Ніщо у мистецтві авангарду ХХ століття

Author(s): Anna Prykhodko / Language(s): Ukrainian / Issue: 1/2013

The article attempts to trace the connection between the philosophical category of Nothing and the concept of some "plotless", as they are often called, works of art in the 20th century. Attention is focused not so much on the demonstration of Nothing on different levels (in the artistic images of silence and emptiness, for instance), but rather on the particular absence of the apparent substantial component in the work of art. It is proved that the avant-garde radical tendencies in art were the response to the artistic and aesthetical consciousness to the global change in culture and civilization processes caused by the scientific and technological progress. Particularly, the disintegration of atom and the new concept of space and time continuum. Scientific and technological progress has led to the revision of philosophical questions and the return to eternal ontological problems. The artists were attempting to find philosophical justifications for their work and to create their own philosophical concepts and aesthetic positions. These attempts began in early 20th century and were declared in articles, lectures, leaflets, pamphlets, poetry collections, manifestos. In the article, attention is focused on the theoretical understanding and development of the problem of Nothing, which formed the basis for the works by many philosophers who had influenced the artistic ideas of the 20th century (M. Heidegger, J.-P. Sartre and others). One of the characteristic lines of philosophical pursuit of the 20th century is an attempt to match Nothing with the real being and to compare the worldview of Western and Eastern cultures. This suggests conducting a parallel with the "silent" creative work of some composers. In particular, the American John Cage, who was interested in Eastern philosophy (the "void" doctrine of Zen Buddhism) and expressed his striving in the piece "4’33", and the Russian composer Eugene Kostitsyn with his "Minute of silence". The article reveals that the concept of "Nothing" in the visual arts, which means liberation from objective world, was most strongly expressed in the figurative (abstract) art and was represented in the creative work of Kazimir Malevich. In particular, the legendary "Black Square", which Malevich defined as "zero form" – a basic elements of the world and being. The author’s theoretical justification of Suprematism had more than five volumes. Interests in ascetic monochrome paintings was observed in the work of the American abstractionist artist Robert Rauschenberg, who was famous for his series of works that had neither color nor texture, and in the oeuvre of the French artist Yves Klein. The article states that the creative work of these artists was influenced by the interest in Zen Buddhist philosophy, where the experience of Nothing is one of the basic motifs. The article also pays attention to writers whose creative work was marked by utmost laconism. Particularly, the article reveals the creative work details of the Russian avant-garde poet Vasilisk Gnedov, the representative and the leader of Ego-Futurists (the details are shown on the example of his wordless "Poem of the end", which is considered one of the first manifestations of conceptual poetic word in avant-garde art). The author concludes that the interest for the category of Nothing in avant-garde art was prepared by the development of 20th century philosophical thought, and was most brightly expressed in conceptual avant-garde forms, such as the objectlessness of Malevich (justified by the phenomenology of E. Husserl and M. Heidegger), some Western ideas and abstractionist ideas and the musical "silence" of John Cage (with an emphasis on eastern philosophy of Nothing). In its turn, appealing to the artist’s conceptual comprehension of his own artistic worldview when encountering a particular work of art (especially an "obscure" one) plays an important role in understanding the 20th century avant-garde art. The estimation of objectless works of art is marked by a somewhat complicated perception and the inertness of recipients. The artist’s theoretical justifications may help to find a way to understand his work, but adequate estimation still remains important – it gives the ability to understand whether the author is following some philosophical ideas, or just hiding artistic provocation or even a joke. Thus, in the article proves that some objectless works of art have certain philosophical ideas at their basis, which is evidenced by the theoretical justification given by their authors.

