Journal articles on the topic 'Painting, Mongolian'

The fragment of stone icon with the image of Virgin, outstretching her arms in prayer, has been found in 1949 during the excavations of B. A. Rybakov on the site of Vshchizh, the small city of Chernigov principality. After the invasion of Batu Khan in 1238 it was destroyed and depopulated until the 16th century. T. V. Nikolaeva included the icon into the catalog of Rus stone icons as local craftsman’s production of 12th (?) century, exquisitely made and preserved the painting. The icon has been reproduced on the poor-quality black and white photography and for a long time did not attract the attention of researchers. The examination of digital image of the icon showed that T. V. Nikolaeva opinion was incorrect. The icon preserved not only the painting but also the gilding and Greek letters of dipinto representing the monogram of Mother of God. Usually the dipinti or their traces preserve very poorly on a stone and bone, especially on the icons which have been worn on the breast. The painted inscriptions were wiped away and later replaced by carving or repainting. Gilding, painting and dipinti are known on the Byzantine stone and bone icons but they have not been found on the icons made by Rus craftsmen in pre-Mongolian time. The using of all these techniques, fine relief, thickness of the plate (less than 1 cm) permit to consider the icon from Vshchizh the work of Byzantine, probably Constantinople, craftsman. The iconography makes it possible to attribute the image of Virgin to the type of Hagiosoritissa, and the style permits to date the icon to the second half of 12th — the beginning of 13th century.

The first part of the study is devoted to the history of scholarly description of the Tibetan and Mongolian Collection in the Naprstek Museum, namely to the work of Lumir Jisl (1921-1969). The second part focuses on the iconography of Tantric couples on small votive Buddhist paintings from Mongolia.

In the Yuan Dynasty, the minority nationalities was entered the Central Plain for the first time in Chinese history. During this period, although the status of Chinese people and intellectuals was low, their ideological control was loose, thus forming a unique literary style. The rapid promotion of the status of the humanities such as painting, calligraphy and literature in the life of the scholars brought about a brand-new attitude towards life, especially in the late Yuan Dynasty, the humanities taste and the artistic orientation showed many new changes. And the development of literature, calligraphy and painting in the Song Dynasty, as well as the establishment of the regime in the Yuan Dynasty all accelerated this process.. Facing the setbacks brought by the Mongolian yuan rule, some intellectuals turned to create an atmosphere through some group activities of calligraphy and painting in this period, and literature and art were also given a higher status. As a famous calligrapher in the middle and late Yuan Dynasty, Zhang Yu was also an influential Taoist and poet. On the basis of studying Zhang Yu's calligraphy art, this paper analyzes his social intercourse and its influence on his calligraphy thoughts and artistic style. Especially in calligraphy, he was first taught by Zhao Mengfu, and then learned from Huaisu and Zhang Xu, forming a handsome and free style, which is very valuable. In addition, he made many friends all his life. After becoming a monk, he traveled to various famous mountains in the south of the Yangtze River and made friends with famous people. Therefore, studying the intercourse between Zhang Yu and yu Ji can restore the real situation of the Literati's communication in the middle and late yuan dynasty, understand the multiple Zhang Yu's accomplishments of Taoism, poet and calligrapher, and better understand the relationship between Zhang Yu and Yu Ji, It can also learn about his experience of learning calligraphy and the internal and external causes of the formation of his calligraphy style, and the influence and function of Mingxi Literati's elegant and Yuji's intercourse on the formation of his artistic style.

the territory of Mongolia. The process of accumulation and diverse interpretation of information about rock paintings, as well as images on “memorial” objects dating back to the second half of the 1st millennium AD is characterized. The analysis of the main results of the study of the petroglyphs of the early medieval nomads of the region allowed the authors to identify several key stages in the history of their study. The first stage, within which the initial formation of the source base took place, is associated with the discovery and fixation at the end of the 19th century of stylized images of goats, carried out as a rule in the study of epigraphic sites. The beginning of the second stage coincides with the large-scale archaeological research that took place in Mongolia in the middle of the 20th century. The third stage, which began in the mid-1970s, marked the expansion of scientists’ ideas about the rock art of the population of Mongolia in the second half of the 1st millennium AD, as well as the identification of various pictorial layers in it. Within the framework of the modern period (since the mid-1990s), approaches to the study of early medieval petroglyphs are being improved, new sites are being discovered, as well as a more detailed study of already known complexes. The article contains images recorded during the field research of the authors as part of the Buyant Russian-Mongolian archaeological expedition. Keywords: Mongolia, petroglyphs, early Middle Ages, history of research, periodization Acknowledgements: The research was carried out with the financial support of the Russian Foundation for Basic Research and the Ministry of Culture, Education, Science and Sports of Mongolia in the framework of the scientific project No. 19–59–44013 “Historical, Cultural and Ethnogenetic Processes in Mongolia during the Great Migration and the Early Middle Ages: an Interdisciplinary Analysis of Archaeological and Written Sources”.

