Keywords
Siberian style, folk art, regionalism, Tuva, museum collections, Sophia Prosvirkina,
How to Cite
Krasavina M. V., Oktyabrskaya I. V., Pavlova E. Y. At the origins of the Siberian style. Tuvinian vector // The Art of Eurasia, 2019. № 3 (14). P. 130-148. URL: https://doi.org/10.25712/ASTU.2518-7767.2019.03.009.
This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.
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Abstract
The article characterizes the processes that took place among the artistic intelligentsia of Russia in the late XIX – early XX centuries. At this time there was a growing interest in folk art, of both Russian peasants and natives. In Siberia these processes took place along with the formation of the regional movement and reflected patriotic claims for Siberia to take a worthy place in the Russian imperial system. At the same time an important place in the activities of scientists, artists, etc. was allotted to field research and the collection of original samples of folk art for the formation of museum collections. In the course of research Tuvan art, especially traditional stone carving, became one of the discoveries for the Russian and world public. Thanks to the activities of A.V. Adrianov, G.P. Safyanov, S.K. Prosvirkina and others the artistic heritage of Tuva was developed. The result of the expedition trip by S.K. Prosvirkina in 1917 was unique collections of small stone sculptures and watercolors, supplemented by diary records of observations of live Tuvan culture in the turn of the century. Siberian artists considered the traditional indigenous art of the region not only as part of the global cultural heritage, comprehension of the laws of which could open up new forms of artistic interpretation of reality, but also as one of the tools for development of the territory of Siberia.
Acknowledgments
The study was carried out under the research project No. 0329-2018-0007 «Study, preservation and museumification of the archaeological and ethno-cultural heritage of Siberia»
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