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Relevant bibliographies by topics / Tatar Painting

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Academic literature on the topic 'Tatar Painting'

Author: Grafiati

Published: 25 July 2024

Last updated: 31 July 2025

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Journal articles on the topic "Tatar Painting"

1

Janonienė, Rūta. "Apie oberbombardyro Vaitiekaus Ivaškevičiaus 1791 m. Vilniaus piešinį." XVIII amžiaus studijos T. 6: Personalijos. Idėjos. Refleksijos, T. 6 (January 2, 2020): 323–34. http://dx.doi.org/10.33918/23516968-006015.

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ABOUT THE 1791 PICTURE OF VILNIUS BY OBERBOMBARDIER WOJCIECH IWASZKIEWICZ The article discusses a watercolour painting from a private collection authored by Wojciech Iwaszkiewicz, artillery ober-bombardier of the Grand Duchy of Lithuania. In the background of the urban landscape are objects that allow easy identification of the capital of Lithuania: partly ruined Upper Castle and the Bekesh Hill. Other objects and figures are identifiable by the inscriptions on the other side of the painting. Particularly interesting is the first plan of the drawing, which depicts the Tatar Gates and a few woo

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2

ЛОБКОВ, Александр Евгеньевич. "Крымский период творчества Н.С. Самокиша: история сотрудничества художника с Алупкинским дворцом-музеем". Причерноморье. История, политика, культура Серия Б : Новая и Новейшая история, XXVIII (XIII) (2019): 29–46. https://doi.org/10.5281/zenodo.3475982.

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<em>В статье изучена история сотрудничества академика батальной живописи Н.С. Самокиша с Алупкинским дворцом-музеем в 20–30-е годы ХХ века. С директором музея Я.П. Бирзгалом художника связывали многолетние дружеские связи. По заказу музея Н.С.</em> <em>Самокиш выполнил ряд больших картин на крымские исторические сюжеты XVII, XVIII и XX столетий, а также три акварели на пушкинскую тему. Особое внимание уделено разработке татарской темы в творчестве художника в контексте проводимой советской властью национальной политики. Автор приходит к выводу, что после депортации крымски

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3

Kovalchuk, Igor. "The development of the Ukrainian icon during the fourteenth and nineteenth centuries." Ukrainian Religious Studies, no. 76 (December 1, 2015): 91–108. http://dx.doi.org/10.32420/2015.76.600.

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There are very few monuments of icon art of the 13th-15th centuries, but they give a great opportunity to learn a lot about the state of the Ukrainian Church of that time, about the strengthening of faith, and also about the stylistic quest for Ukrainian artists. The development of the iconography of those centuries in Ukraine marked the Tatar-Mongol invasion. When a person or a whole nation falls into a difficult situation, faith in God grows, spirituality rises. Monuments of culture of the XIII-XV centuries record especially jealous hope in God, the strengthening of the religiosity of differ

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4

Tikhomirov, K. N., and M. N. Tikhomirova. "New Data on Pottery of the Modern Period and Contemporary History from Tatar Settlements of the North of the Omsk Irtysh Region." Problems of Archaeology, Ethnography, Anthropology of Siberia and Neighboring Territories 30 (2024): 787–94. https://doi.org/10.17746/2658-6193.2024.30.0787-0794.

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The article is based on field archaeological materials obtained during the study of cultural layers of the existing settlements in the Ust-Ishim district of the Omsk Region. It examines pottery collections from the village of Ashevany and the village of UstIshim. The materials are divided into pottery (coarse) ceramics (molded and easel), and two types of fine pottery. The total number of coarse (pottery) ceramics is 17 items, while fine pottery is represented by 53 items. The most valuable finds are described. They basically belong to the first type of fine ceramics. This is a type of low-qua

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5

Shishka, Evgeniy A. "Visual image of the Mongols in the Battle of Legnica in visual monuments of the 14th–15th centuries." Issues of Museology 12, no. 2 (2021): 222–37. http://dx.doi.org/10.21638/spbu27.2021.206.

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The Western campaign of the Mongols in Eastern and Central Europe in 1236–1242, led by Batu and the military commander Subedei, has long been imprinted in the memory of contemporaries and descendants. The central place in the historical literary and visual monuments of the Late Middle Ages was occupied by the Battle of Legnica — a battle between the Polish-German army and the Mongols on April 9, 1241. This article examines the image of the Mongols in book min-iatures of the Shlakenwerter Codex, presented in the Getty Museum (USA), on an altar painting created in the 30–40s. The 15th century is

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6

ТУАЛЛАГОВ, А. А., and А. А. ТУАЛЛАГОВА. "ON THE HISTORY OF BUILDING OF THE SUNNI MOSQUE IN VLADIKAVKAZ." Известия СОИГСИ, no. 51(90) (March 22, 2024): 25–47. http://dx.doi.org/10.46698/vnc.2024.90.51.009.