Introduction. The Kalmyks are a Mongolic Buddhist people that arrived in the Volga region in the 17th century. The specific ethnic features of Buddhism professed by the Kalmyks took shape over centuries of Russian suzerainty and were determined by various historical factors, including prolonged remoteness from Buddhist centers, the total eradication of Buddhist monasteries and centuries-long ban on spiritual guidance experienced in the 20th century, and the official Buddhist restoration by the early 21st century. Goals. The work aims at identifying and comparing traditional and contemporary Buddhist thangka patterns as elements to mirror particular features of Kalmyk iconography, as essential objects of religious cult and cultural heritage at large. Results. The paper shows that in the pre-20th century period Kalmyks used different techniques for producing thangkas — painting, embroidery, and applique ones. In the late 18th century onwards, imports of religious attributes from Tibet and Mongolia were restricted, and the role of art workshops affiliated to local Buddhist temples increased. That resulted in further development of thangka painting schools and the shaping of somewhat ethnic style in depicting Buddhist deities characterized by certain differences from canonical images. The old thangkas from private and public collections have served a basis for the restoration of ethnic painting traditions integral to Kalmykia’s Buddhism proper. The contemporary practices of producing divine images are closely related to stages in the regional development of Buddhism from the late 20th century to the present, lay Buddhist experiences, women’s leisure-time activities, and ethnic entrepreneurship. The study concludes contemporary Kalmyk needlewomen are guided by traditional rules of religious craftsmanship.

The paper is devoted to the conservation and early stages of maintenance and storage of the unique collection of Buddhist painting that was gathered by P. K. Kozlov in Mongolia in 1907–1909, 1926 and now belongs to the State Hermitage museum. History of its primary conservation is reconstructed using previously unexplored archival data. Of special interest are conditions of maintenance and actions taken to protect the monuments before they were given to the Hermitage. The article also analyses reasons why damage was caused to them. All this information is essential for fi guring out modern methods for their restoration that is a job of the Laboratory of scientifi c restoration of eastern painting of the Hermitage. The research goes beyond local museum practices as it helps to defi ne general problems in restoration of Buddhist painting

The Bhavacakra is a symbolic representation of Samsara, a powerful mirror for spiritual aspirants and it is often painted to the left of Tibetan monastery doors. Bhavacakra, ‘wheel of life’ consists of two Sanskrit words ‘Bhava’ and ‘Cakra’. The word bhava means birth, origin, existing etc and cakra means wheel, circle, round, etc. There are some textual materials which suggest that the Bhavacakra painting began during the Buddha lifetime. Bhavacakra is very famous for wall and cloth painting. It is believed to represent the knowledge of release from suffering gained by Gautama Buddha in the course of his meditation. This symbolic representation of Bhavacakra serves as a wonderful summary of what Buddhism is, and also reminds that every action has consequences. It can be also understood by the illiterate persons not needing high education and it shows the path of enlightenment out of suffering in samsara. Mahayana Buddhism is very popular in Asian countries like northern Nepal, India, Bhutan, China, Korean, Japan and Mongolia. So in these countries every Mahayana monastery there is wall painting and Thānkā painting of Bhavacakra. But in these countries there are various designs of Bhavacakra due to artist, culture and nation.

In China, rock art is spread mainly in the border regions – carvings and engravings in the north of the country and paintings in the south. Before the beginning of the 21st century, research books and albums of petroglyphs were published in four administrative units at provincial level in the north-west of the county: Inner Mongolia, Ningxia, Xinjiang and Qinghai. Petroglyphs of Inner Mongolia were studied and published by Gai Shanlin, Liang Zhenhua and N. Dalengurib. The earliest and the latest books by Gai Shanlin available to us (published in 1985 and 2002 respectively) were entirely devoted to the interpretation of rock carvings and searches for their analogies. All four monographs on Ningxia rock art – by Zhou Xinghua, Li Xiangshi and Zhu Cunshi, Xu Cheng and Wei Zhong were published almost simultaneously, at the beginning of the 1990s. Ancient rock art of Xinjiang was published in albums by Zhao Yangfeng, Wang Linshan and Wang Bo and in books by Wang Binghua and Su Beihai. The monograph by Tang Huisheng and Zhang Wenhua was devoted to the description of Qinghai petroglyphs and the problems of their interpretation. The album of photos “The Rock Arts of China” is a kind of a guide to the main rock art sites known by 1993 in all the Chinese provinces. Generally, it can be stated that modern Chinese scientific rock art research was born in the first half of the 1980s, when the first articles on rock carvings started to appear in Chinese archaeological periodicals and flourished in the second half of the 1980s and the 1990s, when quite a number of monographs were published.

