Features of the formation of culture, science and education in the Far Eastern region. Some trends in the formation of artistic movements in the Far East History of the emergence of art in the Far East

Art criticism is a specialty for those who wish to study the history of art from antiquity to the present, to acquire information about artistic values, learn a foreign language and communicate fluently in it and get employment opportunities abroad. This profession was popular two or three centuries ago, and it still remains relevant today. modern world. It is quite possible to receive distance education in art history - many higher educational institutions provide such an opportunity.

Distance education curriculum in art history

The training program for professional art critics consists of several stages:

• Art history training. This is a classic section of professional education, includes the study of cultural history from antiquity to the present day, practical classes with famous artists and sculptors;
• Foreign languages. Of course, the main emphasis is on studying English language- it is considered international, understandable in many countries and expands graduates’ employment opportunities. But some higher education institutions allow the study of a foreign language of your choice - English, Italian, Spanish, Chinese, Japanese;
• Practice of the art market (applied art criticism). By studying this section of the compulsory curriculum, students receive systematic knowledge in the field of the international art market, its pricing and the demand for specific works.

You should know that distance learning in art history involves completing all points of the curriculum, with mandatory practical training. Each higher education institution can expand the knowledge of students within a specific section of the program. For example, practice in teaching fine arts may include familiarization with the specifics of entrepreneurial activity, as well as information technology.

In general, distance learning for this profession is quite complex and involves studying the following disciplines:

• Foreign language;
• Fundamentals of economics, cultural studies and philosophy;
• Fundamentals of psychological and pedagogical education;
• Speech culture and basic knowledge of the Russian language;
• Application of technology in culture;
• Information bases of economics and management activities;
• Natural science.

These are general disciplines that are studied by all students, regardless of the chosen direction in art history.

What disciplines are included in the art history program?

The study of art history includes the following disciplines:

• Ancient World;
• Middle Ages;
• Middle Eastern countries in the Middle Ages;
• Art of the Far East in the Middle Ages;
• East (XV-XIX centuries);
• Near and Far East of the XX century;
• Art of Western Europe;
• History of decorative and applied arts, theater, cinema and music;
• History of architecture and design;
• Russian art;
• General history and history of Russia;
• Archeology;
• Literature;
• Aesthetic teachings;
• Theory and methodology of art;
• Story art criticism;
• Fundamentals of management and marketing;
• Business in the artistic field;
• Monuments of art;
• Restoration work;
• Museum work;
• Historical data on the subject being studied foreign language;
• Translation literary texts;
• Art business - theoretical and practical materials.

Considering such a large volume of disciplines studied within the framework of distance learning for the “Art History” profession, it is not surprising that remotely students often take intermediate tests and differential tests - teachers need to make sure of the completeness and depth of the knowledge gained.

Where and how to get an education

Art history- a faculty that requires each student to undergo practical training and therefore it is impossible to speak unequivocally about distance learning. Rather, this method of education refers to a mixed form of education - correspondence with the use of distance technologies.

You can enroll in a similar faculty in many higher educational institutions, but you must be personally present when submitting the package of documents for admission. In addition, students will have to come to the main or additional branch of a higher educational institution to undergo internships, attend seminars and conferences, take test assignments, differential tests and exams.

Higher educational institutions that provide the opportunity to undergo distance learning in the profession of art history:

• Far Eastern State Technical University;
• Kazan State University of Culture and Art;
• Moscow State University;
• Perm State Pedagogical Institute;
• St. Petersburg State University of Culture and Arts.

The official history of the organization began in October 1938 on the initiative of V.V. Bezrodny. Artist, teacher and public figure Vasily Vasilyevich Bezrodny graduated from the St. Petersburg Academy of Arts. I. E. Repina, Faculty of Theater Design. According to contemporaries, he was a modern-minded person with knowledge and high artistic culture.

In Vladivostok in those years, higher art education was a rare occurrence. V. V. Bezrodny’s professional skills and vision of art were formed in the former imperial academy arts, where at that time A. P. Ostroumova-Lebedeva, I. I. Brodsky, M. P. Bobyshev, B. V. Ioganson, D. N. Kardovsky taught.

The atmosphere in the academy of those years can be judged by a special hall opened in 2013 at the Research Museum of the Russian Academy of Arts (NIM RAH) in St. Petersburg. This is a hall dedicated to the Academy of Arts in one of the difficult periods for it - the 1920s and early 1930s, when an unusual, motley picture of various, sometimes mutually exclusive trends existed here. This influenced the development of the artist.

