№№4(60)
December 2017
ISSN
1990-4126

Russian

«Architecton: proceedings of higher education» № №4(60) December 2017

Fine art


Vlasov Victor G.

DSc (Art Studies), Professor, Chair of History of West European Art,
Saint-Petersburg State University,
Saint-Petersburg, Russia, e-mail: natlukina@list.ru

PONDERATION, «CUP-CUPOLA WORLD» AND CONTEMPORARY DESIGN GRAPHICS


Ponderation, balancing of unequal parts, is one of the main methods for achieving an integral composition in genres of architectonic fine art: painting, graphics, sculpture, architecture, decorative applied art, and design. A way to balance things can be found in the art of various eras. Ponderation is the reflection of the principle of the Universe based on the dissymmetry of energy processes and structure of material bodies. Dynamic balance is therefore an essential criterion of art form quality. It may be argued that the method of balancing was first provided with evidence by Gestalt psychologists in the early 20th century as an ideal form-generation tendency is universal. The author follows this tendency through using various examples.

Key words: architectonics, design graphics, art, composition, construction, ponderation, style, tectonics, art tropes, form-generation



References

1. Vlasov V. G. (2016) Tectonics and Dissymmetry of Architectural Composition. [Online]. Architecton: Proceedings of Higher Education, No. 56. Available from: http://archvuz.ru/2016_4/1 (in Russian)

2. Vlasov, V. G. (2016) Post-Renaissance Art as a Dissipative System. Current Issues in Theory and History of Art: proceedings of VI International Conference. 2015. Мoscow–Saint-Petersburg, p. 733–740. (in Russian)

3. Lotman, Yu. М. (2002) Canonical Art as an Information Paradox. In: Articles on Semiotics of Culture and Art. Saint-Petersburg: Akademichesky Projekt, p. 314–321. (in Russian)

4. Losev, А.F. (1993) Essays on Classic Symbolism and Mythology. Moscow: Mysl, p. 25. (in Russian)

5. Rykov, А.V. (2015) Formalism, Avant-Garde, Classicism. Heinrich Wölfflin as a Theoretician of Art. In: Classicism in Art Through Centuries. Saint-Petersburg: SPbGU, p. 157. (in Russian)

6. Wölfflin, H. (1997) Classic Art. An Introduction to the Italian Renaissance. Saint-Petersburg: Aleteya, p. 101. (in Russian)

7. Wölfflin, H. Prolegomena zu einer Psychologie der Architektur / Н. Wölfin. – Basel, 1946.

8. Schoenberg, А. (2006) Issues in Teaching Art. In: Arnold Schoenberg. Style and Idea. Articles and Writings. Moscow: Kompozitor, 2006 p. 260. (in Russian)

9. Favorsky, V. A. (1988) Theoretical Literary Legacy. Мoscow: Sovetsky Khudozhnik, p. 195-196. (in Russian)

10. Shklovsky, V.B. (1917) Art as a Technique. In: Collected Works in Theory of Poetic Language. Issue 2. Petrograd, p. 12. (in Russian)

11. Vatman, S. V. (2015) Vyacheslav Ivanov’s Philosophy of Art: the Dielectics of Fall and Apotheosis. Bulletin of Saint-Petersburg University of Culture and Art, No.: 3 (24), p. 148. (in Russian)

12. Vipper, B.R. (1972) The Art of Ancient Greece. Moscow: Nauka, p. 243 (in Russian)

13. Vlasov, V.G. (2015) The Concepts of Harmony, Beauty and Architectonic Form in Implicit Aesthetics. Architecton: Proceedings of Higher Education, №2(50). Available from: http://archvuz.ru/2015_2/1 (in Russian)

14. Arnheim, R. (1974) Art and Visual Perception. Moscow: Progress. (in Russian)

15. Uspensky, B.A. (1995) Semiotics of Art. Moscow: Yazyki russkoy kultury (in Russian).

16. Nemilova, I. S. (1996) The Mysteries of Old Paintings. Moscow: Izobr.Isk-vo, p. 30. (in Russian)

17. «The Spirit Breathes Where It Wants to …». (1995) V. V. Sterligov. Exhibition Catalogue. Articles. Reminiscences. Introductory article by E.F. Kovtun. Saint-Petersburg: Museum, p. 11. (in Russian)

18. Epstein, M. N. (2009) Technology-Religion-Humanistics. Two Reflections on the Spiritual Meaning of Progress in Science and Technology. Voprosy Filosofii, No. 12, p. 28. (in Russian)


Russian text of this article

ISSN 1990-4126  Registration MCM el. № ФС 77-70832 of 30.08.2017 © USUAA, 2004-2017  © Architecton, 2004-2017