НОВІТНІ ГЕОМЕТРИЧНІ ПРИНЦИПИ ПОБУДОВИ ЛАНДШАФТНИХ КОМПОЗИЦІЙ У ФОРМІ КОЛА

Author(s): Mykola Kanievskiy / Language(s): Ukrainian / Issue: 3/2014

One of important conditions for determination of ways of development and perfection of activity of landscape art and landscape design there is making of the newest principles of geometrical construction of aforementioned facilities on the modern stage. A geometrical design and planning of landscape facilities is considered priority direction on the modern stage of domestic landscape art building. One of basic principles of organization of landscape compositions there is collateral subordination. What means efficiency of all elements and their groups, in relation to organization of compositions on a separate geometrical sign. It is known that the complex model of collateral subordination allows to define the general rules of composition organization of picture space and define the groups of key points which materializes accentual-rich in content by forms. But the action of this model does not spread on landscape facilities.However considered frontal compositions in a landscape design can be exactly from positions of model of collateral subordination.As, leading direction of forming of landscape facilities of different functional direction is a search of new geometrical principles of their organization and planning, application of model of collateral subordination, for the search of principles composition geometrical organizations of landscape facilities are perspective.Research facilities the chosen public gardens, grounds, territories, in form circle. Leaning against the model of collateral subordination defined the size of the agreed radial module for landscape compositions in form circle, as distance between two points, where one of them is an intersection tops a square, entered in a circle, with a diagonal, and second is an intersection that diagonal with a circle, entered in this square.At imposition of module nets, built on the base of model of collateral subordination identically level, for objects in form square and circle, it is possible to find out a tendency to grouping of his elements in concrete figures, which appear at their consideration. In basis of this tendency of grouping it is possible to select the geshtalts factors of determination of properties of figure, which allow us to perceive a form.On the base of the conducted researches a few examples of landscape compositions were built with different plan charts and amount of areas, different amount and form of elements. The offered method allows not only to develop new landscape compositions, but also successfully to reconstruct blasted. The example of application of module net of 6th level and radial module is resulted by the size of 45°, for the reconstruction of a plan chart of the Ruskogo garden of flowers of end of ХІХ ages.With the use of model of collateral subordination certainly sizes of the concerted module nets for the objects of landscape design in form circle, on the base of which: – the new types of landscape compositions are created at the terms of the use of geometrical principles of their construction; – certainly basic ways of organization and equipping with modern amenities of the newest landscape compositions in a design;- it is set geometrically composition connection of the pas and modern at creation of the newest landscape educations. – from positions of geshtalt psychology of fundamental visual processes and mechanisms on which the founded perception of contours and contrast certainly lines of force for the most successful location of elements of landscape compositions.On the base of the agreed modules original landscape compositions are developed for objects in form circle, which have geometric consistency in the form and weight most of the individual elements; relationship forming lines; the choice and substantiation of the optimum distance between elements in the visual integrity of the grouping.Leading direction of forming of landscape facilities of different functional direction is a search of new geometrical principles of their organization and planning. Consequently the offered principle composition geometrical organizations of facilities, on the basis of the developed base models of public gardens, gardens, parks, created with the use of the agreed modules is perspective.

Новітні мистецькі технології в галерейній діяльності України

Author(s): Vadim V. Michalchuk / Language(s): Ukrainian / Issue: 2/2012

In the article the examples of application of the newest artistic technologies are examined in practice of the modern Ukrainian art-galleries, such as "ready-made", "performance", "installation", "happening", "net-art", "cyber-art" and others like that.

Новооткрити сцени от житието на св. Козма Зоrрафски в Главната църква на манастира Зограф

Author(s): Ivanka Gergova,Alexander Kuyumdjiev / Language(s): Bulgarian / Issue: 3/2002

Новоразкрит надпис върху свитъка на пророчица Анна от църквата "Св. Петър" при село Беренде

Author(s): Christo Andreev / Language(s): Bulgarian / Issue: 1/2005

In this brief report is published a newly uncovered mural inscription in the Church of St. Peter near the village of BerendØ, which can be seen on the scroll held by the prophetess Anne in the scene of Presentation of Christ in the Temple. In translation it reads: “This Infant created/strengthened the Heavens and the Earth.” It is established that the text in this form appeared in the above scene from the period of the Comnenes onwards and is identical with that of examples in Nerezi, Bachkovo, Mileßevo, Sopo ani, Arile, Staro Nagorichino, Graanica, Staniene, Deani, Ohrid, Kremikovtsi, Poganovo, and others. The author puts forward the assumption that its origins are linked to the homiletic tradition of the feast of Presentation of Christ in the Temple. In conclusion, certain linguistic features are discussed, pointing to links of the inscription to the West-Bulgarian orthographic tradition.

