to Belgians are touched upon. By shifting the mythopoetic coordinates formed by researchers in the analysis of this artist's artworks, the author demonstrates the specificity of his erotic drawings through an analysis of works related to the popularization of the female body in medical institutions in the second half of the 19th century. As a result, the author comes to the conclusion that a kind of “reading” of this master’s drawings through the modern medical discourse will clarify the genesis of a number of images and plots of F. Rops's artworks and will help to recreate the social and historical development of the era of the turn of the century.
Keywords: Felicien Rops, symbolism, artistic representations of hysteria, gender studies, medicine and art, intertextuality

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ON THE HISTORY OF M. VRUBEL’S “THE MEETING OF VOLGA SVYATOSLAVOVICH AND MIKULA SELYANINOVICH” FIREPLACES
UDC 738.81+749.21
Author-1: Baranova Svetlana Ismailovna, Doctor of Sciences (History), PhD in Art history, Chief Researcher of Chair of the Cinema and Contemporary Art Studies, Russian State University for the Humanities (6 Miusskaya sq., Moscow, Russia, GSP-3, 125993), e-mail: svetlanbaranova@yandex.ru
ORCID ID: 0000-0001-9393-1151
Author-2: Demenina Ekaterina Yurievna, Master of Arts in Art History, Faculty of Art History, Russian State University for the Humanities (6 Miusskaya sq., Moscow, Russia, GSP-3, 125993), e-mail: artbruegel@gmail.com
ORCID ID: 0000-0003-4734-9464
Summary: The present article examines the history of “The meeting of Volga Svyatoslavovich and Mikula Selyaninovich” maiolica fireplaces produced upon the original drawings by Mikhail Vrubel. The authors of this paper focus on two instances of the fireplace, which provenances are of the highest research interest. The authors revealed by themselves the location of the first fireplace which was exhibited at The Exposition Universelle held in Paris in 1900, considered lost after it and now is presented in the collection of the Lille Palace of Fine Arts, France (Palais des Beaux-Arts de Lille). Also the authors traced the history of the fireplace from the collection of The Moscow State Integrated Art and Historical Architectural and Natural Landscape Museum-Reserve.
Keywords: Mikhail Vrubel, Abramtsevo, The Exposition Universelle of 1900, maiolica fireplace, Russian tile, Art Nouveau

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APPELLATION TO THE TRADITION AND ORIGIN OF AN ARTISTIC “IMAGE” STEREOTYPE IN SOVIET UNION PROSE DURING 1920S-1970S. THE PORTRAIT OF AN ARTIST
UDC 7.04+821.161.1
Author: Salienko Aleksandra Petrovna, candidate of Art History, Associate Professor, Section of History of Russian Art, History Department, Lomonosov Moscow State University (korp. 4, 27, Lomonosovsky prospect, Moscow, Russia, 119192), e-mail: alsalienko@mail.ru
ORCID ID: 0000-0002-9421-475X
Summary: The article is devoted to a less developed topic in criticism, as the “image” of an artist in Soviet prose of the 1920s and 1970s. The point of the approach in this case lies in the fact that literary interpretations of texts will not be presented here, we will speak on behalf of an art historian, for whom literature serves as an additional source for reflection in a desire to understand the epoch, so the word “image” in the title of the article we conclude in quotation marks.Those novels, stories and stories about artists whose characters are fiction or having specific prototypes from literature that embody the “image of the artist” in the writer's mind are in our field of view. The main attention is paid in this article to the problem of tradition and stereotype in the artist’s portrayal by writers whose heroes not only resemble real people “from life”, but also themselves imitate literary examples from the past. One of these works, which became the leading in the formation of the sample, is the story by N. Gogol “Portrait”. This article will consider two problems that are relevant to the formation of the image of the artist – the artist and the time and portrait of the artist.
Keywords: a portrait of an artist, an image of an artist, an image of an artist, an artist in literature, Soviet prose, Soviet literature, tradition, stereotype, artist and time, the problem of creation

