Press release

V Far Eastern Winter Festival dedicated to

55th anniversary of the Far Eastern State Institute of Arts

In 2017, the Far Eastern State Institute celebrates its 55th anniversary.

The first university in Russia that combined three types of art - music, theater, painting - was established as the Far Eastern Pedagogical Institute of Arts. In the year of its 30th anniversary (1992), it was renamed the Far Eastern State Institute of Arts, in 2000 the institute became an academy, in 2015 it was again renamed the Far Eastern State Institute of Arts.

In the joint training of musicians, artists, drama artists and directors, it was supposed to find many points of contact: common or related disciplines, wide opportunities that open up in the field of synthetic arts, for example, opera, where music, painting and theater are combined, creative mutually enriching communication.

The Ministry of Culture took seriously the creation of a new university. Corresponding orders were issued: on the assignment of patronage over the Faculty of Music - to the Moscow State Conservatory. Tchaikovsky; over the theatrical faculty - to the State Institute of Theatrical Art. Lunacharsky; over the art faculty - the Institute of Painting, Sculpture and Architecture. Repin. In addition, these educational institutions were ordered to donate from their funds easels, books on art, academic works, casts of ancient heads for drawing, musical instruments, notes, books for the library. Secondary educational institutions - to provide a sufficient number of applicants for the Far Eastern Pedagogical Institute of Arts.

The creation of the Institute of Arts became an event in the cultural life of Primorsky Krai and the entire Far East. It became possible to train highly qualified personnel for theaters, orchestras, teachers for schools and colleges, and artists.

The foundation for higher education in the field of art in the Far East was laid by excellent teachers, graduates of central universities: the Moscow Conservatory: V.A. Guterman, M.R. Dreyer, V.M. Kasatkin, E.A. Kalganov, A.V. Mitin; graduates of the Leningrad Conservatory: A.S. Vvedensky, E.G. Urinson; Ural Conservatory - A.I. Zhilin, Odessa Conservatory - S.L. Yaroshevich, GITIS - O.I. Starostin and B.G. Kulnev, a graduate of the Leningrad Art Institute. Repin V.A. Goncharenko and others. The music department began to study according to the usual plan of conservatories, the art department - according to the plan of the Institute. Surikov, theatrical - according to the plan of the school. Shchepkin.

From the very beginning to the present, the Far East State Institute of Arts has been the center of professional musical, theater and art education in the Far East. The Institute has created a three-level system of art education (children's art school - college - creative university):

children's aesthetic center "World of Art", children's art school;

College of Music;

university: programs of specialty, bachelor's, master's, postgraduate and assistant-internships; additional programs for advanced training and professional retraining.

The Institute includes three faculties: music (conservatory), theater and art, a foreign department has been created (since 1998).

Far Eastern State Institute of Arts - member of the Joint Dissertation Council D 999.025.04 at the Far Eastern Federal University (specialties 17.00.02 - Musical Art (art history) and 24.00.01 - Theory and History of Culture (art history and cultural studies).

The scientific and creative activity of the Institute is extensive and varied. Here are just a few of the most significant projects:

"Culture of the Far East of Russia and the countries of the Asia-Pacific Region: East - West" - an annual scientific conference

I and II All-Russian Music Competition (regional stages).

International competition of young musicians-performers "Musical Vladivostok"

"Art Vladivostok" - International exhibition-competition of creative works of students and young artists from the Far East, Russia and the APEC countries.

All-Russian Olympiad in Musical Theoretical Subjects "Masterpieces of World Musical Culture" for students of professional educational institutions and children's art schools.

Regional creative school "Theatrical surf"

"The debut of young musicians-performers, laureates of international competitions - residents of cities and towns of the Far East".

Professional development of teachers educational institutions of the branch of culture and art of culture and general education schools of the "Academy of Arts".

I Far Eastern competition-festival of pop music.

Regional festival of children's creativity.

Far Eastern Winter Arts Festival

Far Eastern competition of performing arts "Golden Key" for teachers of children's music schools and children's art schools named after. G.Ya.Nizovsky.

I International Russian-Chinese Children's Arts Festival "Eastern Kaleidoscope".

Far East competition of readers "My love is my Russia"

Regional Competition of Performers of Contemporary Music.

Competition for the best performance of works by composers of the second half of the 20th century

"Tkachev readings" - competition of readers. People's Artist of the Russian Federation L.A. Tkachev, "Theatrical Hope"

"Plein Air"

Remote master classes using the Disklavier. Vladivostok - Moscow.

« From the history of creative schools of the Institute of Arts: origins, traditions, outstanding teachers…”.

CURRENT CREATIVE TEAM:

Symphony Orchestra - laureate of the Grand Prix of the VII Far Eastern competition of instrumental music "Metronome".

Orchestra of Folk Instruments- winner of the first prizes of the IV and V International competitions for young musicians-performers "Musical Vladivostok" 2005–2007, winner of the Grand Prix of the V All-Russian Competition named after. N.N. Kalinina (St. Petersburg, 2009)

Academic choir - Laureate of the regional competition "Singing Ocean", winner of the Grand Prix of the VI International Competition "Musical Vladivostok".

Ensemble of chamber music "Concertone" - Laureate of the International Competition Shenderev (1997, III prize), II International Competition in Beijing (1999, II prize).

Russian instrumental trio "Vladivostok" in the same composition since its foundation in 1990: Honored Artists of the Russian Federation Nikolai Lyakhov (balalaika), Alexander Kapitan (button accordion), Sergey Arbuz (double bass balalaika).

Laureates: International Competition G.Shendereva (Russia, 1997 - Silver Diploma); 17th International Competition "Grand Prix" (France, Bischwiller, 1997 - Grand Prix and Gold Medal); II International competition of bayan-accordionists (China, Beijing, 1999 - 1st prize); 38th International Bayan Accordion Competition, (Germany, Klingenthal, 2001 - 3rd prize).

opera studio- Laureate of the 1st Prize of the International Competition "Musical Vladivostok" (2014, 2016)

Trio "Expecto" - laureate of international competitions for bayan-accordionists in Harbin (PRC, 2014, 1 prize), in Castelfidardo (Italy), 2015, 1 prize, "gold medal".

Quartet "Collage" laureate of international competitions for bayan-accordion players in Harbin (PRC, 2016, 1 prize).

Trio "Orient" laureate of the international competition in Lanciano (Italy, 2014, 1 prize).

Graduates who have made a significant contribution to the development of culture,

arts and arts education

Musicologists, Doctors of Art History: Professor of the Russian State Pedagogical University. Hercena E.V. Gertsman, Professor of the St. Petersburg Conservatory, Honored Art Worker of Karelia U Gen-Ir, Professor of the Moscow State Conservatory. P.I. Tchaikovsky R.L. Pospelova, Professor of the Russian Academy of Sciences. Gnesinykh E.M. Alkon, Professor of the Department of Fine Arts of the School of Art of Culture and Sports of the Far Eastern Federal University G.V. Alekseeva, professor of the Moscow State Institute of Culture N.I. Efimova, professor, acting Head of the Department of Philosophy, History, Theory of Culture and Art, Moscow State Institute of Music. A.G. Schnittke A.G. Alyabiev, professor of the Far East State Institute of Arts O.M. Shushkova, Yu.L. Fidenko.

Performing musicians: Honored Artist of the Russian Federation, head of the ensemble "Jang" N.I. Erdenko, Honored Artist of the Russian Federation, Head of the Department of Orchestral Conducting, Professor of the Russian Academy of Music. Gnesinykh B.S. Raven, Honored Artist of the Russian Federation, Professor F.G. Kalman, Honored Artist of the Russian Federation, Professor A.K. Captain, Laureate of the international competition, Honored Artist of the RS (Y), Professor of the Department of Orchestral String Instruments of the Higher School of Music of the RS (Y) (Institute) named after. V.A. Bosikova O.G. Koshelev.

Actors: People's Artists of the Russian Federation A.Mikhailov, S. Stepanchenko, Yu. Kuznetsov, S. Strugachev, Laureate of the State Prize V. Priemykhov, Honored Artist of the Russian Federation V. Tsyganova; People's Artists of the Russian Federation, actors of the Primorsky Regional Drama Theater. Gorky, professor of the department of skill of the actor A.P. Slavsky, V.N. Sergiyakov, People's Artist of the Russian Federation, laureate of the Russian Government Prize in the field of culture, artistic director of the Primorsky Regional Academic Theater named after M. Gorky E.S. Zvenyatsky, honored artists A.I. Zaporozhets, S. Salakhutdinova.

Honored Artists of the Russian Federation S.A. Litvinov, S.M. Cherkasov, I.I. Dunkay.

We invite everyone to concerts

V Far Eastern Winter Arts Festival,

Information about concerts - on the website www.dv-art.ru

Home > Document

Dmitry Borovsky, May 1998

Art: Far East Overview

The vast region, conventionally referred to as the Far East, includes China, Japan, Korea, Mongolia and Tibet - countries that have a number of similarities, but at the same time significant differences in culture.

All countries of the Far East were influenced by the ancient civilizations of China and India, where as early as the 1st millennium BC, philosophical and religious teachings arose that laid the foundation for the concept of nature as a comprehensive Cosmos - a living and spiritualized organism that lives according to its own laws.

Nature turned out to be at the center of philosophical and artistic searches of the entire medieval period, and its laws were considered universal, determining the life and relationships of people. The inner world of man was compared with the diverse manifestations of nature. This influenced the development of the symbolic method in the visual arts, defining its allegorical poetic language. In China, Japan and Korea, under the influence of such an attitude to nature, types and genres of art were formed, architectural ensembles closely connected with the surrounding landscape were built, landscape gardening art was born, and, finally, landscape painting dawned.

Under the influence of ancient Indian civilization, Buddhism began to spread, and Hinduism also began to spread in Mongolia and Tibet. These religious systems brought not only new ideas to the countries of the Far East, but also had a direct impact on the development of art. Thanks to Buddhism, a previously unknown new artistic language of sculpture and painting appeared in all countries of the region, ensembles were created, the characteristic feature of which was the interaction of architecture and fine arts.

Features of the image of Buddhist deities in sculpture and painting evolved over many centuries as a special language of symbols that expressed ideas about the universe, moral laws and the destiny of man. Thus, the cultural experience and spiritual traditions of many peoples were consolidated and preserved. The images of Buddhist art embodied the ideas of the confrontation between good and evil, mercy, love and hope. All these qualities determined the originality and universal significance of the outstanding creations of the Far Eastern artistic culture.