Новото западноевропейско кино и стереотипът на разделението

Author(s): Ingeborg Bratoeva-Daraktchieva / Language(s): Bulgarian / Issue: 2/2004

This article, based on the analysis of 25 European films, shot in the period 1973-2003, examines the identity construction in the new West European cinema. The study has a strong focus on works, produced in the last five years, which display a strong tendency to adjust to new European realities the hardened stereotypes, inherited from the Epoque of the Cold War. The West European film- makers tend to represent the crisis of European identity, set in after 1989, as an exclusively East European dilemma. They keep reproducing the well-known stereotype of Western self-identification: a hero, bearer of civilization and humanity, and they persist in multiplying the familiar negative type: the East European, made in the “empire of evil”. After 1995, the negative Eastern stereotype went through a significant transformation: the anti-hero/anti-heroine discarded his/her communist or KGB identity. In recent time, he/she emerges on screen as a Mafioso, or as a criminal, or as a pimp, or as a prostitute, in the best case, as an illegal emigre. Thus, the East European demonstrates on screen three fixed qualities: he/she is irrational, he/she cannot adapt to the Western culture, and he/she is generally characterized as a marginal white. The commonly negative representations of “the other” hindered European cinema from developing a hero with multiple identities who could mediate between the East and the West. We can conclude that in the last decade European cinema reanimated the opposition East-West, and continued to promote negative stereotypes of otherness and difference, in contrast to the process of political unification of Europe. Nevertheless, many European film- makers bear in fact multiple identities. Some of them began to destroy the deep-rooted models of contradiction between the European East and the European West ​and tried to present on a screen a new concept of interaction and mutual understanding. We regard this development as the most productive tendency in the recent European cinema.

Новые свидетельства влияния прекукутенских традиций в развитии культуры Кукутень

Author(s): Silvia Marinescu-Bîlcu / Language(s): Russian / Issue: 2/2002

In the article the authors characterizes two anthropomorphic wares discovered at the settlement of the Precucuteni culture in Izvoare (Neamţ county) in 1988. The first of them represents the lower part of a large hollow figurine with open conical base, which is decorated in traditional style of the Precucuteni III culture (figs. 1 and 2). The second find is the representation of a human face pressed out in the wall of a clay vessel (figs. 3 and 4). In the context of new finds the author discusses the problem of anthropomorphic vessels and human representations in general in the Precucuteni and Cucuteni A cultures. The analysis of existing evidence allows tracing significant impact of the Precucuteni culture in the formation of the stylistic traditions of the Cucuteni culture. At the same time the author emphasizes the role of Balkan cultures (respectively Karanovo VI and Gumelniţa) in the spread of these and other traits in northern direction.

Новый источник композиции портрета мадам Рекамье Жака-Луи Давида

Author(s): Maksim Alexeevich Kostyria / Language(s): Russian / Issue: 25/2016

Portrait of Juliette Recamier (1800, Louvre) by Jacques-Louis David (1748-1825) is rightly considered as one of the masterpieces of the Neoclassicism. The researchers found different sources of his compositions, including, for example, Etruscan sarcophagi and frescoes by Giulio Romano (c.1499-1546) at Palazzo del Te. However, in this context, it was never mentioned the name of English painter and sculptor John Flaxman (1755-1826). The article presents the hypothesis that illustrations to the “Odyssey” of Homer (1793) made from the drawings by Flaxman had a decisive influence on the development of the composite structure of portrait of Mme Recamier. To substantiate his opinion the author draws a variety of materials. Preparatory sketch for the portrait of Mme Recamier (Boulogne-sur-Mer, Museum of Fine Arts) presents the first version of the portrait’s composition. It defines the model pose, accessories, but David has not yet found the ultimate idea of the composition. The structure of the Louvre picture is quite different. In our opinion, the final version of the portrait of Madame Recamier’s composition has a definite connection with the illustration of Flaxman number 5, representing the dream of Penelope. Under the influence of this work the compositional structure of the painting acquired a pronounced diagonal. Composition became really monumental with a great role of silhouette in it. The shape of lamp and footstool in the portrait of Mme Recamier are the same shape as these items from the illustration number 23 – “Evrikleya recognizes Odysseus”. These accessories were executed by Jean Auguste Dominique Ingres (1780-1867), at that time studying in the studio of David. We can assume that Ingres, owning lots of Flaxman engravings, also used them while working on the canvas. Thus, it seems clear, that the final composition of the Mme Recamier’s portrait was influenced by the illustrations to the “Odyssey” after the drawings of Flaxman.

