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Spanish Renaissance Art and Mentality in Russian Historiography (From the Origins to the Present Day)

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Spanish Renaissance Art and Mentality in Russian Historiography (From the Origins to the Present Day) Special Issue INTERNATIONAL JOURNAL OF HUMANITIES AND July 2016 CULTURAL STUDIES ISSN 2356-5926 Spanish Renaissance art and mentality in Russian historiography (from the origins to the present day) Natalia Vasilievna Antonova Kazan Federal University, 420008,18, Kremlevskaya str. Kazan, Russia. Correspondence: Natalia V. Antonova, 420124, Gorsovetskaya str., No17, bl. 2, apt. 96, Kazan, Russia. E-mail: [email protected] Abstract Russian and Soviet Hispanism has been addressed on several occasions in Russian historiography, however the history of studying Spanish Renaissance as a cultural phenomenon (with a special emphasis on its art and mentality) has not been focused on. The present study aims to provide a clear picture of Russian historiography on the history of studying Spanish Renaissance (including pre-revolutionary, Soviet and post Soviet eras), specifying the origins, stages and the main characteristics of each stage. The methods used to approach the problem include: systemic approach, comparative and retrospective analyses. This paper will be of interest for historians who study Spanish Renaissance or Russian historiography as a source of background information on the problem. Keywords: Spanish Renaissance, Russian University, Russian historiography, Soviet Renaissance Hispanism, post-Soviet Renaissance Hispanism. http://www.ijhcs.com/index.php/ijhcs/index Page 231 Special Issue INTERNATIONAL JOURNAL OF HUMANITIES AND July 2016 CULTURAL STUDIES ISSN 2356-5926 1. Introduction Attempts to systemize theoretical material on the history of studying Spanish culture by Russian intellectuals and historians have already been made in Russian historiography by a number of scholars. Since the first written sources presenting Spanish culture to Russian audience were predominantly literary, the initiative in analyzing their characteristics belongs mainly to literary critics (e.g. N.G. Chernyshevsky, V.G. Belinskiy, A.V. Druzhinin, B.F. Egorov). A profound study on the subject was made by M.P. Alekseev (an eminent Russian literary historian of the Soviet era). Around the same period I.S. Pichugina publishes an article on the history of Soviet Medieval Hispanism where she outlines the basic trends in investigating this field of history [Pichugina, 1958]. Towards the end of the XX century interest to the history of studying Spanish culture by Russian scholars increased. Now it became the object of professional interest from historiographers. V.A. Vediushkin, for instance, investigates into Russian historiography of Renaissance and Medieval Spain. In the first paper the author outlines the general state of affairs in Russian Renaissance (and Baroque) Hispanism, without classifying or focusing on any of the aspects [Vedyushkin, 2011]. In the second article he focuses on the person of V.K. Piskorski as the iconic figure of Russian Hispanism [Vedyushkin, 2014]. A similar study of a more general nature with less emphasis on particular person's contribution was conducted by O. Variash. The author classifies Russian hispanists into academic schools, identifying their characteristics and trends. But the tradition of studying Iberian Renaissance is not mentioned in the paper [Variash, 1995]. The researchers conducted by A.V. Morozova are of special interest for this study since they cover a wide range of topics connected with exploring the history of studying Spanish art in Russian historiography. However the author mainly focuses on particular hispanists without giving a general picture [Morozova, 2005, 2011a]. Although in the article devoted to Soviet art history she gives a detailed classification, the Renaissance art is presented rather vaguely. Moreover, the paper covers only the first half of the XX century, which implies that the recent studies on the topic are not mentioned [Morozova, 2011b]. Significant researches into Russian Hispanism in the field of literature were conducted by V. Bagno [Bagno, 2001]. 2. Methodological framework The methods used for the analysis correspond to the study aims, and mainly include those of "new intellectual history". The main underlying principles are the following: 1. the principle of historicism (which implies considering historical background to analyze the phenomenon); 2. the principle of objectivity (attempt to look at the events as complex and contradictory phenomena); 3. the principle of integrity (when each event is understood as a system of interdependent elements). 