TY  - JOUR
T1  - THE IMPERIAL CULTURE AND VISUALITY: THE CONSTRUCTION OF THE IMPERIAL IMAGE IN MONUMENTAL SCULPTURE
AU  - Gudova, İuliia
PY  - 2018
DA  - April
DO  - 10.18769/ijasos.417811
JF  - IJASOS- International E-journal of Advances in Social Sciences
JO  - IJASOS
PB  - OCERINT International Organization Center of Academic Research
WT  - DergiPark
SN  - 2411-183X
SP  - 156
EP  - 160
VL  - 4
IS  - 10
LA  - en
AB  - Imperial culture is a difficult ethnosocioculturalphenomenon. Imperial culture exists in the multi-ethniccharacter of the states when one ethnos assumes the right for dominationover other ethnoses and implementation ofadministrative and managerial functions at all levels of the organization ofthe state institutional and investment and communication system. Imperialambitions of such states surely lead to the fact that the dominating socialsubjects use culture as a way of legitimization and glorification of theimperial power.One of the most important elements of imperial culture is art. Imperialculture used to exploiting art in two of his functions: designing andrepresentation of social reality. Daniela Bleichmar has offered a concept of"a visual epistemology" for the description of the functioning ofvisual arts in the system of the imperial culture. It is "the way of theknowledge based on visuality, affecting observation and representation".Visual epistemology acts as a part and a prerequisite of imperial system whichhas a long history of representation in graphic forms of communication for thesolution of the administrative purposes. "The visual empire" byDaniela Bleichmar connects natural history, visual culture, and management ofthe empire. An important element of a visual epistemology is the culturalgeography and cultural anthropology which are also created by graphics andpicturesque means.In my opinion, visual practices of the Russian Empire gives for as a lotof striking examples of an imperial images construction. Visual images of theEmpire were created by means of engravings, arts, and crafts, theatricalsceneries, posters, sculptures, architectural complexes. By means of theseartifacts, residents of the empire could gain an impression about imperialnorms, values, characters, ruling elite, about the remote regions of thecountry. By means of images of region’s nature landscapes and home portraits ofthe empire’s residents, the ruling Centre extended the influence on theperiphery and consolidated the people of the empire.In contemporary culture, imperial visuality develops using traditional artsand new media means. Traditional means include sculptural monuments to the mostimportant figures of imperial history - Ivan the Terrible (Moscow), Vladimirthe Great (Moscow), Alexander III (Yalta, Crimea) and others. The media forcreating an imperial visual anthropology include movies and television series,animated films on subjects from the history of the empire. They give a modernidea of the history of the formation of the empire, its founders, heroes, majorhistorical events and significant dates. Values and norms that regulate thedaily life of imperial life are shown on the examples from the life of theheroes of films. In this way, cinematic visuals carry an imperial myth and contributeto its consolidation in the minds of the audience.On numerous examples in monumental sculpture works, we research howimperial culture designs an imperial image, forms imperial consciousness andthen represents them on other territories as within the country, and beyond herlimits
KW  - imperial culture
KW  - visuality
KW  - visual epistemology
KW  - the myth of Empire
KW  - imperial image
KW  - the image of Empire
CR  - Astafyeva O.N., Avanesova G.A., 2015. The development of national culture and cultural policy in the Russian Empire and the USSR: a comparative analysis. Yaroslavl Pedagogical Herald, vol. 4.
Bleichmar D., 2012. Visible Empire. Botanical expeditions and visual culture in the Hispanic Enlightenment.
Bleichmar D., 2015. The Imperial Visual Archive: Images, Evidence, and Knowledge in the Early Modern Hispanic World. Colonial Latin American Review, vol. 24.
Fedulin AA, Bagdasaryan V.E. Monumental sculpture and the struggle of ideologies: history and actual challenges. Modern problems of service and tourism. 2013. № 4. P.11-17
Gushchyan L., Magomedova A., Mahmudova Z. Imperial symbols in the art of the Caucasus. Homeland. 2014. No. 9. P.131-133.
Saenko N.R., Shipitsin A.I., 2010. Cultural-symbolic policy in relation to urban sculpture. Questions of culturology, vol. 12.
Shcherbinina N.G. Monumental sculpture as a visual deconstruction of "Russia". Praxeme. Problems of visual semiotics. 2015. № 1 (3). Pp. 43-50.
Shumikhina M.N. Art as the conductor of political myth into life. Bulletin of the Humanities University. 2017. No. 3 (18). P.127-131.
Vishlenkova E.A., 2005. To see the empire: the city in the visual culture of Russia XVIII - the first quarter of the XIX century. Scientific notes of Kazan University, vol. 147.
Zlotnikova Т.S. The imperial unconscious is the context of a person's creative self-awareness. Yaroslavl Pedagogical Bulletin. 2014. T.1. № 2. P. 213-217.
UR  - https://doi.org/10.18769/ijasos.417811
L1  - https://dergipark.org.tr/en/download/article-file/462061
ER  -