Culture and authority
Panova O. —
Integration of regional painters into royal administration during the rule of the first emperors of Northern Song Dynasty (960-1127)
// Man and Culture.
– 2019. – ¹ 2.
– P. 1 - 10.
DOI: 10.25136/2409-8744.2019.2.29128 URL: https://en. nbpublish.com/library_read_article.php?id=29128
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This article analyzes the integration process of the painters from the states Later Shu (934-965) and Southern Tang (937-976) at the court of the Song Empire (960-1127). The subject of this research is the biographies of the painters, who after the formation of Song Empire, migrated from the regions Sichuan Jiangnan to the capital of Kaifeng Empire. The method of sociocultural approach is used in the course of this research. The goal is to examine the migration of the painters from the conquered states in the context of unification of the country. The author gives a brief characteristics to the peculiarities of development of the painting tradition in the states Later Shu and Southern Tan; reviews the migration process of the painters from the aforementioned regions to the capital of the new empire, and their integration at the court of the Song emperors. The conducted analysis demonstrates that during the unification of China, multiple painters together with the rulers of the conquered states, moved to Kaifeng and were invited to service as the court of Song Dynasty. An important role in the integration of painters from the conquered territories at the rule of new regime, was played by the Department of Painting, opened at the court of the Second Emperor Taizong (ruling period 976-997). The painters from the Later Shu were under a special patronage of the court, as they made a significant contribution to the creation of the royal style of painting of the Northern Song era.
birds and flowers, Huang Quan, court painters, painting academy, Chinese painting, Song empire, Southern Tang, Later Shu, Five Dynasties period, China
Kurz, Johannes L. China’s Southern Tang Dynasty, 937–976. Abingdon, Oxon; New York: Routledge, 2011.160 p
Foong, Ping. The Structural Position of Court Artists in the Song Dynasty: Issues of Rank, Title, and Legitimate Rule during the Founding Decades // Tenth Century China and Beyond: Art and Visual Culture in a Multi-Centered Age. Chicago: Art Media Resources, Inc. 2013. P. 350–363.
Ho, Waikam. Aspects of Chinese Painting from 1100 to 1350 // Eight dynasties of Chinese Painting: the Collections of the Nelson Gallery-Atkins Museum, Kansas City, and the Cleveland Museum of Art. Cleveland, Ohio: Cleveland Museum of Art in cooperation with Indiana University Press. 1980. P. XXV–XXXiii.
Syuy tszychzhi tuntszyan' chanbyan' / Li Dao chzhuan' (續資治通鑒長編 / 李燾撰 Razvernutoe prodolzhenie k [khronikam] «Zertsalo vseobshchee, upravleniyu pomogayushchee» / Sost. Li Dao). Pekin: Chzhunkhua shutszyuy, 2004.12566 c.
Tukhua tszyan'ven' chzhi. Khuatszi (圖畫見
Culture and cultures
Dmitriev I. —
The contribution of Russian émigrés to the development of fashion industry in France during 1920’s – 1940’s: to the question about mutual perception of cultures
// Man and Culture.
– 2019. – ¹ 2.
– P. 11 - 23.
DOI: 10.25136/2409-8744.2019.2.29113 URL: https://en. nbpublish.com/library_read_article.php?id=29113
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The focus of attention in this research is the contribution of the representatives of Russian émigré to the development fashion industry in France during 1920’s – 1940’s. Despite the increasing public interest towards the history of white émigré of the “first post-revolutionary wave” overall, as well as the activity of its representatives with regards to fashion industry in particular, this problematic remains insufficiently studied within historiography. Using the synthesis of macro- and micro-approaches towards studying history, the author analyzes the impact of the key political, economic, and social processes of this period upon fashion industry, as well as modeling. Moreover, the author applies the comparative and systemic methods of historical analysis, which on the example of careers of the leading immigrant models, allowed determining the role of Russian émigrés in the French modeling industry throughout 1920’s, 1930’s and 1940’s. The conducted research reveals interconnection between the changes in modeling business and the activity of Russian émigrés. It is concluded that the Russian models were highly demanded among the top French Fashion Houses, and certainly exerted significant influence on the establishment of aesthetic ideals of the fashion world of 1920’s – 1940’s.
Russian fashion houses, Natalie Paley, Mary Eristavi, French modeling business, Lady Abdy, Coco Chanel, history of fashion, fashion industry, Russian models, Russian style
Vudkok F. Odezhda frantsuzskogo dvora / pod red. M. Fogg // Moda. Vsemirnaya istoriya. M.: OOO Magma, 2015. S. 86-87.
Fogg M. Rozhdenie vysokoy mody / pod red. M. Fogg // Moda. Vsemirnaya istoriya. M.: OOO Magma, 2015. S. 172-175.
Vasil'ev A. A. Sud'by mody. M.: Al'pina non-fikshn, 2009. 462 s.
Aksakova T. A. Semeynaya khronika. V 2-kh knigakh. Parizh: Atheneum, 1988., Kn. 1. 371 s.
Vudkok F. Period art-deko / pod red. M. Fogg // Moda. Vsemirnaya istoriya. M.: OOO Magma, 2015. S. 238-241.
Harriet Worsley. Decades of fashion. 1900 to the present. Potsdam: h.f. ullmann, 2011. 608 p.
Kuprina K. A. Kuprin – moy otets. M.: Sovetskaya Rossiya, 1971. 256 s.
Vasil'ev A. A. Krasota v izgnanii. 100 let spustya. V 2-kh t. M.: Slovo, 2018. T. 1. 432 s.
Barkova O. N. Iz istorii russkoy zhenskoy emigratsii vo Frantsii 1920-1930-kh gg. // Ot antichnosti do sovremennosti. Sb. st. M., 2012. S. 23-55.
Vasil'ev A. A. Krasota v izgnanii. 100 let spustya. V 2-kh t. M.: Slovo, 2018. T. 2. 432 s.
Dmitriev I. E. Russkie motivy v