Russian Icons Book Pdf
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Tango with Cows takes its title from a book and poem by the Russian avant-garde poet Vasily Kamensky. The absurd image of farm animals dancing the tango evokes the clash in Russia between a primarily rural culture and a growing urban life. During the years spanning the revolutions of 1905 and 1917, Russia was in spiritual, social, and cultural crisis. The moral devastation of the failed 1905 revolution, the famines of 1911, the rapid influx of new technologies, and the outbreak of World War I led to disillusionment with modernity and a presentiment of apocalypse.This exhibition explores the way Russian avant-garde poets and artists responded to this crisis through their book art. Often working collaboratively, poets and artists designed pages in which rubber-stamped zaum' or "transrational" poetry shared space with archaic and modern scripts, as well as with primitive and abstract imagery. The Russian avant-garde utilized such verbal and visual disruptions to convey humor, parody and an ambivalence about Russia's past, present, and future.
The image at left of St. George the Dragonslayer opens the lithographic portfolio Mystical Images of War, which Natalia Goncharova completed soon after the outbreak of World War I. Goncharova weaves symbols from the bible, folk mythology, and history into her imagery of contemporary warfare. Representing Christ's victory over the Antichrist, the image of St. George sets the stage for the cycle's dualities of sacred and secular, past and present, and good and evil, which Goncharova accentuates by contrasting the white tones of the untreated paper with black inking.The Russian avant-garde's perception of the primitive as the "magic fable of the old East" signified a loyalty to non-Western values. The East-West duality became a duality of time in which a rural past rich in ancient Christian and pagan traditions vied with a modern, urban present tainted by the materialism and decay of the West. This temporal anxiety is captured in the title of the book, Worldbackwards (download a PDF version, 41 pp., 5.48MB). The image at the top of this page shows the fictional character Akhmet, for whom Alexei Kruchenykh created a poem consisting of crude, irregular rhymes and an alogical language.
The Russian avant-garde challenged the lavish journals of Russian Symbolism by creating diminutive books such as A Trap for Judges (download a PDF version, 59 pp., 7.06MB)), an anthology printed on the reverse side of cheap wallpaper. Its comical, provocative title points to the Futurist contempt for literary critics and the press.In 1912, Alexei Kruchenykh and Mikhail Larionov produced the first Russian avant-garde book, Old-Fashioned Love. Pictured at right, it is a primitive booklet daringly printed on cheap paper in a pocket-sized format. With this publication, Alexei Kruchenykh achieved a new unity of poetry and imagery by using the same lithographic process for both. His partnership with Mikhail Larionov yielded a remarkable cover in which a diamond-shaped vase containing a female form divides the title word liubov' (love) in half, and Cyrillic letters take on the triangular shapes of the vase, flowers, and butterflies. In the book's poetry, intentional misspellings coupled with images of provocative nudes lightly parody romantic love poetry.
From the Orthodox icon and popular lubok to Symbolist poetry and painting, the image of the devil was ubiquitous in Russian art and literature. The narrative poem in A Game in Hell, shown at left, concerns a card game between devils and sinners. The fixed stare and full-page presence of Goncharova's devil on the cover refers blasphemously to religious icons of Christ. Her sinister and absurd devils within play with multiple cultural types, including the archaic devil of Russian icons that pulls sinners to hell, and the parodic secular devil of the lubok, who is outwitted by man. By celebrating these shifting identities, the Futurists playfully conflate the worlds of the sacred and the secular. On page after page, whether silly, sinister, or grotesque, the Futurist devil assumes an ironic and provocative stance.
Threesome, shown at right, was published nearly a year after the appearance in 1912 of "A Slap in the Face of Public Taste," the first manifesto of the Russian Futurists. The title Threesome refers to Kruchenykh, Khlebnikov, and Elena Guro. In the book we find Kruchenykh's manifesto "New Ways of the Word (the language of the future, death to Symbolism)" in which he uses the adjective zaumny (transrational) for the first time. According to Kruchenykh, "The word (and its components, the sounds) is not simply a truncated thought, not simply logic, it is first of all transrational." By moving beyond the mind, poets discovered the possibility of "totally new words."In Kazimir Malevich's cover for the book the past confronts the future. He builds the bulky, black figure of a peasant worker out of triangles and cones that evoke a robot and transforms the Old-Church Slavonic lettering of his title into dynamic, triangular shapes.