Art: Japan

Japan is located on the islands of the Pacific Ocean, stretching along the east coast of the Asian mainland from north to south. The Japanese islands are located in an area prone to frequent earthquakes and typhoons. The inhabitants of the islands are accustomed to constantly being on their guard, being content with a modest life, quickly restoring their homes and households after natural disasters. Despite the natural elements that constantly threaten the well-being of people, Japanese culture reflects the desire for harmony with the outside world, the ability to see the beauty of nature in big and small. In Japanese mythology, the divine spouses, Izanagi and Izanami, were considered the ancestors of everything in the world. From them came a triad of great gods: Amaterasu - the goddess of the Sun, Tsukiyomi - the goddess of the Moon and Susanoo - the god of storm and wind. According to the ideas of the ancient Japanese, the deities did not have a visible appearance, but were embodied in nature itself - not only in the Sun and the Moon, but also in mountains and rocks, rivers and waterfalls, trees and grasses, which were revered as kami spirits (the word kami means in Japanese divine wind). This deification of nature persisted throughout the entire period of the Middle Ages and was called Shinto - the path of the gods, becoming the Japanese national religion; Europeans call it Shinto.

The origins of Japanese culture are rooted in antiquity. The earliest works of art date back to the 4th to 2nd millennium BC. The longest and most fruitful for Japanese art was the period of the Middle Ages (6..19th century).

Art: Japan: Architecture: Traditional Japanese House

The design of a traditional Japanese house developed by the 17th-18th centuries. It is a wooden frame with three movable walls and one fixed. The walls do not carry the functions of support, so they can be moved apart or even removed, serving as a window at the same time. In the warm season, the walls were a lattice structure, pasted over with translucent paper that let in light, and in the cold and rainy season they were covered or replaced with wooden panels. With high humidity in the Japanese climate, the house must be ventilated from below. Therefore, it is raised above ground level by 60 cm. To protect the support pillars from decay, they were installed on stone foundations.

The light wooden frame had the necessary flexibility, which reduced the destructive force of the push during frequent earthquakes in the country. The roof, tiled or reed, had large canopies that protected the paper walls of the house from rain and the scorching summer sun, but did not hold back the low rays of the sun in winter, early spring and late autumn. Under the canopy of the roof was a veranda.

The floor of the living rooms was covered with mats - tatami, which were mostly sat rather than stood. Therefore, all the proportions of the house were focused on a seated person. Since there was no permanent furniture in the house, they slept on the floor, on special thick mattresses, which were put away in the closets during the day. They ate, sitting on mats, at low tables, they also served for various activities. Sliding internal partitions, covered with paper or silk, could divide the internal premises depending on the needs, which made it possible to use it more diversely, however, it was impossible for each of its inhabitants to completely retire inside the house, which affected intra-family relations in the Japanese family, and in a more general sense - on the features of the national character of the Japanese.

An important detail of the house - a niche located near a fixed wall - tokonama, where a picture could hang or a composition of flowers - ikebana could stand. It was the spiritual center of the house. In the decoration of the niche, the individual qualities of the inhabitants of the house, their tastes and artistic inclinations were manifested.

The continuation of the traditional Japanese house was garden. He played the role of a fence and at the same time connected the house with the environment. When the outer walls of the house were moved apart, the boundary between the inner space of the house and the garden disappeared and a feeling of closeness to nature, direct communication with it was created. This was an important feature of the national attitude. However, the Japanese cities grew, the size of the garden decreased, often it was replaced by a small symbolic composition of flowers and plants, which served the same role of contact between the dwelling and the natural world.

Art: Japan: Ikebana

The art of arranging flowers in vases - ikebana (flower life) - dates back to the ancient custom of laying flowers on the altar of a deity, which spread to Japan along with Buddhism in the 6th century. Most often, the composition is in the style of that time - rikka (delivered flowers) - consisted of a branch of pine or cypress and lotuses, roses, daffodils, installed in ancient bronze vessels.

With the development of secular culture in the 10th-12th centuries, flower compositions were installed in palaces and residential quarters of representatives of the aristocratic class. At the imperial court, special competitions in arranging bouquets became popular. In the second half of the 15th century, a new direction in the art of ikebana appeared, the founder of which was the master Ikenobo Senei. The works of the Ikenobo school were distinguished by their special beauty and sophistication, they were installed at home altars and presented as gifts.

In the 16th century, with the spread tea ceremonies a special type of ikebana was formed to decorate a niche - tokonoma in the tea pavilion. The requirement of simplicity, harmony, restrained colors, presented to all objects of the tea cult, extended to the design of flowers - tyabana (ikebana for the tea ceremony). famous tea master Senno Rikyu created a new, freer style - nageire (carelessly arranged flowers), although it was in the seeming disorder that the special complexity and beauty of the images of this style lay. One of the types of nageire was the so-called tsuribana, when the plants were placed in a suspended vessel in the shape of a boat. Such compositions were presented to a person who took office or graduated from school, as they symbolized "an exit to the open sea of ​​\u200b\u200blife."

In the 17th-19th centuries, the art of ikebana became widespread, and the custom of obligatory training of girls in the art of making bouquets arose. However, due to the popularity of ikebana, compositions were simplified, and strict style rules had to be abandoned. rikka in favor nageire from which another new style emerged seika or shoka (Natural flowers). At the end of the 19th century the master Ohara usin created a style moribana, the main innovation of which was that the flowers were placed in wide vessels.

In the composition of ikebana, as a rule, there are three obligatory elements, denoting the three principles: Heaven, Earth and Man. They can be embodied as a flower, branch and grass. Their correlation with each other and additional elements creates works of different style and content. The task of the artist is not only to create a beautiful composition, but also to most fully convey in it his own thoughts about a person’s life and his place in the world. The works of outstanding ikebana masters can express hope and sadness, spiritual harmony and sadness.

According to the tradition in ikebana, the season is necessarily reproduced, and the combination of plants forms symbolic good wishes well-known in Japan: pine and rose - longevity; peony and bamboo - prosperity and peace; chrysanthemum and orchid - joy; magnolia - spiritual purity etc.

Art: Japan: Sculpture: Netsuke

Miniature sculpture - netsuke became widespread in the 18..19 centuries as one of the types of arts and crafts. Its appearance is due to the fact that the national Japanese costume - kimono - has no pockets and all the necessary small items (pipe, pouch, medicine box etc) are attached to the belt with the help of a keychain-counterweight. Netsuke, therefore, necessarily has a hole for a lace, with the help of which the desired object is attached to it. Trinkets in the form of sticks and buttons were used before, but since the end of the 18th century, well-known masters have already worked on the creation of netsuke, putting their signature on the works.

Netsuke is the art of the urban class, mass and democratic. According to the plots of netsuke, one can judge the spiritual needs, everyday interests, mores and customs of the townspeople. They believed in spirits and demons, which were often depicted in miniature sculpture. They loved the figurines of the "seven gods of happiness", among which the god of wealth Daikoku and the god of happiness Fukuroku were the most popular. The constant plots of netsuke were the following: a cracked eggplant with many seeds inside - a wish for a large male offspring, two ducks - a symbol of family happiness. A huge number of netsuke are dedicated to everyday topics and the daily life of the city. These are wandering actors and magicians, street vendors, women engaged in various activities, wandering monks, wrestlers, even the Dutch in their exotic, from the point of view of the Japanese, clothes - wide-brimmed hats, camisoles and trousers.

Distinguished by thematic diversity, netsuke retained their original function of a key ring, and this purpose dictated to the craftsmen a compact shape without fragile protruding details, rounded, pleasant to the touch. The choice of material is also connected with this: not very heavy, durable, consisting of one piece. The most common materials were different types of wood, ivory, ceramics, lacquer and metal.

Art: Japan: painting and graphics

Japanese painting is very diverse not only in content, but also in form: these are wall paintings, screen paintings, vertical and horizontal scrolls, executed on silk and paper, album sheets and fans.

About ancient painting can only be judged by references in written documents. The earliest surviving outstanding works date from the Heian period (794-1185). These are illustrations of the famous "The Tale of Prince Genji" by the writer Murasaki Shikibu. The illustrations were made on several horizontal scrolls and supplemented with text. They are attributed to the brush of the artist Fujiwara Takayoshi (first half of the 12th century).

A characteristic feature of the culture of that era, created by a rather narrow circle of the aristocratic class, was the cult of beauty, the desire to find in all manifestations of material and spiritual life their inherent charm, sometimes elusive and elusive. Painting of that time, later called yamato-e (literally japanese painting), conveyed not an action, but a state of mind.

When the harsh and courageous representatives of the military class came to power, the culture of the Heian era began to decline. In painting on the scrolls, the narrative principle was established: these are legends about miracles full of dramatic episodes, biographies of preachers of the Buddhist faith, scenes of battles of warriors.

In the 14th-15th centuries, under the influence of the teachings of the Zen sect, with its special attention to nature, landscape painting began to develop (initially under the influence of Chinese models).

For a century and a half, Japanese artists mastered the Chinese art system, making monochrome landscape painting the property of national art. Its highest flowering is associated with the name of the outstanding master Toyo Oda (1420..1506), better known under the pseudonym Sesshu. In his landscapes, using only the finest shades of black ink, he managed to reflect the entire multi-colored nature of the natural world and its countless states: the moisture-saturated atmosphere of early spring, the invisible but felt wind and cold autumn rain, the motionless stillness of winter.

The 16th century opens the era of the so-called late Middle Ages, which lasted three and a half centuries. At this time, wall paintings became widespread, decorating the palaces of the rulers of the country and large feudal lords. One of the founders of the new direction in painting was the famous master Kano Eitoku, who lived in the second half of the 16th century. Wood engraving (xylography), which flourished in the 18-19 centuries, became another type of fine art of the Middle Ages. Engraving, like genre painting, was called ukiyo-e (pictures of the everyday world). In addition to the artist who created the drawing and wrote his name on the finished sheet, the engraving was created by a carver and a printer. At first, the engraving was monophonic, it was painted by hand by the artist himself or by the buyer. Then printing in two colors was invented, and in 1765 the artist Suzuki Harunobu (1725..1770) first used multi-color printing. To do this, the carver placed a tracing paper with a pattern on a specially prepared longitudinal sawn board (from pear, cherry or Japanese boxwood) and cut out the required number of printed boards, depending on the color scheme of the engraving. Sometimes there were more than 30 and. After that, the printer, choosing the right shades, made prints on special paper. His skill was to achieve an exact match of the contours of each color, obtained from different wooden boards.

