Buychik, A. & Tomanek, A. (2020). The influence of postmodernism on the evolution of art in the 21st century. 21st century: history and modernity of art. Collection of Scientific Articles. European Scientific e-Journal, 4 (4), 50-63. Hlučín-Bobrovníky: “Anisiia Tomanek” OSVČ.
Buychik, A., Tomanek, A. (2020). Vliv postmodernismu na vývoj umění v 21 století. 21st century: history and modernity of art. Collection of Scientific Articles. European Scientific e-Journal, 4 (4), 50-63. Hlučín-Bobrovníky: “Anisiia Tomanek” OSVČ.

DOI: 10.47451/art2020-12-005 ---------- Certificate ---------- Certificate

Abstract:

In the modern world, a person is surrounded by an endless stream of data, which is often difficult to control. However, whether explicitly or implicitly, this flow has an impact on us: through advertising images, products in stores, the Internet and television. So, this leaves a huge imprint on our worldview and perception of the world not only at the everyday level but also at the level of perception of modern art. The article provides a comparative analysis of the influence of postmodernism ideas and philosophy on the transformation of 21st century art from the point of view of the formation of positive and negative trends in the development of modern art. The authors conclude that postmodernism, combined with changes in global politics aimed at constant information pressure and depersonalization of the individual, so transforms art that its latest forms and trends can destroy the very classical concept of art, which is designed to reflect the individualism and versatility of man. Technological evolution as a result of the philosophy of postmodernism is ready both to develop art at a new level and to destroy its purpose.
V dnešním světě člověka obklopuje nekonečný proud dat, který je často obtížné kontrolovat. Nicméně, explicitně nebo implicitně, tento proud nás ovlivňuje: prostřednictvím reklamních obrázků, zboží v obchodech, internetu a televize. To tedy přináší obrovský otisk našeho pohledu na svět a vnímání světa nejen na domácí úrovni, ale i na úrovni vnímání současného umění. V článku je provedena srovnávací analýza vlivu idejí a filozofie postmodernismu na transformaci umění 21 století z hlediska formování pozitivních a negativních trendů ve vývoji moderního umění. Autoři k závěru, že postmodernismus se v kombinaci se změnami ve světové politice, zaměřeným na trvalé informační tlak a обезличивание osobnosti, tak transformuje umění, že jeho nejnovější formy a trendy, které mohou zničit samotnou klasickou koncepci umění, která si klade za cíl odrážet individualismus a mnohostrannost člověka. Technologický vývoj v důsledku filozofie postmodernismu je připraven jak rozvíjet umění na nové úrovni, tak zničit jeho účel.

Keywords:

postmodernism, art, transformation, evolution, Nietzsche, Groys, Heidegger, Krauss, Benhabib; postmodernismus, umění, transformace, evoluce.

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Lebedev, S.V. (2020). The problem of ethnic identity in the modern world: how the “national spirit” manifests itself in folk art. 21st century: history and modernity of art. Collection of Scientific Articles. European Scientific e-Journal, 4 (4), 4-14. Hlučín-Bobrovníky: “Anisiia Tomanek” OSVČ.
Лебедев, С.В. (2020). Проблема этнической идентичности в современном мире: как в народном искусстве проявляется «национальный дух». 21st century: history and modernity of art. Collection of Scientific Articles. European Scientific e-Journal, 4 (4), 4-14. Hlučín-Bobrovníky: “Anisiia Tomanek” OSVČ.