One of the qualities of V.V. Bezrodny, formed at that time, can be called the versatility of his creative nature. This affected both the atmosphere in the newly created organization in Primorye and the nature of the activities of V.V. Bezrodny himself, who was involved not only in the affairs of the local artists’ union, but also in an effort to establish art education.

About the first steps of the Primorye Organization of Artists, V. I. Kandyba wrote the following: “On October 10, 1938, for the first time in the history of the region, artists from different places in Primorye came together.

This meeting became the founding one. Its result was the formation of the organizing committee of the Union of Primorye Artists, which was registered by the organizing committee of the Union on August 1, 1939 Soviet artists in Moscow.

They elected V. V. Bezrodny as chairman, V. F. Inozemtsev as deputy chairman and chairman of the exhibition committee, and T. G. Aleshunin as technical secretary. Primorye artists took the traveling “Artel of Free Artists” as a model, adopting, first of all, forms of creative communication. N. I. Kramskoy’s famous “Thursdays” with drawing and conversations about art were transformed in Vladivostok into a training studio for artists. There were regular meetings, work on myself. The studio's unique spirit of camaraderie, solidarity, enthusiasm and creative aspiration reigned here. It is not without reason that already in 1939, according to the plan of the organizing committee, a joint exhibition of works by Primorye artists was opened. 18 people with 120 works took part in it.”

The creative organization included I. A. Zyryanov, P. V. Muldin, O. Y. Bogashevskaya-Sushkova, S. S. Serezhin, M. A. Tsyganov, V. M. Fomin, N. A. Mazurenko, V. M. Sviridov, F. I. Rodionov, S. P. Kolabukhov, D. S. Budrin, D. P. Pravednikov, A. V. Zevin, T. I. Obrazkov, I. F. Palshkov (Suchan, with 1972 - Partizansk), P. P. Medvedev (Artem), V. M. Zotov (Ussuriysk), S. P. Chaika (Ussuriysk), I. S. Derek (Ussuriysk), S. F. Arefin (Ussuriysk) , Yu. L. Ars (Ussuriysk), G. K. Aslanov (Ussuriysk).

Members of the first composition of the organization had different educational levels and different professional experiences. Thus, M. A. Tsyganov graduated from the club-instructor department of the technical school in Rostov, then worked in the regiment club as an artist during his service in the Red Army (1932-34), P. V. Muldin began creative path from a student artist of the Ussuri cinema. S. F. Arefin received training at the Studio of Military Artists. I. F. Palshkov (1887-1954) graduated from the Central School in 1912 technical drawing Baron Stieglitz and had experience working at the calico-printing factories of Serpukhov and Ivano-Voznesensk, as well as experience as a participant in exhibitions of the Society of Non-Party Artists in St. Petersburg (1914-1915) and received recognition for landscapes, sketches and graphics. In 1916, I. F. Palshkov took part in the construction of a church at the school of folk art of Empress Alexandra Feodorovna, for which he was awarded a precious pin with the image of the state coat of arms. But, despite these differences, the artists were united by one thing: their work reflected the nature and multifaceted life of the Primorsky Territory.

In 1939, the organizing committee of the Association of Primorsky Artists worked at the house of V. V. Bezrodny at Pushkinskaya, 12. This house has not survived. V.V. Bezrodny moved to Vladivostok from Ussuriysk in 1936.

He begins to work in the theater of the Pacific Fleet, creating sketches of scenery and costumes. At the same time, the artist comes out with educational initiatives: he creates the “Studio of Navy Artists” at the Sailors’ Club, which was located at that time in the building of the Lutheran Church, where Red Navy and Red Army soldiers study.

In 1939, at the Sailors' Club (today the Pushkin Theater, Pushkinskaya St., 27), on the initiative of Bezrodny, a studio school was created, in which students studied under the secondary art school program. The awareness of the need for professional (and not studio education) encourages V. V. Bezrodny to be persistent in the matter of creating the Vladivostok art school. In 1943, the People's Commissariat of Education of the USSR approved the decision to open an art school in Vladivostok, the director of which was T. G. Aleshunin (later transferred to the Far Eastern Pedagogical Institute of Arts, established in 1962, to the position of vice-rector for economic affairs). In 1944, the first intake of students was made; by the next academic year 1945-1946, the school had two courses in painting and theater departments and one in sculpture.

