Контекстуализация названия и жанра «Манга Хокусая"
"Hokusai manga" occupies a special place in the artistic heritage of Katsushika Hokusai. In its 15 volumes with ca. four thousand of figures and subjects, Hokusai created an encyclopedia of old Japan in pictures. This articles investigates the beginnings of the manga genre and pays a special attention for the interpretation of the enigmatic words "denshin kaishu" in its title. A problem of collaboration of Hokusai with other artists is discussed as well as the forms of his personal output.
This article investigates the meaning of the title and sur-heading of Hokusai Manga (subsequently in this text – HM) and provides a detailed analysis of the term manga which is difficult to understand and translate. In doing so, it puts HM into the context of the early modern Japanese picture-books and offers an attempt to classify its genre.
Collection of essays about Japan, Japanese studies and understanding of the East.
The article investigates the complicated history of the collection of Japanese art (mostly woodblock pints) acquired by Sergei Kitaev (1864–1927), a Russian naval officer in the late 19th c. It is stored now in the Puchkin Museum for Fine Arts.
This book is the translation (enlarged and modified, as well as furnished with the Foreword and commentaries of the translator) of the monograph Ikkyu Sojun: The Creative Personality in the Medieval Japanese Context (Moscow: Nauka, 1987). The translator, Dr. Peter Raff, is well known for his mission to introduce books of Russian Japanologists to the German reader. The subject of the book is the complex analysis of medieval Japanese culture with the focal point on the legacy of Ikkyu Sojun, the prominent poet, artist, and religious authority of the Zen school.
The works of the 5th vonference of youn japanologists (Moscow, 2013). The articles are dedicated to the variety of themes on Japan: history, economics, intellectual history, international relations.
On the occasion of Doha being a cultural capital of the Middle East in 2010 and Istanbul being a cultural capital of Europe, Doha Orientalist museum is holding a symbolic exhibition “A Journey into the World of the Ottomans”, accompanied by a catalogue. Major part of the illustrated exhibition artworks are to come from the Orientalist museum own collection, the Rijksmuseum, as well as other major collections. The exhibition will bring together artists from the sixteenth century onwards, including Bernardino Campi, Jacopo Ligozzi, Nicolas Rycks, Jean-Baptiste Vanmour, Jean-Étienne Liotard, Antoine Ignace Melling, Francesco Hayez, John Frederick Lewis, Walter Gould, Alberto Pasini, Germain Fabius Brest, Oskar Kokoschka, Nikolai Kalmikoff, Vanessa Hodgkinson and Bas Princen. The artworks selected are to illustrate the history of the orientalism development from the sixteenth to twenty first century, which throughout the years shaped the image of the Ottoman world in Europe, covering different genres of orientalist art. - See more at: http://www.skira.net/a-journey-into-the-world-of-the-ottomans.html?___store=en&___from_store=default#sthash.V8N9Mye4.dpuf
In the cultural sphere, the period between the October Revolution and the initiation of the first five‑year plan was marked by a series of heated public debates about the function of visual art and media in the new socialist society. Prominent theorists, including the Commissar of Enlightenment, Anatolii Lunacharskii, and writers associated with the journal Lef, such as Boris Arvatov and Sergei Tret´iakov, participated in these debates, as did modernist artists and realist painters. Photography was a central theme, and by 1925 the question of how the advances in photographic and other forms of mechanical reproduction were changing the nature of the visual had emerged as the debates’ most pressing problem. While all of the debates’ contending factions recognized the significance of photography, they also agreed that the material components of painting—particularly color and surface texture—remained essential to the development of comradely socialist relations. This article brings to light for the first time the aspects of early Soviet thought on aesthetics and communication that led to the firm establishment of painting as a visual medium essential to socialism. It demonstrates in particular that the materiality of painting and its traces were linked to the activation and transmission of the sensations of the body, which were considered necessary for the formation of socialist connections.
The paper examines a rare explored phenomenon of Soviet cover design –a number of official releases produced by the only recording concern Melodija on the one hand, and so-called “tape-albums” became widespread among underground people in the late Soviet Union, on another.