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CONTEMPORARY ART

PUBLIC ART: TERMINOLOGICAL APPROACHES AND IDENTIFICATION CRITERIA
UDC 7.01
Author-1: Kartseva Ekaterina Aleksandrovna, PhD in Cultural Studies, Associate professor, Chair of the Cinema and Contemporary Art Studies, Russian State University for the Humanities (6 Miusskaya sq., Moscow, Russia, 125993), Associate professor, Moscow International University (17 Leningradsky Prospekt, Moscow, Russia, 125040), chief editor of artandyou.ru art portal, curator, e-mail: katyakartseva@gmail.com
ORCID ID: 0000-0002-3517-5551
Author-2: Zvyagintseva Marina Leonidovna, artist, curator of public-art program “Spal'nyy rayon”, nominee of the VII All-Russian competition in the field of contemporary visual art INNOVATION (2012), ARCHIWOOD Prizes (2012), twice nominee of the Kandinsky Prize (2008 and 2009), Kurekhin Prize (2011 and 2018). Member of the Creative Union of Artists of Russia, Moscow Union of Artists, e-mail: artmarin@mail.ru
ORCID ID: 0000-0001-6964-9834
Summary: The relevance of the topic is explained by the fragmented knowledge of public art in conjunction with its growing demand, due to the rethinking of the space of life and ways of public communication. The article analyzes the reasons for the interest in this form of contemporary art, the current state of Russian initiatives aimed to its understanding and institutionalizing, with an emphasis on Moscow experience, provides a brief review of the development of public art in the works of western researchers, with reference to the achievements of the competing concept of decorative and monumental art in the USSR. An important result of the article are the key criteria formulated by the authors for identifying public art as artistic practice, supported by examples of Russian public art projects. The authors conclude that authoritarian and commercial approaches to public art should be rethought in terms of more democratic communication formats in the artist-public relationship system.
Keywords: contemporary art, public-art, art in public spaces, sociocultural context, socially engaged art

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YVES KLEIN’S “MANIFESTO OF ‘CHELSEA HOTEL’”: TRANSLATION AND ATTEMPT TO INTERPRETATION
UDC 7.01+7.037
Author-1: Tcyrlina Yana Eduardovna, senior teacher, Department of the Cultural Studies and Social-Humanitarian Technology, Perm State University (15 Bukireva st., Perm, Russia, 614990), e-mail: janie.miles@gmail.com
ORCID ID: 0000-0003-3006-7137
Author-2: Kudrin Sergey Konstantinovich, post-graduate student, Saint-Petersburg State University (7-9 Universitetskay Embankment, Saint-Petersburg, Russia,199034), e-mail: ward_93@mail.ru
ORCID ID: 0000-0003-4283-2924
Summary: This article presents the original translation of Yves Klein's “Manifesto of the Chelsea Hotel” (1961) from French. The translation of this Manifesto reflects the influence on the French artist of different cultural phenomena such as various avant-garde artistic trends in the art of Western Europe, for example, Dadaism, and Western esoteric teachings such as Rosicrucianism and alchemy, Eastern religions, for example, Zen Buddhism, as well as one of the trends in Western philosophy-phenomenology. An attempt is made to interpret the artist's work through the prism of this Manifesto in the context of his worldview. It shows the relationship of Klein with other avant-garde artists of his time, their impact on each other. The intersection of views of the French artist with Gaston Bachelard – one of the most famous French philosophers and art historians of the twentieth century.
Keywords: Yves Klein, Artists of France, “Manifesto of ‘Chelsea Hotel’”, conceptual art, new realism, minimalism, neo-dadaism, Rosicrucianism, Zen-Buddhism, phenomenology

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CINEMA

REALISM AS A PROPERTY AND AS AN EFFECT OF THE CINEMATIC IMAGE IN ANDRE BAZIN`S CONCEPTION: HISTORICAL AND THEORETICAL ASPECT
UDC 791.43.01
Author: Strugova Ekaterina Alexandrovna, student of the Institute of Philosophy of the Department of Cultural studies, philosophy of culture and aesthetics of Saint Petersburg State University (5 Mendeleevskaya line, Saint Petersburg, Russia, 199034), e-mail: st063206@student.spbu.ru
ORCID ID: 0000-0002-7688-0679
Summary: The consideration of cinema in the context of its ontology, epistemology and aesthetics involves an appeal to its components such as the status of representation, aesthetic attitude, realism, as well as the ‘effect of reality’. In this article, problem statement can be justified by the need to identify the reasons for the interpretation of Andre Bazin's conception of realism by adherents of the subsequent theory of cinema according to the criteria of perception, the ideological potential of an image and the indexical argument. The shift from the research of realism to the effect of reality is due to the possibility of distinguishing the first concept on the source of the formation of the cinematic image and the effect derived from the procedure of representation, directing its ‘work’ ultimately to the viewer.
Keywords: index argument, Andre Bazin, realism, reality effect, cinematic experience, representation

