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Art and Art History
Belonosova I.V. - Peculiarities of the embodiment of suite genre in the compositions of Evgeny Kravtsov pp. 24-33


Abstract: This article is first to examine the chamber-instrumental compositions of the Siberian composer E. N. Kravtsov. The author suggests a thought that the suites created during the period of 1964-2000 for piano and violin and piano, comprise a specific page of the composer’s works, demonstrating the version of composition of the baroque suite. The main compositional features of the baroque suite and the level of their realization in Kravtsov’s works are being analyzed. The historical angle allows determining the main invariant of the baroque suite and its importance for all of the further historical epochs. The most essential features of the baroque suite are examines in the context of comparative analysis of the compositional models of the suites of E. Kravtsov and other composers, including the Western European. The conclusion is made that the invariant of the baroque suite was viewed by the composer as a model and symbol of the Baroque Period, as well as embodied the ideal of the harmonic and classically balanced musical composition. The presented in the article statements are confirmed and clarified in the detailed analytical schemes. The article expands the ideas about the specificities of the chamber-instrumental suite in the works of the contemporary Russian composers.
Mu K. - Transformation of images of the Soviet visual arts during post-war period (1945-1960) pp. 45-56


Abstract: The subject of this study is the Soviet art in the context of evolution of the postwar artistic culture (1945-1960). Attention is also focused on the growth of artistic corps, influx of young forces, national and creative diversity of artworks as an achievement at the examined timeframe. The aim goal of the article consists in the need for expanding the existing knowledge on visual arts of the first fifteen postwar years, which is closely associated with the preceding stage – period of the Great Patriotic War. Emphasis is made on how the artists sought to capture the crucial events of the historic battle for freedom, reveal the underlying causes that ensured victory of the USSR, as well as high moral qualities of the Soviet people. The study highlights that the painters who survived the years of grievous suffering during the Great Patriotic War, revealed the new, previously unknown depths of the national character. Artists noticed a hero in the most ordinary Soviet man. From the perspective of the theory of art, the author characterized the relationship between the concepts of "Soviet art", "officially approved art", and "realistic method". The research methodology implies the method of analytical study of sources that clarifies the logic and content of the Soviet painting of the indicated period. The methodological base for the study includes the thematically necessary compilations on the theory and history of art, history of the Soviet culture, and philosophy of art. The author also used a number of electronic publications. The basis of the article lies in the comparative-historical method that helps to determine the specificity of Soviet visual arts of the postwar period (1945-1960), which allows citing that the Soviet scholars trace the transformations in the artistic-imagery structure of Soviet starting back in the prewar period. The scientific novelty consists in revising the evolution of Soviet postwar visual arts from the perspective of direct impression of the artists who have participated in the war, as well as in description of the significance of the work of Russian painters in development and preservation of the Russian art of the XX century. In conclusion, the author underline the fact that the visual arts during the period of 1945-1960 affected the popularization of the themes of Russian painting of the postwar years, which was dedicated to the events of the Great Patriotic War. On the materials of the battlefield memories, Soviet artists have created a vast amount of paintings. In addition, the unofficial art that was represented at the exhibitions and generated government’s criticism entered the cultural arena.
ZHANG Z. - Court Painting in Qing Epoch: Documentary Artworks pp. 75-90


Abstract: In article “Court Painting in Qing Epoch: Documentary Artworks” by Zhang Zongguang the study object is palace painting of the period specified. The subject matter is Qing epoch paintings created by palace artists and reflecting real persons and events true-to-fact. The author reviews in details works dedicated to real war actions, emperors’ inspection campaigns, sacrifice, ceremonies, feasts, offering gifts, hunting. Furthermore, the difference of concept “realism” in European and Chinese art history is outlined. The author pays special attention to demonstrate artistic features of these works and shows, how Sino-European style is manifested in some of them.Methodology base of the article is philosophical and general scientific as well as specific scientific methods and principles, such as comparative principle, historical method, system-oriented analysis, analysis and synthesis, induction and deduction; methods of art history study of large quantity of pictorial material, comparative stylistic method; cultural methods of study of socio-cultural realities, including comparative, sociological, axiological, semeiotic ones. The novel nature of the conducted investigation, particularly, on the basis of some material firstly introduced in Russian art history, is given by detailed art history description and attribution of “documentary artworks”, by evidenced confirmation of high artistic and historical value of the works, by verification of synergic nature of interference of Western and Chinese techniques during Qing epoch.
Burmatov M.A. - Conception of the new forms of song repertoire in Soviet Russia (1920’s – 1930’s) pp. 88-97


Abstract: The object of this research is the Soviet song of the 1920’s – 1930’s as a genre stylistic phenomenon. The subject of this research is examination of the issues of history of development, content structure, and peculiarities of the song repertoire during these years. The shift in sociopolitical formation in Russia caused by the revolutionary events of October 1917 that drastically changed the national cultural identity, including the song art. The article makes an attempt to trace the performing traditions of that period (folk song, urban folklore, mass song). Using the method of analysis, the author underlines the presence of crisis in a number of the traditional song genres and development of the new forms of song repertoire on the background. The article points at certain peculiarities common during this timeframe to the Russian vocal art. Accent is made on the development of lyrical intonation in a song, which encouraged the popularization of musical compositions. The author highlights the role of jazz music culture as an accelerator in development of the new features in stage music art.
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