The paper analyzes images of dogs in rock art of China. According to the semantics of compositions the following groups can be distinguished: hunting dogs, herding dogs, guard dogs, using of dogs in rituals, mythological and folklore motifs and other images. According to the distribution of different thematic groups of images, two big areas – northern and south-western – can be seen. In northern regions of China (Xinjiang Uyghur Autonomous Region, Inner Mongolia Autonomous Region, Ningxia Hui Autonomous Region, Gansu Province) the scenes of practical use of dogs (hunting, grazing, guarding herds and dwellings) prevail, which can be explained by the characteristics of the economic structure of the nomadic peoples who inhabited these territories. The images of a horseman followed by a dog and a bird of prey seen in Xinjiang and Inner Mongolia can be interpreted as depictions of some motifs of heroic epos of Central Asian nomadic peoples. Other compositions in northern regions have been found to depict not only “realistic”, but “mytho-ritual” interpretations as well. In south-western regions (Guangxi Zhuang Autonomous Region, Yunnan Province, Sichuan Province) the images of dogs in ritual and/or a mythological context are more common. It is likely connected with the less practical importance of dogs in the agricultural economy and the higher status of this animal in the spiritual culture of the peoples of Southern China. Rock paintings in Cangyuan County, Yunnan Province, is an exception that combines the images belonging to both traditions, namely a picture of a hunting dog and a dog as a sacrificial animal. Some images cannot yet be deciphered unequivocally.

Abstract Since the end of socialism in Mongolia, migration processes have dramatically increased. The lack of investment in the rural infrastructures and the repetition of zud have pushed the most vulnerable herders towards the capital Ulaanbaatar and its outskirts. They encounter tremendous difficulties in having access to private property and seem condemned to move relentlessly from enclosure to enclosure (hashaa) in the hope of finding a less precarious place to settle in the city. The main purpose of this article is to show how difficult it is for some families of herders to leave their homeland and settle in another place. These difficulties are first described from the point of view of the relationships women and men entertain with the spirits of the land (savdag) after migrating to a new place. I will try to show how the realisation of homeland paintings (nutgyn zurag) help, to some extent, to maintain relationships with these spirits and the homeland as a whole. Finally, I describe the impossibility for some new migrants to settle permanently and to get used to the city of Ulaanbaatar, dasah.

Alexandre Yakovlev was a famous Russian painter, graphic and theatre artist, a graduate from the Imperial Academy of Arts and a member of the “World of Art”. In 1917 by the order of the Academy (material collection to decorate interiors of the Kazanian railway station) Yakovlev went to Beijing, then he traveled a lot throughout China, Mongolia and Japan. He explored Chinese and Japanese theaters, as a result he made many ethnographic sketches, portraits and photographs. He arranged the exhibition of his drawings in Shanghai (in 1919). Finding out about the revolution in Russia he emigrated to France. Since 1919 he lived in Paris. He showed multiple works of Far Eastern cycle at personal exhibitions in Paris (Barbazanges Gallery, 1920 and 1921; together with V. Shuhaev), London (Grafton Gallery, 1920) and Chicago (Art Institute, 1922). In 1922 the pub-lisher Lucien Vogel published an album Drawings and paintings of the Far East, which included 50 reproductions of Yakovlev’s Far-East cycle (the book was designed by Shuhaev). At the same time the artist produced an album on the Chinese theater with accompanying text by a Chinese author Zhu Kim-Kim. In 1931–1932 Yakovlev took part in the “Yellow Cruise” arranged by the “Citroen” company. From this expedition he brought some new series of drawings. At the end of the cruise he presented his artworks in Paris and at foreign exhibitions. This background of the artist’s life is subject to be studied better in Russia.

This books offers an appreciation of the life and work of Father Mon Van Genechten, a Belgian artist-priest who was a missionary in China from 1930 to 1946. It presents Father Van Genechten as an open-hearted and creative man of faith, and also makes the rather dramatic claim that Van Genechten, whose art combined Chinese styles with Christian iconography, should be seen as a Chinese artist.The book contains two essays: one by De Ridder, on the art-historical context of Van Genechten's work; and the other by Swerts, giving fuller biographical detail. It also includes a brief memoir of Van Genechten by a former student; reproductions of his paintings, woodcuts and photographs; a list of his exhibitions; and a catalog of his known works. This catalogue is, unfortunately, less useful than it might be as it gives neither the current location of a work nor where it is reproduced.Van Genechten is no neglected genius, but he is potentially interesting to students of Christian missionary work in China, of the modern development of Christian art, and also to students of modern Chinese art. His career – which encompassed decorating churches in Inner Mongolia, teaching at the Catholic University of Peking, and being prisoner of war in Shandong – offers a fresh perspective on East–West artistic interchange. But while the book introduces a worthwhile subject, it falls short in analysis and historical contextualization.

