3 research outputs found
Forming All-Russian National Identity in the Process of Artistic Image Development. Analysis of the Artistic Painting by Vasily Ivanovich Surikov Boyarynya Morozova
As a complicated and a multilevel phenomenon, national identity can be regarded both in the aspect
of an individuals labelling him or herself as a part of some certain community or in the aspect of a
formed concept of this community. An artistic painting taken as an artistic image, which is the process
and the result of an interaction between the viewer and the material object, can act as a means of
making the conditions for a person to regard him or herself as an individual, or a means of forming the
concept of the national unity, or an essential part of this unity.
The present article deals with the analysis of the possibility of an artistic painting to form the national
identity, as exemplified by the analysis of the possibility of the artistic painting Boyarynya Morozova
by Vasily Ivanovich Surikov to form Russian national identity.ΠΠ±ΡΠ΅Π½Π°ΡΠΈΠΎΠ½Π°Π»ΡΠ½Π°Ρ ΠΈΠ΄Π΅Π½ΡΠΈΡΠ½ΠΎΡΡΡ ΠΊΠ°ΠΊ ΡΠ²Π»Π΅Π½ΠΈΠ΅ ΡΠ»ΠΎΠΆΠ½ΠΎΠ΅ ΠΈ ΠΌΠ½ΠΎΠ³ΠΎΡΡΠΎΠ²Π½Π΅Π²ΠΎΠ΅ ΠΌΠΎΠΆΠ΅Ρ Π±ΡΡΡ
ΡΠ°ΡΡΠΌΠΎΡΡΠ΅Π½Π° Π² Π°ΡΠΏΠ΅ΠΊΡΠ΅ ΠΈΠ½Π΄ΠΈΠ²ΠΈΠ΄ΡΠ°Π»ΡΠ½ΠΎΠ³ΠΎ ΠΎΡΠ½Π΅ΡΠ΅Π½ΠΈΡ ΡΠ΅Π±Ρ ΠΎΡΠ΄Π΅Π»ΡΠ½ΡΠΌ ΡΠ΅Π»ΠΎΠ²Π΅ΠΊΠΎΠΌ ΠΊ ΠΎΠΏΡΠ΅Π΄Π΅Π»Π΅Π½Π½ΠΎΠΉ
ΠΎΠ±ΡΠ½ΠΎΡΡΠΈ Π»ΡΠ΄Π΅ΠΉ ΠΈΠ»ΠΈ ΠΊ ΡΠ»ΠΎΠΆΠΈΠ²ΡΠ΅ΠΌΡΡΡ ΠΏΡΠ΅Π΄ΡΡΠ°Π²Π»Π΅Π½ΠΈΡ ΠΎΠ± ΡΡΠΎΠΉ ΠΎΠ±ΡΠ½ΠΎΡΡΠΈ. Π ΠΊΠ°ΡΠ΅ΡΡΠ²Π΅ ΠΎΠ΄Π½ΠΎΠ³ΠΎ
ΠΈΠ· ΡΡΠ΅Π΄ΡΡΠ² ΡΠΎΡΠΌΠΈΡΠΎΠ²Π°Π½ΠΈΡ ΠΏΡΠ΅Π΄ΡΡΠ°Π²Π»Π΅Π½ΠΈΡ ΠΎΠ± ΠΎΠ±ΡΠ΅Π½Π°ΡΠΈΠΎΠ½Π°Π»ΡΠ½ΠΎΠΌ Π΅Π΄ΠΈΠ½ΡΡΠ²Π΅ ΠΈ ΡΠΎΠ·Π΄Π°Π½ΠΈΡ ΡΡΠ»ΠΎΠ²ΠΈΠΉ
