Легенда «Мирадж» из китаба Ивана Луцкевича

2023

The collection of Roman stone plastic from the National Museum in Požarevac is one of the richest and most important collections in Serbia, in both quantitative and qualitative sense. Portraits, reliefs, and icons are important testimonials of cultural history, cults and art in this part of Roman Empire. The displayed monuments are different in design and dimensions and chronologically they belong to the period between the 1st and the 4th century AD, while their territorial origin is from Viminacium (Kostolac), Margum (Dubravica), Lederata (Ram) and Municipium (Kalište). A great influence on the monuments that are in our collection of stone sculptures comes from workshops in Asia Minor, se we conclude that the population from Asia Minor was very present in this area.Various influnces affected differences in quality but each and every item has a distinctive mark of the wokrshop it was made in. The collection of stone monuments contains a great number of portraits (deities, rulers and private portraits). Idealisation is obvious in the portraits of rulers (Carus) and deities (Diana, Victoria, Hercules, Apollo,Venus, Mithras) which occured under the influence of ruler cults - imperial cult. The portrayal of people help us follow certain trends in the Roman Empire and they are reflected in the hairstyles of men and women. Their style of clothing and hair were marked by their social status, period and political and religious beliefs. By making pedestals, we achieved the goal we had when it was decided to start with stone plastic conservation. Sculptures and portraits are now ready to be displayed, the authenticity of the objects is preserved with minimal interventions, the transfer and handling is facilitated because the pedestals and objects can be transported and stored separately, and we must not neglect the reversibility of the elements either. By choosing granite of a darker colour for making pedestals, the objects come to their full expression. Cast footing replaced the missing parts, and this method of restoration clearly shows the difference between the original item and the added parts. Additional stability is achieved with a system of sleeve anchors.

Христианское чтение, 2018

Для оценки отношения к исихастской традиции в русской пореформенной культуре XIX века мы прибегаем к сравнению двух произведений, принадлежащих Г. И. Недетовскому (псевдоним-О. Забытый) (1846-1922), написанных в разных жанрах: патрологической статьи «Варлаамитская ересь» (1872) и повести «Миражи» (1882). В первую очередь мы стремимся выделить психологическую установку Недетовского-патролога. Эта установка, на наш взгляд, чрезвычайно точно описывает тот фон, на котором происходило восприятие исихазма «высокой» культурой XIX, а возможно, и XIV веков. Понимание этой психологической установки, при которой восприятие исихазма оказывается невозможным, делает зато возможной реконструкцию «русской культуры без исихазма». Эта реконструкция, с одной стороны, нашла свое художественное выражение в «Миражах» О. Забытого, а с другой стороны, она имела реальное (пусть и фрагментарное) воплощение в светской культуре образованного русского общества конца XIX века. Нежизнеспособность конструкций «России без исихазма» является осуществленным по принципу reductio ad absurdum доказательством того, насколько в действительности важна исихастская традиция для русской культуры.

2019

We are focused on Skenderbeg – a historical person from 15th century, Christian antiottoman ruler, who was successfully opposing the Ottoman Empire for a long time. In the tradition he was a hero, as a prime image in the Albanian, but also as a secondary image in the other Balkan traditions. We find data about him, his family and his rule in sources from different provenience, written with different alphabets and in various languages, and originating from Dubrovnik, Roma, Hilandar, Budim, Venetia, Milan etc. The Macedonian revival activist (revolutionary and cultural-national activist from 19th century) Georgia M. Pulevski was an author of the first history book in Macedonian language. He names Skenderbeg and his family sufficiently correct, taking into consideration the data from the sources, with Slavic names

Художественное образование и наука, 2020

Статья посвящена истории несостоявшейся постановки оперы М. П. Мусоргского «Хованщина» в оркестровке Б. В. Асафьева. На основе архивных документов из фондов Российского государственного архива литературы и искусства, Российского национального музея музыки, Центрального государственного архива литературы и искусства Санкт-Петербурга, Музея Большого театра России, многие из которых вводятся в научный оборот впервые, изучены обстоятельства, при которых опера планировалась к постановке в Государственном академическом театре оперы и балета в Ленинграде (ныне — Мариинский театр). Приводятся фрагменты из протоколов заседаний Художественного совета оперы при ГАТОБ, посвященных обсуждению репертуара театра на ближайшую пятилетку, переписки Б. В. Асафьева и П. А. Ламма, рукописи О. П. Ламм «П. А. Ламм. Опыт биографии» и других неопубликованных архивных документов. Автор статьи приходит к выводу, что постановке «Хованщины» М. П. Мусоргского в оркестровке Б. В. Асафьева на сцене ГАТОБ препятствовали сложные социально-политические обстоятельства 1930-х годов, в то время как существующие предположения о творческой неудаче асафьевской оркестровки оперы не находят однозначного подтверждения ни в исторических свидетельствах, ни в сохранившемся автографе партитуры.