DOI: 10.47451/art2020-12-004 ---------- Certificate

Abstract:

The article is devoted to the problem of preserving Russian ethnic identity. In the era of globalization, the identity of many countries is experiencing a crisis. A manifestation of national identity is the traditional folk art of an ethnic group. It is in him that what is called the spirit of the people is manifested. In modern conditions in Russia, it is not only necessary to preserve the Russian culture, but also to raise it to a new height. To achieve this, it is necessary to change the curricula of schools and universities, which can help the experience of teaching a course on historical ethnology of Russia to the students of the Higher School of Folk Arts. The author concludes that Historical Ethnology of Russia in combination with the disciplines of History and Philosophy allows preparing a highly qualified art critic, who is ready and able to solve the tasks that his professional activity sets him.
Статья посвящена проблеме сохранения русской этнической идентичности. В эпоху глобализации идентичность многих стран переживает кризис. Проявлением национальной идентичности является опирающееся на традиции народное искусство этноса. Именно в нем проявляется то, что называется духом народа. В современных условиях в России не только необходимо сохранить русскую культуру, но и поднять на новую высоту. Что бы этого добиться, необходимы изменения учебных программ школ и вузов, в чём может помочь опыт преподавания курса, посвященного исторической этнологии России, студентам ВШНИ. Автор приходит к выводу, что историческая этнология России в сочетании с дисциплинами истории и философии позволяет подготовить высококвалифицированного искусствоведа, готового и способного решать задачи, которые ставит перед ним его профессиональная деятельность.

Keywords:

identity, globalization, ethnos, folk art; идентичность, глобализация, этнос, народное искусство.

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Voloshina, L.A. (2020). Sense of art (the experience of perceiving a work of art) (in Russian). 21st century: history and modernity of art. Collection of Scientific Articles, 04 (04), 15-49. European Scientific e-Journal. Hlučín-Bobrovníky: “Anisiia Tomanek” OSVČ. (in Russian)
Волошина, Л.А. (2020). Чувство искусства (опыт восприятия произведения искусства). 21st century: history and modernity of art. Collection of Scientific Articles, 04 (04), 15-49. European Scientific e-Journal. Hlučín-Bobrovníky: “Anisiia Tomanek” OSVČ.

DOI: 10.47451/art2020-12-003 ---------- EOI: 10.11244/art2020-12-003 ---------- Certificate

Abstract:

The article is devoted to a special human ability, which is called by the author “the sense of art”. This feeling is presented as the ability to perceive art, as a way of aesthetic cognition. It shows how art (in this case – painting) affects the viewer, his feelings. The connection of the sense of art with the individuality of the person, with the traditional folk culture is shown. The author concludes that the perception of art is a spiritual activity of a person. Perceiving its pictorial forms, we include all our senses, but this is only the first stage of aesthetic cognition. The sense of art is deeply individual. The more developed the individuality, the deeper it is. That's when mutual enrichment takes place. Art becomes for a person not only a form of emotional enjoyment, but also a form of cognition. Everyone has their own unique knowledge of reality. There is also some disunity, alienation of a person, but art can eliminate this disunity.
Статья посвящена особой способности человека, которая названа автором «чувством искусства». Данное чувство представлено как способность восприятия произведений искусства, как способ познания действительности эстетическим путём. Подробно представлено, какие составляющие искусства (в данном случае – живописи) воздействуют на зрителя, попадая в сферу его чувственности. Показана связь чувства искусства с индивидуальностью человека, с традиционной народной культурой. Автор делает вывод, что восприятие искусства – это духовная деятельность человека. Воспринимая изобразительные его виды, мы включаем все наши чувства, но это, только первый этап эстетического познания. Чувство искусства глубоко индивидуально. Чем более развита индивидуальность, тем оно глубже. Вот тогда и происходит взаимообогащение. Искусство становится для человека не только формой эмоционального наслаждения, но и формой познания. Каждый имеет своё уникальное познание реальности. В этом кроется и некоторая разобщенность, отчужденность человека, но искусство может устранять эту разобщенность.

