Playing with Space. The Lustr of Power: The Palace: Frame, Picture and History. - The Rhetoric of Title. (original) (raw)
Chapter 3 of the book: Oleg Tarasov. Framing Russian Art. From Early Icons to Malevich. London: Reaktion Books, 2011, pp. 207 - 260.
The second part of the book is basically devoted to the framing of the secular picture. In the third chapter I investigate the framing, thus the exaltation, of persons of power (particularly in the halls of the Great Kremlin Palace). Above all this concerns the function of the frame of the ceremonial portrait, which changes in consequence not only of art theory, but of the conception of state power. The power of an imperial portrait consists in its frame’s bearing the formula of a title according to the proper pattern. The frame links the portrait with the historical and mythological context.
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Introduction and the Chapter 1 of the book: Oleg Tarasov. Framing Russian Art. From Early Icons to Malevich. London: Reaktion Books, 2011, pp. 7 - 104.
In the Introduction I'd like to emphasize that the differentiation and development of different forms of frame for the visual image is a most important phenomenon in European culture. It is linked by a multitude of invisible threads to changes in humanity’s picture of the world and its value-system. On that level the frame suggests and permits the study of a picture not in isolation, but in its close interaction with the whole culture of an age. More concretely, out of this there also emerges the fundamental object of my investigation – the history of the interaction of person and image, in which the frame is problematized as a distinct means for perceiving the world. The Introduction also defines the methodological and historiographic preconditions for this task. The first part of the book is devoted to the framing of the icon. In the first chapter “Symbolic Unity” I devote particular attention to the autonomy of the frame of the medieval sacred image, that is to say to the close link between the appearance of the window-like frame with the development of the concept of an independent mimetic image.
The notion of the frame in art can refer not only to a material frame bordering an image, but also to a conceptual frame. Both meanings are essential to how the work is perceived. In Framing Russian Art, I investigate the role of the frame in its literal function of demarcating a work of art and in its conceptual function affectingthe understanding of what is seen. The first part of the book is dedicated to the framework of the Russian icon. Here, I explore the historical and cultural meanings of the icon's, setting, and of the iconostasis. Then my study moves through Russian and European art from ancient times to the twentieth century, including abstract art and Suprematism. Along the way, I pay special attention to the Russian baroque period and the famous nineteenth century Russian battle painter Vasily Vereshchagin. This enlightening account of the cultural phenomenon of the frame and its ever-changing functions will appeal to students and scholars of Russian art history.
Полилог/Polylogos, 2018
The subject of the article "Philosophy of the inanimate: historical memory and monuments in the national narrative. Several scenes from the Russian experience" presents an analysis of a number of aspects of the relationship between power, time and monuments of material culture, including works of architecture. It is suggested that etatist discourse includes a certain vision of history that appears to be managed/guided, linear and associated with the indispensable presence of "triumph" attributed to the "eternal" state. In the article subject-object relations are analyzed in the construction of a national narrative with the usage of a historical myth. The emphasis is placed on the fact that these mechanisms are most evident in a modern and mass society. In addition, the problem of the "body" is touched upon in the political and philosophical sense: this aspect is based on the concept of the "monarch's double body" of the historian E. Kantorovich, the poststructuralist criticism of M. Foucault and the theory of the modern anthropologist K. Verderi, in this way the symbolic aspects of inanimate objects in political space are discussed.
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