All engravings were divided into two groups: theatrical, which depicted the actors of the Japanese classical Kabuki theater in various roles, and everyday writing, dedicated to the depiction of beauties and scenes from their lives. The most famous master of theatrical engraving was Toshyushay Syaraku, who depicted the faces of the actors in close-up, emphasizing the features of the role they played, the characteristic features of the person reincarnated as the character of the play: anger, fear, cruelty, deceit.

Such outstanding artists as Suzuki Harunobu and Kitagawa Utamaro became famous in everyday life engraving. Utamaro was the creator of female images that embodied the national ideal of beauty. His heroines seem to have frozen for a moment and will now continue their smooth graceful movement. But this pause is the most expressive moment when the tilt of the head, the gesture of the hand, the silhouette of the figure convey the feelings they live in.

The most famous engraver was the brilliant artist Katsushika Hokusai (1776-1849). Hokusai's work is based on the centuries-old pictorial culture of Japan. Hokusai made over 30,000 drawings and illustrated about 500 books. Already a seventy-year-old man, Hokusai created one of the most significant works - a series of "36 Views of Fuji", which allows him to be put on a par with the most outstanding artists of world art. Showing Mount Fuji - the national symbol of Japan - from different places, Hokusai for the first time reveals the image of the motherland and the image of the people in their unity. The artist saw life as a single process in all its diversity of manifestations, starting from the simple feelings of a person, his daily activities and ending with the surrounding nature with its elements and beauty. The work of Hokusai, which absorbed the centuries-old experience of the art of his people, is the last peak in the artistic culture of medieval Japan, its remarkable result.

Art: Japan: sources of information

Microsoft Encarta 97 Encyclopedia World English Edition. Microsoft Corp., Redmond, 1996;

Internet resources (Worldwide Web);

"Encyclopedia for Children", Volume 6 ("Religions of the World"), Part Two. Publishing house "Avanta +", Moscow, 1996;

"Encyclopedia for Children", volume 7 ("Art"), part one. Publishing house "Avanta +", Moscow, 1997;

Encyclopedia "Myths of the peoples of the world". Publishing house "Soviet Encyclopedia", Moscow, 1991.

Art: Japan: Glossary

Engraving- view charts, in which the image is a printed print of a drawing applied to a board made of wood, linoleum, metal, stone; the image itself on wood, linoleum, cardboard etc.

Ikebana("living flowers") - the Japanese art of arranging bouquets; the bouquet itself, composed according to the principles of ikebana.

Kondo(Golden Hall) - the main temple of the Buddhist Japanese monastery complex; later became known as Hondo.

Kaizuma- in Japanese architecture, a massive gable roof of a Shinto shrine; It was made from straw or cypress bark, later from tiles.

Woodcut - engraving on the tree.

H´ etsuke- a miniature figurine made of ivory, wood or other materials; served as a keychain with which small objects (for example, a wallet) were attached to the belt; belonging to the Japanese national costume.

Pagoda- in the Buddhist architecture of the countries of the Far East and Southeast Asia, a multi-tiered memorial tower - reliquary with an odd (lucky) number of tiers.

R´ impa- School of Japanese painting 17..18 centuries; gravitated towards literary subjects of past centuries; conveyed the lyrical experiences of the characters.

Reliquary- a repository for storing relics.

Tyaniva("tea garden") - in the architecture of Japan, a garden associated with the tea ceremony - pulling; makes up a single ensemble with a tea pavilion - chashitsu.

Tyano´ Yu("tea ceremony") - in the spiritual life of Japan, a philosophical and aesthetic ritual of uniting people, helping them to switch off from the hustle and bustle of life.

Ukiyo-e("pictures of the everyday world") - a school of Japanese painting and woodcuts 17..19 centuries, reflecting the life and interests of the urban population; inherited the traditions of genre painting of the 15th-16th centuries.

Haniva("clay circle") - ancient Japanese funeral ceramics; named after the manufacturing method: hand-sculpted clay rings are laid one on top of the other; dawn period - 5..6 centuries.

Yamato-´ uh("Japanese painting") - in the fine arts of Japan since the 10th - 11th centuries, an independent direction, opposed to Chinese painting; plots of medieval Japanese stories, novels and diaries were reproduced; silhouettes, bright color spots, interspersed with gold and silver sequins were expressively combined.

Art of Japan, page 7 of 7

Art of India

The first civilization on Indian soil was the Harappan culture in the Indus Valley, which flourished 2500 B.C. Before disappearing under the onslaught of the Aryan tribes, she immortalized herself with a number of wonderful masterpieces of sculpture and urban planning. Over time, the Aryans took possession of the whole of Northern India, but for a thousand years of dominion they did not leave behind any monuments of art. The foundations of the Indian artistic tradition were laid only in the 3rd century BC.

Indian art was originally religious in nature, reflecting the worldviews of Hinduism, Jainism and Buddhism. Since ancient times, Hindus have been distinguished by a heightened perception of the surrounding world, and architecture rightfully occupied the main place in their art.

In the ancient sculptures that came out from under the chisel of the representatives of ascetic Buddhism, there is not yet a trace of overflowing love of life. At one time it was even forbidden to create portrait images of the Buddha. However, after the lifting of the ban in the northeastern province of Gandhara, statues of Buddha in the form of a man began to appear, created in the Hellenic "Greco-Buddhist" style, which had a noticeable impact on the art of the entire region.

In the province of Gandhara in the first centuries AD. a new art school appeared, combining traditional Buddhist canons with some features of Greek art, brought to India by the troops of Alexander the Great (end of the 4th century BC). Thus, countless images of the Buddha made of stone and knocking (a mixture of plaster, marble chips and glue) acquired a characteristically elongated face, wide-open eyes and a thin nose.

A relatively restrained style also prevailed in the classical Gupta era (320-600 AD), although by this time Buddhism had absorbed many elements of Hindu myths. For example, yakshini - female forest deities - were depicted by Buddhist sculptors in the form of puffy dancers in a manner very far from asceticism.

In any of the works of Indian art - Buddhist or Hindu - religious and philosophical information was initially encoded in a coded form. So, the pose in which the Buddha is depicted is extremely important: meditation or teachings. There are canonical features of the appearance of the Buddha: elongated earlobes, deformed by the decorations that he wore in his youth, when he was a prince; hair collected in spiral buns on the head, etc. Such details give the viewer a clue to help determine the idea and, accordingly, the ritual necessary to communicate with the deity. Hindu art is also heavily coded. Any, even a small, detail is important here - the turn of the deity's head, the position and number of hands, the system of decorations. The famous figurine of the dancing god Shiva is a whole encyclopedia of Hinduism. With each jump of his dance he creates or destroys Worlds; four arms mean infinite power; an arc with flames is a symbol of cosmic energy; a small female figurine in hair - the goddess of the river Ganges, etc. The encrypted meaning is characteristic of the art of a number of countries in Southeast Asia that are part of the area of ​​Hindu culture.

A vivid picture of the life of Ancient India is recreated by the mood of the murals of the cave temples of Ajanta, which amaze with the brilliance and harmony of multi-figured compositions.

Ajanta is a kind of monastery - a university where monks live and study. The temples of Ajanta are carved into 29 rocks, which are located next to the colorful banks of the Wagharo River. The facades of these rock temples belong to the Guptu period of luxurious decorative sculptures.

The sculptural monuments of Ajanta continue the old traditions, but the forms are much freer and improved. Almost everything inside the temple is inscribed. The subjects of the painting are taken from the life of Buddha and are connected with the mythological scenes of Old India. People, birds, animals, plants and flowers are masterfully depicted here.

Indian architecture can be called a kind of sculpture, since many sanctuaries were not built from individual ornaments, but were carved from a stone monolith and, in the course of work, were covered with a rich carpet of sculptural decorations.

This trait was especially pronounced in the thousands of temples that sprang up during the Hindu renaissance between 600 and 1200 CE. Mountain-like, multi-tiered towers are covered with carved bas-reliefs and statues, giving the temples of Mamallapuram and Ellora an unusually organic look.

The influence of Buddhist and Hindu art is felt far beyond India. Angkor Wat is the largest of the many Hindu temples built in Kalebodja in the 10th-12th centuries. This is a huge, moated complex of five carved conical towers, the central of which soared 60 meters into the sky. Among the Buddhist temples, the unique sanctuary on the hill has no equal. Borobudur, on the island of Java, in which the richness of the sculptural decoration is subject to a strict architectural design. In other places - Tibet, China and Japan - Buddhism also gave rise to highly developed and original artistic traditions.

Significant changes in the traditions of artistic creativity occurred with the spread of a new religion - Islam, brought to India by Arab conquerors in the 8th century. The influence of Islamic culture reached its apogee under the Mughals, who ruled most of India from the 16th century. The erection of magnificent mosques and tombs became famous for Sultan Akbar (1556 - 1605) and his successors - Dzhan-Igry and Shah Jahan.

Taj Mahal is a gem of Indian architecture. Grieving for his wife who died in childbirth, Emperor Shah Jahan erected this white marble mausoleum in Agra, skillfully decorated with a mosaic of precious stones. Surrounded by a garden, the royal tomb is located on the banks of the Jamna River. The white marble building is raised on a seven-meter pedestal. In plan, it represents an octagon, or rather a square with cut corners. All facades are cut with high and deep niches. The mausoleum is crowned with a round "onion" dome, which was compared by poets with a "cloud resting on an air throne" for its lightness and harmony. Its impressive volume is emphasized by four small domes of minarets, standing along the edges of the platform. The inner space is small and is occupied by two cenotaphs (false tombs) of Mumtaz and Shah Jahan himself. The burials themselves are in the crypt under the buildings.

Under the Mughals, the miniature art that came from Persia flourished. The term "miniature" is used to refer to picturesque book illustrations of any format. Sultan Akbar attracted artists from all over India, including Hindus, to create them. An energetic secular style developed in the court workshops, which differed in many respects from the decorative Persian tradition. Glittering like gems, full of dynamism, the miniatures of the Mughal era offer us an amazingly vivid picture of Indian life before the reign of the fanatical Aurangzeb (1658-1707).

