Scientific Journal of KubSAU

Polythematic online scientific journal
of Kuban State Agrarian University
ISSN 1990-4665
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2673 kb

WATERCOLORIST OLEG POMERANTSEV (1949-2012) AS A SUCCESSOR OF THE TRADITIONS OF REALISTIC ART. ARTISTIC IMAGE OF THE SETTLEMENT OF KIRILLOVSKOE IN WATERCOLORS AND GRAPHIC WORKS OF THE MASTER

abstract 1231609030 issue 123 pp. 433 – 456 30.11.2016 ru 183
The article tells about St. Petersburg distinctive watercolor painter, Oleg I. Pomerantsev (1949-2012). Master's career is inseparably linked with Russian realism. The artist acts as a successor of fundamental high artistic traditions of realistic art. Working in a landscape genre, Pomerantsev managed to create more than 500 paintings deep in a content and meaning. In his spare time Master developed his own techniques of watercolor art. The entire artist’s works were performed under his impression. He received inspiration on fishing trips, in woods and then at home master reproduced what he saw from memory. Most of his works are in private collections and galleries all around the world. Romantic landscapes of Oleg I. Pomerantsev affect by their transparency, complex color techniques and inexpressible atmosphere, full of air and light. Complex colour manners and inexpressible atmosphere full of air and light. Graphic works by the artist, executed in pencil on paper are very interesting too. Sometimes master was fond of drawing in details, so such works were not suitable for watercolors. In his watercolor works Pomerantsev did only hardly visible pencil drawing. The artist did not specialized in graphics so he ruled out his pencil sketches as unsuitable, but the wife of the artist has kept them. Watercolorist Oleg I. Pomerantsev is unknown to Russian art-critics. In view of that, the article was tasked to give for the first time an art rating to the artist’s creation, to make an art analysis of his works from the cycle "The Karelian isthmus" dedicated to the settlement of Kirillovskoe in Vyborg district. The study of creativity of Oleg Pomerantsev by professional critics will allow to expand qualitatively the history of watercolor painting of Russia
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VYBORG’S PERIOD OF A GREAT RUSSIAN ARTIST NICHOLAS ROERICH

abstract 1231609031 issue 123 pp. 457 – 479 30.11.2016 ru 176
A Karelian stage in the life of the great Russian artist, Nicholas Roerich, is relatively well-known. However, researchers have not been practically studied the period of residence of the Roerich family in Vyborg. It is known that N. Roerich was friends with the Finnish artist A. Gallen-Kallela, who helped him to remain in Finnish Vyborg in the period of revolutionary events in Russia. From October 1918 to May 1919 the Roerich family lived in Viborg in Ladaunkatu (now Turgenev St.), №8. The painting «Autumn» (1919) was written by the artist during the Vyborg’s period. The painting was created in a fantastic manner which was usual for the artist. Unfortunately, at the moment nothing is known about his other works with views of Vyborg. However, in the catalog of his works, published in the USA in the 1920-es , under the name of each picture is given information about where and when it was created. Thus, under some of the works of the artist is the mark: «Painted in Viborg». So, today we can say about some works of master, which he wrote in Vyborg. In the first place, there are famous paintings of the artist: «Repentance», «Call of the bell. Old Pskov», «Sons of the Heavens», «The heat of the Earth», «Autumn – Vyborg», «Les Miserables (Outcast)», «Treasure» and others. As well, in 1918 at the time of staying the family in Vyborg a number of sketches in "Vyborg Notebook" were made by his son, Svetoslav Roerich, who was then 16 years old. Probably, inexhaustible diligence of Roerich gave a rise to other works with the theme of Vyborg, which scientists do not know because this topic has not been investigated
190 kb

ABOUT POETRY OF THE COUNTRIES OF ASIA IN THE REGION OF THE PACIFIC OCEAN IN THE RUSSIAN TO VOCAL LYRICS OF THE XX CENTURY

abstract 1211607091 issue 121 pp. 1487 – 1503 30.09.2016 ru 291
The article is devoted to the characteristic of poems of east poets (Japan, China, Korea) on which vocal cycles were written by the Russian composers of the XX century. It becomes perceptible that the appeal to east poetry became a tendency, which appeared during the era of the Silver age of the Russian culture. The reasons of the origin of this tendency were revealed. The names of I. Stravinsky, S. Vasilenko, M. Ippolitov-Ivanov, D. Shostakovich, G. Sviridov, S. Slonimsky, L. Grabovsky, A. Nemtin, A. Raskatov, D. Smirnov, V. Kikta, G. Belov, G. Firtich, I. Ostromogilsky, etc. are given as an example of its implication. The large-scale literary list includes poetic of Ancient Chinese poetry, Japanese ancient (medieval) poetry, classical Korean poetry, folklore verses. In the conclusion, typical lines of vocal cycles on these poetic works are shown. The center of this poetry is images of the nature, communication with it of inner world of the person. This poetry is distinguished by a reserved manner of the embodiment of rich inner world, thin psychological gradation. Other figurative constants – love collisions, philosophical reflections about meaning of life, loneliness, exile. They are embodied emotionally frostily, laconically by means of expression
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ROLE OF AN INTERTEXT IN D. D. SHOSTAKOVICH’S OPERA “GAMBLERS”