In 2014, the Vladivostok Art School celebrated its seventieth anniversary, and material is currently being compiled to create an album dedicated to the history of the school and its role in the formation and development art education in the Primorsky Territory and the Far East. In this article I would like to emphasize the connection between the creative organization and the school: teachers of the VCU of that period V.V. Bezrodny, B.F. Lobas, V.S. Zdanovich, G.M. Tsaplin, F.N. Babanin, K.I. Shebeko, V. I. Prokurov, A. M. Rodionov, M. A. Kostin, N. P. Zhogolev, D. P. Kosnitsky, Yu. A. Zemskov and others and the present time L. T. Ubiraeva, S. . I. Gerasimov, N. M. Timofeev, E. E. Makeev, L. A. Kozmina, A. A. Obmanets, M. V. Kholmogorova, A. P. Zhogoleva, V. V. Medvedev and others were and are members of the Primorsky organization of the Union Russian artists.

Over time, the organizational and creative work of the Primorsky Organization of Artists reached high quality new level: edge art exhibitions became regular, graduates of the Vladivostok Art School entered artistic life. In 1959, the Primorsky organization moved into a new building on the street. Aleutskaya, 14-a.

A new, bright stage begins in the life of the Primorsky Union of Artists in the mid-1950s. These are the years of professional formation of I. V. Rybachuk, K. I. Shebeko, K. P. Koval, N. A. Mazurenko, S. F. Arefin, V. N. Gerasimenko, T. M. Kushnaryova, V. M. Medvedsky, V. M. Sviridov, B. F. Lobas, A. V. Teleshov, etc. During these years, the first reviews of the work of Primorye artists appeared in the magazine “Artist”. General characteristics This decade was formulated by V.I. Kandyba: “... this is rather a period of formation and accumulation of strength, taking root in the coastal soil of a young generation of aspiring artists.” The role of beginning artists in the artistic exploration of Far Eastern reality is great.

At the end of the 1950s, those features were laid down that made it possible to call art seaside at subsequent zonal exhibitions. This is the predominant role of the landscape, the desire to master the genre of subject-thematic painting related to the history of the region, the nature of work in it (Primorsky Territory is the territory of sailors, fishermen, miners), interest in the theme of the North, Chukotka, Kamchatka, the Kuril Islands.

I. V. Rybachuk and K. I. Shebeko are considered the discoverers of the northern theme not only in the Far East, but also in Soviet art. The exhibition “Three Masters” in the halls of the Primorsky branch of the VTOO “Union of Artists of Russia” in 2014 with the participation of I. V. Rybachuk and K. I. Shebeko made it possible to look at this material from the point of view of a modern vision of the topic in art and once again evaluate the scale of what was done . The north attracted V.M. Medvedsky, I.A. Ionchenkova, N.D. Volkov (Ussuriysk) and other artists, encouraging them to search for special artistic means of adequately reflecting the nature and people of the North.

Other no less significant topic The Shikotan theme appeared in the art of coastal artists. Having become the subject of recent research in connection with the attention to Russian art of the 1960s in general, this topic turned out to be associated with the work of more than two dozen artists of the Primorsky Territory and lasted for several decades, giving impetus to the existence of the Shikotan group. The first period of the group’s existence is associated with the names of Yu. I. Volkov, I. A. Kuznetsov, V. S. Rachev, E. N. Korzh. The history of the creation of the group is connected with the personality of O. N. Loshakov, after graduating from the Moscow Art Institute. V. I. Surikov, who came to Vladivostok to teach at an art school. Landscape, portrait, subject-thematic painting - these genres were embodied in dozens of canvases, the main content of which was “the nature of the Far East, then - man in a simple and strong relationship with it.” The works of the Shikotans realized a harsh style - a direction in the art of the 1960s, short in time, but despite this, it influenced the subsequent attitude of Soviet artists until the end of the 1980s. The group's exhibitions were held in Vladivostok and Moscow.

O. N. Loshakov participates in the autumn exhibition of 2014 as an honorary guest.

V.I. Kandyba and capital art historians associate the period of the 1960s with the development of thematic-thematic painting: “The second half of the 1960s was marked by an event of great importance for coastal painting - the formation of thematic-thematic painting. From a rare, but always welcome guest, she turned into an obligatory regular at most of our exhibitions.