Keywords:

sense of art, individuality, artistic image, perception, tradition, sensibility, aesthetic cognition; чувство искусства, индивидуальность, художественный образ, восприятие, традиция, чувственность, эстетическое познание

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Naydenova, M. (2020). Glass art objects – between fine and applied art. 21st century: history and modernity of art. Collection of Scientific Articles. European Scientific e-Journal, 4 (4), 91-98. Hlučín-Bobrovníky: “Anisiia Tomanek” OSVČ.
Найденова, М. (2020). Художествени обекти от стъкло – между изящното и приложното изкуство. 21st century: history and modernity of art. Collection of Scientific Articles. European Scientific e-Journal, 4 (4), 91-98. Hlučín-Bobrovníky: “Anisiia Tomanek” OSVČ.

DOI: 10.47451/art2020-12-002 ---------- EOI: 10.11244/art2020-12-002 ---------- Certificate

Abstract:

The article describes the interrelationships that emerged between art, crafts, technology and design, in the period from the second half of the 19th century to the present day. Attention is paid to the classification of a work and the delineation of the category ‘Object’. The object of this research is contemporary art in the context of its classification as fine and applied in the period from the second half of the 19th century to the present day. Our attention will be focused on the glass material as a means of expression. The task of the research is to trace the metamorphoses that fine and applied art goes through and to what extent this is determined by the context in which the work lives.
Статията описва взаимовръзките, възникнали между изкуството, занаятите, технологиите и дизайна, през периода от втората половина на 19 век до наши дни. Обръща се внимание на класификацията на произведение и очертаването на категорията „Обект“. Обект на това изследване е съвременното изкуство в контекста на класифицирането му като изящно и приложено в периода от втората половина на 19 век до наши дни. Вниманието ни ще бъде насочено към стъкления материал като изразно средство. Задачата на изследването е да проследи метаморфозите, през които преминава изобразителното и приложното изкуство и до каква степен това се определя от контекста, в който произведението живее.

Keywords:

Fine art, applied art, art objects, glass art, contemporary art, изящно изкуство, приложно изкуство, художествени обекти, художествено стъкло, съвременно изкуство.

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Adina, J. (2020). Contemporary ceramics art and its transgressive side. 21st century: history and modernity of art. Collection of Scientific Articles. European Scientific e-Journal, 4 (4), 91-98. Hlučín-Bobrovníky: “Anisiia Tomanek” OSVČ.
Adina, J. (2020). Caracterul transgresiv al ceramicii artistice contemporane. 21st century: history and modernity of art. Collection of Scientific Articles. European Scientific e-Journal, 4 (4), 91-98. Hlučín-Bobrovníky: “Anisiia Tomanek” OSVČ.

DOI: 10.47451/art2020-12-001 ---------- EOI: 10.11244/art2020-12-001 ---------- Certificate

Abstract:

This paper’s author proposes a discussion on the ranking of ceramics as art, a few aspects in regards to Ceramic Art’s inclusion in Contemporary Art context. The researcher is calling into question the shallow division between Decorative and Major Arts, a century after the distinction disappeared. Respectively, the art object made with ceramic material, in the general context of Contemporary Art and a few ways of manifestations of this art that leads toward permanent transgressive dimensions of artistic ceramic. The author concludes that Ceramic Art’s Transgressive character emerges out of its operative mobility, moving from organic to geometric or from ornamental to sculptural, its late 1960s evolution being decisively situated towards an expressive original with technicalities and unprecedented formal mixtures.
Acest articol îşi propune o discuție despre statutul ceramicii ca manifestare artistică, câteva aspecte ce privesc incluziunea artei ceramice în contextul artei contemporane. Vom pune sub semnul întrebării modul superficial de a separa încă artele – Arte Decorative şi Arte Majore, după un secol de la renunțarea acestor granițe. Respectiv, obiectul de artă realizat în material ceramic într-un context general al artei contemporane şi câteva moduri de manifestare ale acesteia ce conduc într-o permanentă dimensiune transgresivă ale artei ceramice. Autorul concluzionează că caracterul transgresiv al ceramicii se desprinde din mobilitatea operativă a acesteia, trecând de la organic la geometric sau de la ornamental la sculptural, evoluția sa de la sfârșitul anilor 1960 fiind poziționată decisiv spre un original expresiv, cu tehnicalități și amestecuri formale inedite.

