annotations - Burganov House. The space of culture

НАУЧНО-АНАЛИТИЧЕСКИЙ ЖУРНАЛ
ДОМ БУРГАНОВА «ПРОСТРАНСТВО КУЛЬТУРЫ»
SCIENTIFIC AND ANALYTICAL JOURNAL
BURGANOV HOUSE «THE SPACE OF CULTURE»
2.2009
Table of Content
The Space of Culture
S.I. Orlov
Bible and «Revelation» of Ioann» in the Russian art of the beginning of the XX century
8
D.Y. Severuhin
Art lotteries in the old Saint-Petersburg
23
S.V. Kurasov
The sources of ethno design in the traditional mode
of life of primitive tribes of Papua – New Guinea
36
T.J. Melnik
«Soviet» as value: Nostalgia in beat a march
44
World of Museum
M.B. Aksenenko
Painting at the Moscow Museum of Fine Arts: the part of design of the interior or the exhibit?
59
Dialogues
I.A. Korchagina
Byzantine heritage in Venetian architecture
73
Legacy and Traditions
S.V. Tarhanova
The Floor Mosaics in the Architecture of the Churches and Synagogues
of the Early Christian Period (III-VI cc) at the territory of Palestine
83
N.A. Hachatrjan
Development of the Armenian Portrait and Hacob Hovnatanian
92
M.V. Maksak
The phenomenon of Edvard Munch’s Symbolism
109
S.V. Gorozhanina
On History of Art Workshops of the Moscow Gubernia Zemstvo in Sergiev Posad
126
D.V. Zhdanova
The Trinity Cathedral at the Pochaev Assumption Monastery:
To the Problem of Alexei Shchusev’s Church Architecture
146
E.N. Mikhaleva
The theatre in the work of Anna Akhmatova
155
V.G. Vlasov
Favorsky and VHUTEMAS
168
J.V. Morozova
About the author’s stylystic of painting by O. Savostyuk
187
Archives of Culture
T.G. Schedrina
Philosophy of culture of Gustav Shpet (On archive materials)
199
Содержание
Пространство Культуры
И.С. Орлов
Библия и «Откровение» Иоанна в русском искусстве начала ХХ века
8
Д.Я. Северюхин
Художественные лотереи в старом Санкт-Петербурге
23
С.В. Курасов
Истоки этнодизайна в традиционном быту примитивных племен Папуа – Новой Гвинеи
36
Т.Ю.Мельник
«Советское» как ценность: Ностальгия в ритме марша
(Опыт художественной выставки галереи «Ковчег»)
44
Мир музея
М.Б.Аксененко
Живопись в московском Музее изящных искусств:
элемент оформления интерьера или экспонат?
59
Диалоги
И.А.Корчагина
Византийское наследие в архитектуре Венеции
73
Наследие и традиции
С.В. Тарханова
Напольные мозаики в архитектуре храмов и синагог
раннехристианского периода (III-VI вв.) на территории Палестины
83
Н.А.Хачатрян
Становление армянского портрета и Акоп Овнатанян
92
В.Г.Власов
О границах предмета и методе традиционного декоративно-прикладного искусства
109
Д.В.Жданова
Троицкий собор Почаевской Успенской лавры: к проблеме культового зодчества А.В.Щусева
126
Я.В.Морозова
К вопросу об авторской стилистике живописи О.М. Савостюка
146
С.В.Горожанина
К истории художественных мастерских Московского губернского
земства в Сергиевском Посаде (1891-1917 гг.)
155
Е.Н. Михалева
Театр в творчестве Анны Ахматовой
168
М.В. Максак
Феномен живописного символизма Эдварда Мунка
187
Архивы культуры
Т. Г. Щедрина
Философия культуры Густава Шпета (по материалам архива)
199
Г.Г.Шпет
Заметки
202
Г.Г.Шпет
Программа по курсу «Введение в эстетику» (1926–1929)
206
С.И. Орлов
Старший научный сотрудник
НИИ Теории и истории изобразительных искусств РАХ
dombourganova@rambler.ru
Москва
Библия и «Откровение» Иоанна в русском искусстве начала ХХ века
Ключевые слова: Апокалипсис, «Откровение» Иоанна, Библия, Казимир Малевич, Василий
Кандинский, Наталия Гончарова.