Нонконформізм як фактор стильової динаміки в культурі ХХ століття

Author(s): Hilarion Lehenky / Language(s): Ukrainian / Issue: 1/2015

The article provided cultural reconstruction style formation the twentieth century. Determined that nonconformism as a stage style dynamics shaping occurs in the context where culture or cultural practices reach "blossoming complexity" by Leontiev. In non-conformism intention incompleteness, incompleteness thoughts and redundancy imaginative innovation (synthesis of style artifacts) overflowing. It is proved that non-conformism is characteristic model configuration predetermined external display that always connects art with rules and models imitation behavior and immanent reality denial of these standards, providing a discourse that captures the flow changes, openness and incompleteness of creative innovation. In non-conformism style is a secondary phenomenon, because the non-reality tends to the creative eclecticism. Non-conformism – is no dichotomy alternatives, a conscious choice – creative thinking. Language, speech, discourse is always figurative, pictographic focus and cannot be abstractly defined. The discourse of non-conformism – is always incomplete image culture, are a symptom of incomplete permanent continuous formation of images, image, ideals and standards. Arts and signify this way as non-conformism purely artistic. So we fix two stages in the transition style formation – internal (non-conformism as immanent transformation blossoming complexity stationary style) and foreign – denial following the previous style, which takes place in the context of the stage of simple radical actions (fusion – Art Nouveau, demonstrations objection classical culture in the forefront; frakalnyh genetic algorithm searches micro intervals as denial culture of postmodernism in general). What is called "dialogue of cultures", "stylistic interaction" is at the stage of primary and secondary simplification cultures and their practices, which is a prerequisite not synthesis, symbiosis, and proper dialogue – preserve the authenticity of cultural artifacts. In style are created under: proto phase which defines metaphysical little principle shaping style as the previous final stylistic development; stage primary shaping simplicity of style that correlates with the simplicity of the style of the previous finals; flowering stage as excess complexity of a system that produces nonconforming intentions – the search for organic art systems; retrospective stage or second stage of simplification, which correlates with the stage of primary simplicity of style and produces denial stage of ease in the next style. If we are talking about non-conformism, then he characterized predetermined outer configuration model that always connects art with the rules and realities of those who create designs of imitation behavior. Difficulties stylistic interpretations are not only non-conformism that is hard to describe internal and external determinants, difficult to describe how one goes in a different style in the context of multi stylistic reality culture of the twentieth century. Artistic innovation of the twentieth century chronologically by avant-garde. Vanguard returned to the simple and clear configurations. This is the avant-garde, which itself represents a return to the stage poetics of the first prophets of the first analysts and synthetic vision as a world vanguard aesthetics. Phase vanguard nonconformity that occurs as a reflection and embodiment of avant-garde creative intuitions that require new (fractal) monism. At the forefront can see the different stages: the first stage, which is the following of modern intuitions Nouveau as a negation of antiquity, held in eclecticism, vidtvorylasya as a radical negation, negation of the entire classical culture, sharp break, demonstration of the world. In figurative art, architecture did not experience such a sharp breaking, as it happens in music. It may be noted that all the talk about symmetry, which helps to structure the twentieth century, a certain diversity of art practices as one big song is not productive. We are not trying to draw parallels between music and architecture Art Nouveau, our task – only to determine that modern non-conformism nose in a new model of budivnoyi design. It can be said that the style is not modern two stages: eclecticism and its own modernist style, but the third stage of primary simplicity (eclectic), stage and stage Nouveau dual simplification (retrospection, or so-called modern classicism). When it comes to modern style, it is often too formally define it as purely linear, focused on plastics plant type shaping. It is a style that existed in the late twentieth century until the First World War, according to a number of theorists on art, architecture, design. However – this is superficial and artificial interpretation style. Homelessness exist in space, devoid of big narratives, do adds nothing to understanding discourse nonconformity? Non-conformism (art, music) is an extremely versatile product culture, product multidimensional, synthetic, if not eclectic. However it is eclectic topic as guidance nonconformity is the closest to the value style. Stylistic features nonconformity difficult to specify because we have a discourse specifies located in marginal space. The discourse of non-conformism – is always incomplete image culture, are a symptom of incomplete permanent continuous formation of images, image, ideals and standards. That is not about the system and by the system characteristics that plunge man without a conscious or deliberate over the act and encourage artistic intuition and faith.