Background. The article explores the development of the piano style of the outstanding composer Sang Tong, one of the founders of the national pianistic art. He was one of the first Chinese composers to apply modern techniques of composer writing on the basis of national musical elements. The early period of the creativity of this musician (1950–60’s) was the basis for the formation of his composer personality. The basis of the creative experiments of Sang Tong was his early piano work. In such works as “In a distant place” (1947), “Seven Ballads on the Themes of Songs of Inner Mongolia” (1953), “Three Preludes” (1955), “Two Piano Pieces” (1956), “The Little Children’s Suite” ( 1958), “Miao National Songs” (1959), “Imagination” (1959), the composer’s innovative style crystallized. Objectives. The purpose of the article is consideration and study the early period of Sang Tong’s piano work, the development of his compositional style in the 1950–60’s. Methods of research are based on a set of scientific approaches necessary for the disclosure of its theme. The complex approach, combining the principle of musical-theoretical, musical-historical and performing analysis, is taken as the basis of the methodology. Results. The influence of European teachers V. Frankel (student A.Schoenberg), J. Schloss (student A. Webern), and Chinese musician Xu Luosi on the formation of the artistic worldview of Sang Tong is investigated. If V. Frankel and J. Schloss instilled in the young musician an interest in modern techniques of composer writing, then Xu Luoxi pointed out to San Tong the importance of preserving the national principle in musical compositions. The influence of other musical genres, in particular, vocal and instrumental, on the formation of the composer’s piano style in the 1950s is also considered. Composer’s works have high artistic value due to his composer personality and high artistic merits of his works, which reflect the national style of music. His music is modern, it is often performed on stage, it sounds on radio and television, it adorns a lot of art and documentary films. The early works of San Tong, according to the peculiarities of harmonic language and musical content, can be divided into three groups. To the first group based on traditional harmony, it is possible to carry its vocal works. Although Sang Tong tried to adhere to traditional harmony, he does not associate himself with rigid canons. The composer boldly uses modern harmonic complexes consisting of nine, eleven, thirteen sounds, variable chords performing the function of complication, uses complex polyphonic combinations, which leads to a strong and dramatic sound. The second type of works differs in that their musical language is based on modal harmony and the structure of pentatonic. Mostly it concerns such works as “Spring wild mountain song”, “Jiannan thousand aromas of rice”, “Piano song about Miao song”, etc. The composer creates his own rich, gravitating to the national style, poetically depicting bright and memorable pastoral paintings. Functional limitations of pentatonic allow the author to diversify the style and demonstrate the inherent elegance of writing. The third group of the composer’s early works is based on a modern style. The main works, where the author used modern innovations, are his “Three Preludes”, “Night” and “In that remote place”. Boldly relying on some principles of modern harmony and combining them with a pentatonic fret, Sang Tong made some useful discoveries. In the “Three Preludes” retaining the color of pentatonic, the author used the serial technique of the composition for the development of the material. When composing chords, he relies on the Chinese principle of Yin Yang, which in this context embodies harmony and disharmony and expands the scope of the chord. Breaking the traditional harmonic concept and transforming it into a complex function that depends on factors such as multi-level chords, using a number of modern notions of harmony, the composer invades the sphere of traditional pentatonic sounding, modernizing it, which allows us to rethink the possibilities of the pentatonic fret. Conclusions. Thus, the early period of music creation laid the foundation for the study of the modern theory of harmony in the work of Sang Tong, and also contributed to the further development of innovation in the use of modern techniques of composer writing in synthesis with pentatonic.