Bible and «Revelation» of Ioann» in the Russian art of the beginning of the XX century
Keywords: Apocalypse, «Revelation» of Ioann, Bible, Kazimir Malevich, Vasilij Kandinskij,
Natalija Goncharova.
Summary: In the article is dedicated to the Bible and the gospel themes in works of Kazimir
Malevich, Vasilij Kandinskij, Natalija Goncharova. Personal author’s position of this painters is
shown in the interpretation of mythological conceptions.
Д.Я. Северюхин
Кандидат искусствоведения,
член Санкт-Петербургского Союза художников России
severuhin@yandex.ru
Санкт-Петербург
Художественные лотереи в старом Санкт-Петербурге
Ключевые слова: художественные лотереи, старый Санкт-Петербург.
Art lotteries in the old Sant-Petersburg
Keywords: art lotteries, old Saint-Peterburg.
Summary: In this article the history of art lotteries held organized in Russian capital since the
middle of the 18’th century till 1917 is generalized and systematized for the first time. Lottery is
regarded by the author both as a part of Petersburg art market and a component of Russian
charity system which increased since the end of the 18’th century. It is mentioned that lottery as
a form of commercial game for the sake of profit constantly was in the sight of the government
who took care about morality of the society. The legislative restrictions set by the state and city
government in different periods decreased the significance of art lottery both in the market and
charity spheres. It should be noted nevertheless that sometimes art lotteries were the significant
events growing in the texture of Petersburg cultural history. The article is based on the
documentary and literary sources and materials taken from the periodicals of the second half of
the 18’th –the beginning of the 20’th century.
С.В. Курасов
Кандидат искусствоведения,
проректор по учебной работе
МГХПУ им. С.Г. Строгонова
info@aaassdd.ru
Москва
Истоки этнодизайна в традиционном быту
примитивных племен Папуа – Новой Гвинеи
Ключевые слова: этнодизайн, Папуа – Новая Гвинея, каннибализм, материальная
культура.
The sources of ethno design in the traditional mode of
life of primitive tribes of Papua – New Guinea
Keywords: ethno design, Papua-New Guinea, cannibalism, material culture, decoration of
dwelling.
Summary: The article by Professor of Art Criticism, Pro-rector of the Moscow State University
of Industrial and Applied Arts named after S.G.Stroganov, expert of environmental design
S.V.Kurasov is devoted to the analysis of materials of the expedition to unknown tribes of
Papua-New Guinea. The research in the field of ethno design deals with construction and
decoration of dwellings, arms and means of labor, cloths, jewelry and also mode of life of the
Papua tribes.
Т. Ю. Мельник
Соискатель кафедры теории и истории культуры РГГУ
Преподаватель МГАХУ памяти 1905 года.
tmelnik05@mail.ru
Москва
«Советское» как ценность: Ностальгия в ритме марша
(Опыт художественной выставки галереи «Ковчег»)
Ключевые слова: телесность, советское как ценность, советское искусство, образ толпы
в искусстве, Ж. Делез «тело без органов».
«Soviet» as value: Nostalgia in beat a march
Keywords: a corporality, Soviet as value, the Soviet art, an image of crowd in art, Z.Delez «a
body without bodies».
Summary: In the present article the art exhibition of the fine arts of the Soviet period is
investigated as the phenomenon of modern culture which can serve as a field of social mith and
representation experience. Possibility to pay attention to a variety of ways of designing of a
corporality and it representation in a certain context of time, the past or the present is thus used.
At the approach to the analysis cultural spaces of an exhibition the author refers to modern
theories and concepts, for example, such as «a body as the text» or «the body without bodies»,
and considers how they work on a concrete material. A result of the spent researches of artefacts
of the Soviet period should become testing to their value in cultural and intellectual context.
М.Б. Аксененко
Заведующая отделом рукописей
ГМИИ им. А.С. Пушкина
rukop@artsmuseum.ru
Москва
Живопись в московском Музее изящных искусств:
элемент оформления интерьера или экспонат?
Ключевые слова: Музей изящных искусств при Московском университете, И.В.Цветаев,
живописное оформление музейных интерьеров (1912-1917) .
