Bruxelles, 2014 Art and Literature Scientific and Analytical Journal

Art and Literature Scientific and Analytical Journal Texts 3.2014 Bruxelles, 2014 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, NaplesPavlova I. B. — Candidate of Sciences, Senior Researcher of Institute of World Literature of the Russian Academy of Sciences; ISSN 2294-8902 © TEXTS, 2014 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 (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 Natalia M. Nikulina The Pillar as a Functional and Artistic-Symbolic Image in the Cultures of the Ancient World 6 Nikolay K. Solovyev Residential and Palatial Interiors of Medieval Russia 16 Ludmila V. Gavrilova The Picturesque Decor of the Church of Metropolitan Serguis Shelter, as an Example of Distinctive Features of the Artistic Style of the Heirs of P. Pashkov Studio 29 Elena V. Noskova An Outstanding craftsman of Russian Ceramics of the Late 19th — Early 20th Centuries 37 Ellada E. Mamеdovа An Artistic Image of Space in Sculpture by the Example of the Soviet Constructivists 50 Pan Yaochang The Posters of Mao Era: A Perspective of Art and Society 57 Elena A. Zaeva-Burdonskaja Conceptual tradition in the making of Émile Gallé’s project art 75 Svetlana A. Minko Soviet Thematic Picture in the reflection of criticism during the period of 1930s-1950s 93 Maria A. Burganova Anatoly Smolenkov’s Marble Gardens 108 Natalia M. Nikulina. The Pillar as a Functional and Artistic-Symbolic Image Natalia M. Nikulina Ph.D. in History Ph.D. in History of Arts Lomonosov Moscow State University [email protected] Moscow, Russia THE PILLAR AS A FUNCTIONAL AND ARTISTIC-SYMBOLIC IMAGE IN THE CULTURES OF THE ANCIENT WORLD Summary: This article is dedicated to the most ancient period of the architecture of history. The author traces the process of its development on different territories. Notwithstanding the differences of typology, of planning and formal solutions, of material and technical equipment, ancient architecture represents an integrated body. It was united not only by the post-and-beam building method, but by the similar understanding of its basic components as well. Religious, cultural and historical traditions determined the correlation of functional and symbolic elements, of functional and decorative parts. Analysis of such an important architectural element as the pillar, the bearing part of the construction, demonstrates the evolutionary process of the years 4000s till 1000s BC. Keywords: ancient architecture, beam and stanchion construction, architectural mainstay, religious, cultural and historical traditions, functional and symbolic, functional and decorative. It is known that architecture had a leading role among the other arts in all territories of the ancient world. Particularly architecture with its scale, functionality, plastic and decorative expressiveness was able to fully embody the religious, political and artistic ideas of its time, based on cultural and historical traditions of the region in question. Architectural constructions included works of sculpture and monumental relief, paintings and applied artworks, reflecting a certain level of development of these forms of artistic expression. As a result, — 6 — Natalia M. Nikulina. The Pillar as a Functional and Artistic-Symbolic Image a complex and an extremely capacious image formed, and synthesis has always been its feature. In different parts of the ancient world each historical era left several architectural works: original in typology, in their planning and formal solutions. They are unique, but with all their particularities they share common features of architectural ideas and principles, despite the differences in building materials, natural conditions and technical capabilities. Not only the building method — the post-and-beam system, which prevailed on that stage of architectural development was general, but a similar understanding of many of its components as well. Alongside their actual functionality they often had a very important symbolic value, which sometimes did not correspond with the tectonics. The interaction between the tectonic — functional and the symbolic — decorative in different areas and at the same period of time was essentially very similar. Particularly this can be seen by the example of how the pillar — an important supporting part of the post-and-beam construction, is designed. The earliest pillars for large-scale architectural buildings of the ancient world were pronouncedly functional, had an increased margin of safety required for large constructions with heavy roofing (for example, freestanding Sumerian round pillars of adobe bricks in the gallery of the so-called Red building in Uruk of the end of the 4th millennium BC; Egyptian limestone pilasters with vertical orthostats in the mortuary pyramid complex of Pharaoh Djoser at Saqqara and powerful granite piers in the pyramidal temples of Pharaoh Khafre at Giza, the first half of the 3d millennium BC). In all cases a symbolic is present in the design but it is not visually dominant. In Sumerian architecture mudbrick round pillars are decorated with colored ceramic mosaic imitating reed weaving; stone semi-columns of the Egyptian complex at Saqqara are presented in the form of a bundle of papyrus stems; and the square pillars in Giza are not made of pink granite by coincidence, which was quarried far away from the construction site — in the south, at the first Cataract of the Nile. Symbolism of fertility, eternally renascent life are reflected in both cases, however, the determining factor in the design is the tectonic and functional origin. — 7 — Natalia M. Nikulina. The Pillar as a Functional and Artistic-Symbolic Image The role of symbolic in the religious buildings did not only increase, but even became dominant in the middle and the second half of the 3d millennium BC. It was so great in content and so significant in the plastic and graphic design that it seemed to neutralize the functional. In Egyptian architecture of this time the so-called false pillars — stone palmlike, papyrus and lotus columns, appeared, which were used in the interiors of funerary complexes. The interior space was conceived here sometimes as a mystical palm grove, or as a thicket of papyrus or lotus flowers rising from the fertile primeval earth. The shafts and capitals of these columns, decorated with palm leaves, lotus buds and unopen papyrus umbels, rise towards the sky in the starlit night. In this case the overlapping has no visible weight, so the columns may therefore be atectonic. Palm leaves, bunches of

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