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История создания одного из красивейших памятников архитектуры Владикавказа – Суннитской мечети – до сих пор не получила своего исчерпывающего освещения. Представлены не только различные ее аспекты, но сохраняются частные вопросы к конкретным деталям строительства. Данное положение определяет актуальность рассматриваемой проблемы. Научная новизна работы заключается в привлечении к анализу ряда оригинальных источников, в том числе вводимых в научный оборот впервые. Соответственно целью исследования является реконструкция строительного этапа создания мечети на основе рассмотрения всего выявленног

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7

Zhilina, Natalia. "Decorative Art of Rus’ from the Assimilation of Byzantine Influence to the Global Catastrophe of the Invasion: the 11th — the first third of the 13th century." Stratum plus. Archaeology and Cultural Anthropology, no. 5 (October 30, 2024): 309–27. http://dx.doi.org/10.55086/sp245309327.

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The studied period was mainly peaceful and creative in the history of Rus'. After the Baptism of Rus', the creation of the Christian art began under the Byzantine influence. Then progressive development of artistic crafts and decorative arts was underway which was brutally interrupted by the Tatar-Mongol invasion. An interpretation of the development of Russian decorative art from the end of the 11th to the first third of the 13th century is proposed based on the method of stylistic analysis of the works of various types of decorative and fine arts, clarification of the dating of archaeologica

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8

SOLCANU, Ion I. "THREE INITIATIVES TO RECOVER THE NATIONAL CULTURAL HERITAGE AND HISTORY DURING THE REIGN OF ALECSANDRU IOAN CUZA." Annals of the Academy of Romanian Scientists Series on History and Archaeology 12, no. 1 (2020): 5–29. http://dx.doi.org/10.56082/annalsarscihist.2020.1.5.

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The new social context after the 1859 Union of the Principalities saw an increase in the interest to recover the national history and the Romanian cultural heritage. Alongside the private attempts made by some passionate collectors (General Nicolae Mavros, Ban Mihalache Ghica, Major D. Papazoglu, etc.) the Wallachian and Moldavian Governments initiated several actions in an attempt to recover the national patrimony. The movement was all the more legitimate due to the criminal carelessness of the Greek hegumens in the dedicated monasteries in obedience to the Greek Church whose main preoccupati

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9

Khrystan, Nazarii. "History as an Image: Ecranisation of King Danylo Romanovych." Науковий вісник Чернівецького національного університету імені Юрія Федьковича. Історія 2, no. 46 (2017): 48–56. http://dx.doi.org/10.31861/hj2017.46.48-56.

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The formation of the Soviet image of the past in the context of the doctrine of «our great ancestors» was extended not only to historiography, fiction and journalism. A special place was occupied by cinema. The Bolsheviks were very early realized the tremendous role of cinema as a means of influencing mass culture. With the help of cinema, the party leadership sought to form a «true» view of reality, thereby educating people in the spirit of «communism and internationalism». Founded in the early 30’s oftheXX century. the genre of historical cinema, became the basis of all Soviet cinema. Reject

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10

ILYASOVA, RAZILYA. "ILDAR ZARIPOV'S ART AND STYLE DEVELOPMENT (1939-2012)." Культурный код, no. 2023-4 (2023): 61–72. http://dx.doi.org/10.36945/2658-3852-2023-4-61-72.

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The article examines the stylistic evolution of the Tatar national artist Ildar Zaripov in the late Soviet period (1960-1980s). A characteristic is given to his work, where special attention is paid to the early stage. For the first time, an analysis is made of previously unknown paintings by the artist. His inclination to the traditions of the Russian avant-garde during the formation of Ildar Zaripov is revealed. It is concluded that stylistic collisions were a natural and necessary stage for the formation of the artist's individual style.

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Books on the topic "Tatar Painting"

1

Midkhăt, Shakirov, ed. Kizlău̇. Măgarif, 2003.

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2

V, Akhmetova F., and Tukaĭ Gabdulla, eds. Bakyĭ Urmanche ijatynda Gabdulla Tukaĭ: Gabdulla Tukaĭ v tvorchestve Baki Urmanche. Tatarstan kitap năshrii͡aty, 2007.

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Sui͡urov, Fărit. Peĭzazh, lirika. Tatarstan kitap năshrii͡aty, 2008.