Painting at the Moscow Museum of Fine Arts:
the part of design of the interior or the exhibit?
Keywords: Museum of Fine Arts in Moscow , Zwetajew (Cvetaev), design of the interior of
museum (1912-1917).
Summary: The article considered the project of the pictorial design of the interiors at the
Moscow Museum of Fine Arts and its realization. In 1912-1917 the original painting in Museum
was presented in several kinds: as a part of the architectural surroundings and as a visual aids,
which are supplement the exposition of plasters. Besides, in the sculptural-architectural
exposition was made some easel pictures of the modern russian artists, which have not
educational nature, and some old German pictures. The research made from dokumentary
sources.
И.А. Корчагина
Аспирант
Государственного Института Искусствознания
Научный сотрудник
Московского музея современного искусства
ikorchagina@mail.ru
Москва
Византийское наследие в архитектуре Венеции
Ключевые слова: Венеция, Византия, Константинополь, архитектура, античность,
венецианско-византийский период, Средние века, готика, Возрождение, крестовый поход,
палаццо, лоджия, полифорий, стрельчатая арка.
Byzantine heritage in Venetian architecture
Keywords: Venice, Byzantium, Constantinople, architecture, antiquity, veneto-byzantine time,
Middle Ages, Gothic, Renaissance,crusade, palazzo, loggia, polifore, ogee arch.
Summary: This article is devoted to the insufficiently explored problem of the Byzantine artistic
tradition`s impact on the Venetianarchitecture. Thanks to the political links with the Western
Roman Empire, whose province was Venice for several centuries, the city was able to raise and
develop within the traditions of great civilization, get acquainted with the antic legacy. Main
monuments, illustrating the problem, are described in detail in the article. The question of the
particular Venetian art periodization is also raised here, the same way as some historical aspects,
promotional to the formation of the own artistic tradition of Venice, at once conservative and
eclectic.
С.В. Тарханова
Аспирант
Государственный Институт Искусствознания
Министерства культуры РФ
foteini@mail.ru
Москва
Напольные мозаики в архитектуре храмов и синагог
раннехристианского периода (III-VI вв.) на территории Палестины
Ключевые слова: Раннехристианские базилики Галилеи, храм в Табхе, синагога Бет
Альфа, архитектура построек, техника, композиция и изобразительные мотивы мозаик.
The Floor Mosaics in the Architecture of the Churches and Synagogues
of the Early Christian Period (III-VI cc) at the territory of Palestine.
Keywords: Rannehristiansky basils of Galilee, a temple in Tabhe, asynagogue of Bet the Alpha,
architecture of constructions, technics, acomposition and graphic motives of mosaics.
Summary: In the article I raise slightly examined problem of the architectural role of the fl oor
mosaics in the Early Christian Basilicas, that is based at the natural investigations and analysis of
the decorative compositions in the Tabgha Church (the end of the Vth c, Lower Galilee) and Bet
Alpha Synagogue (beginning of the VI с, Beth Shean Valley). In contrast with the antique
temples, to imagine the churches and synagogues of the Byzantine epoch without the mosaic
floors –is almost impossible. Mosaic decoration is turning out in the unknown from the previous
time sacral-religious space. Its role is very important in the forming of the interior: in emphasis,
rhythm, direction, hierarchy of the zones, style, symbolism and so on. Thus, the aims of the
mosaic are very close to the architectural ones. Genesis of the large quantity of the motifs is
architectural or sculptural, that promotes the creation of the integral image of the building.
Н.А. Хачатрян
Научный сотрудник
Институт искусств Национальной АН Республики Армения
nellypaladian@yahoo.fr
Ереван
Становление армянского портрета и Акоп Овнатанян
Ключевые слова: армянский портрет, индивидуальная концепция, типология раннего
портрета, синтетичный стиль, национальная художественная модель.
Development of the Armenian Portrait and Hacob Hovnatanian
Keywords: Armenian Portrait, Individual Conception, Typology of the early portrait,
Synthetically Style, National Artistic Model.