The acute shortage on it has clearly subsided.” Among the “artists” are V. I. Bochantsev, Yu. I. Volkov, V. N. Doronin, N. P. Zhogolev, K. I. Shebeko, S. A. Litvinov and others. The second genre, designed to embody the image “ hero of the time" and was positively assessed by critics, was a portrait. The most important theme of the exhibition “Soviet Far East”, which opened in 1965 in Vladivostok, was a story about a contemporary: “sailors, whalers, fishermen, builders, reindeer herders - these are gold mines of amazing characters.” I. V. Rybachuk, K. I. Shebeko, V. A. Goncharenko, V. N. Doronin, A. V. Teleshov, M. I. Tabolkin work in this genre. This period is distinguished by the desire for a wide coverage of topics reflecting all aspects of life in Primorye and the Far East. Successes in this area are associated with important events in artistic life.

In 1962, the Far Eastern Pedagogical Institute of Arts was organized with music, theater and art faculties (it was called that until 1992, from 1992 to 2000 - the Far Eastern State Institute of Arts, since 2000 - the Far Eastern State Academy of Arts). This step was due to the situation with personnel in creative organizations, which the first rector of the institute G.V. Vasiliev in a memo to the Minister of Culture of the RSFSR A.I. Popov called “catastrophically bad.” V. A. Goncharenko, dean of the institute, and from 1973 to 1993 rector, writes that the opening of the university in Vladivostok was perceived by artists (including) as “a gift of fate, an unexpected chance. And, I must say, everyone used it to the fullest extent of their strength. Of them (students of the first graduating class - author's note) came out bright artists and wonderful teachers: Yu.I. Volkov, O. P. Grigoriev, I. A. Ionchenkov, D. P. Kosnitsky, P. Y. Rogal, V. A. Snytko, Yu. V. Sobchenko, V. N. Starovoitov, G. M. Tsaplin. I especially highlight S. A. Litvinov, who grew up in our Academy, the first professor of painting in the Far East, who was entirely shaped by the artistic life of Primorye.”

Graduates of art universities in Leningrad and Moscow came to the newly formed institute to teach - V. A. Goncharenko, K. I. Shebeko, V. I. Kandyba (art critic) - Institute of Painting, Sculpture and Architecture named after. I. E. Repina, V. N. Doronin, V. I. Bochantsev - Moscow Art Institute. V. I. Surikova. In 1967, S. A. Litvinov and Yu. V. Sobchenko, from among the first graduates of the institute, set out on the teaching path.

In 1977, N. P. Zhogolev (Institute of Painting, Sculpture and Architecture named after I. E. Repin) became one of the teachers. Their pedagogical and creative work, participation in exhibitions, and the creativity of their students made the artistic life of the region “an organic, equal, creatively original part of all-Russian life.” Not only graduates of the Vladivostok Art School, but also graduates of schools in Siberia and central Russia (Irkutsk, Kemerovo, Blagoveshchenskoe, Novoaltaiskoe, Ivanovo, Ryazanskoe, etc.) began to enroll in the painting department at FEGII.

The second factor that influenced the development of artistic life was the organization of the Far East zone.

In 1960, the Union of Artists of the Russian Federation was created. In 1960, the 1st republican exhibition “ Soviet Russia”, and in front of it, local organizations host zonal exhibitions in which all members of creative teams participate. The serious work of exhibition committees contributes to great professional returns, and artists also have the opportunity to compare their work with the work of artists from other territories. Based on the results of zonal exhibitions, works were selected for the All-Russian level. This system was preserved for many years, allowing entry into the general artistic life of the country, and continues today. By the way, Vladivostok was the venue for the zonal exhibition three times - in 1967, 1974 and 1985.

The traditions established in the 1960s developed until the end of the 1980s. Personal exhibitions of Primorye artists are held in Moscow, albums of reproductions by K. I. Shebeko and K. P. Koval are published in the “Artists of the Russian Federation” series. The successes of Primorye artists lie not only in painting, but also in easel and book graphics, poster art (the most notable artist in this direction was E. I. Datsko, who participates in this exhibition as an honorary guest), sculpture, arts and crafts and monumental art.