Art of China

Chinese civilization is the only one of all that has preserved the centuries-old continuity of cultural traditions. Some typical Chinese traits - a fondness for the play of halftones and the silky texture of jade - go back to prehistoric times. Great Chinese art originated around 1500 BC, in the era of the Shang-Yin dynasty, with the emergence of hieroglyphic writing and the acquisition of the supreme ruler of the divine status of "son of heaven."

This 500-year period includes a great variety of massive, gloomy bronze vessels for sacrifices to ancestors, decorated with abstract symbols. In fact, these are extremely stylized images of mythical creatures, including dragons. The cult of ancestors inherent in many civilizations has taken a central place in the beliefs of the Chinese. However, in the art of later centuries, the spirit of magical mystery gradually gave way to cold contemplation.

In the era of Shang-Yin, the old encircling plan of cities (Anyang) began to form, in the center of which the ruler's palace and temple were built. Residential houses and the palace were built from a solid mixture of earth (loess) and a wooden additive without stones. Pictography and hieroglyphic records appeared, the basis of the lunar calendar. It was at this time that the style of ornament was formed, which has been preserved for many centuries. Simple bronze dishes were decorated on the outside with symbolic images, and inside - with hieroglyphic inscriptions, with the names of noble people or dedicatory inscriptions. During this period, symbolic images are far from reality and were distinguished by an abstract form.

The system of religious and philosophical Taoism and Confucianism made a great contribution to culture and art. In the middle of the first millennium BC. formed the basic principles of architecture and urban planning. Many fortifications were built, separate defensive walls from the north of the empire began to unite into one continuous Great Wall of China (3rd century BC - 15th century; height from 5 to 10 meters, width from 5 to 8 meters and a length of 5000 km.) with quadrangular guard towers. Frame structures are formed, wooden (later brick) types of a rectangular building plan. The gable roofs of the buildings were covered with straw (later tiles). Underground two-storey mausoleums are spreading. Their walls and ceilings were decorated with wall paintings, inlays, stone statues of fantastic animals were placed nearby. Characteristic types of Chinese painting appeared.

After centuries of civil strife, China was united by the emperor of the Qin Dynasty (c. 221 - 209 BC). A unique archaeological find speaks of the manic thirst for self-aggrandizement of this lord. Taken in 1974, an army of human-sized terracotta (unglazed ceramic) warriors destined to serve him in the afterlife was found in the emperor's tomb.

During the years of the Han Dynasty (209 BC - 270 AD), China developed into a huge empire with a complex social structure. Confucianism, an ethical doctrine that preached moderation and fidelity to family and civic duty, had a profound impact on the worldview of the Chinese, especially on the caste of learned officials, formed by the system of examinations for admission to public service. Officials, often being artists and poets, played a prominent role in the development of Chinese art. New elements were introduced by Taoism, an intuitive and magical teaching close to nature that arose in the Han era.

Han art has come down to us primarily in the form of funeral gifts - clothing, jewelry and cosmetics, as well as bronze and ceramic figurines, bas-reliefs and figured tiles. Buddhism, which came from India, inspired Chinese masters to search for new forms and artistic techniques, which manifested themselves in cave temples carved in the Indian manner and statues of Yunygan.

Judging by the few monuments that have come down to us, in the Han era, strong traditions of painting developed, distinguished by amazing lightness and freedom of brush. Subsequently, painting became a truly mass art, and for many centuries China has given the world many outstanding artists, schools and movements. A subtle perception of the beauty of the surrounding nature brought to the fore the landscape genre, especially the mountain landscape, which is very important in Chinese art - this genre has no analogues in cultures. Pictures were often created as illustrations for poems or other works, and the impeccable calligraphy of the inscriptions was revered as an art in itself.

Although ceramics have been produced in China for thousands of years, in the Tang period (618-906) this craft acquired the features of a genuine art. It was at this time that new forms and colored glazes appeared, giving the products a colorful look. Among the most famous monuments of this dynasty are funeral ceramic figurines of people and animals, which were not inferior in expressiveness to large structural forms. Beautiful equestrian figurines of the Tang era are distinguished by their special beauty and expression.

At the dawn of the Tang era, the Chinese mastered the secret of making porcelain. This thin, hard, translucent, pure white material was unparalleled in finesse, which was perfected by exquisite workmanship in the Song Dynasty (960-1260) and subsequent dynasties. The famous blue and white porcelain was made during the Mongol Yuan Dynasty (1260-1368).

An important role in the history of Chinese culture was played by the ancient Chinese book of wisdom and fortune telling, called the "Book of Changes". Here the world is understood as a kind of embryo, within which the male light force - yang and the female dark force - yin, were combined. These two principles do not exist one without the other. The Book of Changes had a great influence on the further development of aesthetic thought and Chinese art.

At the beginning of the Song era, the Chinese began to collect works of art from past dynasties, and artists often revived the styles of ancient times. However, the art of the Ming era (1368-1644) and the early Qing era (1644-1912) is valuable in itself, despite the gradual fading of creative energy.

During the Ming and Qing dynasties, symmetrical, regular-plan cities with an inner and outer part were formed. The capital Beijing was almost rebuilt. Applied art has reached such a level that it has created the image of China in Europe.

Art of Japan

From century to century, Japan has developed apart from all civilizations, with the exception of China. The growth of Chinese influence began in the 5th-6th centuries, when, along with the new system of state government, writing, Buddhism and various arts came to Japan from the continent. The Japanese have always been able to absorb foreign innovations, giving them national features. For example, Japanese sculpture attached much more importance to portrait resemblance than Chinese.

The development of Japanese painting was facilitated by contacts with the continent, from which, at the beginning of the 7th century, the art of making paints, paper and ink was borrowed.

Of great importance for the fate of Japanese painting, as well as sculpture, was the spread of Buddhism in the country, since the needs of Buddhist cult practice created a certain demand for works of these types of art. So, since the 10th century, in order to spread knowledge among believers about the events of Buddhist sacred history, the so-called emakimono (long horizontal scrolls) were created en masse, which depicted scenes from Buddhist sacred history or from parables related to it.

Japanese painting in the 7th century was still very simple and artless. Ideas about it are given by the paintings on the Tamamushi ark from the Horyuji temple, which displayed the same scenes that were reproduced on the emakimono. The paintings are made with red, green and yellow paint on a black background. Some paintings on the walls of temples dating back to the 7th century have much in common with similar paintings in India.

From the 7th century, the development of genre and landscape painting began in Japan. The screen under the conditional name "Woman with bird feathers" has survived to this day. The screen depicts a woman standing under a tree, her hair and kimono are decorated with feathers. The drawing is executed with light, flowing lines.

Initially, Japanese artists, due in part to the nature of the subject they were working on (Buddhist painting), were heavily influenced by the Chinese: they painted in the Chinese style, or kara-e style. But over time, in contrast to paintings in the Chinese style of kara-e, secular paintings in the Japanese style, or yamato-e style (Yamato painting), began to appear. In the 10th-12th centuries, the yamato-e style became dominant in painting, although works of a purely religious nature were still painted in the Chinese style. During this period, the technique of applying the contours of the picture with the smallest gold foil became widespread.

One of the examples of historical painting of the Kamakura era is the famous 13th century Heiji Monogatari scroll, which depicts the uprising raised in 1159 by the head of a large samurai clan, Yoshimoto Minamoto. Like the miniatures in ancient Russian chronicles, scrolls like the Heiji Monogatari are not only outstanding works of art, but also historical evidence. Combining text and image, they reproduced in hot pursuit the turbulent events of the princely strife of the second half of the 12th century, sang the military exploits and high moral qualities of the new military nobility, the samurai, that entered the arena of history.

The greatest artist of the Muromachi period is Sesshu (1420-1506), who created his own style. He owns an outstanding work of Japanese painting "Long landscape scroll", dated 1486, having a length of 17 m and a width of 4 m. The scroll depicts four seasons. Sesshu was an excellent portrait painter, as evidenced by his portrait of Masuda Kanetaka.

In the last decades of the Muromachi period, a process of intensive professionalization of painting took place. At the beginning of the 16th century, the famous Kano school appeared, founded by Kano Masanobu (1434-1530), who laid the foundations for the decorative direction in painting. One of the early works of genre painting of the Kano school is the painting by the artist Hijori of a screen on the theme “Admiring Maples in Takao”.

From the end of the 16th century, murals and paintings on folding screens became the main forms of painting. Paintings adorn the palaces of aristocrats, houses of citizens, monasteries and temples. The style of decorative panels is developing - yes-mi-eh. Such panels were painted with rich colors on gold foil.

A sign of the high level of development of painting is the existence at the end of the 16th century of a number of painting schools, including Kano, Tosa, Unkoku, Soga, Hasegawa, Kaiho.

During the 17th-19th centuries, a number of once-glorious schools disappear, but new ones take their place, such as the ukiyo-e woodcut school, the Maruyama-Shijo, Nanga schools, and European painting. Along with the ancient cities of Nara and Kyoto, the new capital of Edo (modern Tokyo), Osaka, Nagasaki, etc., become centers of culture and art of the late Middle Ages (it dragged on in Japan until almost the 19th century).

The art of the Edo period (1615-1868) is characterized by a special democratism and a combination of artistic and functional. An example of such a combination is painting on screens. It was on the paired screens that "Red and White Plum Blossoms" were written - the most significant and famous of the surviving works of the great artist Ogata Korin (1658-1716), a masterpiece, rightfully ranked among the best creations of not only Japanese, but also world painting.

One of the most popular genres of Japanese small plastic art was netsuke. In netsuke, the artistic canon of the Middle Ages was refracted, combined with the Renaissance looseness of art in the Edo era. These works of miniature sculpture seem to focus thousands of years of Japan's plastic experience: from the wild dogu of Jomon, the haniwa of the Late Mounds to the canonical culture of the Middle Ages, stone buddhas and the living Enku tree. Netsuke masters borrowed a wealth of expression, a sense of proportion, completeness and accuracy of composition, and perfection of details from the classical heritage.

The material for netsuke was very different: wood, ivory, metal, amber, lacquer, porcelain. Over each thing the master worked sometimes for whole years. Their subject matter varied endlessly: images of people, animals, gods, historical figures, characters of folk beliefs. The heyday of that purely urban applied art falls on the second half of the 18th century.