Носталгии. Леа Вайсова и колектив, „Портрети на изчезваща София“

Author(s): Chavdar Parushev / Language(s): Bulgarian / Issue: 15/2014

Носталгични пътеки. Есета

Author(s): Sava Slavchev / Language(s): Bulgarian / Publication Year: 2017

"Sava Slavchev's essays are balanced, elegant and erudite, completely devoid of unnecessary categorical timelines. Here's what I wrote to the author as soon as I read his book: "This is your form, the enjoyment of freedom in the way you use it is evident. I wanted the end of the essay in the part on literature and culture to be bolder and accusing, even sinister, to gain a place in the mind of the reader. Luckily there is nothing like that! The cultural man is known in the way he protects the culture, and I am a barbarian and realized myself as such while I was reading. But this awareness does not hurt me, no - it inspires me! " - Peter Delchev

Нравственные и эстетические факторы формирования молодой художественной интеллигенции

Author(s): Vyacheslav Georgiyevich Kiselyov / Language(s): Russian / Issue: 3/2017

On the materials of the analysis of results of socio-cultural anonymous polls of students of the Ural branch of Russian Academy of Painting, Sculpture and Architecture of Ilya Glazunov for the last five years motives of training of youth in art higher education institution, valuable orientations of students, assessment of quality of educational process come to light and are analyzed. Monitoring of polls gives the chance to track the role of esthetic and moral factors in formation of the young art intelligentsia. The academism of education, the individual work with students which is coming to the end with personal exhibitions during training creates the lines of their original intelligence.

Някои аспекти на влиянието на изкуствения интелект върху медиите

Author(s): Stoyko Petkov / Language(s): Bulgarian / Issue: 1/2018

The article discusses some aspects of the changes brought about by the entry of bot journalism and artificial intelligence into media practice. In the coming years, these innovations will change news organizations, starting with automated journalism, which provides the opportunity to personalize news content precisely, going through news created on demand and arriving at interactive voice-enabled news.

Някои бележки върху румънската и българската комедиография до средата на ХХ век в контактната балканска зона на комичното

Author(s): Romeo Popiliev / Language(s): Bulgarian / Issue: 3/2017

The paper deals with the common cultural, social and psychological dispositions that have influenced comedy playwriting in Romania and Bulgaria from the nineteenth century until about 1944, in the beginning drawing parallels between three renowned Balkan comic dramatists: Ion Luca Caragiale, Branislav Nušić and Stefan L. Kostov. The very troubled history of the Balkans with its inevitable closenesses, but also with its conflict-ridden and pulling-apart confrontations; with the aspirations of the Balkan nations both to identify themselves and their histories and to fit in with the European process of development, created a comic situation in itself, where the ‘bodies’ of these nations seemed to be unsettled between moving ahead and backwards at the same time; a movement that can’t but provide a lot of comic situations. Romanian comedy playwriting in the interwar period is analysed in brief using as examples the works of such playwrights as Victor Eftimiu, Camil Petrescu, Tudor Muşatescu and Mihail Sebastian, where an ideal, poeticised principle is contrasted to vile passions and aspirations in life: a new subject matter undoubtedly. The article ends with general reflections on the uniting power of theatre.