Thus, for the Far Eastern Book Publishing House, the Far Eastern State University Publishing House, and the Dalnauka Publishing House, there is a group of artists who have made a remarkable contribution to the development of book graphics in the Primorsky Territory - V. S. Chebotarev, S. M Cherkasov, F. G. Zinatulin, E. I. Petrovsky, V. I. Vorontsov, V. G. Ubiraev, S. V. Gorbach and others. Since O. Ivanov, who came to teach graphics at the Far Eastern Institute of Arts, returned 3 years later to Leningrad to enter graduate school, for this reason “The art faculty became exclusively a painting faculty,” training in the field of graphics was provided by the Vladivostok Art School. V. S. Chebotarev, who graduated from the Institute of Painting, Sculpture and Architecture named after V. S. Chebotarev, has been teaching here since 1960. I. E. Repin (workshop of A. F. Pakhomov, specializing in graphic artist). V. S. Chebotarev participates in exhibitions with graphic works. Works for book publishing houses in the Far East. The rise of coastal graphics, which is associated with the name of the artist, means that many of his graduates began to work in this field of art.

In 1978, a section of decorative and applied arts appeared in the Primorsky organization; it united artists from Vladivostok, Artyom, Nakhodka, village. Kavalerovo. In connection with the opening of a carpet factory and a porcelain factory in Artyom, a souvenir factory and a porcelain factory in Vladivostok, and an art ceramics factory in Spassk-Dalny, young, creatively active artists who graduated from the Moscow Higher Art and Industrial School, the Odessa Art College named after. M. Grekova, Leningrad Higher Art-Industrial School, Moscow Institute of Technology, Leningrad Higher Art-Industrial School named after. V. Mukhina, Irkutsk School of Arts.

At exhibitions of decorative and applied arts, the artists of the section exhibited artistic textiles (tapestry, batik, macrame), porcelain, ceramics, decorative items made of metal, wood, and stone with Far Eastern motifs. Over the years, the section included A. V. Katsuk, P. F. Fedotov, A. S. Pesegov, O. P. Grigoriev, O. G. and A. G. Kalyuzhnye, A. P. Onufrienko, V. F. . Kosenko, V. K. Zakharenko (Nakhodka), T. G. Matyukhina (Artem), T. G. Limonenko, G. M. Maksimyuk, G. G. Dobrynina, T. M. Suslova and others. In the field of sculpture they stated themselves E.V. Barsegov, N.M. Shaimordanova, V.G. Nenazhivin.

In publications dedicated to the Primorsky organization of the Union of Artists of Russia, they note the balance of different genres of painting, in a large number of works of graphics, sculpture, decorative and applied and monumental art. Primorye artists are the authors of high-quality easel works, actively participate in regional, republican, and all-Russian exhibitions, and contribute to the formation of the city’s appearance (mosaic panels, artistic forms in various areas of the city, design of interiors and facades of public buildings). In general, the 1960s–80s can be considered the period of formation of multifaceted seaside art with its own personality.

In the 1990s, the changes that occurred in the socio-political life of the country were reflected in artistic life. The main thesis of this time, the artists who came to art in the late 1980s, formulated in the booklet of the exhibition “Generation of the 80s”: “The generation of the 80s had a time in which it, as a pioneer, was allowed to create outside of any ideology, on its own... Complete freedom of expression, which, however, still takes some getting used to. It’s the hardest thing for a generation that grew up in one time and is forced to live in another. Here the strongest survive, or rather, the obsessed, for whom painting is life.” The main problem becomes, on the one hand, the search for opportunities through art to express a problematic vision of modern life, on the other hand, the desire for individuality, which determines the artist’s place in general series. During this period, young artists play a special role. Their exhibitions point to “the existence of diametrically opposed trends and trends in art, the incompatibility of attitudes and tastes, and mutually exclusive approaches to depicting a person. The palette of aesthetic quests of young painters...has become more complex...several ways of interpreting reality are claiming the place of the leading principle - from the unconditional disclosure of nature and direct statements about the world to allegorical images and symbolic structures, as well as a whole conglomerate of techniques borrowed from the technical arsenals of modern modernism.” This thesis is revealed by the exhibitions of the creative groups “Vladivostok”, “Shtil”, “Lik”, whose activity dates back to the late 1980s and early 1990s.

