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The Possibilities of Ethnomethodology in Modern Art Studies
197 took part in the formation of the region’s professional fine art. For this reason, the problems of historical roots, ethnocultural originality and cross- cultural dialogue are all present when considering the contemporary art of the territory. The analysis of ethnocultural traditions in the works of artists in Altai allows us to specify the degree of influence of those traditions on the formation of the image-bearing systems of the art, as well as on its creative methods and style. Thus, the first reference to ethnographic sources is the practice of painting scenes of the reclaimed Siberian territories. The interaction of the ethnocultural traditions of Altai with the principles of the Russian Realist school became a defining tendency in the course of the formation of professional fine art in the region. Among the sources that define the ethnocultural specificity are: 1. a worldview based upon principles connected to pride at belonging to the sub-ethnos, clan (seok) or local motherland, and the worship of nature and its symbolisation; 2. the combination of the traditions of Russian Realist tonal painting with a mythopoetic model of the world of the Altai ethnoculture in the structure of the artistic image. The transformation of cultural contexts has led to specific expressions of ethnicity in art: firstly, the unintended manifestation, based on the mental grounding in ethnocultural traditions; secondly, the deliberate realisation of ethnic origins as a programmatic thread in the work of art. If the artists of the second half of the 20 th century, inspired by ethnocultural heritage, strove for realistic accuracy, artists at the turn of the 21 st century have formed a new artistic space for the picture: the sign-symbolical. The Possibilities of Ethnomethodology in Modern Art Studies
(Abstract) Globalisation and, acting in a counterbalance to this, the processes of localisation have brought forth the necessity of studying ethnic mentality, including its manifestation in the formal-content and image-bearing structure of works of fine art. This problem arises because the human sciences still lack the theoretical substantiation of the role of ethnicity in art. The study of the possibilities of ethnomethodology is necessary for the all-round development of art studies, for the study of historical compositions of schools of art and to understand the modern tendencies of artistic processes. Based on the analysis of theoretical principles, the object of this study is to highlight the possibilities inherent in the application of ethnomethodology to ethnic art studies. E. Husserl’s theory of intentionality, H. G. Gadamer’s hermeneutic principles of understanding and interpretation and H. Garfinkel’s theories form the basis for achieving this objective. www.cclbsebes.ro/muzeul-municipal-ioan-raica.html / www.cimec.ro L. I. Nekhvyadovich
198 The possibilities of ethnomethodology in modern art criticism are revealed in the following research structure: the historical-ethnographical characteristics of the region; the revelation of origins and factors influencing ethnocultural distinctiveness in artistic traditions; the description of tendencies in the fine arts in the context of a problem of ethnocultural distinctiveness; the analysis of ethnic art influences in the formal-content and image-bearing structure of works of art. The significance of the results of this study lies in the possibility of their use as a theoretical-methodological and source studies basis of research devoted to the problem of ethnicity in art, and to in-depth study of art culture. Further research might focus upon the development of ethnic art studies as a theoretical-methodological basis for the study of arts and crafts and architecture, through the revelation of the correlation between distinctive ethnocultural characteristics and artistic traditions in the history of art.
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