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CROSS-CULTURAL PROFILE OF COLOUR ASSESSMENT IN M. NIGHT SHYAMALAN’S MOVIE TRILOGY
UDC 791.43-2
Author: Tsyrkun Nina Aleksandrovna, Dr.Habil. in art studies, researcher at the Central State Cinema Museum (Pavilion Nr.36, 119 Prospekt Mira, Moscow, Russia, 129223), e-mail: tsyrkun@mail.ru
ORCID ID: 0000-0002-6723-5870
Summary: The author considers some peculiarities of colour specification in M.Night Shyamalan’s movie comics’ universe (Unbreakable, Split, Glass). As an ethnic Indian, born and educated in USA, Shyamalan employs symbolism of colour in compliance with traditions of both Eastern and Western cultures. The author concentrates on consideration of expressive potential of colour in subjectivization of personages and its part in the narrative strategy of the filmmaker. Pointing out, that Shyamalan exploits comics as a genre for launching and explication of the mechanism of identification, the author treats peculiarities of characterization of the three protagonists, identified and marked by colour, dwelling on sensitive agency of yellow, green and purple colours in various cultures. The author argues, that in Shyamalan’s trilogy a special suggestive subtext arises, navigating the viewer in certain socio-psychological comprehension.
Keywords: M. Night Shyamalan, movie comics, superhero, colour, color specification, suggestion

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DOMESTICATION OF THE VAMPIRE IN THE JOSEON ERA: THE SOUTH KOREAN TV SERIES “THE SCHOLAR WHO WALKS THE NIGHT” AS AN EXAMPLE OF GLOCALISATION
UDC 791.43-2
Author: Tarasova Aleksandra Vladimirovna, PhD in history, Associate Professor of the Department of History and Theory of Culture, Faculty of Cultural Studies, Russian State University for the Humanities (6 Miusskaya sq., Moscow, Russia, GSP-3, 125993), e-mail: aleks.tarasova@gmail.com
ORCID ID: 0000-0003-1248-9336
Summary: The vampire has no direct counterpart in Korean mythology, but has nonetheless succeeded in finding a place in the popular culture of the Republic of Korea. Of particular interest are the works in which we meet the vampire alongside creatures from national legends or historical figures, where this character of foreign origin has somehow taken root in Korean history and culture. In the TV series “The Scholar Who Walks the Night” (2015) the story of the confrontation between the “vampire with the human heart” and the vampire-predator turns out to be mixed with sageuk, a long-established type of historical series that narrates the country’s past and the origins of its national traditions. The plot is set in the Joseon era, in the second half of the 18th century; some of the characters have historical prototypes. The TV series represent vampirism as a phenomenon alien to Korea, and emphasize the connection between vampirism and Western influence. This article explores the construction of the TV image of an “indigenous” vampire.
Keywords: popular culture, Republic of Korea, TV series, vampire, tradition, glocalisation

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HISTORY AND THEORY OF CULTURE

THE CRISIS OF ART: MALEVICH, BERDYAEV, GERSHENZON
UDC 7.01+7.038.14
Author: Podobueva Ekaterina Vladimirovna, undergraduate student, research intern at STL of “Transcendental philosophy” National Research University Higher School of Economics (21/4,1, Staraya Basmannaya, Moscow, Russia, 105066), e-mail: katrin-arabesk@yandex.ru
ORCID ID: 0000-0002-5257-2276
Summary: The article is devoted to the consideration of the problem of the art crisis in Russia at the beginning of the twentieth century using the example of the Suprematist work of K. Malevich and philosophical views of N. Berdyaev and M.O. Gershenzon. K. Malevich was a unique phenomenon in the art world of the first half of the twentieth century. He managed to embody in Suprematism the essence of “art for art's sake”, the desire to go beyond the given empirical reality. Such an aspiration was extremely important for M.O. Gershenzon, who saw the appeal to the “extra-empirical” necessary to get rid of the heavy shackles of the “past”, which, among other things, seem to be one of the attributes of the art crisis. A similar position was relevant for N. Berdyaev, however, with one significant caveat: he believed that Malevich’s ideas only reflect the existence of the crisis itself, but do not lead to anything new, because such art is depersonalized, devoid of spiritual. Nevertheless, if we turn to the philosophical texts of Malevich, we can find a certain discrepancy with the thesis of Berdyaev, for him, the key concept of his philosophy and creativity remains intuition, inextricably linked with the concept of the spiritual. It is through the interaction of these concepts, according to Malevich, true art is possible.
Keywords: the crisis of art, Malevich, Gershenzon, Berdyaev, creativity, freedom, suprematism

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