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T. M. Stepanskaya, L. I. Nekhvyadovich
172 A tendency to draw upon Russian popular prints and folk art is demonstrated in much Russian art of the 20 th century. The development of this tendency was connected with the desire to create an original national style. To demonstrate this, the works of painters such as E. Strulev, N. Nesterova, V. Sumarev, A. Ishin may be cited. The consolidation of the role of ethnocultural traditions in art is also found in the creative output of the Vladimir School of Landscape Painting. A central movement in visual arts, the Vladimir School originated with the creative work of V. Y. Yukin (1920), K. N. Britov (1925) and V. G. Kokurin (1924). The nature of Mstera town 35 and Akinshino village 36 in
the Vladimir Region 37 formed the subject-matter for these landscape painters, who created a new artistic language, characterised by a wide range of expressive means and support from Russian ethnocultural traditions. In other words, the source of the style of this school of landscape painting was nature and folk art. The creative methods of these artists were based on the principles of ornamental painting, incorporating stylistic features of folk art into the image-bearing system of professional fine art. As a Russian artistic community, the Vladimir School of Landscape Painting existed up until the beginning of the 1980s. However, in the second half of that decade, fine art expert O. N. Nikulina, analysing materials in exhibitions, noted the artists had broken away from the idea of collectivity. 38 The value of the Vladimir School was not limited by the results of the artistic works of individual members. Much as with other artistic associations, the Vladimir School foreshadowed changes in Russian art of the turn of the 21 st century, namely, an appeal to the ethnocultural traditions of the artist’s own region. In this period, other associations with similar aims were being formed in Moscow, the Volga Region, the Far East 39
composition, breadth of activity and significance to the history of Russian art, had a similar social-cultural meaning: they were considered workshops of the regional style. Thus, the artistic school is a relevant source of information for the study of ethno-art. Its originality arises from the historical conditions that
35 Mstera: an urban settlement in Vyaznikov District, Vladimir Administrative Division, Russia. 36 Akinshino: a village in Novomoskovsk Administrative Division, Moscow, Russia. 37 The Vladimir Region: part of the Central Federal District of the Russian Federation. 38 Nikulina 1987, p. 45. 39 The Far East: the Eastern part of Russia, including the regions of river basins running into the Pacific Ocean, as well as Sakhalin Island, Kuril Islands, Wrangel Island and Komandorskie and Shantarskie Islands. www.cclbsebes.ro/muzeul-municipal-ioan-raica.html / www.cimec.ro
Ethnocultural Traditions as a Basis of National Originality of Schools of Art
173 led to the formation of an ethnically-oriented mentality, from a complex interweaving of worldviews which have their base in local traditions, united in the formal-content and image-bearing structure of its artworks. The consideration of all these factors in combination is necessary to understand the source of originality in local art schools from the broader perspective of the history of art. The use of ethnocultural traditions in the fine art of the turn of the 21 st century is connected with the processes of of globalisation, localisation and decentralisation. The transformation of the cultural context in which national identity is formed determined the nature of expressions of ethnicity found in Russian art: at first we see the non-purposeful manifestation of local influences based on the artist’s own psychological basis in ethnocultural traditions; then comes conscious confirmation of ethnic origin, introducing a programmatic character to their works. This tendency highlights the need for further study of this subject.
(Abstract)
In contemporary art, the problems of historical roots, ethnic and cultural identity, and intercultural dialogue are very relevant. Ethno-cultural traditions are naturally a part of the formation of schools of art; they contribute to their characteristics and provide a way to look at the school’s national identity. This article aims to define the role of ethnic and cultural traditions in shaping the ethnocultural identity of Russian schools of art, based on the works of Russian artists. Its findings are as follows:
1. A school of art is a historically-constituted, stable community of artists, characterised by a common ideology, principles of creative method, and style. 2. Ethnocultural traditions represent a mechanism for the conservation, development and broadcast of the ethnocultural experience of the people and their values, created in the process of historical development. 3. The uniqueness of the natural and geographical environment; the common historical past of ethnic groups; the multiethnic and multi-religious character of images from mythology, folklore, arts and crafts; and creative method as a set of principles reflecting the ethnic worldview are all part of creating the ethnocultural uniqueness of the Russian School of art. 4. The Russian School of art is unique, valuable in itself and yet international; it is a part of world heritage, presented through the “cultural codes” of Russia. Its continuity manifests in the inheritance and preservation of ethnocultural traditions, artistic and aesthetic ideas and the principles of realistic painting. With the development of globalisation, which proclaims the equality of all the traditions of the multi-faceted world, this topic has significant research potential. The results of this study suggest the direction of further theoretical and methodological questions regarding the relationship of ethnos and art, such as exploring the degree of www.cclbsebes.ro/muzeul-municipal-ioan-raica.html / www.cimec.ro Yüklə 12,44 Mb. Dostları ilə paylaş:
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