Summary: In the first half of the 19th century, the portrait was the only genre through which
Armenian painting entered the Modern Age. It reached its full development in the works of
Hacob Hovnatanian Jr (1806 – 1881). Descended from an ancient Hovnatianian dynasty, this
artist played a crucial role in introducing a new secular tradition. The paintings of the master
mark the transition from medieval creative impersonality to a recognizable personal style. The
art of Hovnatanian synthesizes three main features: Armenian (as well as Tifl isian), Eastern
(especially Iranian) and Western (including Russian). He managed to create a style
corresponding to traditional Tifl isian synthesizing culture. Focusing the artistic trends of his
time, his art is not limited to transitional issues. Moving towards a new creative method, he came
to first personal artistic conception. Hakob Hovnatanian is the fi rst Armenian painter of the
Modern Age tobring about a type of movement – the first national artistic model.
М.В. Максак
Старший научный сотрудник
ГУК МГМ «Дом Бурганова»
dombourganova@rambler.ru
Москва
Феномен живописного символизма Эдварда Мунка
Ключевые слова: Эдвард Мунк, символизм, символический смысл, экзистенциальный
символизм, экзистенциальная эмоция.
The phenomenon of Edvard Munch’s Symbolism
Keywords: Edvard Munch, symbolism, symbolist meaning, existential symbolism, existential
emotion.
Summary: The article shows how the art historian’s notions of Edvard Munch Art have being
developed from the end of 19th century till our days. Munch’s place in the history of Art is
determined to be an immediate predecessor of expressionism and creator of new type of
Symbolism: existential, introspective, psychological symbolism with strong expressionistic
component. Personal, universal, decadent and philosophy meanings of Munch’s images are
identified in the article. Style of Munch’ Symbolism is considered. Peculiarities of symbol,
method of symbolization, special pictorial signs elaborated by the artist are highlighted in the
article. The research is based on Munch’s autobiographical texts and all the existing Western
literature on Munch art.
С.В. Горожанина
Научно-исследовательского института теории
и истории изобразительного искусства РАХ
gorozhanina@gmail.com
Москва
К истории художественных мастерских Московского губернского
земства в Сергиевском Посаде (1891-1917 гг.)
Ключевые слова: народные промыслы, земские мастерские, игрушки Сергиева Посада,
художественное образование.
On History of Art Workshops of the Moscow Gubernia Zemstvo in Sergiev Posad
Keywords: national crafts, земские workshops, toys of Sergiev Posad, an art education.
Summary: There are dedicated to history of the educational toy and joiner’s workshops of the
Moscow Gubernia Zemstvo (1891 – 1917), which were organized in Sergiev Posad – a major
center of toy production in Russia in the article of S.Gorozhanina. The article deals with the
main aspects of the workshops activity based on the ideas of revival of Russian art within the
stylistic trend of artistic process in the late 19th – early 20th century. The author describes the
circle of the famous professional artists, including S.V. Malutin, A.M. Vasnetsov, V.I. Sokolov,
participating in the formation of education and production process, and determines the place and
significance of the Zemstvo Workshops in artistic life of Russia.
Д.В. Жданова
Заведующая сектором истории архитектуры ХХ века
Государственного музей архитектуры имени А.В. Щусева
diana_zhdanova@mail.ru
Москва
Троицкий собор Почаевской Успенской лавры: к проблеме культового зодчества
А.В. Щусева
Ключевые слова: культовое зодчество А.В. Щусева; неорусский стиль; архитектура
модерна; украинская храмовая архитектура; художник Н.К. Рерих.
The Trinity Cathedral at the Pochaev Assumption Monastery: To the Problem of Alexei
Shchusev’s Church Architecture
Keywords: Alexei Shchusev’s church architecture; Neo-Russian style; Art Nouveau architecture;
Ukrainian church architecture; artist Nikolaj Rerich.
Summary: The article examines the history of the design and construction of the Trinity
Cathedral at the Pochaev Monastery by architect Alexei Shchusev in 1905-1912. The Trinity
Cathedral marked an important stage in the architect’s professional development, which
promoted the formation of the master’s individual style and the elaboration of a new creative
concept in Art Nouveau architecture. An analysis of Shchusev’s work on the Pochaev
commission conclusively shows that the process of searching for authentic architectural forms
and artistic solutions and the creation of a needed form for the cathedral amassed in itself the
idealistic and artistic quest of the Russian Art Nouveau. The results demonstratedт the possibility
of a Neo-Russian style as a new style of national architecture.
