THE ARCHITECTURAL COMPONENT OF THE CITY'S IMAGE IN THE URBAN LANDSCAPE (ON THE MATERIALS OF OMSK)
DOI: 10.23951/2312-7899-2020-4-41-74
This article aims to examine the reflection of figurative characteristics of the city’s architectural environment in artists’ landscapes. By analyzing individual figurative interpretations by different artists, the authors attempt to determine global tendencies in the reflection of the city’s architectural environment in general, and in its individual elements (architectural objects and spaces) in visual arts in particular. The authors focus attention on the specifics of the presentation of different types of urban spaces, both public and private. Analyzing public spaces of the city center, which form the “grand portrait of the city”, the authors concentrate on the reflection of the city’s landmarks—the most significant semiotic architectural objects and spaces that form a positive and presentable image of the city. Some parts of the urban space are favorite topics of urban landscapes by Omsk artists. It is these spaces that residents perceive as landmarks; they represent the most valuable, in semiotic terms, parts of the urban text. In Omsk, undoubtedly, the landmarks of the city are architectural ensembles in Lenin St. (Lyubinsky Prospect) and Tarskaya St.; ensembles of the Sobornaya and Nikolskaya Squares; the buildings of the Drama Theater, of the Seraphim-Alekseevskaya Chapel and of the River Boat Station, etc. Artists have favorite perspectives in depicting the architectural spaces of the central part of Omsk. One of them is a view from the windows of the House of Artist on the Om’ River, the bridge, and the perspective of Lubinskiy Prospect, which is on the other bank of the river. Artists show Lubinskiy Prospect in different ways: due to not only the chosen angle, but also their mood and attitude to the space they depict. Some artists go to the deep level of a philosophical understanding of the surrounding space, while others illustrate it as ordinary. Private landscapes, as usual, show parts of urban environment that are relatively isolated from public central urban spaces. Yards and arches are examples of it. Private spaces usually have a close, intimate atmosphere. Most private spaces are anonymous. The most vivid examples of the private urban space are yards. Omsk artists also reflect the motif of multistorey buildings, mainly concentrated in the outskirts, in their works. Some artists depict the outskirts as an empty space, while others interpret them as a habitual, familiar space full of utilitarian functions and arranged by people to meet their needs.
Keywords: image of city, image of architectural environment, scenery, landscape, city landmarks, public space, private space
References:
Arnheim, R. (1994). New Essays on the Psychology of Art. Prometey. (In Russian).
Avanesov, S. S. (2017). Tomsk: Visual constructing of local urban spaces. ΠΡΑΞΗΜΑ. Problemy vizual’noy semiotiki – ΠΡΑΞΗΜΑ. Journal of Visual Semiotics, 2(2), 11–25. (In Russian). https://doi.org/10.23951/2312-7899-2017-1-41-47
Avanesov, S. S. (2018). Urban space as anthropological phenomenon. ΠΡΑΞΗΜΑ. Problemy vizual’noy semiotiki – ΠΡΑΞΗΜΑ. Journal of Visual Semiotics, 2(16), 10–31. (In Russian). https://doi.org/10.23951/2312-7899-2018-2-10-31
Babikova, T. V. (2006). Urban landscape and the main trends in the solution of the city’s image. Dekabr’skie dialogi: materialy nauchnoy konferentsii posvyashchennoy pamyati F.V. Melekhina [December Dialogues: Proceedings of the Conference Dedicated to the Memory of F. V. Melekhin]. Nauka. (In Russian).
Fedorov, V. V., Fedorov, M. V., & Korotaeva, Z. V. (2015). The semantic potential of architecture and landscape environment. ΠΡΑΞΗΜΑ. Problemy vizual’noy semiotiki – ΠΡΑΞΗΜΑ. Journal of Visual Semiotics, 4 (6), 47–64. (In Russian).
Gold, J. (1990). An Introduction to Behavioural Geography. Progress. (In Russian).
Gorelova, Yu. R. (2016). Space as a key category of architectural theory. Vestnik SibADI – The Russian Automobile and Highway Industry Journal, 6, 54–61. (In Russian). https://doi.org/10.26518/2071-7296-2016-6(52)-54-61
Gorelova, Yu. R. (2017a). Obraz Omska v predstavleniyakh gorozhan [The image of Omsk in the views of citizens]. Kul’turnoe prostranstvo russkogo mira. 2011, 1, 129–139.
Gorelova, Yu. R. (2017b). Istoricheskaya pamyat’ i potentsial iskusstva kak resursy formirovaniya pozitivnogo obraza v predstavleniyakh gorozhan [Historical memory and potential of art as resources forming a positive image in the perception of citizens]. Chetvertye Yadrintsevskie chteniya. Materialy IV Vserossiyskoy nauchno-prakticheskoy konferentsii, posvyashchennoy 100-letiyu Revolyutsii i Grazhdanskoy voyny v Rossii [The Fourth Yadrintsev Readings. Proceedings of the IV all-Russian Conference dedicated to the 100th Anniversary of the Revolution and the Civil War in Russia]. OGIK muzey.
Gorelova, Yu. R. (2018). City as a concept and a visual artistic image. Urbanistika – Urban Studies, 1, 74–89. (In Russian). https://doi.org/10.7256/2310-8673.2018.1.24086
Gorelova, Yu. R., & Mezhevikin, I. V. (2017). Socio-Cultural Space of the City: Problem of Zoning of Urban Areas in Perception of Citizens. Vestnik Omskogo gosudarstvennogo pedagogicheskogo universiteta. Gumanitarnye issledovaniya, 2 (15). (In Russian).
Gur’yanova, G. G. (2011). Neutomimyy poisk krasoty. Geymran Baymukhanov [The tireless search for beauty. Geimran Baimukhanov]. Russkaya galereya, 5.
Ikonnikov, A. V. (2006). Prostranstvo i forma v arkhitekture i gradostroitel’stve [Space and Form in Architecture and Urban Planning]. URSS.
Kaganov, G. Z. (1989). On the image of the environment. Gorodskaya sreda: sb. materialov Vsesoyuznoy nauch. konf. VNIITAG i SA SSR [Urban Environment. Proceedings of the All-Union Conference] (Part 1, pp. 17–21). VNIITAG.
Lofland, L. H. (1973). World of Strangers: Order and Action in Urban Public Space. Basic Books.
Logvinenko, A. D. (1985). Chuvstvennye osnovy vospriyatiya prostranstva [Sensory Basis of the Perception of Space]. Moscow State University.
Nekhvyadovich, L. I. (2013). Peyzazhnaya zhivopis’ Altaya vtoroy poloviny XX veka [Landscape Painting of the Altai in the Second Half of the Twentieth Century]. Altai State University.
Omsk Organization of the Union of Artists of Russia. (2004). Al’bom-spravochnik [Reference Album]. Omskblankizdat.
Pershina, L. (2006). Nado sokhranyat’ krasotu ostavlennuyu nam v nasledstvo [We must preserve the beauty bequeathed to us]. Novoe obozrenie, 33.
Petrenko, V. F. (1983). Vvedenie v eksperimental’nuyu psikhosemantiku: issledovanie form reprezentatsii v obydennom soznanii [Introduction to Experimental Psychosemantics: Research of Forms of Representation in Everyday Consciousness]. Moscow State University.
Issue: 4, 2020
Series of issue: Issue 4
Rubric: ARTICLES
Pages: 41 — 74
Downloads: 816