искусствоведение и культурология
ART AND cultural studies
DOI: 10.12731/wsd-2014-9.3-1 UDC 7.041(470.5) + 7.047(470.5)
AN IMAGE OF THE INDUSTRIAL URAL IN RUSSIAN ART IN THE XVIII-XIX CENTURY
Antropov D.N.
The analysis of Russian artworks depicting the industrial Ural is presented in the article. Today Russia suffers deindustrialization that spread all over Europe. Deindustrialization is especially hard for countries with Soviet past, which was concentrated on labor and industry. Study of the history of purely industrial regions of Russia helps to find ways of overcoming a trauma of industrial space conversion. It is also essential for contemporary art practitioners creating projects on basis of former and actual industrial spaces to know the history of art representation of the industrial objects.
Results. It is shown the genesis and transformation of the industrial Ural's image during the XVIII-XIX century. Political importance of the Ural began to grow at the same time with the growth of local industry in the early XVIII century. However, only at the end of the XIX century the Ural acquired a complete image in exhibitions of Denisov-Ural'skiy The image of the industrial Ural undergone particular changes between the XVIII and XIX century.
Keywords: image of industrial Ural, landscape, genre painting.
ОБРАЗ ПРОМЫШЛЕННОГО УРАЛА В РУССКОМ ИЗОБРАЗИТЕЛЬНОЙ ИСКУССТВЕ XVIII-XIX ВЕКОВ
Антропов Д. Н.
В статье приведен анализ произведений русского изобразительного искусства, где был отражен образ промышленного Урала. Современная Россия переживает процесс деиндустриализации, повсеместно распространенной в Европе. Для стран с советским прошлым, сконцентрированных на концепции труда и индустрии, деиндустриализация протекает наиболее болезненно. Изучение истории исключительно промышленных регионов должно помочь в поиске путей преодоления травмы, переживаемой при конверсии промышленных пространств. Практики современного искусства, создающие проекты на база бывших или действующих промышленных пространств, также должны представлять себе историю репрезентации промышленности в искусстве.
Результатами нашего исследования выступают описание формирования и трансформирования образа промышленного Урала в искусстве XVIII-XIX веков. Политическое влияние региона Урала усиливалось одновременно с ростом местной промышленности, начиная с XVIII века. Однако окончательное формирование образа региона произошло лишь в конце XIX - начале XX века на выставках Денисова-Уральского. В течение двух веков образ промышленного Урала переживал определенные изменения, освещенные в статье.
Ключевые слова: образ промышленного Урала, пейзаж, жанровая живопись.
Understanding of conceptions of particular territory is very important for national self-identification especially speaking of non-European regions. M. Bassin wrote, "The identity assigned to these geographical externalities corresponded to the ideological categories of their progenitors, in other
words, the constellation of beliefs and fears, predilections, prejudices, and needs of European society itself. Once created, these images entered this constellation and assumed their own special function within it as a discrete category" [4, p. 764]. The Ural region is among territories that played a large role in Russian history. In addition, it plays a role of border between Europe and Asia that makes important understanding of its symbolism. Moreover, the Ural is one of the main industrial regions of Russia with long history, and it is important to study how it has formed its identity. Answering that questions would help us better understand contemporary state of our post-soviet postindustrial society.
Purpose
Is to describe the image of the industrial Ural analyzing vast number of pictures and drawings of the Ural's industry.
Materials and methods of research
Human geography has a term "mythscape" which we can adopt to researches in the field of a local art history. A mythscape is "the discursive realm, constituted by and through temporal and spatial dimensions, in which the myths of the nation are forged, transmitted, reconstructed and negotiated constantly" [5, p. 63]. Russian geographer D. N. Zamyatin uses term "geographical image" that means the system of interconnected, interacting signs, symbols, archetypes and stereotypes that describes some territory [21, p. 29].
P. S. Pavlovskiy has formulated the core myth of the Ural in his expression "mining civilization" [6]. It means that industry always was an integral part of the Ural's image. This local myth had different representation depending on particular period in history of art. The image of the industrial Ural has formed gradually and now it continues to develop according to the prevailing tendencies of art, society and economy.
The research required a scrutiny of archival materials, manuscripts and artworks of XVIII-XIX centuries from major state capital and local museums.
