The Extended Mediterranean — Russian Landscape Painting and its Typological Roots in the Mediterranean > Registration

페이지 정보

Name Hisashi Yakou Date 17-01-15 18:35

본문

Purpose of Participation	Presentation
Name	Hisashi Yakou
e-mail	yakou@let.hokudai.ac.jp
Affiliation	Hokkaido University
Status	Professor

Title of Paper Proposal	The Extended Mediterranean — Russian Landscape Painting and its Typological Roots in the Mediterranean
Abstract	The Mediterranean, the sea and its coastal areas and islands, has been and still is the source of inspiration for landscape painters. It is true not only for the artists who seek to depict the actual views of the Mediterranean, but also for those who discover a similar kind of beauty in places quite far from Europe. The Shikotan Group, composed of young Soviet artists from Moscow and Primorye region (Vladivostok and Ussuriysk) and active between 1966 and 1991, should be praised for their having invented the Mediterranean-like landscapes of the Southern Kuril Islands. They unconsciously regarded the idyllic views of Shikotan Island as comparable to those of the Mediterranean, such as the Bay of Naples and Mt. Vesuvius. It should be further noted that the Crimea has played a crucial, intermediary role in the formation of this type of landscape paintings from the Far East. In the second half of the eighteenth century, the Crimea, throwing off the Ottoman yoke and being toponymically re-Hellenized, became the window on the Mediterranean (and on Europe, emotionally) for Russian people. Consequently, Crimean coasts became a topos of the Russian landscape, and acted as an exemplar for the representation of the sea and surroundings in other locations of Russia. This paper aims to assess the role of the Mediterranean-type sceneries in formulating the typical Russian landscapes, and it is argued that the Mediterranean assumes a constant value in the context of Europeanization of Russia.

Title of Paper Proposal

The Extended Mediterranean — Russian Landscape Painting and its Typological Roots in the Mediterranean

Abstract

The Mediterranean, the sea and its coastal areas and islands, has been and still is the source of inspiration for landscape painters. It is true not only for the artists who seek to depict the actual views of the Mediterranean, but also for those who discover a similar kind of beauty in places quite far from Europe. The Shikotan Group, composed of young Soviet artists from Moscow and Primorye region (Vladivostok and Ussuriysk) and active between 1966 and 1991, should be praised for their having invented the Mediterranean-like landscapes of the Southern Kuril Islands. They unconsciously regarded the idyllic views of Shikotan Island as comparable to those of the Mediterranean, such as the Bay of Naples and Mt. Vesuvius. It should be further noted that the Crimea has played a crucial, intermediary role in the formation of this type of landscape paintings from the Far East. In the second half of the eighteenth century, the Crimea, throwing off the Ottoman yoke and being toponymically re-Hellenized, became the window on the Mediterranean (and on Europe, emotionally) for Russian people. Consequently, Crimean coasts became a topos of the Russian landscape, and acted as an exemplar for the representation of the sea and surroundings in other locations of Russia.
This paper aims to assess the role of the Mediterranean-type sceneries in formulating the typical Russian landscapes, and it is argued that the Mediterranean assumes a constant value in the context of Europeanization of Russia.

Result	Completed (Your registrations is complete. We will send you the receipt via email.)

You have successfully submited the proposal.
To complete the registration, you now need to pay the registration fee.

Registration

페이지 정보

관련링크

본문

AFOMEDI Partners