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Valeeva-Suleĭmanova, G. F. Iskusstvo krymskikh tatar: Iz kollekt︠s︡iĭ Nizami Ibragimova, fenda Mardzhani, khudozhnikov Kryma, Gosudarstvennogo muzei︠a︡ izobrazitelʹnykh iskusstv Respubliki Tatarstan : katalog vystavki, Nat︠s︡ionalʹnai︠a︡ khudozhestvennai︠a︡ galerei︠a︡ "Khazinė", okti︠a︡brʹ-noi︠a︡brʹ 2013. Zaman, 2013.

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Lóránd, Hegyi, and Musée d'art moderne Saint-Etienne, eds. Djamel Tatah. Chaudun, 2014.

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6

Liebsohn, Tamar. Tamar Liebsohn: Desde al andamio. Edited by Martínez Vera Regina. Galería Daniel Liebsohn, 2001.

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7

Tātāri, Ānah Muḥammad. Aneh Mohammad Tatari: An exhibition : Ānah Muḥammad Tātāri. Etemad Gallery, 2011.

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Tatah, Djamel. Djamel Tatah: Galerie des Ponchettes, Vitrines du MAMAC, 27 juin-11 octobre 2009. Nice musées, 2009.

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Tatah, Djamel. Djamel Tatah: Galerie des Ponchettes, Vitrines du MAMAC, 27 juin-11 octobre 2009. Nice musées, 2009.

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10

Philippe, Dagen, Galerie des Ponchettes, and Musée d'art moderne et d'art contemporain (Nice, France), eds. Djamel Tatah: Galerie des Ponchettes, Vitrines du MAMAC, 27 juin-11 octobre 2009. Nice musées, 2009.

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Book chapters on the topic "Tatar Painting"

1

Wielechowska, Katarzyna. "Pomiędzy spojrzeniem a dotykiem: trajektorie tatrzańskie Mirosława Koprowskiego." In Relacyjność w kulturze i sztuce. Wydawnictwo Uniwersytetu Łódzkiego, 2025. https://doi.org/10.18778/8331-744-1.04.

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The text is an attempt to tell a story about the experience of a painter and a moun-taineer, about the interpenetration of two practices: mountaineering and landscape painting, about the realisation in this way of an intense and essentially intimate de-sire to be in the world of Tatra nature. The methodological framework for the story is Stephen Greenblatt’s concept of awe and response, which is simultaneously sub-jected to a reinterpretation - the level of response here is determined not by the cul-tural context, but by the context of Tatra nature, in which the practice of the painter and mou

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2

Nagib, Lúcia. "Passages to Reality." In Realist Cinema as World Cinema. Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789462987517_ch07.

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Chapter 7 addresses the utilisation within film of artforms such as painting, theatre, poetry and music as a bridge or a ‘passage’ to political and social reality. Rather than focusing on individual artists and films, the chapter addresses a national phenomenon, more specifically, selected works by filmmakers from the states of São Paulo (Beto Brant and Tata Amaral) and Pernambuco (Cláudio Assis/Hilton Lacerda, Paulo Caldas/ Marcelo Luna), in Brazil, who over the years have bridged across their regions’ very different social history and geographic situation by means of a shared artistic and po

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Conference papers on the topic "Tatar Painting"

1

Sondag, Sarah K., and Richard A. Burgess. "Bridge Maintenance Painting in the Land of 10,000 Lakes MnDOT’S Approach to Improving Bridge Maintenance Painting Operations." In SSPC 2015 Greencoat. SSPC, 2015. https://doi.org/10.5006/s2015-00058.

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The Minnesota Department of Transportation (MnDOT) with KTA-Tator, Inc. (KTA) conducted a one-day seminar on Bridge Maintenance Painting Strategy & Project Design in May 2013. One outcome of that seminar was the realization that MnDOT needed a more uniform method to rate the condition of coatings statewide during the biennial bridge safety inspections and a process to select and prioritize maintenance painting strategies. MnDOT assembled a Technical Advisory Panel to address these needs and launched a multi-objective study from October 2013 through June 2014. This paper describes the outco

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2

Nuredin, Ibram. "Portraits of the Balchik tartars from the paintings of Nicolae Tonitza and Iosif Iser." In Latinitate, Romanitate, Românitate. Conferinţa ştiinţifică internaţională, Ediția a 7-a. Moldova State University, 2023. http://dx.doi.org/10.59295/lrr2023.15.

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The communication refers to the portraits of Tatars from the plastic creations of the masters Nicolae Tonitza (1886-1940) and Iosif Iser (1881-1958), painters who brought to Romanian plastic art a modern vision, a universal openness, a compo- sitional maturity supported by chromatic harmonies.Through multiple techniques – oil on canvas, gouache on cardboard, watercolour, drawing, charcoal or ink – Nicolae Tonitza and Iosif Iser reproduced the typologies of ethnic Tatars, captured in decorative backgrounds, in marine fragments or classical Dobrudjan architecture of interwar Balchik – houses, st

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