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The category of space and the problem of regional identification of the text in the book illustration : The image of Siberia in illustrated editions of the books by V. P. Astafyev. / Panina, Nina Leonidovna; Bartosh, Natalia Iurevna.

In: Actual Problems of Theory and History of Art, Vol. 8, 01.01.2018, p. 439-448.

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@article{b2cdf12775cb49d4bf933ba6540d2410,
title = "The category of space and the problem of regional identification of the text in the book illustration: The image of Siberia in illustrated editions of the books by V. P. Astafyev",
abstract = "The forming of Siberian art in the 20th century was marked by the search for the tools for the Siberian specificity representation leading to the search for the Siberian thematic range, local plots, which were realized with the help of universal tools taken from the arsenal of central art schools. The most adequate means of the Siberian specificity representation were found in the synthesis of art, literature, and graphics, i.e. in an intermedial complex. The territorial identification of a literary work by means of art of the book with a special focus on the “thingness” of art is examined by comparing two editions of one of the most “Siberian” texts - Queen Fish: A Story in Two Parts and Twelve Episodes by Victor Astafiev: the edition with illustrations by Sergei Eloyan (2003), and the edition with illustrations by Oleg Mikhailov (2013). The artwork done by O. Mikhailov is easel graphic art which is successfully exhibited and has an independent life outside the book. On the contrary, it is difficult to imagine the illustrations of S. Eloyans outside the body of the book, since they are very closely related to both visual appearance of the text and the external form of the codex. S. Eloyan is addressing Russian icon painting traditions. Each edition is applying its specific means to embed the emotionally saturated, integral image of Siberia in the reader.",
keywords = "Oleg Mikhailov, Sergei Eloyan, Siberian art, Siberian landscape, Siberian specificity, Viktor Astafiev",
author = "Panina, {Nina Leonidovna} and Bartosh, {Natalia Iurevna}",
year = "2018",
month = jan,
day = "1",
doi = "10.18688/aa188-4-42",
language = "English",
volume = "8",
pages = "439--448",
journal = "Актуальные проблемы теории и истории искусства",
issn = "2312-2129",
publisher = "Saint Petersburg State University",

}

RIS

TY - JOUR

T1 - The category of space and the problem of regional identification of the text in the book illustration

T2 - The image of Siberia in illustrated editions of the books by V. P. Astafyev

AU - Panina, Nina Leonidovna

AU - Bartosh, Natalia Iurevna

PY - 2018/1/1

Y1 - 2018/1/1

N2 - The forming of Siberian art in the 20th century was marked by the search for the tools for the Siberian specificity representation leading to the search for the Siberian thematic range, local plots, which were realized with the help of universal tools taken from the arsenal of central art schools. The most adequate means of the Siberian specificity representation were found in the synthesis of art, literature, and graphics, i.e. in an intermedial complex. The territorial identification of a literary work by means of art of the book with a special focus on the “thingness” of art is examined by comparing two editions of one of the most “Siberian” texts - Queen Fish: A Story in Two Parts and Twelve Episodes by Victor Astafiev: the edition with illustrations by Sergei Eloyan (2003), and the edition with illustrations by Oleg Mikhailov (2013). The artwork done by O. Mikhailov is easel graphic art which is successfully exhibited and has an independent life outside the book. On the contrary, it is difficult to imagine the illustrations of S. Eloyans outside the body of the book, since they are very closely related to both visual appearance of the text and the external form of the codex. S. Eloyan is addressing Russian icon painting traditions. Each edition is applying its specific means to embed the emotionally saturated, integral image of Siberia in the reader.

AB - The forming of Siberian art in the 20th century was marked by the search for the tools for the Siberian specificity representation leading to the search for the Siberian thematic range, local plots, which were realized with the help of universal tools taken from the arsenal of central art schools. The most adequate means of the Siberian specificity representation were found in the synthesis of art, literature, and graphics, i.e. in an intermedial complex. The territorial identification of a literary work by means of art of the book with a special focus on the “thingness” of art is examined by comparing two editions of one of the most “Siberian” texts - Queen Fish: A Story in Two Parts and Twelve Episodes by Victor Astafiev: the edition with illustrations by Sergei Eloyan (2003), and the edition with illustrations by Oleg Mikhailov (2013). The artwork done by O. Mikhailov is easel graphic art which is successfully exhibited and has an independent life outside the book. On the contrary, it is difficult to imagine the illustrations of S. Eloyans outside the body of the book, since they are very closely related to both visual appearance of the text and the external form of the codex. S. Eloyan is addressing Russian icon painting traditions. Each edition is applying its specific means to embed the emotionally saturated, integral image of Siberia in the reader.

KW - Oleg Mikhailov

KW - Sergei Eloyan

KW - Siberian art

KW - Siberian landscape

KW - Siberian specificity

KW - Viktor Astafiev

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U2 - 10.18688/aa188-4-42

DO - 10.18688/aa188-4-42

M3 - Article

AN - SCOPUS:85059647437

VL - 8

SP - 439

EP - 448

JO - Актуальные проблемы теории и истории искусства

JF - Актуальные проблемы теории и истории искусства

SN - 2312-2129

ER -

ID: 18185008