At one time in the last century, Europe, and then Russia, it was through engraving that they first became acquainted with the phenomenon of Japanese art. Masters of ukiyo-e achieved the maximum simplicity and intelligibility both in the choice of plots and in their implementation. The plots of the engravings were mostly genre scenes from the everyday life of the city and its inhabitants: merchants, artists, geishas.

Ukiyo-e, as a special art school, has put forward a number of first-class masters. The initial stage in the development of plot engraving is associated with the name of Hisikawa Moronobu (1618-1694). The first master of multi-color engraving was Suzuki Haranobu, who worked in the middle of the 18th century. The main motives of his work are lyrical scenes with a predominant influence not on action, but on the transfer of feelings and moods: tenderness, sadness, love.

Like the ancient refined art of the Heian era, ukiyo-e masters revived in the new urban environment a kind of cult of refined female beauty, with the only difference that instead of mountain Heian aristocrats, graceful geishas from the entertainment districts of Edo became the heroines of the engravings.

The artist Utamaro (1753-1806) is, perhaps, a unique example in the history of world painting, an example of a master who undividedly devoted his work to the depiction of women - in different life circumstances, in various poses and toilets. One of his best works is Geisha Osama.

The genre of Japanese engraving reached its highest level in the work of Katsushika Hokusai (1760-1849). He is characterized by a completeness of coverage of life previously unknown in Japanese art, an interest in all its aspects - from a random street scene to majestic natural phenomena.

At the age of 70, Hokusai created his most famous series of prints, "36 Views of Fuji", followed by the series "Bridges", "Big Flowers", "Journey through the Waterfalls of the Country", the album "100 Views of Fuji". Each engraving is a valuable monument of pictorial art, and the series as a whole give a deep original concept of being, the universe, the place of man in it, traditional in the best sense of the word, i.e. rooted in the millennial history of Japanese artistic thinking, and completely innovative, at times daring, in terms of means of execution.

Hokusai's work adequately connects the centuries-old artistic traditions of Japan with modern settings of artistic creativity and its perception. Brilliantly reviving the landscape genre, which in the Middle Ages gave such masterpieces as Sesshu's "Winter Landscape", Hokusai brought it out of the canon of the Middle Ages directly into the artistic practice of the 19th-20th centuries, influencing and influencing not only the French Impressionists and Post-Impressionists (Van Gogh, Gauguin , Matisse), but also on Russian artists of the World of Art and other, already modern schools.

The art of ukiyoe color engraving was, on the whole, an excellent result, and perhaps even a kind of completion of the unique paths of Japanese fine art.



Small history of arts. Art of the countries of the Far East. Vinogradova N.A., Nikolaeva N.S.

M.: 1979. - 374 p.

This volume of "Small History of Art" is devoted to the art of the countries of the Far East. It belongs to the pen of Soviet researchers N. Vinogradova and N. Nikolaeva. On a vast territory, conventionally designated as the Far East, a vibrant and original culture developed, leaving outstanding works of human genius in literature, philosophy, and fine arts. On the material of architecture, sculpture, painting and decorative crafts of China, Korea, Japan and Mongolia, covering the chronological framework from ancient times to the end of the 19th century, the authors convincingly show that the art of the countries of the Far East, not being isolated from the historical and cultural process, obeying it the most general laws, at the same time it is an independent phenomenon in world art. The book is equipped with a scientific apparatus - a synchronistic table, a dictionary, a bibliography. Richly illustrated with color and tone illustrations.

Format: pdf

The size: 24 MB

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CONTENT
6 Foreword by Ya. S. Nikolaev
9 CHINA N.A. Vinogradova
10 Introduction
16 Art of the most ancient and ancient periods (IV millennium BC - III century AD)
31 Art of the 4th-6th centuries
47 Art of the 7th-13th centuries
117 Art of the late XIII-XIV century
125 Art of the late 14th-19th centuries
153 KOREA N. A. Vinogradova
154 Introduction
158 Art of the most ancient and ancient periods (3rd millennium BC - first centuries BC)
163 Art of the Three Kingdoms Period - Goguryeo, Baekje and Silla (first centuries BC - 7th century AD)
177 Art of VIII-IX centuries. Unified Silla period
189 Art of the X-XIV centuries. Goryeo period
196 Art of the 14th - early 19th century
207 JAPAN N. S. Nikolaeva
208 Introduction
211 Art of the most ancient and ancient periods (IV millennium BC - VI century AD)
220 Art of the 6th-8th centuries
242 Art of the 9th-12th centuries
263 Art of the 13th-15th centuries
289 Art of the 16th - early 17th centuries
306 Art of the second half of the 17th-19th centuries
329 MONGOLIA N.A. Vinogradova
330 Introduction
333 Art of ancient and ancient periods
337 Art of the feudal period (XIII - early XX century)
353 APPS
354 Glossary of terms
357 Synchronization table
367 Brief bibliography
371 Index of names
artists and architects

This volume is devoted to the history of art of the peoples of China, Korea, Japan and Mongolia from antiquity to the 19th century. Over the course of several millennia, a vibrant and distinctive culture developed on a vast territory, conventionally designated as the Far East, leaving outstanding works of human genius in literature, philosophy, fine arts, and architecture.
The long historical period considered in the book includes two successive types of culture - ancient and medieval. Already in antiquity, the peoples of the Far East created significant monuments of spiritual and material culture. But their main contribution to the culture of mankind is the outstanding works of painting, sculpture, architecture and decorative arts created in the Middle Ages.

The official history of the organization began in October 1938 on the initiative of V. V. Bezrodny. Artist, teacher and public figure Vasily Vasilyevich Bezrodny graduated from the St. Petersburg Academy of Arts. I. E. Repin, Department of Theatrical Design. According to contemporaries, he was a modern-minded person with knowledge and high artistic culture.

In Vladivostok of those years, higher art education was a rare occurrence. V. V. Bezrodny’s professional skills and vision of art were formed in the former Imperial Academy of Arts, where A. P. Ostroumova-Lebedeva, I. I. Brodsky, M. P. Bobyshev, B. V. Ioganson, D. N. Kardovsky.

The atmosphere at the academy of those years can be judged by a special hall opened in 2013 at the Research Museum of the Russian Academy of Arts (NIM RAH) in St. Petersburg. This is a hall dedicated to the Academy of Arts in one of its difficult periods - the 1920s and early 1930s, when there was an unusual, colorful picture of various, sometimes mutually exclusive directions. This influenced the formation of the artist.

One of the qualities of V. V. Bezrodny, formed at that time, can be called the versatility of his creative nature. This affected the atmosphere in the newly created organization in Primorye, and the nature of the activities of V. V. Bezrodny himself, who was engaged not only in the affairs of the local union of artists, but also striving to establish art education.

About the first steps of the Primorye Organization of Artists, V. I. Kandyba wrote the following: “On October 10, 1938, for the first time in the history of the region, artists from different parts of Primorye got together.

This meeting became the founding one. Its result was the formation of the organizing committee of the Union of Primorye Artists, which on August 1, 1939 was registered by the organizing committee of the Union of Soviet Artists in Moscow.

V. V. Bezrodny was elected chairman, V. F. Inozemtsev was elected deputy chairman and chairman of the exhibition committee, and T. G. Aleshunin was elected technical secretary. The famous "Thursdays" at N. I. Kramskoy with drawing, talking about art were transformed in Vladivostok into an advanced training studio for artists. There were regular meetings, work on yourself. Here reigned studio, unique spirit of camaraderie, solidarity, enthusiasm and creative aspirations. Not without reason, already in 1939, according to the plan of the organizing committee, a joint exhibition of works by artists of Primorye was opened. It was attended by 18 people with 120 works.

The creative organization included I. A. Zyryanov, P. V. Muldin, O. I. Bogashevskaya-Sushkova, S. S. Serezhin, M. A. Tsyganov, V. M. Fomin, N. A. Mazurenko, V. M. Sviridov, F. I. Rodionov, S. P. Kolabukhov, D. S. Budrin, D. P. Pravednikov, A. V. Zevin, T. I. Obrazkov, I. F. Palshkov (Suchan, p. 1972 - Partizansk), P. P. Medvedev (Artem), V. M. Zotov (Ussuriysk), S. P. Chaika (Ussuriysk), I. S. Dereka (Ussuriysk), S. F. Arefin (Ussuriysk) , Y. L. Ars (Ussuriysk), G. K. Aslanov (Ussuriysk).

Members of the first composition of the organization had different educational levels and different professional experience. So, M. A. Tsyganov graduated from the club-instructor department of the technical school in Rostov, then he worked in the club of the regiment as an artist during his service in the Red Army (1932-34), P. V. Muldin began his career as a student of the artist of the Ussuri cinema . S. F. Arefin received training at the Studio of War Artists. I. F. Palshkov (1887-1954) graduated from the Central School of Technical Drawing of Baron Stieglitz in 1912 and had experience of working at the calico-printing factories of Serpukhov, Ivano-Voznesensk, as well as the experience of participating in exhibitions of the Society of Non-Party Artists in St. Petersburg (1914- 1915) and won recognition for landscapes, studies and drawings. In 1916, I. F. Palshkov took part in the construction of a church at the school of folk art of Empress Alexandra Feodorovna, for which he was awarded a precious pin with the image of the state emblem. But, despite these differences, the artists were united by one thing: their work reflected the nature and multifaceted life of Primorsky Krai.

In 1939, the Organizing Committee of the Association of Primorye Artists worked at V. V. Bezrodny's house at Pushkinskaya, 12. This house has not been preserved. V. V. Bezrodny moved to Vladivostok from Ussuriysk in 1936.

He begins to work in the theater of the Pacific Fleet, creates sketches of scenery and costumes. At the same time, the artist comes up with educational initiatives: he creates the "Studio of Naval Artists" at the Sailor's Club, which was located at that time in the building of the Lutheran church, where the Red Navy and Red Army soldiers are engaged.

In 1939, in the Club of Sailors (today the Pushkin Theater, Pushkinskaya St., 27), on the initiative of Bezrodny, a school-studio was created, in which they studied according to the program of the secondary art school. Consciousness of the need for professional (rather than studio education) prompts V. V. Bezrodny to persevere in the matter of creating the Vladivostok Art School. In 1943, the People's Commissariat of Education of the USSR approved the decision to open an art school in Vladivostok, the director of which was T. G. Aleshunin (later transferred to the Far Eastern Pedagogical Institute of Arts, organized in 1962, to the position of Vice-Rector for Economic Affairs). In 1944, the first enrollment of students was made, by the next academic year 1945-1946, the school had two courses in painting and theater departments and one in sculpture.