Interference of esotericism and politics became apparent especially in the 19th century when the early socialists expected the coming of the Age of Spirit, and narratives about secret wisdom being kept in mysterious sacred places became all the more popular. Thus, the idea of the Age of Enlightenment underwent transformation: the world will be saved not by ordinary knowledge but by some special secret wisdom. In this context, Helena Blavatsky (1831–1891) developed the doctrine of Theosophy the ideas of which were overtaken by the next-generation theosophists including also the Russian painter Nicholas Roerich (1874–1947) and his spouse Helena Roerich (1879–1955) who developed a new form of Theosophy. The aim of this article is to analyse the interference between Theosophy and politics paying special attention to its historical roots, which, in the context of Roerich groups, are to be sought in the political activities of Nicholas Roerich, the founder of the movement. The following materials have been used in the analysis: first, writings of the founders of Agni Yoga or Teaching of Living Ethics; second, the latest studies in the history of Theosophy made in the available archives after the collapse of the soviet regime; third, materials obtained from the interviews of a field research (2006–2008). The author has made use of an interdisciplinary approach combining anthropological methods with the method of systematic analysis. The historical roots of the political activity of contemporary theosophists stretch into the political aspirations of Nicholas Roerich, the founder of Agni Yoga or Teaching of Living Ethics. Opening of the USSR secret archives and publication of several formerly inaccessible diaries and letters of theosophists offer an opportunity to study the “spiritual geopolitics” of the Roerichs. Setting off to his Central Asian expeditions (1925–1928; 1934–1935), Nicholas Roerich strived to implement the Great Plan, i.e. to found a New State that would stretch from Tibet to South Siberia comprising the territories governed by China, Mongolia, Tibet and the USSR. The new state was conceived as the kingdom of Shambhala on the earth, and in order to form this state, Nicholas Roerich aspired to acquire the support of various political systems. During the Tzarist Empire, the political world outlook of Nicholas Roerich was markedly monarchic. After the Bolshevik coup in Russia, the artist accepted the offer to work under the wing of the new power, but after his emigration to the West Roerich published extremely sharp articles against the Bolsheviks. In 1922, the Roerichs started to support Lenin considering him the messenger of Shambhala. Roerich’s efforts to acquire Bolshevik support culminated in 1926 when the Roerichs arrived in Moscow bringing a message by Mahatmas to the soviet government, a small case with earth for the Lenin Mausoleum from Burhan-Bulat and paintings in which Buddha Maitreya bore strong resemblance to Lenin. The plan of founding the Union of Eastern Republics, with Bolshevik support, failed, since about the year 1930 the soviet authorities changed their position concerning the politics of the Far East. Having ascertained that the Bolsheviks would not provide the anticipated support for the Great Plan, the Roerichs started to seek for contacts in the USA which provided funding for his second expedition (1934–1935). The Roerichs succeeded even in making correspondence (1934–1936) with President Roosevelt who paid much larger attention to Eastern states especially China than other presidents did. Their correspondence ceased when the Security Service of the USA grew suspicious about Roerich’s pro-Japanese disposition. Nicholas Roerich has sought for support to his political ambitions by all political regimes. In 1934, the Russian artist tried to ascertain whether German national socialists would support his efforts in Asia. It may seem that the plans of founding the Union of Oriental Republics have passed away along with Roerich; yet in 1991 his son Svyatoslav Roerich (1904–1993) pointed out once again that the Altai is a very important centre of the great future and Zvenigorod is still a great reality and a magnificent dream. Interference between esotericism and politics is observed also among Latvian theosophists: the soviet regime successfully made use of Roerich’s adherents propagating the communist ideology in the independent Republic of Latvia. In the 1920s and 1930s, the embassy of the USSR in Riga maintained close contacts with Roerich’s adherents in Latvia and made a strong pressure on the Latvian government not to ban the Roerich’s Museum Friend Society who actively propagated the success of soviet culture and economy. On 17 June 1940, the soviet army occupied the Republic of Latvia, and Haralds Lūkins, the son of the founder of the Roerich’s Museum Friend Society, was elected to the first government of the soviet Latvia. Nevertheless, involvement of theosophists in politics was unsuccessful, since after the official annexation of Latvia into the USSR, on 5 August 1940, all societies including the Roerich’s Museum Friend Society were closed. Since the members of the movement continued to meet regularly, in 1949, Haralds Lūkins was arrested as leader of an illegal organization. After the Second World War, theosophists were subjected to political repressions. Arrests of Roerich’s followers (1948–1951) badly impaired the movement. After rehabilitation in 1954, the repressed persons gradually returned from exile and kept on their illegal meetings in small groups. To regain their rights to act openly, Roerich’s followers started to praise Nicholas Roerich as a supporter of the soviet power. With the collapse of the soviet regime, Roerich’s followers in Latvia became legal in 1988 when the Latvian Roerich Society was restored which soon split up according to geopolitical orientation; therefore, presently in Latvia, there are the following organisations: Latvian Roerich Society, Latvian Department of the International Centre of the Roerichs, and Aivars Garda group or the Latvian National Front. A. Garda fused nationalistic ideas with Theosophy offering a special social reorganization – repatriation of the soviet-time immigrants and a social structure of Latvia that would be formed by at least 75% ethnic Latvians. Activity of A. Garda group, which is being criticized by other groups of theosophists, is a continuation of the interference between theosophical and political ideas practised by the Roerichs. Generally it is to be admitted that after the crush of the soviet regime, in theosophist groups, unclear political orientation between the rightists and leftists is observed, characterised by fairly radical ideas.

