Rayshev: the artist in the context of the epoch
English
journal number:
Journal’s Subject Headings:
History, ethnography, archeology
About author:
Ob-Ugric Institute of Applied Researches and Development, Khanty-Mansiysk, Russian Federation, [email protected]
ABSTRACT Introduction. The article considers a number of works by Gennady Stepanovich Rayshev as historical and ethnographic sources. The subjects of the research are components of his ethnic consciousness. Objective: to analyze the creative work of the Khanty artist as an original historical and ethnographic source reflecting the ethnic identity, the mentality of the indigenous people of the North and the features of contemporary epoch. Research materials: based on the visual, historical and cultural analysis of graphic and pictorial canvases and principal statements of G. S. Rayshev on the problems of artistic creativity. Results and novelty of the research. The extinction of traditional culture did not lead to the disappearance of a myth. Its forms and carriers changed, but its deep structure had preserved. A myth still exists, though it has changed its shape. As in the past, the intelligentsia of the indigenous people of the North retransmits and transforms the old and new mythical arrays. The analysis of the Khanty artist Rayshev’s creativity shows that on meeting of different cultures the creative persons are as mediators between the past myths and modernity. Without losing previous ties with the native culture, G. S. Rayshev is engaged in verbal or pictorial design of worldview structures, identity and thoughts of the ethnos. He also reflects historical and cultural realities of his ethnos. On the example of G. S. Rayshev, the creative vision of the national character, which is wider than the usual philistine opinions, is clearly manifested. The vivid images, depicted in his paintings, contribute to the preservation of ethnic stereotypes, knowledge of everyday details and elements of everyday life that determine the specifics of the people’s life. It is possible to assert that the works of G. S. Rayshev represent not only undeniable artistic value, but also they have the properties of historical and ethnographic source. Key words: graphics, painting, source, G. S. Rayshev, traditional culture, artist, ethnos. Acknowledgements: the author expresses sincere gratitude to the informants, first of all N. Fyodorova, E. Akelkina and A. Galyamov, as well as to all anonymous reviewers. For citation: Ershov M. F. Rayshev: the artist in the context of the epoch // Vestnik Yugrovedeniya = Bulletin of Ugric Studies. 2019; 9 (2): 352–362.
ABSTRACT Introduction. The article considers a number of works by Gennady Stepanovich Rayshev as historical and ethnographic sources. The subjects of the research are components of his ethnic consciousness. Objective: to analyze the creative work of the Khanty artist as an original historical and ethnographic source reflecting the ethnic identity, the mentality of the indigenous people of the North and the features of contemporary epoch. Research materials: based on the visual, historical and cultural analysis of graphic and pictorial canvases and principal statements of G. S. Rayshev on the problems of artistic creativity. Results and novelty of the research. The extinction of traditional culture did not lead to the disappearance of a myth. Its forms and carriers changed, but its deep structure had preserved. A myth still exists, though it has changed its shape. As in the past, the intelligentsia of the indigenous people of the North retransmits and transforms the old and new mythical arrays. The analysis of the Khanty artist Rayshev’s creativity shows that on meeting of different cultures the creative persons are as mediators between the past myths and modernity. Without losing previous ties with the native culture, G. S. Rayshev is engaged in verbal or pictorial design of worldview structures, identity and thoughts of the ethnos. He also reflects historical and cultural realities of his ethnos. On the example of G. S. Rayshev, the creative vision of the national character, which is wider than the usual philistine opinions, is clearly manifested. The vivid images, depicted in his paintings, contribute to the preservation of ethnic stereotypes, knowledge of everyday details and elements of everyday life that determine the specifics of the people’s life. It is possible to assert that the works of G. S. Rayshev represent not only undeniable artistic value, but also they have the properties of historical and ethnographic source. Key words: graphics, painting, source, G. S. Rayshev, traditional culture, artist, ethnos. Acknowledgements: the author expresses sincere gratitude to the informants, first of all N. Fyodorova, E. Akelkina and A. Galyamov, as well as to all anonymous reviewers. For citation: Ershov M. F. Rayshev: the artist in the context of the epoch // Vestnik Yugrovedeniya = Bulletin of Ugric Studies. 2019; 9 (2): 352–362.
