KFU. Card publication. INTERPRETATION OF THE SUBJECT OF THE PASTURAL POEM IN THE TAPESTRY FROM THE PRIVATE COLLECTION

KAZAN
FEDERAL UNIVERSITY

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INTERPRETATION OF THE SUBJECT OF THE PASTURAL POEM IN THE TAPESTRY FROM THE PRIVATE COLLECTION

Form of presentation

Articles in international journals and collections

Year of publication

2019

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Authors, employees of KFU

Emanova Yuliana Gennadevna, author

Rauzeev Iskander Zinnurovich, author

Yao Mikhail Konstantinovich, author

Bibliographic description in the original language

Galeeva Zukhra N., Yao Michail K., Emanova Juliana G., INTERPRETATION OF THE SUBJECT OF THE PASTURAL POEM IN THE TAPESTRY FROM THE PRIVATE COLLECTION//TURISMO-ESTUDOS E PRATICAS. - 2019. - �.01.-Vol., Is.. - p.p.1-9.- URL: http://natal.uern.br/periodicos/index.php/RTEP/issue/view/17

Annotation

The European tapestry of XI-XVII that have survived to our time are integral attributes of the interiors of that time. The combination of functionality and symbolic value provided tapestry an important place among the monuments of material culture. Living conditions that changed in the 18th century, the changes inthe requirements for interiors and visual range content, led to the end of tapestry fashion lasted for several centuries. The methodological basis for the study of tapestry history and technology was the work of the Russian expert in decorative and applied art N.Yu. Biryukova, the Hungarian authors -L. Emoke, K. Kiado. Tapestry is regarded as the symbiosis of two masters -the artist of the cardboard and the weaver. A brief overview of the European tapestry plot is given, beginning with the German rugs ofthe XIIth century and ending with the XVIIIth, when the creative approach of the master weaver is more and more controlled by the cardboard artist. The article defines the plot depicted on the 17th century tapestry, which belongs to the private museum of the International Institute of Antiques in Kazan (Russia). On this tapestry, the images are interpreted as the scenes from the pastoral novel Honore d'Urfe (1568 -1625) «Astrea«. The novel is a vivid example of precision literature. The tapestry illustrates several scenes from the novel.

Keywords

tapestry, interpretation of the plot, pastoral novel, artistic image, cardboard artist, weaver.1.INTRODUCTIONBy its nature, the art of tapestry is the creativity fruit of two professions at once. The first isa cardboard artist -an exact image of a future life-size carpet. It can be a plot or ornamental composition. Sometimes the best artists of that time were involved in their creation. During the Renaissance they were represented by Robert Kampen, Jan fan Eyck, Rogier van der Weyden, Hans Holbein (Jr.), Raphael, Andrea del Sarto; during the XVII-XVIII centuries: Nicolas Poussin, Peter Paul Rubens, Antoine Watteau, Francois Boucher, Fragonard, Francisco Goya and others. Even during the Gothic era, a characteristic technique for making cardboard was developed. The basis was a drawing of peanut ink and watercolor paints. Both well

The name of the journal

TURISMO-ESTUDOS E PRATICAS

URL

http://natal.uern.br/periodicos/index.php/RTEP/article/view/176/125

Please use this ID to quote from or refer to the card

https://repository.kpfu.ru/eng/?p_id=230759&p_lang=2

Resource files

File name	Size (MB)	Format
211_Article_Text_377_1_10_20210510.pdf	1,30	pdf	show / download

Full metadata record

Field DC	Value	Language
dc.contributor.author	Emanova Yuliana Gennadevna	ru_RU
dc.contributor.author	Emanova Yuliana Gennadevna	ru_RU
dc.contributor.author	Rauzeev Iskander Zinnurovich	ru_RU
dc.contributor.author	Yao Mikhail Konstantinovich	ru_RU
dc.date.accessioned	2019-01-01T00:00:00Z	ru_RU
dc.date.available	2019-01-01T00:00:00Z	ru_RU
dc.date.issued	2019	ru_RU
dc.identifier.citation	Galeeva Zukhra N., Yao Michail K., Emanova Juliana G., INTERPRETATION OF THE SUBJECT OF THE PASTURAL POEM IN THE TAPESTRY FROM THE PRIVATE COLLECTION//TURISMO-ESTUDOS E PRATICAS. - 2019. - �.01.-Vol., Is.. - p.p.1-9.- URL: http://natal.uern.br/periodicos/index.php/RTEP/issue/view/17	ru_RU
dc.identifier.uri	https://repository.kpfu.ru/eng/?p_id=230759&p_lang=2	ru_RU
dc.description.abstract	TURISMO-ESTUDOS E PRATICAS	ru_RU
dc.description.abstract	The European tapestry of XI-XVII that have survived to our time are integral attributes of the interiors of that time. The combination of functionality and symbolic value provided tapestry an important place among the monuments of material culture. Living conditions that changed in the 18th century, the changes inthe requirements for interiors and visual range content, led to the end of tapestry fashion lasted for several centuries. The methodological basis for the study of tapestry history and technology was the work of the Russian expert in decorative and applied art N.Yu. Biryukova, the Hungarian authors -L. Emoke, K. Kiado. Tapestry is regarded as the symbiosis of two masters -the artist of the cardboard and the weaver. A brief overview of the European tapestry plot is given, beginning with the German rugs ofthe XIIth century and ending with the XVIIIth, when the creative approach of the master weaver is more and more controlled by the cardboard artist. The article defines the plot depicted on the 17th century tapestry, which belongs to the private museum of the International Institute of Antiques in Kazan (Russia). On this tapestry, the images are interpreted as the scenes from the pastoral novel Honore d'Urfe (1568 -1625) «Astrea«. The novel is a vivid example of precision literature. The tapestry illustrates several scenes from the novel.	ru_RU
dc.language.iso	ru	ru_RU
dc.subject	tapestry	ru_RU
dc.subject	interpretation of the plot	ru_RU
dc.subject	pastoral novel	ru_RU
dc.subject	artistic image	ru_RU
dc.subject	cardboard artist	ru_RU
dc.subject	weaver.1.INTRODUCTIONBy its nature	ru_RU
dc.subject	the art of tapestry is the creativity fruit of two professions at once. The first isa cardboard artist -an exact image of a future life-size carpet. It can be a plot or ornamental composition. Sometimes the best artists of that time were involved in their creation. During the Renaissance they were represented by Robert Kampen	ru_RU
dc.subject	Jan fan Eyck	ru_RU
dc.subject	Rogier van der Weyden	ru_RU
dc.subject	Hans Holbein (Jr.)	ru_RU
dc.subject	Raphael	ru_RU
dc.subject	Andrea del Sarto; during the XVII-XVIII centuries: Nicolas Poussin	ru_RU
dc.subject	Peter Paul Rubens	ru_RU
dc.subject	Antoine Watteau	ru_RU
dc.subject	Francois Boucher	ru_RU
dc.subject	Fragonard	ru_RU
dc.subject	Francisco Goya and others. Even during the Gothic era	ru_RU
dc.subject	a characteristic technique for making cardboard was developed. The basis was a drawing of peanut ink and watercolor paints. Both well	ru_RU
dc.title	INTERPRETATION OF THE SUBJECT OF THE PASTURAL POEM IN THE TAPESTRY FROM THE PRIVATE COLLECTION	ru_RU
dc.type	Articles in international journals and collections	ru_RU