KFU. Card publication. The Post-Thaw Period and Monumental Art in the Soviet Province

KAZAN
FEDERAL UNIVERSITY

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THE POST-THAW PERIOD AND MONUMENTAL ART IN THE SOVIET PROVINCE

Form of presentation

Articles in international journals and collections

Year of publication

2022

Язык

английский

Authors, employees of KFU

Sergeev Sergey Alekseevich, author

Bibliographic description in the original language

Sergey Sergeev, Zulfia Sergeeva. The Post-Thaw Period and Monumental Art in the Soviet Province // Res Militaris. - 2022. - Vol.12. - Is.3. - P. 853-858.

Annotation

he article is devoted to the study of the influence of the socio-political context of the «post-thaw» period (1964 - 1970) on Soviet culture in general and on monumental art in the Soviet province in particular. «Post-thaw» is a term characterizing the historical period between the fall of Khrushchev and the «frost» that followed the invasion of Czechoslovakia by Warsaw Pact troops in 1968. The cultural and ideological processes of the «post-thaw» period became more complex compared to the period of the thaw. «Post-thaw» gave rise to such forms of social life and culture that did not support the official ideology and official discourse, and at the same time were not openly opposed to them. Monumental art in the USSR, especially monumental decorative painting, developed mainly within the framework of rigid ideological canons, but during the post-thaw period, artists were already more free in their choice of styles than before, and they were not prohibited from using any new artistic forms, elements abstract art. In the course of the study of a specific case undertaken by the authors, the meanings of the panel «Soviet Tataria» on the outer facade of the suburban railway station in Kazan, built in 1967, were analyzed. The image of a woman's head in a Tatar ethnic headdress became in the following decades a symbol representing the Soviet image of the city of Kazan and the Republic of Tatarstan as a whole. The authors believe that this panel in its artistic form reflects not only the main ideas of the official discourse of the 1960s, but also contains certain hidden meanings that are opposed to the official discourse.

Keywords

?Post-thaw?, ?thaw?, monumental art, official discourse

The name of the journal

Res Militaris

URL

https://www.scopus.com/inward/record.uri?eid=2-s2.0-85142168547&partnerID=40&md5=1f52525b0f410f9ec323fc583dabad64

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

https://repository.kpfu.ru/eng/?p_id=281997&p_lang=2

Full metadata record

Field DC	Value	Language
dc.contributor.author	Sergeev Sergey Alekseevich	ru_RU
dc.date.accessioned	2022-01-01T00:00:00Z	ru_RU
dc.date.available	2022-01-01T00:00:00Z	ru_RU
dc.date.issued	2022	ru_RU
dc.identifier.citation	Sergey Sergeev, Zulfia Sergeeva. The Post-Thaw Period and Monumental Art in the Soviet Province // Res Militaris. - 2022. - Vol.12. - Is.3. - P. 853-858.	ru_RU
dc.identifier.uri	https://repository.kpfu.ru/eng/?p_id=281997&p_lang=2	ru_RU
dc.description.abstract	Res Militaris	ru_RU
dc.description.abstract	he article is devoted to the study of the influence of the socio-political context of the «post-thaw» period (1964 - 1970) on Soviet culture in general and on monumental art in the Soviet province in particular. «Post-thaw» is a term characterizing the historical period between the fall of Khrushchev and the «frost» that followed the invasion of Czechoslovakia by Warsaw Pact troops in 1968. The cultural and ideological processes of the «post-thaw» period became more complex compared to the period of the thaw. «Post-thaw» gave rise to such forms of social life and culture that did not support the official ideology and official discourse, and at the same time were not openly opposed to them. Monumental art in the USSR, especially monumental decorative painting, developed mainly within the framework of rigid ideological canons, but during the post-thaw period, artists were already more free in their choice of styles than before, and they were not prohibited from using any new artistic forms, elements abstract art. In the course of the study of a specific case undertaken by the authors, the meanings of the panel «Soviet Tataria» on the outer facade of the suburban railway station in Kazan, built in 1967, were analyzed. The image of a woman's head in a Tatar ethnic headdress became in the following decades a symbol representing the Soviet image of the city of Kazan and the Republic of Tatarstan as a whole. The authors believe that this panel in its artistic form reflects not only the main ideas of the official discourse of the 1960s, but also contains certain hidden meanings that are opposed to the official discourse.	ru_RU
dc.language.iso	ru	ru_RU
dc.subject	?Post-thaw?	ru_RU
dc.subject	?thaw?	ru_RU
dc.subject	monumental art	ru_RU
dc.subject	official discourse	ru_RU
dc.title	The Post-Thaw Period and Monumental Art in the Soviet Province	ru_RU
dc.type	Articles in international journals and collections	ru_RU