In 2014, the Vladivostok Art School celebrated its 70th anniversary, and material is currently being compiled to create an album dedicated to the history of the school and its role in the formation and development of art education in the Primorsky Territory and the Far East. In this article, I would like to emphasize the connection between the creative organization and the school: the teachers of the VCU of that period V. V. Bezrodny, B. F. Lobas, V. S. Zdanovich, G. M. Tsaplin, F. N. Babanin, K. I. Shebeko, V. I. Prokurov, A. M. Rodionov, M. A. Kostin, N. P. Zhogolev, D. P. Kosnitsky, Yu. I. Gerasimov, N. M. Timofeev, E. E. Makeev, L. A. Kozmina, A. A. Obmanets, M. V. Kholmogorova, A. P. Zhogoleva, V. V. Medvedev and others were and are members of the Primorsky organization of the Union of Artists of Russia.

Over time, the organizational and creative work of the Primorsky Organization of Artists reached a qualitatively new level: regional art exhibitions became regular, graduates of the Vladivostok Art College came to artistic life. In 1959, the Primorsky organization moved into a new building on the street. Aleutskaya, 14-a.

A new, bright stage began in the life of the Primorsky Union of Artists in the mid-1950s. These are the years of professional formation of I. V. Rybachuk, K. I. Shebeko, K. P. Koval, N. A. Mazurenko, S. F. Arefina, V. N. Gerasimenko, T. M. Kushnareva, V. M. Medvedsky, V. M. Sviridov, B. F. Lobasa, A. V. Teleshov, etc. During these years, the first reviews of the work of Primorye artists appeared in the journal "Khudozhnik". A general description of this decade was formulated by V. I. Kandyba: “... it is rather a period of formation and accumulation of strength, rooting on the coastal soil of a young growth of pioneering artists.” The role of pioneering artists in the artistic development of the Far Eastern reality is great.

At the end of the 1950s, those features were laid that made it possible to call seaside art at subsequent zonal exhibitions. This is the predominant role of the landscape, the desire to master the genre of the plot-thematic picture associated with the history of the region, the nature of labor in it (Primorsky Krai is the territory of sailors, fishermen, miners), interest in the theme of the North, Chukotka, Kamchatka, the Kuriles.

I. V. Rybachuk, K. I. Shebeko are considered to be the discoverers of the northern theme not only in the Far East, but also in Soviet art. The exhibition "Three Masters" in the halls of the Primorsky branch of the VTOO "Union of Artists of Russia" in 2014 with the participation of I. V. Rybachuk and K. I. Shebeko made it possible to look at this material from the point of view of the modern vision of the theme in art and once again appreciate the scale of what has been done . The North attracted V.M. Medvedsky, I.A. Ionchenkova, N. D. Volkova (Ussuriysk) and other artists, prompting them to search for special artistic means to adequately reflect the nature and man of the North.

Another no less significant theme in the art of Primorye artists was the Shikotan theme. Having become the subject of the latest research in connection with the attention to the domestic art of the 1960s in general, this topic turned out to be associated with the work of more than two dozen artists of the Primorsky Territory and lasted for decades, giving impetus to the existence of the Shikotan group. The first period of the existence of the group is associated with the names of Y. I. Volkov, I. A. Kuznetsov, V. S. Rachev, E. N. Korzha. The history of the creation of the group is connected with the personality of O. N. Loshakov, after graduating from the Moscow Art Institute. V. I. Surikov, who came to Vladivostok to teach at an art school. Landscape, portrait, plot-thematic picture - these genres were embodied in dozens of canvases, the main content of which was "the nature of the Far East, then - a person in a simple and strong relationship with her." In the works of the Shikotans, a severe style was realized - a trend in the art of the 1960s, short in time, but, despite this, influenced the subsequent attitude of Soviet artists until the end of the 1980s. Group exhibitions were held in Vladivostok, Moscow.

O. N. Loshakov participates in the autumn exhibition of 2014 as an honored guest.

The period of the 1960s, V. I. Kandyba and art critics from the capital, are associated with the development of the plot-thematic painting: “The second half of the 1960s was marked by an event of great importance for seaside painting - the formation of the plot-thematic painting. From a rare but always welcome guest, she has become an obligatory regular in most of our exhibitions.

The acute deficit for it has clearly subsided.” V. I. Bochantsev, Y. I. Volkov, V. N. Doronin, N. P. Zhogolev, K. I. Shebeko, S. A. Litvinov and others are among the “artists”. hero of the time ”and positively evaluated by critics, was a portrait. The most important theme of the exhibition "Soviet Far East", which opened in 1965 in Vladivostok, was a story about a contemporary: "sailors, whalers, fishermen, builders, reindeer herders - these are golden placers of amazing characters." I. V. Rybachuk, K. I. Shebeko, V. A. Goncharenko, V. N. Doronin, A. V. Teleshov, M. I. Tabolkin work in this genre. This period is distinguished by the desire for a wide coverage of topics that reflect all aspects of the life of Primorye and the Far East. Successes in this area are associated with important events in artistic life.

In 1962, the Far Eastern Pedagogical Institute of Arts was organized with music, theater and art faculties (it was called that until 1992, from 1992 to 2000 - the Far Eastern State Institute of Arts, since 2000 - the Far Eastern State Academy of Arts). This step was due to the situation with personnel in creative organizations, which the first rector of the institute, G. V. Vasiliev, in a memorandum to the Minister of Culture of the RSFSR A. I. Popov, called "catastrophically bad." V. A. Goncharenko, dean of the institute, and from 1973 to 1993 rector, writes that the opening of the university in Vladivostok was perceived by artists (including) as “a gift of fate, an unexpected, unexpected chance. And, I must say, everyone used it to the fullest extent of their abilities. Out of them (students of the first graduation - author's note) came out bright artists and wonderful teachers: Yu.I. Volkov, O. P. Grigoriev, I. A. Ionchenkov, D. P. Kosnitsky, P. J. Rogal, V. A. Snytko, Y. V. Sobchenko, V. N. Starovoitov, G. M. Tsaplin. I especially single out S. A. Litvinov, who grew up in our Academy, the first professor of painting in the Far East, wholly and completely shaped by the artistic life of Primorye.”

The graduates of the art universities of Leningrad and Moscow, V. A. Goncharenko, K. I. Shebeko, V. I. Kandyba (art critic) came to the newly formed institute to teach - Institute of Painting, Sculpture and Architecture. I. E. Repina, V. N. Doronin, V. I. Bochantsev - Moscow Art Institute. V. I. Surikov. In 1967, S. A. Litvinov and Y. V. Sobchenko, from among the graduates of the institute of the first graduation, set foot on the pedagogical path.

In 1977, N. P. Zhogolev (Institute of Painting, Sculpture and Architecture named after I. E. Repin) became one of the teachers. Their pedagogical and creative work, participation in exhibitions, creativity of their students made the artistic life of the region "an organic, equal, creatively original part of all-Russian life." Not only graduates of the Vladivostok Art College, but also schools of Siberia and central Russia (Irkutsk, Kemerovo, Blagoveshchensk, Novoaltaisk, Ivanovo, Ryazan, etc.) began to enter the painting faculty at the Far East State Institute of Art.

The second factor that influenced the development of artistic life was the organization of the Far East zone.

In 1960, the Union of Artists of the Russian Federation was created. In 1960, the 1st republican exhibition "Soviet Russia" was held in Moscow, and before it, local organizations held zonal exhibitions in which all members of creative teams participate. The serious work of exhibition committees contributes to a great professional return, and artists also get the opportunity to correlate their work with the work of artists from other territories. Based on the results of the zonal exhibitions, works were selected for the All-Russian level. This system was preserved for many years, allowing you to enter the general artistic life of the country, and remains today. By the way, Vladivostok was three times the venue for the zonal exhibition - in 1967, 1974 and 1985.

Traditions established in the 1960s continued until the late 1980s. Solo exhibitions of Primorye artists are held in Moscow, albums of reproductions by K. I. Shebeko and K. P. Koval are published in the series “Artists of the Russian Federation”. The success of Primorsky artists is not only in painting, but also in easel and book graphics, poster art (the most notable artist in this direction was E. I. Datsko, who participates in this exhibition as a guest of honor), sculpture, arts and crafts and monumental art.

So, for the Far Eastern Book Publishing House, the Far Eastern State University Publishing House, the Dalnauka Publishing House, a group of artists who have made a remarkable contribution to the development of book graphics in the Primorsky Territory, V. S. Chebotarev, S. M. Cherkasov, F. G. Zinatulin, E. I. Petrovsky, V. I. Vorontsov, V. G. Ubiraev, S. V. Gorbach and others. “The art faculty has become an exclusively painting faculty,” training in the field of graphics was given by the Vladivostok Art School. Here, since 1960, V. S. Chebotarev, who graduated from the Institute of Painting, Sculpture and Architecture named after V.S. I. E. Repin (workshop of A. F. Pakhomov, majoring in graphic artist). V. S. Chebotarev participates in exhibitions with graphic works. Works for book publishers of the Far East. The rise of seaside graphics, which is associated with the name of the artist, means that many of his graduates began to work in this area of ​​art.

In 1978, a section of arts and crafts appeared in the Primorsky organization, it brought together artists from Vladivostok, Artem, Nakhodka, the village. Kavalerovo. In connection with the opening of a carpet factory and a porcelain factory in Artyom, a souvenir factory and a porcelain factory in Vladivostok, a factory of artistic ceramics in Spassk-Dalniy, young, creatively active artists arrived in Primorsky Krai, who graduated from the Moscow Higher School of Industrial Art, Odessa Art School. M. Grekova, Leningrad Higher School of Industrial Art, Moscow Institute of Technology, Leningrad Higher School of Industrial Art. V. Mukhina, Irkutsk School of Arts.

