Introduction. The article presents an analysis of North African society on the eve of Belisarius’s campaign against the vandals in North Africa (533–534). The campaign directed by Justinian under the leadership of Belisarius aimed to return the territory of North Africa to the Roman Empire. Methods. The methodological basis of this work is the concept of the Late Antiquity, the core of which is studying the people’s mentality, since the existing work on this issue focuses solely on socio-economic and political cause-and-effect relationships of the further confrontation between the Moorish and Roman tribes. Actually, the methods are the following: the historical-systemic method was the most important (an attempt to analyze the specifics of North African society on the eve of the war with the Vandals). Analysis. We divided North African society into three groups: the Vandals, the Libyans, the Moorish. The last two groups and their attitude towards the inclusion in the Roman Empire were of the greatest interest. Some of the tribes supported Justinian’s idea of the Reconquista and fought against the Vandals. Some supported the vandals. Nomadic tribes remained neutral. In our opinion, supporting the military campaign against the Vandals was due not only to economic reasons, but also mental ones. Thus, the research interest was caused by the transition period but not only in relation to the “Late Roman – Early Byzantium” line, but also because the region was romanized (presence of Latin culture, including the language segment), then it was part of the Vandal kingdom, after that – part of the Roman Empire (synthesis of Greek and Latin culture, with the predominance of Greek one). Results. In the course of the campaign against the vandals, North African society was represented by several social groups: the Vandals, the Libyans and the Мооrish – tribes that have their own cultural characteristics. Some tribes, who were in the Romanized zone (before the arrival of the Vandals), were on the side of Belisarius and fought against the Vandals. With extreme caution, we can say that this was due not only to socio-economic or political reasons, but also to mental ones. In our opinion, Byzantine Africa was a synthesis of Latin and Greek with the prevalence of the latter, and the Romanized population still wanted to feel part of the Roman Empire.
The subject of the study is the cultural code of "Numbers", covering numerical symbols and their embodiment in the pictorial semiosis of the Jews of the Crimea. The object of the study is the traditional compositions and images associated with the symbolism of numbers in the pictorial practice of the Jews of the Crimea. The research uses methods of semiotic and semantic analysis in deciphering the meanings of numeric symbols and their embodiment in the Jewish pictorial semiosis of the Crimea, the method of analyzing previous research on the topic, the synthesis method in generalizing the meanings of numeric symbols. In the article, the authors consider such aspects of the topic as: the codes of the pictorial semiosis of the Jews of the Crimea are defined, their system, etymology, key meanings and the main code are indicated. The code of the Number and its features are considered in detail. The main conclusions of the study are: 1. The result of the consideration of the traditional culture of the Jews of the Crimea was the definition of five codes of the Jewish pictorial semiosis, including groups of images: phytomorphic, zoomorphic, skewomorphic, numerical. The Sefer code (Book) is a generalizing one. The interrelationships of the codes are structured, as a result of which the key meanings are revealed – Creation, Paradise, Torah persons, Messianic aspirations. The semantic center of the codes is defined – Aron Hakodesh - the repository of the Torah, which is the source of all Jewish doctrine. 2. The considered Number code includes images, the number of which has a symbolic meaning, the basis of which lies in the Torah. The main numbers mentioned in the Torah, their meanings and their embodiment in traditional pictorial practice are considered. In addition to the direct mention of numbers in the Torah, the meanings of numeric symbols follow from Kabbalah, which translates alphabetic values into numeric ones (due to the same spelling of numeric and alphabetic symbols in Hebrew). Scientific novelty of the study: for the first time, the interrelationships of cultural codes in the pictorial semiosis of the Jews of the Crimea were determined. The author's concept of the sacred geometric code of numbers in Judaism is presented on the basis of the study of the Torah, as well as the classical philosophy of the Pythagoreans and Platonists.
The object of this research is the Russian visual art of the turn of the XIX – XX centuries. The subject of this research is the Crimean theme in visual art of that period. The goal consist in determination of artistic and stylistic uniqueness of the Crimean motifs in paintings and graphics of the late XIX – early XX centuries. Research methodology is comprised of the cultural and historical method, which allow analyzing the evolution of artistic and stylistic systems in the national landscape genre, as well as the development of Crimean theme in art. Based on the synthesis of culturological and art methods, the author reviews cultural and stylistic distinctness of the Crimean motifs of the late XIX – early XX centuries. The novelty of this work lies in the statement that Crimean motifs that enjoyed wide popularity in the artworks of this period are considered one of the style-forming and meaning-forming factors in development of the art and style modes of landscape genre in Crimea. Specificity of the image of nature is defined by the art and style modes that substantiate the authorial concept and system of pictorial means. It is established that the uniqueness of Crimean motifs in painting and graphic art at the turn of the XIX – XX centuries lies in application of vibrating color, fusion with rough strokes of colored shadows, rhythmic principle of creating gradation of colors, soft airy and lighting environment of Crimean landscapes.
The traditions followed by people throughout history underlie the development of the culture of monumental art, forming the continuity of generations, memory and traditions of temple architecture of the Crimea. The topic of religious monumental painting draws interest of the researchers. The object of this article is the Crimean religious monumental and decorative art; while the subject is the peculiarities of modern religious painting in Alexander Nevsky Cathedral in Simferopol and Saint Vladimir Cathedral in Chersonesos. The goal is determine the modern artistic-aesthetic form of temple painting carried out by the experts of monumental and decorative art, as well as the command of the unique languages of creative reinterpretation of wholeness. Temple religious painting is explored on the works of the modern artists of monumental religious painting, using the analysis of the academic style of painting, use of classical canons in images of the figures, artistic-stylistic, thematic, unique systems in the ornamental painting. The author determines the characteristics of the image such as material texture and plastic modeling of artistic form, which allows combining the modern wall paintings of the Crimean Orthodox churches of into a holistic system of material and spiritual values. The crucial theoretical-methodological vector of research is interweavement of the methods of culturology and art history, which reveals the techniques and peculiarities of academic painting in temple architecture.
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