3. Results 3.1. Pre-revolutionary époque in Russian Hispanism Interest to Spain appeared among Russian intellectuals as early as in the XV century (the year of the first diplomatic visit of Moscow embassy to Madrid), long before Hispanism as a branch of history developed in Russia. The first experience of acquaintance with Spanish culture is predominantly associated with literary sources. That seems to be the main reason why the image of Spain in Russian imagination was that of a country of "ideal feelings and heroes-lovers" full of "wonders and all sorts of exotic rarities" [Alekseev, 1964]. A broader and more realistic view of Spain and its nation was created by Russian travelers who visited the Peninsula in the XIX century and recorded their experience in the form of travel notes. This series includes the memoirs by L.I. Mechnikov, V.K. Piskorsky, F.V. Bulgarin, A.N. Maslov, M.N. Kapustin and V.P. Botkin. http://www.ijhcs.com/index.php/ijhcs/index Page 232 Special Issue INTERNATIONAL JOURNAL OF HUMANITIES AND July 2016 CULTURAL STUDIES ISSN 2356-5926 The first academic investigations into Spanish history were conducted by Russian Medieval historians T.N. Granovsky, P.N. Kudriavtsev, M.M. Kovalevsky and I.V. Luchitsky who mentioned Spain along with the other countries in their global studies and sets of lectures on European history. The historians to start the tradition of focusing on Iberian countries were V.K. Piskorsky and later on A.S. Trachevsky and I.M. Maisky. In accordance with the prevailing methodological principles of that era they mainly looked at the political and economic aspects of Iberian history. The initiator of exploring Spanish painting in Russia was N.A. Benua. Although his research into the history of world painting included quite a concise description of Spanish Renaissance art, it was a conscious attempt to look at Spanish Renaissance art in the context of European Renaissance culture [Benua, 1915]. 3.2. Russian Hispanism in the Soviet era: general information After a flying start, in the following two or three decades the tradition of studying Spanish Renaissance culture by Russian historians suffered a decline. The reason consisted in political changes in the country. As is well known, an important layer in Russian historiography is associated with the Soviet époque. Nowadays it is not a secret that in those years history was strongly influenced by ideological pressure from the government. As A.V. Morozova points out, "those who disobeyed the "mainstream course" could be sanctioned" (Morozova, 2011b). Firstly, such a situation resulted in a restricted theme range, which covered mainly political problems (usually ideologically-tinted). Secondly, this led to implementing exclusively Marxist methods of analysis, ignoring other possible approaches. Thirdly, isolation from European countries deprived Soviet history of contacts with their western colleagues. Thus the political and social environment provoked specific attitudes to history generating ideologically-oriented approaches [Dementiev, 2000]. Therefore in the first post revolutionary decades attention to Spanish Renaissance culture was minimal. Nevertheless, interest to Spain did not fully fade. Contemporary historiographers differentiate between several stages in studying Spanish history by Soviet scholars according to the changing historical background and ideological atmosphere within the society, however Spanish Renaissance culture was almost not addressed up to the late 40s. 3.3. First studies on Spanish Medieval history in Soviet historiography The initial stage in Soviet historiography is usually placed immediately after the October revolution, between 1917 and 1930s (sometimes it can be subdivided into smaller stages) [Morozova, 2011b]. The next stage covers the period between the late 30s and the early 50s of the XX century (this époque can also be subdivided into two). Works on Spanish history created in these years share the common features typical for all historical researches of the Soviet era. However, as V.A. Vediushkin points out, "despite the restrictions from Marxist approach, which substantially worsened the quality of their works, Petersburg group of historians made a great contribution into development of Russian Hispanism" [Vedyushkin, 2012]. 3.4. Spanish Renaissance art and mentality in Soviet historiography: first stage It was in the 1940s that the first substantial works on Spanish Renaissance art were published by Soviet art historians. The scholar to establish Renaissance Hispanism in Soviet historiography was K.M. Malitskaya who is widely acknowledged to have set the base and the main principles of the subsequent research tradition in this sphere [Morozova, 2011a]. Another historian worth mentioning in this respect is M.V. Alpatov who combined his interest in Russian art with exploring some aspects of Spanish culture. 3.5. Spanish Renaissance art and mentality in Soviet historiography: second stage The following period in Soviet historiography (early 50s – early 60s) is associated with the Khrushev "ottepel"
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