Е.Н. Михалева
Аспирантка
Литературного института им. А.М. Горького
rainbow@skypoint.ru
Москва
Театр в творчестве Анны Ахматовой
Ключевые слова: А.А.Ахматова, театр, драма, либретто, Н.С.Гумилев, А.А.Блок;
The theatre in the work of Anna Akhmatova
Keywords: Anna Akhmatova, theatre, drama, dramatic work, libretto, Nikolay Gumilev,
Alexander Blok.
Summary: Dramatic works of Anna Akhmatova (libretto «1913» on the first part of «Poem
without a hero», tragedy «Prologue» and screenplay «A pilot, or Blind mother») is directly
related to her special mentality, the dramatism of her lyric work and the poet’s need to reflect on
her epoch. These creative quests of Anna Akhmatova correlate with quests of poetscontemporaries – Nikolay Gumilev, Alexander Blok, Marina Tsvetaeva. Dramatic works of
Anna Akhmatova show us a new side of her work. And it helps to study the work of Anna
Ahmatova more completely.
В.Г. Власов
Кандидат искусствоведения, доцент
Санкт-Петербургского государственного университета,
кафедра истории русского искусства
natlukina@list.ru
Санкт-Петербург.
Фаворский и Вхутемас
Ключевые слова: графика, композиция, конструкция, преподавание, пропедевтика.
Favorsky and VHUTEMAS
Keywords: graphic, composition, construction, teaching, propedeutika.
Summary: In the article examines activity Moscow VHUTEMAS in the period of rector
V.Favorsky (1923-1925). At this time realizes succession between traditions of Russian
academic school and arouse avant-garde art.
Я.В. Морозова
Консультант искусствовед
ЗАО «Московский художник»
Москва
К вопросу об авторской стилистике живописи О.М. Савостюка
Ключевые слова: живопись Савостюка, стиль Савостюка, народные традиции, лубок,
бумажная роза, пространство живописи.
About the author’s stylystic of painting by O. Savostyuk
Keywords: paintings by O.Savostyuk; style of O.Savostyuk; folk traditions; lubok (cheap popular
print); a paper rose; space of painting;
Summary: Main quality of Savostyuk’s manner is its seeming simplicity and sincerity. His
sincerity disguises the complicated compositions, variety of layouts and peculiar elements of a
setup, which go back to the tasks of a poster. The basis of his paintings is the traditions of the
Moscow painting dated the beginning of the XX-th century accumulating impressionism,
postimpressionism, the Russian lubok and icons. The works by Savostyuk comprises various
artistic cultures and stylistics, such as realism, avant-garde and symbolism. Nevertheless the
works by Savostyuk are the original events manifesting the great personality.
Т.Г. Щедрина
Доктор философских наук,
Профессор Московского педагогического
государственного университета (МПГУ)
prubor@mail.ru
Москва
Философия культуры Густава Шпета (по материалам архива)
Ключевые слова: Густав Шпет, культурно-исторический подход, философия культуры,
эстетика, архив эпохи, искусствознание.
Philosophy of culture of Gustav Shpet (On archive materials)
Keywords: Gustav Shpet, cultural-historical approach, philosophy of culture, aesthetics,
archives of epoch, theory of arts.
Summary: Gustav Gustavovich Shpet (1879-1937) was a great Russian philosopher, psychologist
and theorist of culture. He was a pioneer in cultural-historical approach in Russia. His works on
philosophical issues in culture are widely known among humanists. Like many of his
contemporaries, Shpet could not express and publish all his ideas due to objective reasons, which
makes it even more interesting to explore his archives that include sketches, drafts and
unfinished articles and methodological issues of human sciences. His archives contains relevant
ideas concerning the problems of studying cultural-historical phenomena (art, literature, poetry,
etc.) that can serve as a ‘tuning-fork’ in present-day discussions. In the preface T.G. Shchedrina
analyses the main conceptual attitudes of G. Shpet taking into account the historical and cultural
situation that existed in the 1920s and specifies the features of the reconstructed archival text that
differs from the publication.