At the exhibitions of arts and crafts, the artists of the section exhibited artistic textiles (tapestry, batik, macrame), porcelain, ceramics, decorative items made of metal, wood, stone with Far Eastern motifs. In different years, the section included A. V. Katsuk, P. F. Fedotov, A. S. Pesegov, O. P. Grigoriev, O. G. and A. G. Kalyuzhny, A. P. Onufrienko, V. F. . Kosenko, V. K. Zakharenko (Nakhodka), T. G. Matyukhina (Artem), T. G. Limonenko, G. M. Maksimyuk, G. G. Dobrynina, T. M. Suslova and others. E. V. Barsegov, N. M. Shaymordanova, V. G. Nenazhivin.

In publications dedicated to the Primorsky organization of the Union of Artists of Russia, they note the balance of different genres of painting, in a large number of works of graphics, sculpture, arts and crafts and monumental art. The artists of Primorye are the authors of a good level of easel works, actively participate in regional, republican, all-Russian exhibitions, contribute to the formation of the image of the city (mosaic panels, art forms in various parts of the city, interior design and facades of public buildings). On the whole, the 1960s-80s can be considered the period of the formation of a multifaceted seaside art with its own face.

In the 1990s, the changes that took place in the socio-political life of the country are reflected in the artistic life. The main thesis of this time, the artists who came to art in the late 1980s, formulated in the booklet of the exhibition “Generation of the 80s”: “The generation of the 80s had a time in which, as a pioneer, they were allowed to create outside of any ideology, on their own… Complete freedom of expression, which, however, still needs to get used to. The generation that grew up in one time and is obliged to live in another is the most difficult. The strongest survive here, or rather, the obsessed, for whom painting is life. The main problem is, on the one hand, the search for opportunities through art to express the problematic vision of modern life, on the other hand, the desire for individuality, which determines the place of the artist in the general series. During this period, young artists play a special role. Their exhibitions point to “the existence of diametrically opposed tendencies and directions in art, the incompatibility of attitudes and tastes, mutually exclusive approaches to depicting a person. The palette of aesthetic quests of young painters… has become more complex,… several ways of interpreting reality claim to be the leading principle at once – from the unconditional disclosure of nature and direct statements about the world to allegorical images and symbolic constructions, as well as a whole conglomerate of techniques borrowed from the technical arsenals of modern modernism.” This thesis is revealed by the exhibitions of the creative groups Vladivostok, Shtil, Lik, whose activity falls on the late 1980s and early 1990s.

One of the landmark exhibitions of this time can be considered the 2nd exhibition of young artists of the Far East "Territory of Hope" (1995, Vladivostok). Analyzing the presented material, V. I. Kandyba writes: “We are now painfully talking a lot about the difficulties of an artist's life in Russia. But how I wish that despite them, in spite of everything, our Far East would become a blessed territory of hope for creativity. Just like this exhibition is for us, radiating the light of youth and hope.” What motivates one of the leading art critics of the Far East to look to the future with optimism? In addition to the general forecast, he notes the works of L. A. Kozmina, I. G. and O. G. Nenazhivina, E. A. Tkachenko, A. G. Filatova, I. I. Butusova and others, although considering them not accessible to everyone, but noting the work with form and color, meanings and associations. From the point of view of today's artists, whose names were named in his article by V. I. Kandyba, responded to the challenges of the time, their work is an unconditional confirmation of this.

But in the 1990s, these challenges became acute. The problem of new forms, put forward by technological progress, was topical: in artistic life, actual art is formed, not associated with the traditional skills of the artist. The crisis also occurred in the field of art criticism, which previously analyzed and generalized the phenomena of artistic life, and in the new conditions began to resemble art journalism, although contributing to the creation of a picture of the day, but not capable of reflecting the situation as a whole.

If we talk about a creative union as an economic organism, cardinal changes have also affected this sphere of life: the art fund, as a form of organizing the artist's employment, ceases to exist in the Primorsky Territory. Of course, the 1990s can be called a crisis period for the art of the region.

At the same time, life encourages us to look for new forms of relationships with society. In 1992, Vladivostok loses its status as a closed port city, contacts with artists from other countries become possible and develop. Primorye residents are beginning to participate in major art events in the Asia-Pacific region and enter the art market. Non-state galleries "Artetage" (founder and director A. I. Gorodniy), "Arka" (founder and director V. E. Glazkova) appeared. Thanks to them, a primary understanding of the figure of the curator is formed, who puts forward the idea of ​​the exhibition in accordance with his own vision of the artistic process, the theme and ensures their implementation. It should be noted the efforts of A. I. Gorodny in the formation of collective exhibitions with a large number of participants, members of the Union of Artists, giving a cross-section of one or another artistic phenomenon: "110 self-portraits", "Children's portrait", "Vladivostok: landscapes and faces", "Artists in Andreevka” and others. The experience of working at these sites, which made it possible to get acquainted with the art of artists from other regions of Russia and abroad, representing contemporary art, photography, certainly needs in-depth research and generalization. In this article, we note the following: both the Artetage Museum and the Arka Gallery have worked and continue to work with artists who are members of the Union of Artists of Russia. "Artetage" is a constant partner of the Primorsky branch in holding large-scale exhibitions (the Primorsky organization of the VTOO "Union of Artists of Russia": 70 years, "Far Eastern State Academy of Arts: 50 years", "Artists to the Fleet", etc.)

By the 2000s, a modern picture of artistic life was taking shape. Members of the creative union actively participate in exhibitions of various levels in Russia and abroad, in the largest art fairs in the Asia-Pacific region (KIAF, Guangzhou Art Fair, etc.). Major art exhibitions with the participation of Vladivostok artists were held as part of the APEC 2012 summit, the Vladivostok Biennale of Visual Arts, etc. Artists initiate various actions. Among the most significant are the series of art cruises organized by S. D. Gorbachev on the Allegro yacht in the mid-1990s.

The idea of ​​creating in 2001 the movement "House of Prishvin" (headed by Honored Artist of the Russian Federation V. I. Oleinikov), which united writers, artists, local historians in connection with the creative rethinking of M. Prishvin's stay in Primorye, led not only to a number of exhibitions, but also a series creative meetings in the libraries of Primorsky Krai.

In 2006 V. F. Kosenko, A. P. Onufrienko and a number of other artists, designers and architects came up with the idea of ​​the Harmony of the Environment project, which included a number of exhibitions. The most striking of them was the exhibition "City, Sea, Wind, Sail" (it was timed to coincide with the birthday of Vladivostok). Monumental art, painting, graphics, arts and crafts, architectural and design projects were presented. The idea of ​​the exhibition is to determine the artist's place in the urban environment. By the time the exhibition was formed, there had already been a positive experience of restoring the railway station and the Tsesarevich Arch in Vladivostok by members of the Primorsky Organization of the Union of Artists of Russia. The project was accompanied by a series of publications in periodicals, which speaks of attempts not only to create an actual artistic product, but to form public opinion (this idea has been continued at the present stage: in September 2014, the Alliance Francaise Vladivostok presented the educational project "Contemporary Art in Architecture city”, which caused great enthusiasm among students studying architecture and design). In a sense, in 2006, Primorye artists were ahead of their time. And in 2013, the continuation of the project was the design of the Vladivostok cinema with a series of ceramic panels by G.G. Dobrynina and V.F. Kosenko.

Another interesting initiative was the creation of the non-profit Foundation for Visual Arts "MOST" in 2009, the author of which was A. L. Arsenenko and V. N. Starovoitov. The main activity of the organizers called the activity in the field of art. One of the actions of the "Gifts of the Magi" fund is a charity exhibition of works by Primorye artists in the museum and exhibition complex of the P.I. V. K. Arseniev on the street. Peter the Great, 6 - according to the plan of the organizers, it was carried out for the subsequent transfer of funds from the sale of paintings to create an appropriate space in the museum for people with limited mobility.

These examples indicate that at the present stage the field of the artist's creative search has been expanded.

The Far Eastern State Academy of Arts is also expanding its usual scope of activities. By 2009, a new staff of teachers was formed at the Department of Painting. The renovated department declares itself with an exhibition in the halls of the Primorsky State Art Gallery "Painted", which in itself is an extraordinary step. In the introductory article to the exhibition catalog, V.I.Kandyba writes that for almost half a century of the existence of the academy, there was no idea for a collective exhibition of teachers of the faculty. The exhibition was a milestone, signifying a change of generations not only in the workshops, but also in the classrooms of the Academy, where in 2009 I. I. Butusov, A. V. Glinshchikov, A. A. Enin, E. E. Makeev, V V. Medvedev, I. B. Obukhov, N. A. Popovich, who "becoming members of a single team, artists and teachers in one person, together embody both the creative potential of the faculty and the main path of its development in the future."

In 2009, for the first time, on the initiative of the Far Eastern State Academy of Arts, an international competition for young artists "ArtVladivostok" was held, which ended with an exhibition based on the results. Exhibitions in the halls of the Primorsky branch of the VTOO "Union of Artists of Russia" and the Primorsky State Art Gallery following the results of plein-airs and the 2nd and 3rd competitions "ArtVladivostok" become annual. In the list of exhibitions and artistic events, young artists, recent graduates of the academy, indicate plein-airs in St. Petersburg, Florence, participation in all-Russian art events (the exhibition “It's great!” at the Artetage museum in preparation for the 2014 Olympics).

During the period of work as chairman of A. A. Pyrkov, through the efforts of the dean of the painting faculty N. A. Popovich, a youth section of the Primorsky branch of the VTOO "Union of Artists of Russia" was formed.

Currently, the Primorsky branch of the Union of Artists of Russia VTOO has 124 people, including art critics: Doctor of Art History V. M. Markov, Candidate of Art History O. I. Zotova, Honored Worker of Culture of the Russian Federation L. I. Varlamova, Honored Worker of Culture of the Russian Federation N. A. Levdanskaya. Also a member of the Union of Artists is the director of the museum "Artetazh" A. I. Gorodniy.