Статья посвящена традициям изображения ступ в живописи танка в рисованной, печатной и комбинированной технике.Лама Ганхуугийн Пурэвбат художник-иконописец, религиозный деятель современного монгольского буддизма, автор фундаментальных работ по буддийскому искусству, основатель и настоятель монастыря Улзий бадруулагч хийд.С разрешения автора мы публикуем фрагмент из книги Их Монголын суврага: онол хийгээд бутээх ёс Великие монгольские ступы: теория и традиции создания. Улан-Батор, 2005. С. 361-368 (На монгольском языке), в переводе с монгольского языка С.М.Белокуровой. The article is devoted to the traditions of depicting stupas in tank paintingin hand-drawn, printed and combined techniques. LamaGankhgiin Prevbatis an icon painter, religious figure of modern Mongolian Buddhism, the author of fundamental works on Buddhist art, the founder and rector of the monastery, Ulziy Badruulagch Hyid. With the permission of the author, we publish a fragment from the book Their Mongolian Suvrag: Onol Hiiged Buteeh Ees The Great Mongolian Stupas: Theory and Traditions of Creation. Ulan Bator, 2005. P. 361-368 (In Mongolian), translated from the Mongolian language S.M. Belokurova.

Балдугийн Шарав (1869-1939) – основоположник самобытного направления в живописи – монгол зураг – один из первых начал изображать жизнь простого народа. Масштабные произведения этого художника «Один день Монголии» и «Праздник кумыса» относятся к числу наиболее значимых произведений искусства Монголии. В картинах применен ковровый принцип композиции с большим количеством сюжетов, выполненных в миниатюрной технике, изображающих повседневную жизнь народа. В статье предложены некоторые методологические подходы к анализу этих живописных произведений. Balduugiin Sharav (1869-1939), was the founder of original direction in painting «mongol zurag», that was he who began to depict the life of ordinary folks. «One Day of Mongolia», «Holiday koumiss» are a huge masterpiece of the artist and considered as one of the most significant pictures in Mongolian fine-art. In this compositions the artist applied so called «principal of a carpet»” with large amount of stories pictured in style of miniature which tell about everyday life of people. We proposed methodological approaches to the analysis of these paintings.

Статья посвящена творчеству современного бурятского живописца, скульптора, сценографа Бато Дашицыренова, выставка работ которого состоялась в 2019 году в Художественном музее им. Ц. Сампилова (Улан-Удэ). Произведения художника были представлены на многочисленных выставках России, Франции, США, Нидерландов. Автор ставит целью исследования определить соотношение национальных и общекультурных смыслов в творческом наследии Бато Дашицыренова. Для этого в живописи, графике и скульптуре мастера отмечены образы, мотивы, сюжеты, укорененные в национальной культуре, традициях, обычаях монгольских народов, древней культуре Центральной Азии. С другой стороны, определены элементы техники, средства художественной выразительности, характерные для европейского экспрессионизма и символизма или метаисторического экспрессионизма. Почерк мастера включает и опыт театрального художника, и приверженность музыкальной тематике, и интертекстуальность, и связь знака и архетипа, и своеобразие пластики, палитры, фигуративные особенности (например, акцент на голове персонажа, где, по представлениям бурят, сосредоточен источник души человека), и свободу переходов от живописи к пластическим образам. Результаты и выводы исследования значимы в контексте изучения современных художественных процессов Республики Бурятия, России и Центральной Азии. The article is about the work of a modern Buryat painter, sculptor, stage designer Bato Dashitsyrenov. The exhibition of his artworks took place in 2019 at The Buryatia Republican Art Museum named after Ts.S. Sampilov (Ulan-Ude). The artists works were previously presented at numerous exhibitions in Russia, France, the USA, and the Netherlands. The purpose of the study is to determine the correlation of national and general cultural meanings in the creative heritage of Bato Dashitsyrenov. For this, the author notes images, motives, plots rooted in the national culture, traditions, customs of the Mongolian peoples, the ancient culture of Central Asia in the painting, graphics and sculpture of the master. On the other hand, the author defines elements of technology, means of artistic expression, characteristic of European expressionism and symbolism or metahistorical expressionism. The masters manner includes the experience of a theater artist, commitment to musical themes and intertextuality, the connection of the sign and archetype, the originality of plastics, palettes, figurative features (for example, emphasis on the characters head, where, according to Buryat ideas, the source of the human soul is concentrated), and freedom of transition from painting to plastic images. The results and conclusions of the study are significant in the context of studying contemporary art processes in the Republic of Buryatia, Russia and Central Asia.