One of the landmark exhibitions of this time can be considered the 2nd exhibition of young artists of the Far East “Territory of Hope” (1995, Vladivostok). Analyzing the presented material, V. I. Kandyba writes: “We are now talking too much about the difficulties of an artist’s life in Russia. But how I wish that in spite of them, in spite of everything, our Far East would become a blessed territory of hope for creativity. The same as this exhibition is for us, radiating the light of youth and hope.” What motivates one of the leading art historians of the Far East to look into the future with optimism? In addition to the general forecast, he notes the works of L. A. Kozmina, I. G. and O. G. Nenazhivina, E. A. Tkachenko, A. G. Filatova, I. I. Butusov and others, although considering them not accessible to everyone, but noting the work with form and color, meanings and associations. From today’s point of view, the artists whose names V.I. Kandyba named in his article responded to the challenges of the time, their work is an unconditional confirmation of this.

But in the 1990s, these challenges became acute. The problem of new forms, put forward by technical progress, was relevant: in artistic life, contemporary art is being formed, not associated with the traditional skills of the artist. A crisis also occurred in the field of artistic criticism, which previously analyzed and generalized the phenomena of artistic life, and in the new conditions began to resemble art journalism, although it contributed to the creation of a picture of the day, but was not able to reflect the situation as a whole.

If we talk about a creative union as an economic organism, dramatic changes affected this area of ​​life: the art fund, as a form of organizing the artist’s employment, ceases to exist in the Primorsky Territory. Of course, the 1990s can be called a crisis period for the art of the region.

At the same time, life encourages us to look for new forms of relationships with society. In 1992, Vladivostok lost its status as a closed port city, and contacts with artists from other countries became possible and established. Primorye residents are beginning to participate in major art events in the Asia-Pacific region and enter the art market. Non-state galleries “Artetazh” (founder and director A. I. Gorodniy), “Arka” (founder and director V. E. Glazkova) appeared. Thanks to them, a primary understanding of the figure of the curator is formed, who puts forward the idea of ​​an exhibition in accordance with his own vision of the artistic process and theme and ensures their implementation. It should be noted the efforts of A. I. Gorodny to organize collective exhibitions with a large number of participants - members of the Union of Artists, giving a cross-section of a particular artistic phenomenon: “110 self-portraits”, “Children’s portrait”, “Vladivostok: landscapes and faces”, “Artists in Andreevka”, etc. The experience of working at these sites, which provided the opportunity to get acquainted with the art of artists from other regions of Russia and foreign ones, representing contemporary art, photography, of course, needs in-depth research and generalization. In this article, we note the following: both the Artetazh Museum and the Arka Gallery have worked and continue to work with artists who are members of the Union of Artists of Russia. “Artetazh” is a constant partner of the Primorsky branch in holding large-scale exhibitions (Primorsky organization of the VTOO “Union of Artists of Russia”: 70 years”, “Far Eastern State Academy of Arts: 50 years”, “Artists to the Navy”, etc.)

By the 2000s, a modern picture of artistic life was emerging. Members creative union actively participate in exhibitions of various levels in Russia and abroad, in the largest art fairs in the Asia-Pacific region (KIAF, Guangzhou Art Fair, etc.). Major art exhibitions with the participation of Vladivostok artists were held as part of the APEC 2012 summit, the Vladivostok Biennale of Visual Arts, etc. Artists initiate various actions. Among the most significant are the series of art cruises on the Allegro yacht organized in the mid-1990s by S. D. Gorbachev.

The idea of ​​​​creating the “House of Prishvin” movement in 2001 (headed by Honored Artist of the Russian Federation V. I. Oleinikov), which united writers, artists, local historians in connection with the creative rethinking of M. Prishvin’s stay in Primorye, entailed not only a number of exhibitions, but also a series creative meetings in libraries of the Primorsky Territory.

In 2006, V. F. Kosenko, A. P. Onufrienko and a number of other artists, designers and architects came up with the idea of ​​the “Harmony of the Environment” project, which included a number of exhibitions. The most striking of them was the exhibition “City, Sea, Wind, Sail” (timed to coincide with the birthday of Vladivostok). Monumental art, painting, graphics, decorative and applied arts, architectural and design projects were presented. The idea of ​​the exhibition is to determine the artist’s place in the urban environment. By the time the exhibition was formed, there had already been a positive experience in restoring the railway station and the Tsarevich Arch in Vladivostok by members of the Primorsky organization of the Union of Artists of Russia. The project was accompanied by a series of publications in periodicals, which indicates attempts not only to create an artistic product itself, but to form public opinion (this idea was continued in modern stage: in September 2014, Alliance-Française Vladivostok presented the educational project “Contemporary Art in City Architecture”, which aroused great enthusiasm among students studying in the specialties “architecture” and “design”). In a sense, in 2006, Primorye artists anticipated their time. And in 2013, the continuation of the project was the decoration of the Vladivostok cinema with a series of ceramic panels by G.G. Dobrynina and V.F. Kosenko.