Russian avant-garde poets and artists applied the bold proclamations of their manifestos to books, such as Te li le, pictured at left, which explores the independent aural and graphic attributes of what they called the "word as such." Here, Olga Rozanova achieved a synthesis of painting, poetry, and sound. The rhyming sonorities of "te" and "le," highlighted in purple ink on the cover, draw us into her blend of handwritten words and decorative forms.Another book in the exhibition, Explodity, serves as the centerpiece of this group of Futurist books that engage closely with the relationship between word, image, and sound (page through Explodity; opens new window).
The Russian Icons, 14th-16th Centuries: The History Museum, Moscow book is in very low demand now as the rank for the book is 2,511,891 at the moment. A rank of 1,000,000 means the last copy sold approximately a month ago.
The highest price to sell back the Russian Icons, 14th-16th Centuries: The History Museum, Moscow book within the last three months was on February 06 and it was $76.00. View buyback price history on the SELL page.
The use and making of icons entered Ancient Rus' following its conversion to Orthodox Christianity in AD 988. As a general rule, these icons strictly followed models and formulas hallowed by Byzantine art, led from the capital in Constantinople. As time passed, the Russians widened the vocabulary of types and styles far beyond anything found elsewhere in the Orthodox world.
The personal, innovative and creative traditions of Western European religious art were largely lacking in Russia before the 17th century, when Russian icon painting became strongly influenced by religious paintings and engravings from both Protestant and Catholic Europe. In the mid-17th-century changes in liturgy and practice instituted by Patriarch Nikon resulted in a split in the Russian Orthodox Church. The traditionalists, the persecuted "Old Ritualists" or "Old Believers", continued the traditional stylization of icons, while the State Church modified its practice. From that time icons began to be painted not only in the traditional stylized and non-realistic mode, but also in a mixture of Russian stylization and Western European realism, and in a Western European manner very much like that of Catholic religious art of the time. These types of icons, while found in Russian Orthodox churches, are also sometimes found in various sui juris rites of the Catholic Church.
Russian icons are typically paintings on wood, often small, though some in churches and monasteries may be much larger. Some Russian icons were made of copper.[1] Many religious homes in Russia have icons hanging on the wall in the krasny ugol, the "red" or "beautiful" corner.
There is a rich history and elaborate religious symbolism associated with icons. In Russian churches, the nave is typically separated from the sanctuary by an iconostasis (Russian ikonostas, иконостас), or icon-screen, a wall of icons with double doors in the centre.
Some of the most venerated but whole icons considered to be products of miraculous thaumaturge are those known by the name of the town associated with them, such as the Vladimir, the Smolensk, the Kazan and the Częstochowa images, all of the Virgin Mary, usually referred to by Orthodox Christians as the Theotokos, the Birth-Giver of God.
There are far more varieties of icons of the Virgin Mary in Russian icon painting and religious use than of any other figure; Marian icons are commonly copies of images considered to be miraculous, of which there are hundreds: "The icons of Mary were always deemed miraculous, those of her son rarely so".[3] Icons of Mary most often depict her with the child Jesus in her arms; some, however, omit the child. Examples of these include the "Kaluga", "Fiery-Faced" "Gerondissa", "Bogoliubovo", "Vilna", "Melter of Hard Hearts", "Seven Swords", etc., along with icons that depict events in Mary's life before she gave birth to Jesus, such as the Annunciation or Mary's own birth.
Because icons in Orthodoxy must follow traditional standards and are essentially copies, Orthodoxy never developed the reputation of the individual artist as Western Christianity did, and the names of even the finest icon painters are seldom recognized except by some Eastern Orthodox or art historians. Icon painting was and is a conservative art, in many cases considered a craft, in which the painter is essentially merely a tool for replication. The painter did not seek individual glory but considered himself a humble servant of God. That is why in the 19th and early 20th centuries, icon painting in Russia went into a great decline with the arrival of machine lithography on paper and tin, which could produce icons in great quantity and much more cheaply than the workshops of painters. Even today large numbers of paper icons are purchased by Orthodox rather than more expensive painted panels. 2b1af7f3a8