Research results and their interpretation
Russian government began dynamic industrial development in the Urals in the XVIII century. First examples of artistic expressions of the industrial Ural's image appeared simultaneously. Series of illustrations of GW. de Hennin's manuscript "Opisaniye sibirskikh zavodov" (A Description of Siberian Plants) [12] is the first work of art dedicated to the industry in the Urals and undoubtedly one of the earliest examples of art representation of Russian industry. You can find detailed description of the manuscript and its illustrations in one of our previous articles [2]. De Hennin's manuscript was a typical scientific treatise of the XVIII century and its author tried to embrace as many themes as he can. Manuscript's frontispiece conveys practically every aspect of a whole series of illustrations. Divided into 9 parts it shows Russian coat of arms, being held by two figures of workers, local flora and fauna, factory buildings, industrial products and even a figure of merchant's protector Mercury. According to such wide range of themes, manuscript's illustrations are distinguished by their simplicity. On the other hand, they are reliable source of the study the image of early local industry.
Unfortunately, de Hennin has not published his manuscript, but I. W. Schlatter included some of manuscript's illustrations into "Obstoya-tel'noye nastavlenie rudnomu delu" (Detailed Manual of Mining) [17] and "Obstoyatel'noye opisaniye rudnago plavil'nogo dela" (Detailed Description of Mining and Melting) [18]. Plate no. 18 in the first volume of "Obstoyatel'noye nastavleniye rudnomu delu" is a clear copy of picture called "New invention" from de Hennin's manuscript. In addition, plate no. 6 is a copy of blast furnace from the same manuscript. Illustrations from Shlatter's books has been made in sketchier and more constricted manner according to the time of their creation in the second half of the XVIII century.
There are many drawings of factory-cities created in the XVIII century. R.M. Lotareva wrote a research called "Goroda-zavody Rossii: XVIII-pervaya polovina XIX veka" (Factory-cities of Russia: XVIII-early XIX)
[14] where she characterizes such drawings. They resemble illustrations of de Hennin's manuscript relating to the tradition of cartography meaning lack of landscape visual qualities such as realism and depth of space.
"Sobraniye rossiyskikh i sibirskikh gorodov" (An Album of Russian and Siberian Cities) [20] is an album of engravings made by Engraving Chamber of Saint-Petersburg Academy of Sciences of Russia. City views from this album became the next step toward real landscape art. Album consists of 34 views of cities of eastern and western parts of Russia. M. A. Alekseeva attributed engravings of the album in 1964 [1], but inaccuracies still occur. Series of engravings had been finished by the 1771. In 1780, the album has been put up for sale, but the first drawings for the album was made in the 1730-s. Artists I.C. Berkhan, J.W. Lursenius and J.C. Decker took part in expedition to the Urals and Siberia lead by G.F. Müller and J.G. Gmelin. Artists made 27 prospects of cities during the expedition, 23 of them were engraved afterwards. Academy of Sciences charged J.-E. Grimmel, who was a member of Engraving Chamber, with improving the drawings. In 1769-1771, these 23 drawings has been engraved together with the drawings made by A. I. Svechnin and later improved by M. I. Makhayev.
Despite the essential alterations, "An Album of Russian and Siberian Cities" has some traits of the early XVIII century. There is a prevalence of horizontality in composition, vertical elements such as bell towers and high administrative buildings enliven the scenery. The new feature is a tendency of representing the unique silhouette of every town. For example, Ekaterinburg city and Nevyansk Factory city are depicted in actual environment. Ekaterinburg's regular plan is accented by the row of the houses of the same type on a foreground.
"An Album of the Russian and Siberian Cities" was famous abroad. L. N. de Lespinasse copied some of the album's pictures for the atlas [10] complemented «Histoire Physique, Morale, Civile Et Politique De La Russie Ancienne» (Physical, Moral, Civil, and Political History of Ancient Russia) [8] and «Histoire, Morale, Civile Et Politique De La Russie Moderne» (Phys-
ical, Moral, Civil, and Political History of Modern Russia) [9] written by N.-G. Le Clerc. Lespinasse changed a format of the drawings, lowered a perspective line and as a result made the images more natural.
For a long time artists portrayed industrial cities as if they were on a long distance. Though we know examples of much more lifelike and artistic pictures, we find examples of aloof depicting of industrial cities during XVIII and XIX centuries. For example, P. P. Svinyin made several drawings of industrial cities of the Urals for his journal "Otechestvenniye zapiski". His drawings of "Zolotopromival'nya na Pervo-Pavlovskom pri-iske"
Для дальнейшего прочтения статьи необходимо приобрести полный текст. Статьи высылаются в формате PDF на указанную при оплате почту. Время доставки составляет менее 10 минут. Стоимость одной статьи — 150 рублей.