Keywords:

Ceramics, art, transgression, contemporary, major, decorative, ceramică, artă, transgresiv, contemporan, majoră, decorativă.

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Popa, I.A. (2020). Similarities in iconographic art between rural churches from Transylvania in the 17th century and Caesarea of Cappadocia. 21st century: history and modernity of art. Collection of Scientific Articles. European Scientific e-Journal, 4 (4), 116-130. Hlučín-Bobrovníky: “Anisiia Tomanek” OSVČ.
Popa, I.A. (2020). Similitudini în arta iconografică intre bisericile rurale din Transilvania secolului XVII şi bisericile din Cezareea Capadociei. 21st century: history and modernity of art. Collection of Scientific Articles. European Scientific e-Journal, 4 (4), 116-130. Hlučín-Bobrovníky: “Anisiia Tomanek” OSVČ.

DOI: 10.47451/art2020-11-005 ---------- EOI: 10.11244/art2020-11-005 ---------- Certificate

Abstract:

The idea of the speech, goes round the importance of byzantine art inside Transylvanian orthodox culture, in the 17th century. The Göreme monastic Complex of Caesarea of Cappadocia has a considerable list of churches with relevant importance in Byzantine iconography. The popular character of this type of art developed on the walls of these architectural jewels manifests itself in the left-handed, but expressive and with such great spontaneity drawing: also with predilection for narration that lends many elements from the illustration of the Apocryphes, which were born from people’s inclination to very detailed stories. This byzantine style we have had for centuries and which is tight to our Christian roots, was cultivated in Wallachia and Moldova and Transylvania in the 14th and 15th centuries and the post-byzantine style in Wallachia in the 15th and 16th centuries. There are similarities between churches raised in the 17th century in Transylvania and the ones from Caesarea of Cappadocia. We refer mainly to the iconographic painting of the Hunedorian churches.
Lucrarea face referire la importanţa artei bizantine în cultura ortodoxă a secolului XVII în Transilvania. Complexul monahal de la Goreme deţine o listă considerabilă de biserici de o mare relevanţă pentru iconografia bizantină. Stilul popular, naiv dar deosebit de expresiv, spontaneitatea liniei şi aplecarea spre narațiune, s au născut din dorința oamenilor de a spune povestea cât mai în detaliu. Stilul bizantin e strâns legat de rădăcinile noastre creştine şi a apărut în Ţara Românească şi Moldova în secolele 14 şi 15 iar stilul post-bizantin în Țara Românească în sec 15 si 16. Sunt similitudini între bisericile de sec 17 în Transilvania şi cele din Caesarea Cappadociei. Ne referim în principal la pictura din bisericile hunedorene.

Keywords:

line, colour, church, byzantine, Transylvania, linie culoare biserica, bizantin.

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Boldasu, R. (2020). Theatre Semiotics in the 21st century. 21st century: history and modernity of art. Collection of Scientific Articles. European Scientific e-Journal, 4 (4), 63-74. Hlučín-Bobrovníky: “Anisiia Tomanek” OSVČ.
Boldaşu, R. (2020). Semiotică Teatrală în secolul al XXI-lea. 21st century: history and modernity of art. Collection of Scientific Articles. European Scientific e-Journal, 4 (4), 63-74. Hlučín-Bobrovníky: “Anisiia Tomanek” OSVČ.