Бурятская буддийская деревянная скульптура является уникальным видом искусства, вобравшим в себя основы иконографического канона, владение резцом, росписью, своеобразным художественным видением образов божеств в силу синтеза буддийской и местной шаманистской культур. В ней ярко проявился сплав буддийского канона и народной интерпретации облика божеств. В современный период данный вид искусства испытывает трудности, связанные с практически полной утратой линии преемственности между поколениями старых мастеров из числа ламского духовенства, репрессированных в 1930-е годы, и мастеров рубежа XXXXI веков. В данном контексте буддийская деревянная скульптура М.Ц. Гомбоева является важным звеном в деле сохранения и развития этой традиции. Автор подробно описывает процесс работы художника, техники, инструментарий как в резьбе по дереву, так и в работе по металлу. В результате исследования выявлено соотношение буддийского канона и национальных бурятских традиций и черт, фольклорная интерпретация канонических сюжетов, образов, колорита. В творчестве М.Ц. Гомбоева отмечена преемственность со школой С.-Ц. Цыбикова и работами монгольского художника Дзанабадзара. Buryat Buddhist wooden sculpture is a unique art form, which incorporates the basics of the iconographic Canon, the possession of a chisel, painting, a kind of artistic vision of the deities images because of the synthesis of Buddhist and local shamanistic cultures. A fusion of the Buddhist Сanon and a folk interpretation of the deities character is clearly manifested in it. In the modern period, this art form is experiencing difficulties associated with the almost complete loss of continuity between generations of old masters from among the Lama clergy, repressed in the 1930s, and masters of the turn of the 20th 21st centuries. In this context, the Buddhist wooden sculpture of M.Ts. Gomboev is an important link in the preservation and development of this tradition. The author describes in detail the process of the artist, technology, tools both in woodcarving and in metal work. An important result of the study is the correlation of the Buddhist Canon and national Buryat traditions, a folklore interpretation of canonical plots, images, and color. There is a continuity with the school of S.-TS. Tsybikov and the works of the Mongolian artist Dzanabadzar in the creative heritage of M.Ts. Gomboev.

Цель исследования – социокультурный анализ искусства Калмыкии 1980–1990-х гг. в системе отечественной художественной культуры. Материал: изобразительное искусство, представленное в экспозициях «Дорогами дружбы. Москва-Элиста-Улан-Батор» (1986) и объединения «Джунгария» (1989–1990). В культурологической призме междисциплинарного исследования рассматривается мировосприятие личности, создающей в творчестве художественный образ Монголии, анализируется традиционное наследие, активизируемое в переходных условиях культуры России рубежа XX–XXI вв. Историческая память, генерирующая этническую идентичность художника, воплощается в произведениях. Эпические мотивы одухотворены обращением к фольклору, приобщение к единым культурным истокам питает этническую идентичность авторов. В социокультурном подходе исследования произведений установлено общее и этнические особенности изобразительного искусства Калмыкии 1980–1990-х гг., рассматриваемого в системе художественной культуры России. The aim of this study is a sociocultural analysis of the fine arts of Kalmykia in the last quarter of the 20th century as a historically conditioned phenomenon of artistic life and the establishment of the factors of its development. The Eurasian content of national art in the context of the artistic culture of Russia was analyzed within the framework of an interdisciplinary approach with a combination of methods of history and art history, cultural studies, philosophy, and museology. The research was carried out on the basis of materials from exhibitions of Kalmyk artists that took place in the 1980s and 1990s; the works of ethnographers, culturologists, and philosophers were also used. The author characterizes the works presented at the international exhibition “The Roads of Friendship. Moscow–Elista–Ulaanbaatar” (Moscow, July–August 1986). The author gives an extensive description and detailed analysis of the paintings by G. Rokchinsky, N. Bogorodskaya, V. Urgadulov, and determines the characteristic features of the exhibited works of A. Povaev and O. Kikeev, masters of landscape painting. The author considers the periodization of the development of Kalmyk art in the 1940s–1980s, characterizes the period of the 1980s as the time of transformations, and determines the role of heritage, ethnic originality, and ethnic culture in the development and formation of the school of fine arts in Kalmykia. The author thoroughly examines the activity of the Kalmyk Association of Artists “Dzungaria”, describes the preconditions of its formation and the significance of the organization. The author also analyzes the expositions of exhibitions presented by the Kalmyk Association of Artists (“The Roads of Friendship. Moscow–Elista–Ulaanbaatar” and the anniversary exhibition of 1990), identifies the main thematic, philosophical, and worldview motives of the exhibited works with an emphasis on the Eurasian content of the works by Kalmyk artists and the integrity of the traditional heritage of the ethnos. The author comes to the conclusion that the appeal to the image of Mongolia in paintings and graphics activates the ethnic self-consciousness of the artists who created the fine arts of Kalmykia at the turn of the 21st century. A stabilizing and regulating factor in the development of the fine arts of Kalmykia in the period under study is the artistic heritage that implements cultural continuity. In the ethnic self-consciousness of Kalmyk artists, historical memory acts as a factor of creativity that reconstructs the cultural heritage and intensifies in the transition period at the turn of the century.

