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Bruxelles, 2016 Art and Literature Scientific and Analytical Journal Art and Literature Scientific and Analytical Journal Texts 2.2016 Bruxelles, 2016 EDITORIAL BOARD Chief editor Burganova M. A. Bowlt John Ellis (USA) — Doctor of Science, Professor of Slavic Languages and Literatures in University of Southern California; Burganov A. N. (Russia) — Doctor of Science, Professor of Stroganoff Moscow State Art Industrial University, Full-member of Russia Academy of Arts, National Artist of Russia, member of the Dissertation Council of Stroganoff Moscow State Art Industrial University; Burganova M. A. (Russia) — Doctor of Science, Professor of Stroganoff Moscow State Art Industrial University, Full-member of Russia Academy of Arts, Honored Artist of Russia, member of the Dissertation Council of Stroganoff Moscow State Art Industrial University, editor-in-chief; Glanc Tomáš (Germany) — Doctor of Science of The Research Institute of East European University of Bremen (Germany), and assistant professor of The Charles University (Czech Republic); Kazarian Armen (Russia) — Architectural historian, Doctor of Fine Arts in The State Institute of Art History, Advisor in Academy of Architecture and Construction Sciences; Kravetsky A. G. (Russia) — Candidate of Sciences, research associate of Russian Language Institute of the Russian Academy of Sciences; Lavrentyev Alexander N. (Russia) — Doctor of Arts, Professor of Stroganoff Moscow State Art Industrial University and Moscow State University of Printing Arts; Alessandro De Magistris (Italy) — PhD, Full-Professor of History of Architecture Politecnico di Milano Department of Architecture and Urban Studies; Misler Nicoletta (Italy) — Professor of Modern East European Art at the Istituto Universitario Orientale, Naples; Pavlova I. B. (Russia) — Candidate of Sciences, Senior Researcher of Institute of World Literature of the Russian Academy of Sciences; ISSN 2294-8902 © TEXTS, 2016 Pletneva A. A. (Russia) — Candidate of Sciences, research associate of Russian Language Institute of the Russian Academy of Sciences; Pociechina Helena (Poland) — Doctor of Science; Profesor of the University of Warmia and Mazury in Olsztyn; Pruzhinin B. I. (Russia) — Doctor of Sciences, Professor, editor-in- chief of Problems of Philosophy; Ryzhinsky A. S. (Russia) — Candidate of Sciences, Senior lecturer of Gnesins Russian Academy of Music; Sahno I. M. (Russia) — Doctor of Sciences, Professor of Peoples’ Friendship University of Russia; Sano Koji (Japan) — Professor of Toho Gakuyen University of Music; Shvidkovsky Dmitry O. (Russia) — Vice-President of Russian Academy of Arts and its secretary for History of Arts, and Full member; Rector of Moscow Institute of Architecture, Doctor of Science, Professor, Full member of Russian Academy of Architecture and Construction Sciences, Full member of the British Academy; Tanehisa Otabe (Japan) — Doctor of Sience, Professor, Head of Department of Aesthetics at Tokyo; Tolstoy Andrey V. (Russia) — Doctor of Sciences, professor in the History of Art at the Moscow State Institute of Architecture, a Full member of the Russian Academy of Fine Arts and President of the Russian National section of International Association of Art Critics (AICA) affiliated with UNESCO; Tsivian Yuri (USA) — Doctor of Science, Professor, University of Chicago, Departments: Cinema and Media Studies, Art History, Slavic Languages and Literatures; Editor Smolenkova J. (Russia) TABLE OF CONTENTS Barbara S. Muratova Germany Romanesque sculpture. Saxon school 6 Maria A. Burganova Sculpture of the Russian Provinces in the 18th Century 15 Frans C. Lemaire D’une condamnation à l’autre 1932—1936. L’opéra La Lady Macbeth du district de Mzensk. Du succès à l’interdiction 51 Olga V. Kostina “The Moscow Metro is the Best in the World” 64 Sofiya D. Tugarinova In search of high-rise centerpiece: The Palace of the Soviets project development in the 1930s 91 Irina М. Sakhno Livre d’artiste as an isoverbal text in the culture of Symbolism 105 Ekaterina V. Matveeva Language Alter Ego — myth or reality? The concept based on the studies of the linguistic personality and the relations of power 123 Barbara S. Muratova. Germany Romanesque sculpture. Saxon school Barbara S. Muratova Department of Theory and History of Decorative Arts and Design Stroganov Moscow State Art Industrial Academy e-mail: [email protected] Moscow, Russia GERMANY ROMANESQUE SCULPTURE. SAXON SCHOOL Summary: The article concerns the theme of German monumental Romanesque sculpture in the context of Saxon school. The particularity and features of sculptural churches adornment are regarded on the examples of the Church of St. Michael in Hildesheim and the church of St. Servatius in Quedlinburg, which represent the most remarkable monuments and allow studying both different and similar aspects in the context of one school. Keywords: Romanesque sculpture, Saxon, churches, architecture, capitals, friezes. Saxon school took the path of change to the Romanesque style earlier than other schools and was influenced by the Carolingian