Π΄Π»Ρ Π»ΠΈΡΠ½ΠΎΡΡΠ½ΠΎΠ³ΠΎ ΠΎΡΡΡΠ΅Π½ΠΈΡ ΡΠ΅Π±Ρ ΠΎΡΠ΄Π΅Π»ΡΠ½ΡΠΌ ΡΠ΅Π»ΠΎΠ²Π΅ΠΊΠΎΠΌ Π½Π΅ΠΎΠ±Ρ
ΠΎΠ΄ΠΈΠΌΠΎΠΉ ΡΠ°ΡΡΡΡ ΡΡΠΎΠ³ΠΎ Π΅Π΄ΠΈΠ½ΡΡΠ²Π°
ΠΌΠΎΠΆΠ΅Ρ Π²ΡΡΡΡΠΏΠ°ΡΡ ΠΏΡΠΎΠΈΠ·Π²Π΅Π΄Π΅Π½ΠΈΠ΅ ΠΆΠΈΠ²ΠΎΠΏΠΈΡΠΈ, ΠΏΠΎΠ½ΠΈΠΌΠ°Π΅ΠΌΠΎΠ΅ ΠΊΠ°ΠΊ Ρ
ΡΠ΄ΠΎΠΆΠ΅ΡΡΠ²Π΅Π½Π½ΡΠΉ ΠΎΠ±ΡΠ°Π· - ΠΏΡΠΎΡΠ΅ΡΡ
ΠΈ ΡΠ΅Π·ΡΠ»ΡΡΠ°Ρ Π²Π·Π°ΠΈΠΌΠΎΠ΄Π΅ΠΉΡΡΠ²ΠΈΡ Π·ΡΠΈΡΠ΅Π»Ρ ΠΈ ΠΏΡΠΎΠΈΠ·Π²Π΅Π΄Π΅Π½ΠΈΡ-Π²Π΅ΡΠΈ.
Π ΡΡΠ°ΡΡΠ΅ ΠΏΡΠ΅Π΄Π»Π°Π³Π°Π΅ΡΡΡ ΡΠ°ΡΡΠΌΠΎΡΡΠ΅Π½ΠΈΠ΅ Π²ΠΎΠ·ΠΌΠΎΠΆΠ½ΠΎΡΡΠ΅ΠΉ ΠΏΡΠΎΠΈΠ·Π²Π΅Π΄Π΅Π½ΠΈΡ ΠΈΠ·ΠΎΠ±ΡΠ°Π·ΠΈΡΠ΅Π»ΡΠ½ΠΎΠ³ΠΎ
ΠΈΡΠΊΡΡΡΡΠ²Π° (ΠΆΠΈΠ²ΠΎΠΏΠΈΡΠΈ) ΠΏΠΎ ΡΠΎΡΠΌΠΈΡΠΎΠ²Π°Π½ΠΈΡ ΠΎΠ±ΡΠ΅Π½Π°ΡΠΈΠΎΠ½Π°Π»ΡΠ½ΠΎΠΉ ΠΈΠ΄Π΅Π½ΡΠΈΡΠ½ΠΎΡΡΠΈ Π½Π° ΠΌΠ°ΡΠ΅ΡΠΈΠ°Π»Π΅
Π°Π½Π°Π»ΠΈΠ·Π° Π²ΠΎΠ·ΠΌΠΎΠΆΠ½ΠΎΡΡΠ΅ΠΉ ΠΊΠ°ΡΡΠΈΠ½Ρ ΠΠ°ΡΠΈΠ»ΠΈΡ ΠΠ²Π°Π½ΠΎΠ²ΠΈΡΠ° Π‘ΡΡΠΈΠΊΠΎΠ²Π° Β«ΠΠΎΡΡΡΠ½Ρ ΠΠΎΡΠΎΠ·ΠΎΠ²Π°Β» ΠΏΠΎ
ΡΠΎΡΠΌΠΈΡΠΎΠ²Π°Π½ΠΈΡ ΠΎΠ±ΡΠ΅ΡΠΎΡΡΠΈΠΉΡΠΊΠΎΠΉ Π½Π°ΡΠΈΠΎΠ½Π°Π»ΡΠ½ΠΎΠΉ ΠΈΠ΄Π΅Π½ΡΠΈΡΠ½ΠΎΡΡΠΈ
Forming All-Russian National Identity in the Process of Artistic Image Development. Analysis of the Artistic Painting by Vasily Ivanovich Surikov Boyarynya Morozova
As a complicated and a multilevel phenomenon, national identity can be regarded both in the aspect
of an individuals labelling him or herself as a part of some certain community or in the aspect of a
formed concept of this community. An artistic painting taken as an artistic image, which is the process
and the result of an interaction between the viewer and the material object, can act as a means of
making the conditions for a person to regard him or herself as an individual, or a means of forming the
concept of the national unity, or an essential part of this unity.