A study of the work of an unknown to the general public painter middle XX century Serhii Doroshenko is currently at the initial stage. Thanks to the publication of the catalog and the holding of a personal exhibition, the process of putting part of his picturesque heritage into scientific circulation began. Today the life and professional path of the artist, as well as several dozen surviving works of the master are known and partially researched. The fact that the artist had to live under a fictitious name for most of his life makes it difficult to identify individual facts and documents. However, undoubted picturesque talent, a subtle sense of the landscape genre, put Serhii Doroshenko next to the best representatives of the landscape of his time. The return of the artist's name to the history of Ukrainian art will open another page for scholars and connoisseurs of painting. Roman Solovey was born in the village Pavlivka, Cherkasy region in 1915. During the Holodomor, Roman was arrested by the NKVD, but it is unknown how he resigned, and in 1936 he appeared as Serhii Doroshenko. According to the dates on the student card, from 1936 to 1939 he studied at the Kharkiv Art School. However, according to other documents from 1937, the young artist leads an active creative life on the opposite side of the Soviet Union in Buryat-Mongolia. He exhibits his works at the republican exhibition, works as an artist in the club. In 1939, Doroshenko, as a student of the Kharkiv Art School, was transferred to the 3rd year of the Faculty of Fine Arts of the Ukrainian Art Institute. From 1945 Doroshenko was again a student of Kyiv Art Institute and, finally, in 1948 he received a diploma of a painter. From that time until his death he worked in the Kyiv Regional Cooperative Society of Artists. In 1949 Doroshenko made his debut at the 10th Ukrainian Art Exhibition. Since then, his favorite genre - marina - has been determined. He became a regular participant in Ukrainian and Soviet Union exhibitions, where his works are exhibited along with the best examples of landscape painting of that time. In 1950, Doroshenko became a candidate for membership in the Union of artists of Ukraine, and in the registration card indicates a non-existent place in nature of his birth. He was also a member of the board of the Ukrainian branch of the USSR art fund. His life ended on May 27, 1957 due to severe heart disease.

В статье предпринята попытка апробации палеохореографического подхода при интерпретации распространенных сюжетов в наскальных рисунках. Рассмотрены изображения воинов в грибовидных шапках, доказано, что целый ряд сюжетов может быть интерпретирован как танец. The paper contains an attempt to approbate the paleochoregraphic approach in interpreting common plots in rock paintings. Images of warriors in mushroom-like hats are considered, it is proved that a whole series of stories can be interpreted as a dance.

Статья посвящена сравнительному анализу буддийской живописи Западной Монголии и Калмыкии. Объектом исследования является традиционное изобразительное искусство, целью – выявление и характеристика локальных особенностей иконографии буддизма. Рассматривая образцы живописи, связанные с культом Природы, в интерпретации канона автор выявляет общее и особенное композиции и колорита, пропорций и атрибутики образов искусства регионов. В живописном воплощении иконографического канона фиксируются его локальные вариации, обусловленные конкретными условиями бытия. Последние значительно различаются, например, в воспроизведении этнического типа и условного пейзажа в элементах образного решения канонического сюжета. Искусство, общее в истоках происхождения, иллюстрирует вариативное многообразие воплощения изобразительного канона буддизма, нередко сопровождаемое отходом от его условностей. Это дает реальную возможность на полевом материале охарактеризовать в междисциплинарном сравнительном аспекте изучения локальную школу иконописания. The article is devoted to the comparative analysis of the Buddhist Kalmykia painting and Western Mongolia. The object of research is the traditional art, purpose – Identification and characterization of the local features of the iconography of Buddhism. Considering the examples of painting associated with the cult of Nature, in the canon of interpretation the author considers the general and the particular composition, proportion, color and attributes of the works of Buddhist art these regions. In the picturesque embodiment iconographic canon recorded its local variations due to the specific conditions of existence. Recent vary considerably, for example, in the treatment of conditional scenery, expressed in imaginative solutions canonical plot elements. In addition, coloring works, the originality of ethnic type, attribute of the image is an art, in general the sources of origin. The phenomenon of the variation of the fine Buddhist canon is often accompanied his departure from the conventions, allowing to characterize a whole school of icon painting. This is possible in the comprehensive study combining in the field of museology techniques of Art, History and ethnoculturology.

Шой Улзайович Чурук известный тувинский художник. В его творчестве возрождаются и заново переосмысляются традиции народного искусства. Для художника важным остается обращение к фундаментальным основам культуры, актуальным на сегодняшний день. В данной статье предпринят анализ трех картин Ш. Чурука с применением методики культурных универсалий (констант). На материале монгольской культуры выделяются две константы Воин и Родина , которые представляются актуальными для различных кочевых культур Евразии. Shoy Ulzaiovich Churuk is a famous Tuvan artist. The traditions of folk art are revived and rethought in his works. It remains important for the artist to appeal to the fundamental foundations of culture that are relevant today. This article analyzes three paintings by Sh. Churuk using the methodology of cultural universals (constants). Based on the material of the Mongolian culture, two constants are distinguished Warrior and Homeland , which seem relevant for various nomadic cultures of Eurasia.