art. In fact, it became a herald of the beginning of Romanesque style in Germany. The founders of a new empire Saxon Ottonian dynasty made first steps to the new style1. Numerous buildings of their time were reconstructed and largely did not survive in their original form. Constructive features of Saxon churches permit to talk about complex and consistent path of their development. First, the features descending from the early Christian architecture can be clearly seen. It expresses in a wide extended main space divided into three naves. The central nave is raised above the lateral ones; the upper part is cut with windows. Central and lateral naves are separated from each other with the rows of pillars and columns. At the same time such an alternation is an own peculiarity of the buildings of this region. The supports in the space of church create slow and regular rhythm based on the alternation of massive pillars and light columns. — 6 — Barbara S. Muratova. Germany Romanesque sculpture. Saxon school Many Romanesque churches with wonderful examples of sculpture remain on the territory of Saxony. The Church of St. Michael in Hildesheim and the church of St. Servatius in Quedlinburg are the most remarkable monuments that allow studying both different and similar aspects in the context of one school. One of the most significant buildings, belonging to the pre- Romanesque period is the Church of St. Michael in Hildesheim (1010— 1230) that marked the formation of the Saxon school. The entrance to the church is situated not on the end, but on the longitudinal side of the mane space of the church. Over the two intersections of the main nave with transepts are two massive towers. The decoration of the majority of medieval churches has not reached our times intact. It concerns also the Church of St. Michael in Hildesheim. When you are in the space of the main nave, you can note a disjoint character of the columns with its general stylistic unity. They have a definite rhythm: two massive square pillars set off two columns. The columns terminate with relief capitals, of a similar type with Byzantine. Each subsequent capital differs from the previous one by the character of its decoration. Some capitals preserve their appearance, which is typical for the Ottonian period: they are square and do not have sculpture. Later capitals belonging to the Romanesque period are notable for their developed decoration. The tradition of decoration with plant motives is very strong in the plastics of the Church of St. Michael in Hildesheim capitals. The anthropomorphic and zoomorphic images have a secondary role, at one moment they look out from the undergrowth of acanthus leaves, at another they become woven into a common ornamental rhythm. The relief is high, it forms a particular compound profiling of the capitals. An ornamental plane frieze is on the abacus, on which there are almost heraldic compositions. If we look at capitals of the columns of the central nave, we can note that the sculptor’s attention is not focused on creating a scene image, because all his efforts are directed to ornamental and decorative elements. In its decoration, we can see the division into stages. In the lower part the wide leaves of the soft acanthus, the relief is high so there is a feeling of its hang down from a column volume. The second — 7 — Barbara S. Muratova. Germany Romanesque sculpture. Saxon school stage represents an alternation of smaller leaves of acanthus and human heads. All heads are not equivalent. On each side of a square capital is situated one central head and two in the corners. The faces are very graphic, plane, their eyes are big, and in some cases, they are open, in others — ​closed. Gradually the stages get smaller conformable to the construction of the capital. On the last stage, we can see thin line of plant elements. In the heads images can be noted an ancient tradition of the defending sculpture, the faces were directed to the four cardinal points to prevent any danger. Two buds are located above the head of each character in the second stage, striking with detail and authenticity of the image coupled with all its graphic quality. Such type of relief could have been borrowed from France where the sculpture was closer to the nature. On the abacus is placed low relief, once again referring to the motives of acanthus. At this time, the leaves are cut in stone; they appear on the surface as a graphic pattern. The composition of the capital is very logical: with the expansion of its volume up, the decor becomes more flat, creating the correct shape of a square and filling the voids. In general, the capital with its Romanesque precise configuration is vaguely reminiscent of the Corinthian order, with its love of the acanthus leaf image. Human heads in the corners capitals look like curls of volutes. Sculptural decoration of the fence of the choir in the eastern part of the church dates by the later period (the beginning of the XIII century). Located on both sides, north and south, they are two very different phenomena.
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