Suchergebnisse

The Stroganovs, known in the 16th–17th centuries as merchants, industrialists and landowners, left a deep mark in the history of not only the economy, but also of the culture of Russia. There is the vast scientific literature covering various aspects of the family members' life, but their ktitor (founder and donator of church building) and art patronage activities of that time were not specifically studied. Only certain aspects were considered in the context of scientific searches in the field of art history. The authors of the article show that primarily the ktitor activity of the Stroganovs was consisted in the construction of numerous parish churches at their own expense during the development of the vast Ural-Pomor lands. This activity acquires great spiritual and cultural significance with the construction of magnificent stone Cathedrals (Sol'vychegodsk, Nizhny Novgorod, etc.), especially the family Blagoveshchensky (Annunciation) Cathedral (1560-1584) in Sol'vychegodsk, in which even a ktitor's place was arranged. Concerns about providing the churches with everything necessary led to the foundation by the Stroganovs icon painting and book-writing workshops, decorative needlework and silver jewellery making, and the support of the Usol'e (Stroganov) masters of chanting. With a certain degree of conventionality for that time, the Stroganovs can be called not only ktitors, but also patrons of the arts. The theme of patronage of art and culture development by individuals in certain historical periods is often found in world science, but as a rule, on the examples of the Modern Age period. A few works are known about medieval patronage (about European rulers mainly). Therefore, the presented work highlighting the rare theme of patronage in Russia in the late Middle Ages complements the data of this issue at the world level. Thus, the purpose of the researching is to present in a generalized form the phenomenon of the flourishing of arts in the Stroganovs' possessions precisely in the context of the formation and development of their activity as founders and donators of church building and art patrons in the 16th–17th centuries. This multifaceted activity is interpreted as the basis for the development of arts in the period under review. On the basis of the available scientific data, including one belonging to the authors, as well as with the involvement of new materials, a generalizing analysis of Stroganov masters' works of art is also presented. The most significant scientific approaches are the complexity and interdisciplinary of the study. The results of solving the posed issue complement the modern scientific knowledge about the ways of development of art and ecclesiastical culture of Russia

The authors address the problem of the attribution of the chanting cycle «Most Blessed Father», ascribed in science as work of Tsar Ivan the Terrible's authorship. The study was carried out by means of a comparative textual analysis of sources of the 16th‑17th centuries, the main of which is the Stichirar writtten by outstanding raspevshik (church chant master) Login Shishelov. It contains the cycle «Most Blessed Father Saint Peter», the first stichera of which was attributed by Login to Tsar Ivan the Terrible. The preservation of the tsar's musical creation by Login Shishelov is one of the most important evidence in favour of the reliability of this attribution. It is established that in 1585 Login was a monk of the Chudov Monastery, located in the Moscow Kremlin, and could have the opportunity to obtain written evidence of the work of Tsar Ivan the Terrible. The authors reveals the history of this manuscript after its introduction into scientific circulation in 1887, pointing out that this study is in fact the first reference to the tsar's cycle from it after a century of interruption. The researchers also analyse the scientific works of N. S. Seregina, who in the 90s, when the manuscript was considered lost, believed that she had discovered rewritten several times version of the Tsar Ivan the Terrible cycle, but without attributing remark. The authors of the article found out that this version contains the same verbal texts as the Login's, but is radically different in musical terms. Therefore, the musical content of the nameless cycle, performed by N. S. Seregina, cannot be attributed to the work of the tsar. The authors of the article established that there are two differing musical versions of the single verbal text of the stichera, while the structure of the cycle with attribution to the tsar consists of four chants, and in the nameless masters – of three. The cycle from Login's manuscript is unique musically, since so far such neumanic record of its text is found only in this single source. The authors conclude that Login Shishelov's definitely attribution to the tsar's authorship the musical and hymnographic text of only the first stichera of the cycle inspires confidence. Whether the other three stichera of the cycle are belonging to the tsar's authorship remains to be seen in the future. The probability of their belonging to the work of the tsar is also great

This work demonstrates results of study of museum and exhibition activity, which forming modern sociоcultural space at the examples of Renaissance and Mannerism art works from the Stroganovs and the Demidovs collections. The members of these families of Ural and Siberian industrialists, patrons of arts and philanthropists possessed the richest collections of world-class art works. Authors pay attention on such work as "Madonna del Popolo", also known as "The Holy Family". Now this masterpiece is stored in the Nizhny Tagil Municipal Museum of Fine Arts. Academician Igor Grabar, who saved it from destroy, considered that this artwork belongs to the authorship of Raphael Santi. The second masterpiece "The Holy Family with Infant Saint John the Baptist" by Agnolo Bronzino now is in the Pushkin State Art Museum (Moscow). Each painter in its own way have revealed the images of the Holy Family, especially Madonna and Infant Christ. Raphael did it in the traditions of the High Renaissance and Bronzino followed the best achievements of Mannerism. These paintings are especially important and valuable because Italian painter, architect and writer Giorgio Vasari, known as the founder of art history as branch of science, have paid his attention on them. The researchers give characteristics to members of the Stroganovs and the Demidovs families on the context of the stated problem. The President of the Academy of Arts and the Director of the Imperial Public Library, the Count A. S. Stroganov bought for his collection the "Holy Family with Infant Saint John the Baptist" by Agnolo Bronzino. The owner of Nizhny Tagil factories N. N. Demidov, who also was a Russian envoy to the Duchy Tuscany (Florence), is connected with inclusion of "Madonna" by Raphael in his art collection. In the study the materials of Grabar's monograph are analyzed, the results of author's own scientific research and the detailed section on the Demidovs' Madonna attribution are given. There are used cultural research and art criticism methods of analysis, for instance, with attraction of "Madonna Doni" by Michelangelo. The acquisition and transfer to Russia of this unique incarnations of the "Holy family" enriched the historical and cultural space not only of the owners and people close to the families, but also of the wider social circles, because these paintings were becoming an integral part of museum and exhibition activities. As a modern example authors analyze the exhibition "Madonna by Raphael from Nizhny Tagil", where the samples from the collection of the Demidovs, Ural and Sibirian magnates, in the Hall of Arts of the South Ural State University were presented. It is established that, using them, the university academic exhibition has fulfilled the important task of the complex formation of cultural identity of students in the interaction of its regional, national and supranational (universal) aspects