abstract 1171603042 issue 117 pp. 664 – 675 31.03.2016 ru 324
We investigate D. D. Shostakovich's opera “Gamblers” is in the context of an intertext. In this opera, the psychological drama develops; this complex artistic task is solved largely thanks to masterful introduction of a variety of intertextual links. “Gamblers” is an example of recitative opera with an intense, “passionate” vocal style and flexible technique ranging from secco to a gushy accompagnato. The text directs melodic development and intertextual links. The appeal to a method of the intertextual analysis opens interaction between “Gamblers” and their dialogue with musical classics and other Shostakovich’s works. Own creativity and the whole layer of classical works first of all acts as donor texts: operas style bel canto, opera-buffa, D. Verdi’s opera “La traviata”, Russian recitative opera – A. S. Dargomyzhsky, N. A. Rimsky-Korsakov, M. P. Mussorgsky, works by A. P. Borodin, P. I. Tchaikovsky, and of painter and literary texts – P. A. Fedotov, A. S. Pushkin, L. N. Tolstoy, F. M. Dostoevsky. The intertextual artistic methods, enabled by Shostakovich express a complex psychological content
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PRINCIPLES OF CLASSIFICATION OF MUSICAL EDUCATION

abstract 1171603085 issue 117 pp. 1303 – 1316 31.03.2016 ru 352
The article explores the main types of musical education. We created a table of classification based on the experience of world and Russian culture, personal educational experience. The classification table shows the main features of music education and provides brief comments for each species. We show the multiplicity and multidimensionality of the types of educational activities. Educational activities were classified into nine types of classification: form, volume, organizational complexity, subject, audience, socioeconomic status, genres, performing music composition, connection with media space. It is noted that the main forms are musical-educational lecture and educational concert. Other forms derive from these main types. The article made an important conclusion: music education should be considered a form of communication between musicians and listeners, which along with the aesthetic component plays an important role cognitive component aimed at the formation of the musical (or artistic) culture of the public
1739 kb

MARTIAL ARTIST – ENGRAVER MIKHAIL MATORIN (1901-1976). IMAGE OF THE TOWN OF VYBORG IN THE LINOCUTS OF THE ARTIST

abstract 1111507018 issue 111 pp. 299 – 333 30.09.2015 ru 894
Virtuoso of prints, Mikhail Matorin, is undeservedly forgotten today both by ordinary spectators and by professional art critics. Twenty-five years of fruitful work of the artist have made a great contribution into the development of the domestic drawing. The album of linoleum prints called "Vyborg", created as a result of his staying on the finnish front in june 1944, takes up a special place in his creative work. Vyborg has attracted Matorin by the originality of its northern architectural landscape and the severe beauty of forms. The town was empty; it was left by Finnish residents. Bright sunny days of June with white nights even more emphasized the epic expressiveness of architectural ensembles of the city. Language of Matorin’s linocuts is sharp, clear and emotional. Sonority of strokes and rhythm of lines are in harmony with the noble colors. Matorin’s prints were made on the basis of front-line sketches. The color linocut printmaker used up to 12 boards, achieving the effect of real painting. Matorin’s engravings are remarkable for its special harmony of tones, terseness of colours. This article is aimed at the introduction into the scientific usage of russian artcriticism new unique artistic and history- cultural material, revealing features of creativity and way of life of the engraver, M.V.Matorin. The author for the first time in Russian art-criticism examines and gives an appreciation of the album of linoleum prints "Vyborg" (1944), which is a valuable documentary material
136 kb

METHODS OF UPDATING SCIENTIFIC INFORMATION AT TRIPS ON ART SUBJECTS (EXCURSIONS AND CULTURAL HERITAGE IN THE MODERN WORLD)

abstract 1111507063 issue 111 pp. 1029 – 1040 30.09.2015 ru 710
This article discusses various methods and techniques for updating scientific information at trips on art subjects. The pursuit of information consumption is a common characteristic of contemporary society. There is a limitless range of cultural and historical material from which art excursions draw their themes. In the meantime, if you measure the number of excursions with their well-planned structure, the art tours will certainly find themselves in a minority. On the margins of the tour scripts, we can sometimes find question marks left by customers. Art objects have their criteria, the specificity and peculiarities. To understand and to comprehend them on the scientifictheoretical level is an urgent task of art historians and critics themselves
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THE SYMBOLISM OF ORNAMENT IN RUSSIAN FOLK COSTUMES

abstract 0921308075 issue 92 pp. 1117 – 1126 31.10.2013 ru 2223
The article reveals the meaning of several Slavonic signs and symbols on the embroidered ornaments of Russian folk costumes and objects of domestic decor. The role of decoration of embroidered national costumes traces in the transmission of values and meanings of ethnic culture. Perpetuation of national cultural traditions in Russia
128 kb

THE GENESIS OF ECCLESIASTICAL EMBROIDERY IN ANCIENT RUSSIA

abstract 0851301029 issue 85 pp. 369 – 380 28.01.2013 ru 1342
The article traces the history of origin of ecclesiastical embroidery in Ancient Russia, the use of works of embroidery in the design of Christian worship and decorative furnishings of the temples. The process of creation and artistic features of the medieval Russian art sewing
120 kb

BYZANTINE MODAL OCTOECHOS

abstract 0841210055 issue 84 pp. 725 – 734 28.12.2012 ru 1117
The author of the article reveals the stylistic community of the ancient music by decoding byzantine modal octoechos
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