DOI: 10.47451/art2020-11-004 ---------- EOI: 10.11244/art2020-11-004 ---------- Certificate

Abstract:

The role of the actor has been in continuous change across time. Therefore, the teaching paradigm needs to be transformed in order to meet the 21st century needs and interests. Theatre is not only an aesthetic tool in contemporary society but also an instrument in transmitting social, political and cultural information. The body of the actor contains within itself a system of verbal and non-verbal communication mechanisms that one must master in order to create dialogue across the globe. The author concludes that in the contemporary world, countless systems of communication are integrated which are subject to interpretation. Spoken language can be interpreted differently by people from different cultural contexts; that is why, through the training proposed in the present research, the actor can communicate and interact freely, without fear of being misunderstood through body language.
Rolul actorului s-a schimbat de-a lungul timpului. Astfel paradigma de predare trebuie de asemenea să se transforme pentru a întâlni nevoile și interesele propuse de secolul al XXI-lea. În societatea contemporană, teatrul nu este doar un instrument estetic ci un vector în transmiterea mesajelor sociale, politice și culturale. În corpul actorului sunt conținute mecanisme de comunicare atât verbale cât și nonverbale pe care acesta trebuie să le stăpânească cu măiestrie pentru a crea un dialog global. Autorul ajunge la concluzia că în lumea modernă există nenumărate sisteme integrate de comunicații care sunt supuse interpretării. Limbajul vorbit poate fi interpretat în moduri diferite de către oameni din contexte culturale diferite; Acesta este motivul pentru care, datorită învățăturii oferite în acest studiu, actorul poate comunica și interacționa liber fără teama de a nu fi înțeles greșit de limbajul corpului.

Keywords:

theatre, art, acting communication, embodiment, physical, training, gesture, language, system, culture, expressivity, human dynamics, teatru, artă, actorie, comunicare, corporalizare, fizic, antrenament, gest, limbaj, sistem, cultură, expresivitate, dinamica umană.

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Prvanova, A.I. (2020). The Creative Center of Kalofer Lace: motivation and development. 21st century: history and modernity of art. Collection of Scientific Articles. European Scientific e-Journal, 4 (4), 75-90. Hlučín-Bobrovníky: “Anisiia Tomanek” OSVČ. (in Bulgarian)
Първанова, А.И. (2020). Творчески център на калоферската дантела: мотивация и развитие. 21st century: history and modernity of art. Collection of Scientific Articles. European Scientific e-Journal, 4 (4), 75-90. Hlučín-Bobrovníky: “Anisiia Tomanek” OSVČ.

DOI: 10.47451/art2020-11-003 ---------- EOI: 10.11244/art2020-11-003 ---------- Certificate

Abstract:

Creative Center of Kalofer Lace presents and promotes the only Bulgarian national style in the production of shuttle lace. It is a unique place that performs its functions daily and year-round, combining archival, exhibition, organizational, coordination, educational and commercial activities since its opening in 2018. The center contributes to the increased awareness of the connection of Kalofer lace with European shuttle art, historical accents and specific details that characterize its authenticity. The author concludes that cyberspace and online technology are the natural and mandatory path to the general public. Therefore, one of the goals of the project is to create a platform based on the Internet and including an information site, a digital archive of models, basic video tutorials, an online store, a virtual walk in the TCCD.

Keywords:

creative center, Kalofer lace, Kalofer, shuttle lace.

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Luneva, I. (2020). Creating a museum space for the preservation of contemporary art of fashion on the example of Italy. 21st century: history and modernity of art. Collection of Scientific Articles. European Scientific e-Journal, 4 (4), 75-90. Hlučín-Bobrovníky: “Anisiia Tomanek” OSVČ.

DOI: 10.47451/art2020-11-002 ---------- EOI: 10.11244/art2020-11-002 ---------- Certificate

Abstract:

This article is dedicated to fashionable exhibitions and museum-type corporate art institutions, which are one of the characteristic features of the museum system and one of the most successful development strategies. These can be items of decorative and applied art that reject the usual commercial space and want to occupy a place not just in a museum, but definitely exhibit next to artworks. To understand this problem and the stages of the process of establishing and developing a fashion museum, you need to analyze the experience of the world’s leading museums located in the main fashion centres. The purpose of the study was to analyze the status of the Italian Fashion Institute as one of the world’s largest fashion centres. The author concludes that every year there is an increasing interest in studying the history of costume, and there are prerequisites for creating exhibitions and museums dedicated not only to the history of costume but also to modern fashion in general. The example of Italy’s experience, which many people associate with one of the world’s fashion centres, was considered in order to reflect on modern exhibition activities.

