Representation of images of the Ob Ugrians in the portraits of V. A. Igoshev in the 70s XX centure: classical and postclassical interpretations of the works
English
journal number:
Journal’s Subject Headings:
History of science
About author:
Ob-Ugric Institute of Applied Researches and Development, Khanty-Mansiysk, Russian Federation, [email protected]
ABSTRACT
Introduction: the article is devoted to the creative work of V. A. Igoshev, the formal and substantive principles of his portrait painting in the 70s.
Objective: to reveal the specifics of the Ob-Ugrian images in the works of V. A. Igoshev in their post-classical and classical interpretation.
Research materials: the catalogs of exhibitions and reproductions of portraits by V. A. Igoshev, art history works devoted to the artist’s creative work, as well as works on art history by a prominent representative of the «formal school» H. Wölfflin and classics of aesthetics G. Hegel, I. Goethe, G. E. Lessing, F. Schelling, F. Schiller were used in the article.
Results and scientific novelty: representation of images of the Ob Ugrians in portraits of V. A. Igoshev in the 70s is poorly studied both from the point of view of its narrow specialization relating to a certain genre of painting
in strict chronological frameworks, and from the point of view of a general theory. The novelty of the research lies both in the characterization of the formal and substantive principles of portrait painting by V. A. Igoshev, and in the theoretical and methodological perspective. The specificity of the form and content of the works by V. A. Igoshev, contributing to the understanding of the world of the Ob Ugrians from the aesthetic point of view, are considered on the basis of the classical «mimesis theory» as opposed to the postclassical theory of art history (the «formal school»). The opposition of the classical and postclassical interpretations of the works of V. A. Igoshev, identified and traced in the course of the work, as well as their unity in understanding of the problematics of the visual art, constitutes the main result of the research and determines its scientific novelty.
Key words: V. A. Igoshev, ideal, «mimesis theory», «basic concepts», optical and tactile, H. Wölfflin, «theory of identities», art form.
For citation: Galyamov А. А. Representation of images of the Ob Ugrians in the portraits of V. A. Igoshev in the 70s XX centure: classical and postclassical interpretations of the works // Vestnik ugrovedenia = Bulletin of Ugric studies. 2019; 9 (3): 568–576.
ABSTRACT
Introduction: the article is devoted to the creative work of V. A. Igoshev, the formal and substantive principles of his portrait painting in the 70s.
Objective: to reveal the specifics of the Ob-Ugrian images in the works of V. A. Igoshev in their post-classical and classical interpretation.
Research materials: the catalogs of exhibitions and reproductions of portraits by V. A. Igoshev, art history works devoted to the artist’s creative work, as well as works on art history by a prominent representative of the «formal school» H. Wölfflin and classics of aesthetics G. Hegel, I. Goethe, G. E. Lessing, F. Schelling, F. Schiller were used in the article.
Results and scientific novelty: representation of images of the Ob Ugrians in portraits of V. A. Igoshev in the 70s is poorly studied both from the point of view of its narrow specialization relating to a certain genre of painting
in strict chronological frameworks, and from the point of view of a general theory. The novelty of the research lies both in the characterization of the formal and substantive principles of portrait painting by V. A. Igoshev, and in the theoretical and methodological perspective. The specificity of the form and content of the works by V. A. Igoshev, contributing to the understanding of the world of the Ob Ugrians from the aesthetic point of view, are considered on the basis of the classical «mimesis theory» as opposed to the postclassical theory of art history (the «formal school»). The opposition of the classical and postclassical interpretations of the works of V. A. Igoshev, identified and traced in the course of the work, as well as their unity in understanding of the problematics of the visual art, constitutes the main result of the research and determines its scientific novelty.
Key words: V. A. Igoshev, ideal, «mimesis theory», «basic concepts», optical and tactile, H. Wölfflin, «theory of identities», art form.
For citation: Galyamov А. А. Representation of images of the Ob Ugrians in the portraits of V. A. Igoshev in the 70s XX centure: classical and postclassical interpretations of the works // Vestnik ugrovedenia = Bulletin of Ugric studies. 2019; 9 (3): 568–576.