Until 2003, the Nakhodka branch (today N AKHODKA CITY BRANCH VTOO "UNION OF ARTISTS OF RUSSIAN"). The Nakhodka Group of Artists was founded in 1980 on the initiative of the leaders of the city of Nakhodka. Graduates of the country's art universities were invited and provided with housing: V. V. Zakharenko, V. K. Zakharenko - graduates of the Moscow Higher School of Industrial Art, V. E. Ezhkov - a graduate of the Institute of Painting, Sculpture and Architecture. I.E. Repina, Y. A. Reznichenko, N. P. Saunin are graduates of the Far Eastern Institute of Arts. In 1982, a member of the Union of Artists of the USSR, laureate of the Primorsky Komsomol Prize V. P. Lakhansky was invited. Since 1982, he was elected a member of the board of the Primorsky organization and headed the creative group of Nakhodka. At the same time, the artists N. M. Kublov, V. P. Vodnev, V. A. Gorban, V. P. Popov, Y. I. Tukhov, G. A. Omelchenko and others worked in the city. work back in the 1980s. Olga P. Kozich (a graduate of the Far Eastern Institute of Arts) declared herself. Kozich's graphics are distinguished by the accuracy of the compositional solution, a confident pattern, and a complex color scheme. A great contribution to the art of graphics was made by V. P. Bykov (in Soviet times, artists traveled a lot around Chukotka, capturing the North in a series of graphic sheets) and F. F. Konyukhov. The work of G. A. Omelchenko is connected with Nakhodka. In the 1st zonal exhibition "Soviet Far East" the artist participated in the graphic series "Fishing Weekdays" and "Far Eastern Frontiers", but then he devoted himself entirely to painting. The discovery became one of the main subjects of the poster artist V. A. Gorban. A notable phenomenon was the work of the landscape painter N. P. Saunin. Since 1964 N. M. Kublov lived and worked in Nakhodka, the main theme of his works was the theme of love for a small homeland, embodied in canvases rich in color. Since 1983, the sculptor E. K. Sambursky has been living and working in Nakhodka (he graduated from the Frunze Art College, workshop of N. I. Ladyagin). In 1987, graduates of the Far Eastern Institute of Arts V. K. and N. S. Usov were invited to Nakhodka.

The 1980s were a creative period. The core of the group - young artists and members of the Union of Artists V. P. Lakhansky and G. A. Omelchenko, actively worked in painting, graphics, arts and crafts. Annual city exhibitions (from 1980 to the present) - in the halls of the Museum and Exhibition Center, in which artists of different generations participate, attract the attention of city residents. Also, artists participate in regional, zonal, republican and all-Union exhibitions, establish international relations. So, V. P. Lakhansky, V. V. Zakharenko, V. P. Bykov became participants of the international project in the city of Otaru (Japan), G. A. Omelchenko, V. P. Lakhansky, V. P. Bykov were participants of the exhibition in the city of Maizuru (Japan), exchange exhibitions were held between the artists of the city of Nakhodka and the artists of the cities of Maizuru and Otaru (Japan). Creative trips to the academic dachas of the Union of Artists are carried out, plein-airs are held, meetings are organized between artists and spectators, meetings with students of art schools of the city, competitions are held. Artists V. V. Zakharenko, V. K. Zakharenko, V. P. Bykov, F. F. Konyukhov, N. P. Saunin, Y. A. Reznichenko, V. E. Ezhkov, O. P. Kozich, V. K. Usov, N. S. Usova. Thanks to the leadership of the city, almost all members of the Union of Artists were provided with creative workshops.

The 1990s turned out to be the same crisis for the artists of Nakhodka as for others. Due to the territorial remoteness of the city of Nakhodka from Vladivostok (180 km) and the composition of the members of the Union of Artists in the city of Nakhodka, more than 10 people, on the initiative of Konstantin R. Avarsky, it was decided to establish the Nakhodka branch of the Union of Artists. Registration by the Office of Justice for the Primorsky Territory took place in June 2003.

Until 1990, the Primorsky organization included the Ussuri branch of the Union of Artists of Russia (today U SSURI CITY ORGANIZATION VTOO "UNION OF ARTISTS OF RUSSIAN"). Ussuriysk is the second artistic center of Primorsky Krai. Artistic traditions were established here in the 1940s. The Ussuri organization of the VTOO "Union of Artists of Russia" was formed on June 20, 1943 as a branch of the Primorsky organization of the Union of Artists of Russia. On March 12, 1944, the organization opened the 1st exhibition of Ussuri artists.

An important role in the creation of the creative group of Ussuri artists was played by the Studio of Military Artists, which was founded in January 1940 by the graduates of the Academy of Arts of St. Petersburg, the Fridman brothers - Ovsey Isakovich, artistic director of the studio of military artists, teacher of the battle painting department at the Academy of Arts, and Rafail Isakovich, director of the studio and art workshop. For the studio and the work of artists in Ussuriysk, a special building was built on the street. Volodarsky, 42. During the war years, the studio at the house of officers was directed by A. N. Romashkin.

In the 1950s, art and production workshops began to work. The Ussuri organization was not numerous: 10-15 people made up its creative core. The life of a small organization always has its positive and negative aspects. In this situation, it was positive that a compact team could be captivated by the idea of ​​one person - the leader. In the 1950s, S. F. Arefin, who began participating in regional exhibitions starting in the 1940s, was considered the leader. S. F. Arefin grew up in Ussuriysk, during the Great Patriotic War he served at the headquarters of the Far Eastern District, where he completed courses for military artists. Returning to Ussuriysk, he joined the Union of Artists, actively engaged not only in creative work, but also in social work in the organization. In 1966, the artist moved to Vladivostok and practically abandoned easel painting for many years, becoming a theater artist.

Undoubtedly, K. P. Koval played a leading role in creative development. His works appeared at all-Union and republican exhibitions in the late 1950s. A graduate of the Studio of military artists in Ussuriysk, he considered the main school for himself the Academic Dacha named after. I. E. Repina. Thanks to creative visits to Academician K. P. Koval was well known in Moscow and was called "Koval from Ussuriysk". He was a wonderful teacher, continuing the tradition of studio education in Ussuriysk, and in some way continued the pedagogical line of V. V. Bezrodny on the Ussuri land. The pupils of his studio were called "farriers". K. P. Koval devoted all his generous, strong talent to the seaside landscape, the merits of which were noted by the master landscape painter A.A. Gritsai. Natural talent, great capacity for work allowed K. P. Koval to become a highly professional artist, a person with a “creative beginning”. Thanks to him, the definition of the “Ussuri school of painting” appeared at exhibitions in the Far East region and all-Russian. The captivating power of his talent rallied and inspired the Ussuri artists. The editor of the Ussuriysk city newspaper M. Dubranov writes about this: “There are people who are destined by fate to leave a deadline in human history. From ... the history of Ussuriysk, the artist Kim Petrovich Koval can be attributed to such people without any exaggeration.

In the 1940s, S. F. Arefin, G. K. Aslanov, Yu. In the 1950s-1970s they were joined and became members of the Union of Artists of Russia by N. P. Borisov, B. A. Vyalkov, K. P. Koval, V. M. Medvedsky, N. Ya. Gritsuk, P. Ya. German, A. V. Tkachenko, B. N. Loshkarev, V. A. Lutchenko, N. D. Volkov, V. A. Serov, G. G. Lagerev, A. A. Usenko, in the 1980s - Yu P. Galyutin, O. K. Nikitchik, I. T. Nikitchik, A. V. Pikhtovnikov. In the 1990s, new members joined the organization: Y. P. Larionov, M. R. Pikhtovnikova, E. A. Pikhtovnikov, N. N. Kazantsev, S. V. Gorbach, M. P. Sobolevsky.

On March 18, 1985, the building of the House of Artists built by the efforts of Ussuriysk artists was opened. A.V. Pikhtovnikov, who headed the commission on culture in the city council of deputies. For their contribution to the development of the art of Russia and the Far East, the artists of the organization were awarded the title of Honored Artist of the Russian Federation and Honored Artist of the Russian Federation (K. P. Koval), Honored Artist of the Russian Federation (A. V. Tkachenko, V. A. Serov, N. D. Volkov , O. K. Nikitchik, I. I. Dunkay).

The theme of the Creative Dacha in Andreevka is closely connected with the Ussuri organization. Andreevka, referred to in the artistic environment as the "artists' dacha", turned out to be a surprisingly attractive place not only for recreation and fishing. Here, on the lands of the Khasansky district of Primorye, the traditions of the houses of creativity of the central strip of Russia were continued. One of them is Academic Dacha. I. E. Repin in Vyshny Volochek served both as a place of communication and a place of learning for Primorye residents, where both venerable artists of Moscow, Leningrad and other cities of the Soviet Union, and those who still had to become a master, were participants in creative races.

Primortsy paved a permanent road to Vyshny Volochek. In the primordially Russian lands, in close contact with the famous artists of the sixties A. A. Gritsai, V. N. Gavrilov, A. D. Romanychev, A. P. and S. P. Tkachev, there was a comprehension of the depths of the artist’s profession. Everyone in their creative luggage has a sketch from the Academician, where, by the way, they are still today, despite the radically changed circumstances of artistic life.

In the 1970s, after a series of long trips, it was decided to make their own creative dacha: “several Primorye painters K. Koval, A. Tkachenko, A. Teleshov, V. Prokurov, V. Medvedsky first came to Andreevka. Andreevka is a small village in the south of Primorye in the Khasansky district, located on the coast of the Troitsa Bay of the Sea of ​​Japan. The place is amazingly beautiful. Here is now the creative dacha "Andreevka". It contains the Ussuri organization of the Union of Artists of Russia. Artists from the Far East come here to work and rest - Primorye, Khabarovsk, Blagoveshchensk, and in good times, artists from Moscow, Leningrad, the Baltic states, and Central Russia came, ”writes R. P. Kosheleva, referent of the Union of Artists of Russia VTOO. The editor of the newspaper found a place for a publication about Andreevka on the page with the heading "In the houses of creativity" next to the material about the Academic Dacha in Vyshny Volochek, which is not accidental. Andreevka was a place of inspiration and work for dozens of artists of different generations and at the same time a kind of link with the center of Russia.

In 1990, with a staff of 10 people, the Ussuri branch separated from the Primorsky branch and acquired the status of an independent organization.

Today, the Primorsky branch, the Nakhodka city and Ussuriysk city organizations of the VTOO "Union of Artists of Russia" closely cooperate in organizing art exhibitions and plein airs in Russia and abroad.

Olga ZOTOVA

member of the VTOO "Union of Artists of Russia",

executive secretary of the Primorsky branch

VTOO "Union of Artists of Russia",

Ph.D. in History of Arts,

Associate Professor, FEFU School of Humanities

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Currently, there are twelve creative organizations of artists in the Far East: the Primorsky branch of the VTOO "Union of Artists of Russia" is the second largest.

The activity of the organization is closely connected with the history of fine arts not only of Primorye and the Far East, but of the whole of Russia.