Keywords:

fashion museum, contemporary Italian fashion, museology, costume, foreign experience, modern art, fashion archives, cultural heritage, ICOM.

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Pisancheva, B. (2020). Models in Lace. Eurasia: current issues of cultural heritage. Collection of Scientific Articles. European Scientific e-Journal, 3 (3), 87-106. Hlučín-Bobrovníky: “Anisiia Tomanek” OSVČ.

DOI:10.47451/art2020-11-001 ---------- EOI: 10.11244/art2020-11-001 ---------- Certificate

Abstract:

In the past, lacemaking was a craft practiced by thousands of lacemakers who produced material for decorating the clothes and homes of wealthy aristocrats. Nowadays, the making of lace is defined as an applied art. The article interprets the making bobbin lace through the Theory of Models. Selected details from the technological process of creating the different types and styles of the final products illustrate the idea of following a model while transferring meaning from one field of art into another. The author concludes that the representation of lacemaking as a model of technological processes, of lace items, and a community of people who practice this handcraft, could contribute to the preservation of this part of the immaterial cultural heritage of humanity.

Keywords:

cultural technologies, model theory, social practices, bobbin lace, safeguarding tradition, fashion, contemporary interpretations.

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Zhang Biyun. (2020). Chinese Culture in Traditional Clothing-By Taking Cheongsam for Example. Eurasia: current issues of cultural heritage. Collection of Scientific Articles. European Scientific e-Journal, 3 (3), 37-50. Hlučín-Bobrovníky: “Anisiia Tomanek” OSVČ.

DOI:10.47451/art2020-10-001 ---------- EOI: 10.11244/art2020-10-001 ---------- Certificate

Abstract:

Every country has its own unique culture. For China, a country with a long history and a separate cultural system, the traditional clothing can best reflect its cultural characteristics of different periods. For example, cheongsam, as a product of the most turbulent period in Chinese history, has established its unshakable status with its unique beauty, and has become a symbol of unique oriental charm. In this paper, we will interpret the unique Chinese cultural deposits contained in the development history of cheongsam. The author concludes that the classic cheongsam style can show the female beauty moderately, without showing the chest, waist, hip and legs exaggeratedly, and give expression to the introverted, self-confident and simple temperament of Orientals in a simple and natural style. Compared with the protruding chest and back of western dresses, the magical charm of cheongsam lies in the display of the waist and hip curves, so people with a longer waist look more attractive when wearing cheongsam, which just conceals the shortcomings of the lower hip line of eastern women.

Keywords:

cheongsam, style, traditional culture.

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Zhang Biyun. (2020). Art on Chinese Xuan Paper. Current issues of cultural heritage in 2020. Collection of Scientific Articles. European Scientific e-Journal, 1 (1), 67-91. Hlučín-Bobrovníky: “Anisiia Tomanek” OSVČ.

DOI:10.47451/art2020-09-001 ---------- EOI: 10.11244/art2020-09-001 ---------- Certificate

Abstract:

The formal beauty of Chinese paintings mainly lies in the peculiar material, the special brush and ink effect, the unique painting pattern, the poetry, calligraphy, painting and seal cutting, the mounting style, the composition and the technique and style of the painter. The author reveals the features of ink effect, the unique painting pattern, the poetry, calligraphy, painting and seal cutting, the mounting style, the composition and the technique and style of the painter of beauty of Chinese paintings through making contact with Chinese Xuan paper and ink because Chinese ink painting, boasting a history of more than a thousand years, represents the wisdom and talents of Chinese people. The author concludes that Chinese painting culture has a long history and boasts extensive and profound features. While it faces various problems in inheritance and dissemination in the new era.

Keywords:

Chinese paintings, Chinese Xuan paper, Chinese Xuan ink, calligraphy, seal cutting, Chinese ink painting.