The present article deals with the analysis of the possibility of an artistic painting to form the national
identity, as exemplified by the analysis of the possibility of the artistic painting Boyarynya Morozova
by Vasily Ivanovich Surikov to form Russian national identity.ΠΠ±ΡΠ΅Π½Π°ΡΠΈΠΎΠ½Π°Π»ΡΠ½Π°Ρ ΠΈΠ΄Π΅Π½ΡΠΈΡΠ½ΠΎΡΡΡ ΠΊΠ°ΠΊ ΡΠ²Π»Π΅Π½ΠΈΠ΅ ΡΠ»ΠΎΠΆΠ½ΠΎΠ΅ ΠΈ ΠΌΠ½ΠΎΠ³ΠΎΡΡΠΎΠ²Π½Π΅Π²ΠΎΠ΅ ΠΌΠΎΠΆΠ΅Ρ Π±ΡΡΡ
ΡΠ°ΡΡΠΌΠΎΡΡΠ΅Π½Π° Π² Π°ΡΠΏΠ΅ΠΊΡΠ΅ ΠΈΠ½Π΄ΠΈΠ²ΠΈΠ΄ΡΠ°Π»ΡΠ½ΠΎΠ³ΠΎ ΠΎΡΠ½Π΅ΡΠ΅Π½ΠΈΡ ΡΠ΅Π±Ρ ΠΎΡΠ΄Π΅Π»ΡΠ½ΡΠΌ ΡΠ΅Π»ΠΎΠ²Π΅ΠΊΠΎΠΌ ΠΊ ΠΎΠΏΡΠ΅Π΄Π΅Π»Π΅Π½Π½ΠΎΠΉ
ΠΎΠ±ΡΠ½ΠΎΡΡΠΈ Π»ΡΠ΄Π΅ΠΉ ΠΈΠ»ΠΈ ΠΊ ΡΠ»ΠΎΠΆΠΈΠ²ΡΠ΅ΠΌΡΡΡ ΠΏΡΠ΅Π΄ΡΡΠ°Π²Π»Π΅Π½ΠΈΡ ΠΎΠ± ΡΡΠΎΠΉ ΠΎΠ±ΡΠ½ΠΎΡΡΠΈ. Π ΠΊΠ°ΡΠ΅ΡΡΠ²Π΅ ΠΎΠ΄Π½ΠΎΠ³ΠΎ
ΠΈΠ· ΡΡΠ΅Π΄ΡΡΠ² ΡΠΎΡΠΌΠΈΡΠΎΠ²Π°Π½ΠΈΡ ΠΏΡΠ΅Π΄ΡΡΠ°Π²Π»Π΅Π½ΠΈΡ ΠΎΠ± ΠΎΠ±ΡΠ΅Π½Π°ΡΠΈΠΎΠ½Π°Π»ΡΠ½ΠΎΠΌ Π΅Π΄ΠΈΠ½ΡΡΠ²Π΅ ΠΈ ΡΠΎΠ·Π΄Π°Π½ΠΈΡ ΡΡΠ»ΠΎΠ²ΠΈΠΉ