Another interesting initiative was the creation of the non-profit Foundation for Visual Arts “MOST” in 2009, the author of which was A. L. Arsenenko and V. N. Starovoitov. The organizers named the main activity in the field of art. One of the events of the Gifts of the Magi Foundation is a charity exhibition of works by Primorye artists in the museum and exhibition complex of the PGOM named after. V. K. Arsenyev on the street. Peter the Great, 6 - according to the organizers, it was carried out for the subsequent transfer of funds from the sale of paintings to the creation of an appropriate space in the museum for people with limited mobility.

These examples indicate that at the present stage the field of the artist’s creative quest has been expanded.

The Far Eastern State Academy of Arts is also expanding its usual scope of activities. By 2009, a new teaching staff was being formed at the painting department. The renewed department announces itself with an exhibition in the halls of the Primorsky State Art Gallery “Painted”, which in itself is an extraordinary step. In the introductory article to the catalog of the exhibition, V. I. Kandyba writes that for almost half a century of the academy’s existence, there was no plan for a collective exhibition of faculty teachers. The exhibition was a milestone, signifying a change of generations not only in the workshops, but also in the academy’s classrooms, where in 2009 teachers were taught by I. I. Butusov, A. V. Glinshchikov, A. A. Enin, E. E. Makeev, V. . V. Medvedev, I. B. Obukhov, N. A. Popovich, who “becoming members of a single team, artists and teachers in one person, together personify and creativity faculty and the main path of its development in the future.”

In 2009, for the first time, on the initiative of the Far Eastern State Academy of Arts, an international competition for young artists “ArtVladivostok” was held, which ends with an exhibition based on the results. Exhibitions in the halls of the Primorsky branch of the Union of Artists of Russia and the Primorsky State Art Gallery are becoming annual exhibitions based on the results of plein airs and the 2nd and 3rd ArtVladivostok competitions. In the list of exhibitions and art events young artists - recent graduates of the academy indicate plein airs in St. Petersburg, Florence, participation in all-Russian art events (the exhibition “This is Great!” at the Artetage Museum in preparation for the 2014 Olympics).

During the period of his work as chairman A. A. Pyrkova, through the efforts of the dean of the painting faculty N. A. Popovich, a youth section of the Primorsky branch of the VTOO “Union of Artists of Russia” was formed.

Currently, the Primorsky branch of the VTOO “Union of Artists of Russia” has 124 people, including art historians: Doctor of Art History V. M. Markov, Candidate of Art History O. I. Zotova, Honored Worker of Culture of the Russian Federation L. I. Varlamova, Honored Worker of Culture of the Russian Federation N. A. Levdanskaya. Also a member of the Union of Artists is the director of the Artetazh Museum A. I. Gorodny.