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Lebedev, S.V. (2020). Opportunities for the development of Russian folk art in the 21st century. Current issues of cultural heritage in 2020. Collection of Scientific Articles, 1 (1), 5-23. European Scientific e-Journal. Hlučín-Bobrovníky: “Anisiia Tomanek” OSVČ.

DOI:10.47451/art2020-08-003 ---------- EOI: 10.11244/art2020-08-003 ---------- Certificate

Abstract:

Folk art, including Russian folk art, existed and developed throughout the 20th century and continues to exist in the 21st century. Russian traditional art is well-known in the world. When in any country of the world, a local resident is asked what the word ‘Russia’ is associated with, then usually in response along with frosts, bears, vodka, Troika, samovar, balalaika and the Kalashnikov, it is also called such concepts as ‘Palekh’, ‘Gzhel’, and ‘Khokhloma’. The reason for this is the peculiarity of the existence of folk art, based on the traditions of the ethnic group. The author concludes that Russian traditional applied art having survived all the troubles and misfortunes, continues to exist. At the same time, traditional art directly affects the ‘high’ art of the nation.

Keywords:

folk art, tradition, folk, traditional art, handicrafts, art industry, Higher School of Folk Arts.

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Luneva, I. (2020). Problems of style in modern fashion art on the example of Ianis Chamalidy’s creativity. Current issues of cultural heritage in 2020. Collection of Scientific Articles. European Scientific e-Journal, 1 (1), 47-66. Hlučín-Bobrovníky: “Anisiia Tomanek” OSVČ.

DOI:10.47451/art2020-08-002 ---------- EOI: 10.11244/ art2020-08-002 ---------- Certificate

Abstract:

The article is devoted to the problems of modern Russian fashion on the example of the creative work of St Petersburg designer Ianis Chamalidi. Who is now a prominent participant in the modern art process in the field of fashion? Many magazine articles have been written about the work of this famous St Petersburg designer. Ianis Chamalidi is actively involved in creative projects. He cooperates with the State Hermitage Museum, where many of his works are kept in the collection. The author concludes that St Petersburg designers are in a situation where they have to compete not only with representatives of the world fashion, but also with the fashion of the capital city. Nevertheless, graduates of the Leningrad – St Petersburg School of costume design often remain loyal to their city, forming a unique style of St Petersburg fashion. In this sense, the example of Ianis Chamalidi’s work is a perfect illustration of how the transition period of the 1990s saw the emergence of modern Russian fashion under the new economic situation.

Keywords:

Russian fashion, fashion designers, Petersburg designers, fashion theory, Ianis Chamalidi, fashion house, collection, style, creativity, modern fashion.

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Nachev, D.A. (2020) Multi-faceted creativity of artists of one city. Current issues of cultural heritage in 2020. Collection of Scientific Articles. European Scientific e-Journal, 1 (1), 24-46. Hlučín-Bobrovníky: “Anisiia Tomanek” OSVČ.

DOI:10.47451/art2020-08-001 ---------- EOI: 10.11244/art2020-08-001 ---------- Certificate

Abstract:

The study of the topic provides an opportunity to get acquainted with another important phenomenon in Russian art, which received the concept of severe style and developed in the 1960s. The research considers the evolution and development of the genres of still life and landscape, their interpenetration in the works of artists. It also considers the diversity of creativity, different artists united by one city. Special attention is paid to the work of Leningrad artists. The artists of the Leningrad school of painting, characterized by certainty professional and moral criteria and as a result, caution against innovations. The study analyzes the creativity of such artists as A. Yakovlev, Y. Krestovsky, E. Moiseenko, O. Khorosheva, A. Lytkin, and others.

Keywords:

art, painting, painter, still life, landscape, artists of the Leningrad school of painting, A. Yakovlev, Y. Krestovsky, E. Moiseenko, O. Khorosheva, A. Lytkin.

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