Ethnocultural Identity in the Works of Krasnoyarsk Artists

Abstract

The article scrutinizes the problem of understanding and presenting the ethnocultural identity of the indigenous peoples in the works of art. The authors describe the features of the image visualization regarding the indigenous peoples of the North in the works of artists of the Krasnoyarsk Krai. For this purpose there was made a thorough analysis of the most representative works in painting and graphics, namely, Konstantin Voynov’s painting “The Madonna Beyond the Polar Circle” (2009), Andrei Lekarenko’s painting “The Girl from Taimyr” (1959) and Valery Kudrinsky’s picture “The Northgirl” (1985). The analysis was based on the constructivist approach to identity and the principles of the modern theory of the fine arts stated by V. I. Zhukovsky and N. P. Koptseva. As a result, the researchers identified 1) three key stages of the Krasnoyarsk artists’ interest in painting the indigenous peoples of the North (starting from the beginning of the 20th century and ending at the beginning of the 21st century); 2) two main approaches to depicting the lifestyle of the indigenous peoples of the North (documentary-ethnographic and philosophical ones)

The Image of Homeland in the Works by Alphonse Mucha “Madonna of the Lilies”, the Poster for “The Lottery of the Union of Southwest Moravia” and the Poster for “The Slav Epic Exhibition”

“…These methods include observation, formalisation, analysis, synthesis, analogy, extrapolation and interpretation. They have been successfully applied in the analysis of architectural, pictorial, literary and cinematic works of art (Amosova et al, 2019;Avdeeva et al, 2018;Koptseva et al, 2017;Koptseva et al, 2018). This logic of methodological analysis was used to analyse three works by the Czech painter and poster artist A. M. Mucha (1860Mucha ( -1939: "Madonna of the Lilies" (1905), the poster for "The Lottery of the Union of Southwest Moravia" (1912) and the poster for "The Slav Epic Exhibition" (1928).…”

The Image of the Yenisei in the Paintings of Krasnoyarsk Artists

“…person's cultural identity, are devoted to its study (Tarasova, Grigorieva, 2011;Pimenova, Marysheva, 2011;Mirkes, Sergeeva, 2011;Kolesnik, Mirkes, 2011;Kistova, Tamarovskaya, 2015;Ilbeykina et al, 2015;Avdeeva, Degtyarenko, Shpak, 2017). This process is also impossible without appealing to the visual arts of the region (Sertakova, Gerasimova, 2011;Semyonova, Bralkova, 2011;Bulak, 2014;Bulak, 2018;Amosova et al, 2019) and paintings of some artists (Semenova, Soshenko, 2011;Kolesnik, et al 2017;Panteleeva, 2018).…”

“…Рассматривается широкий круг источников, включающих в себя исследования этнокультурной идентичности, специфики художественной культуры и особенностей красноярских пейзажей. При сопоставлении результатов анализа установлено, что для красноярских художников Енисей является не только воплощением бескрайних природных сил, но и связующим, гармонизирующим звеном между Миром человека и Миром природы, в то же время представляя особую идентичность сибиряков (Amosova, et al, 2019).…”

Mechanisms for Social Ties Formation in the Information Environment in Modern Domestic and Foreign Studies

“…Research activity on the study of indigenous peoples living in the territory of Krasnoyarsk Krai is carried out by the scientists of Siberian Federal University. There are studies on the issues of global transformations and their influence on the indigenous peoples of the north of Krasnoyarsk Krai (Amosova et al, 2019;Seredkina, Strucheva, 2018;Koptseva, 2014Koptseva, , 2017Koptseva, Reznikova, 2015;Zamaraeva et al, 2019;Zamaraeva, Sergeeva, Fil'ko, 2018;Kolesnik et al, 2018;Sitnikova, 2018;Kistova et al, 2018).…”