Някои нови данни от проучването на църквата „Св. Петка“ в Брезник

Author(s): Mariela Stoykova / Language(s): English,Bulgarian / Issue: 1/2018

The exploration of the Church of St Petka in Breznik under the project Corpus of Church Murals from the First Half of the Nineteenth Century established a number of new facts, which, due to the chronological boundaries and the structure of the entries, were not included in the study. Many new findings related to the spiritual life of the region were revealed during the study of the extant liturgical books. It transpired that more than forty books were kept in the church library; twentyone of them are early printed volumes. Five more books should be added to this list, which are stored in the Breznik History Museum. Many of the drawings and notes in these books have not been published, and the information from others has not always been presented comprehensively and correctly. In the first part of the text, notes are reviewed, which reveal the links between Breznik, the Chilandar metochion in Sofia, and the Zograph Monastery. An attempt has been made to highlight the role of taxidiotes in the distribution of liturgical books across the region. The second part of the study examines the drawings in the books that have escaped the notice of researchers for a variety of reasons. These drawings were made by two authors. The first one is priest Dimitar Stoyanov, whose are also many of the notes of the second half of the nineteenth century. Although a self-taught iconographer, he experimented also in mural painting and at the age of 73 painted several images at the chapel in his house. The second author can be identified as Yanachko Stanimirov, given the similarities in the style. A note from a Euchologion (Trebnik, 1755), where one of his drawings is preserved, indicates that the book has belonged to priest Anachko from Pishtane village. The names and similarities in the style suggest that iconographer Yanachko Stanimirov and priest Anachko were the same person. Drawing on the previous studies on his work as a 434 painter and the new findings, we offer some changes in his biography. He was arguably born in the area of Breznik, where his earliest works are to be witnessed: the Church of St Petka in Breznik (1838, 1841) and the Church of the Holy Prophet Elijah in the village of Rezhantsi (1842); after his stints as a teacher and iconographer, he returned to his native lands in the 1850s and became a priest. It seems that he received his education in Breznik or at the nearby Bilintsi Monastery, where he had the opportunity to use the rich church libraries. His interest in history, expressed in a unique way in the annalistic inscription in the fresco from the church in the village of Tuden, Godech region, was in all likelihood sparked by the numerous annalistic notes in the liturgical books at the church in Breznik.

Няколко думи за Иван Славов

Author(s): Desislava Mincheva / Language(s): Bulgarian / Issue: 18/2013

A few words from Desislava Mincheva for the work, progression and personality Bulgarian sculptor Ivan Slavov.

Няколко мощехранителници от софийски златари

Author(s): Darina Boykina / Language(s): Bulgarian / Issue: 4/2016

The presented six reliquaries have either not been published or have just been mentioned fleetingly in scholarly literature. The best part of the objects is alms boxes carried by taxidiote monks for almsgivings. These are made from hand-chased gold vermeil or are entirely wooden with metal finely decorated repoussé casings. All the objects under consideration have been used in Sofia or in its vicinities, which is attested to in the inscriptions they are bearing or in the books kept by the metropolitan church. In the eighteenth and the nineteenth centuries, it was a common practice among the taxidiote monks to enclose relics in a metal casing in the place to which they had been sent on a mission. The boxes were usually small in size, containing a small cross of carved wood and relics. Artefacts would occur among the later monuments made after the mid-nineteenth century that contain not relics but resemble reliquaries just on the face of it, in form and decoration. Some of them feature also painting s representing the patron saint either of the church or the monastery the object comes from. All the reliquaries have been wrought in the nineteenth century by goldsmiths from Sofia. Most of the objects are hand wrought and Eucharistic symbols and images dominate their decoration. In the concluding part of the paper, their stylistic and technical specifics are considered. The presented cult objects both provide new information about the goldsmiths' trade in Sofia and show that local monasteries were actively engaged in alms gathering by monks though of limited in scope compared with the large monastic centres in the Balkans.

О двух новых находках позднесредневековых кладов ювелирных украшений (в связи с вопросом о присутствии дериватов золотоордынских изделий в памятниках Молдавского княжества)

Author(s): Svetlana S. Ryabtseva,Lilia V. Dergaciova / Language(s): Russian / Issue: 6/2017

О крыльях и ушах в искусстве звериного стиля

Author(s): V. N. Saenko / Language(s): Russian / Issue: 3/2004

The elements of decor of horse-bridle from burials of Steppe Scythia in form of “leaf-like” figures are examined. It is guessed, that sources of production of these articles, as by style and by technology, primary were situated aside of nomads` development of animal style and their semantic load was perceived, or by some way re-interpreted by Scythians already in practice of using. It is proposed to return to traditional treatment of these images as bird wings, because attempts, which exist in literature, to ground that they represent solitary ears of hoofed animal, have insufficient arguments.

О материальной культуре печенегов к югу от Дуная – листовидные ажурные амулеты XI в.

Author(s): Valeri Yotov / Language(s): Russian / Issue: 5/2000

The article studies one of the aspects of archaeological culture of a nomadic people – the Petchenegers who lived on the territory of modern Bulgaria, south of Danube. It analyses a type of archaeological finds, and namely metal leaf-shaped open-work amulets belonging to the Petchenegers of XI century. The article contains data and gives a catalogue of 16 of such finds, defines chronology and area of their spread.