Π΄Π»Ρ Π»ΠΈΡΠ½ΠΎΡΡΠ½ΠΎΠ³ΠΎ ΠΎΡΡΡΠ΅Π½ΠΈΡ ΡΠ΅Π±Ρ ΠΎΡΠ΄Π΅Π»ΡΠ½ΡΠΌ ΡΠ΅Π»ΠΎΠ²Π΅ΠΊΠΎΠΌ Π½Π΅ΠΎΠ±Ρ
ΠΎΠ΄ΠΈΠΌΠΎΠΉ ΡΠ°ΡΡΡΡ ΡΡΠΎΠ³ΠΎ Π΅Π΄ΠΈΠ½ΡΡΠ²Π°
ΠΌΠΎΠΆΠ΅Ρ Π²ΡΡΡΡΠΏΠ°ΡΡ ΠΏΡΠΎΠΈΠ·Π²Π΅Π΄Π΅Π½ΠΈΠ΅ ΠΆΠΈΠ²ΠΎΠΏΠΈΡΠΈ, ΠΏΠΎΠ½ΠΈΠΌΠ°Π΅ΠΌΠΎΠ΅ ΠΊΠ°ΠΊ Ρ
ΡΠ΄ΠΎΠΆΠ΅ΡΡΠ²Π΅Π½Π½ΡΠΉ ΠΎΠ±ΡΠ°Π· - ΠΏΡΠΎΡΠ΅ΡΡ
ΠΈ ΡΠ΅Π·ΡΠ»ΡΡΠ°Ρ Π²Π·Π°ΠΈΠΌΠΎΠ΄Π΅ΠΉΡΡΠ²ΠΈΡ Π·ΡΠΈΡΠ΅Π»Ρ ΠΈ ΠΏΡΠΎΠΈΠ·Π²Π΅Π΄Π΅Π½ΠΈΡ-Π²Π΅ΡΠΈ.
Π ΡΡΠ°ΡΡΠ΅ ΠΏΡΠ΅Π΄Π»Π°Π³Π°Π΅ΡΡΡ ΡΠ°ΡΡΠΌΠΎΡΡΠ΅Π½ΠΈΠ΅ Π²ΠΎΠ·ΠΌΠΎΠΆΠ½ΠΎΡΡΠ΅ΠΉ ΠΏΡΠΎΠΈΠ·Π²Π΅Π΄Π΅Π½ΠΈΡ ΠΈΠ·ΠΎΠ±ΡΠ°Π·ΠΈΡΠ΅Π»ΡΠ½ΠΎΠ³ΠΎ
ΠΈΡΠΊΡΡΡΡΠ²Π° (ΠΆΠΈΠ²ΠΎΠΏΠΈΡΠΈ) ΠΏΠΎ ΡΠΎΡΠΌΠΈΡΠΎΠ²Π°Π½ΠΈΡ ΠΎΠ±ΡΠ΅Π½Π°ΡΠΈΠΎΠ½Π°Π»ΡΠ½ΠΎΠΉ ΠΈΠ΄Π΅Π½ΡΠΈΡΠ½ΠΎΡΡΠΈ Π½Π° ΠΌΠ°ΡΠ΅ΡΠΈΠ°Π»Π΅
Π°Π½Π°Π»ΠΈΠ·Π° Π²ΠΎΠ·ΠΌΠΎΠΆΠ½ΠΎΡΡΠ΅ΠΉ ΠΊΠ°ΡΡΠΈΠ½Ρ ΠΠ°ΡΠΈΠ»ΠΈΡ ΠΠ²Π°Π½ΠΎΠ²ΠΈΡΠ° Π‘ΡΡΠΈΠΊΠΎΠ²Π° Β«ΠΠΎΡΡΡΠ½Ρ ΠΠΎΡΠΎΠ·ΠΎΠ²Π°Β» ΠΏΠΎ
ΡΠΎΡΠΌΠΈΡΠΎΠ²Π°Π½ΠΈΡ ΠΎΠ±ΡΠ΅ΡΠΎΡΡΠΈΠΉΡΠΊΠΎΠΉ Π½Π°ΡΠΈΠΎΠ½Π°Π»ΡΠ½ΠΎΠΉ ΠΈΠ΄Π΅Π½ΡΠΈΡΠ½ΠΎΡΡΠΈ