Ученые записки Российской академии музыки им. Гнесиных, 2015

2015

Suraya Aghayeva (Azerbaijan) The world of music by Latif Karimov In this article light is shed on the little-known and multifaceted activities of People’s Artist of Azerbaijan, Latif Karimov. L. Karimov, whose work is important for the history of musical culture, was an expert both in mughamat and in the medieval musical culture of Azerbaijan as well as being theauthor of the “Explanatory Dictionary of Eastern Music Terms of the Last Centuries”, the articleand carpet dedicated to the XIII century scholar-musician Safiaddin Urmavi and the article “Autobiography in Verses byAbdulqadir Maraghi” which was the first publication on this topic in the history ofOriental studies. This article presents some excerpts from the works of L. Kerimov, as well as an analysis of the carpet’s images, focusing on medieval music notation and the musical instruments “mughni” and “nuzha”. L.Karimov, who was one of the supervisors of the PhDdissertation by S.Agayeva dedicated toAbdulgadir Maraghi (XIV-XV centuries), has contributed to the creation of music source studies inAzerbaijan. Keywords: Latif Karimov, mugham, Urmavi, Maraghi, dictionary.

Традиционная культура , 2017

The main content of the article highlights recording and commenting of the folk po-etry (song lyrics) samples of Russian Gypsy minority “Russka Roma”, whose musical culture pre-sents the “face” of the Romani music culture in Russia. At the beginning of the article, the authors give a general description of the repertoire formation sources of two types of Roma music culture,targeted at different audiences. The first one was oriented to the Romani listeners and performers,and the second one to the Russian urban listeners, well-educated and, oen, understanding inmusic. Two songs, “Niva” and “Roma Propine”, which are the study subject of the research, were published, in performing by Boris Ivanesku (Zhukov), in 2001 as part of the CD project “Bareh Droma” (“Great Roads”), dedicated to the traditional Romani music in Russia. Both songs werecreated in Russian romani dialect (or dialect of Northern-Russian Roma) and were initially targeted at the Roma audience, which apparently explains their rare performance on professionalscene. The authors undertake, for the first time, the publication, decoding and translation of thetexts of these songs, as well as the presentation of their prototypes. The connection of the first songwith folklore genres is shown, as well as the connection of the second one with a later traditionand the genre of tragic (“cruel”) romance. Romani musical tradition and creativity in Russiahave been poorly studied, therefore the qualitative recording, systematization, complex analysisand attribution of its samples are an actual trend in the study on Romani culture. The study complements the conception of the Romani music repertoire formation and dynamics. It is oneof the first examples of detailed commentary on Roma folklore which is based not only on textualanalysis, but also on the notion of social background of concrete songs existence. It will be of greatinterest for scholars studying the traditional culture, including folklorists and ethnographers, aswell as to art historians, researches on culturology and to wider range of readers.

Всадник из легенды, 2021

A bronze amulet depicting a horseman from the funds of the Kuznetsk Fortress Museum-Reserve was discovered in a medieval burial in Kuzbass. This amulet has numerous direct analogies. The publication considers the characteristic iconographic features and concludes that the product is an image of the Siyavush - Shah-Name character

Природа. 2002. № 1. С. 91-95

Journal of Visual Theology / Визуальная теология, 2021

Max Imdahl is situated on the border between the theory and practice of visual arts. His life is an experience of combining academic art history with cutting-edge art criticism. His ‘ikonik’ was intended as a continuation and completion of the methodological development of art history from iconography to iconology. Instead of the hermeneutics of the immanent meaning of an artwork, the semantics of an act of vision becomes the object of his interpretation, and criticism of cognitive capacities of language as a means of articulating artistic experience becomes his purpose. Imdahl juxtaposes his ‘ikonik’ as a theologised variant of receptive aesthetics with Hans Sedlmayr’s structural analysis. For Imdahl, Sedlmayr falls under suspicion for his all too static picture of the semantic element of an artwork, which, according to Sedlmayr, is divided into layers of meaning, unified by a single irrational (“endothymic”) basis. By contrast, ‘ikonik’ refers to the semantics emerging as simultaneous affects of the act of vision, which embraces dynamic oppositions of meaning, having a scenographic and choreographic character. Thus, the interaction with an artwork is equated to a performative act, which ensures the apophatic growth of meaning and the approach to the Revelation. The tropological decomposition of the structures of the contemplative mind (Sedlmayr) is continued by the eschatological deconstruction of the verbal discourse in the form of art history (Imdahl). Макс Имдаль располагается на границе между теорией и практикой визуальных искусств. Его жизненный путь – это опыт совмещения академической истории искусства и актуальной художественной критики. Его иконика задумывалась как продолжение и завершение методологического развития искусствознания от иконографии к иконологии. Вместо герменевтики имманентного произведению смысла объектом толкования становится семантика акта зрения, а целью – критика когнитивных возможностей языка как средства артикуляции творческого опыта. Свою иконику как теологизированный (с помощью неотомизма) вариант рецептивной эстетики Имдаль противопоставляет структурному анализу Зедльмайра, подозревая последнего в слишком статичной картине семантического устройства художественного произведения, якобы разделённого на смысловые слои, объединённые единым иррациональным («эндотимическим») основанием. Иконике же подвластны смыслы, возникающие как симультанные аффекты акта зрения, охватывающего динамически взаимодействующие смысловые противоположности сценографически-хореографического свойства. Тем самым взаимодействие с произведением искусства приравнивается к перформативному акту, что обеспечивает апофатический прирост смысла и приближение к собственно Откровению. Тропологическая декомпозиция структур созерцающего сознания (Зедльмайр) продолжается эсхатологической де-конструкцией самого вербального дискурса, имеющего вид истории искусства (Имдаль).