Until 2003, the Primorsky branch of the Union of Artists of Russia included the Nakhodka branch (today N AKHODKA CITY DEPARTMENT VTOO "UNION OF ARTISTS OF RUSSIA"). The Nakhodka group of artists was founded on the initiative of the leaders of the city of Nakhodka in 1980. Graduates of the country's art universities were invited and provided with housing: V. V. Zakharenko, V. K. Zakharenko - graduates of the Moscow Higher Art and Industrial School, V. E. Ezhkov - a graduate of the Institute of Painting, Sculpture and Architecture named after. I.E. Repina, Yu. A. Reznichenko, N. P. Saunin are graduates of the Far Eastern Institute of Arts. In 1982, V. P. Lakhansky, a member of the Union of Artists of the USSR and laureate of the Primorsky Komsomol Prize, was invited. Since 1982, he was elected a member of the board of the Primorsky organization and headed the creative group of Nakhodka. At the same time, artists N. M. Kublov, V. P. Vodnev, V. A. Gorban, V. P. Popov, Yu. I. Tukhov, G. A. Omelchenko and others worked in the city. Thus, interesting graphic works works back in the 1980s. declared herself O. P. Kozich (graduate of the Far Eastern Institute of Arts). Kozich's graphics are distinguished by their precision of composition, confident design, and complex color scheme. A great contribution to the art of graphics was made by V. P. Bykov (in Soviet times, artists traveled a lot around Chukotka, capturing the North in a series of graphic sheets) and F. F. Konyukhov. The work of G. A. Omelchenko is associated with Nakhodka. The artist participated in the 1st zonal exhibition “Soviet Far East” with the graphic series “Fisherman’s Everyday Life” and “Far Eastern Frontiers”, but then devoted himself entirely to painting. The find became one of the main subjects of poster artist V. A. Gorban. A notable phenomenon was the work of landscape painter N. P. Saunin. Since 1964, N. M. Kublov lived and worked in Nakhodka, the main theme of his works was the theme of love for his small homeland, embodied in canvases rich in color. Since 1983, sculptor E. K. Sambursky has lived and worked in Nakhodka (graduated from the Frunze Art School, workshop of N. I. Ladyagin). In 1987, graduates of the Far Eastern Institute of Arts V.K. and N.S. Usov were invited to Nakhodka.

The eighties were a creatively rich period. The core of the group is young artists and members of the Union of Artists V. P. Lakhansky and G. A. Omelchenko, who actively worked in painting, graphics, and decorative and applied arts. Annual city exhibitions (from 1980 to the present) - in the halls of the Museum and Exhibition Center, in which artists of different generations participate, attract the attention of city residents. Artists also participate in regional, zonal, republican and all-Union exhibitions and establish international contacts. Thus, V. P. Lakhansky, V. V. Zakharenko, V. P. Bykov became participants in the international project in the city of Otaru (Japan), G. A. Omelchenko, V. P. Lakhansky, V. P. Bykov took part in the exhibition in the city of Maizuru (Japan), exchange exhibitions were held between artists from the city of Nakhodka and artists from the cities of Maizuru and Otaru (Japan). Creative trips are carried out to the academic dachas of the Union of Artists, plein airs are held, meetings are organized between artists and spectators, meetings with students of art schools in the city, and competitions are held. Artists V.V. Zakharenko, V.K. Zakharenko, V.P. Bykov, F.F. Konyukhov, N.P. Saunin, Yu.A. Reznichenko, V.E. Ezhkov, O.P. were accepted into the Union of Artists Kozich, V. K. Usov, N. S. Usova. Thanks to the city leadership, almost all members of the Union of Artists were provided with creative workshops.

The 1990s turned out to be just as critical for Nakhodka artists as for others. Due to the territorial remoteness of the city of Nakhodka from Vladivostok (180 km) and the composition of the AHR members in the city of Nakhodka more than 10 people, on the initiative of K. R. Avarsky, it was decided to create the Nakhodka branch of the AHR. Registration by the Department of Justice for the Primorsky Territory took place in June 2003.

Until 1990, the Primorsky organization included the Ussuri branch of the Union of Artists of Russia (today U SSURI CITY ORGANIZATION VTOO “UNION OF ARTISTS OF RUSSIAN”). Ussuriysk is the second artistic center of the Primorsky Territory. Artistic traditions here were established back in the 1940s. The Ussuri organization of the VTOO "Union of Artists of Russia" was formed on June 20, 1943 as a branch of the Primorsky organization of the Union of Artists of Russia. On March 12, 1944, the organization opened the 1st exhibition of Ussuri artists.

A major role in the creation of a creative group of Ussuri artists was played by the Studio of Military Artists, which was founded in January 1940 by graduates of the Academy of Arts of St. Petersburg, the Friedman brothers - Ovsey Isakovich, artistic director of the studio of military artists, faculty teacher battle painting at the Academy of Arts, and Rafail Isakovich, director of the studio and art workshop. For the studio and work of artists in Ussuriysk, a special building was built on the street. Volodarsky, 42. During the war, the studio at the officers' house was headed by A. N. Romashkin.

In the 1950s, art and production workshops began operating. The Ussuri organization was not numerous: 10-15 people made up its creative core. The life of a small organization always has its positive and negative sides. In this situation, the positive thing was that the compact team could be captivated by the idea of ​​one person - the leader. In the 1950s, S. F. Arefin was considered the leader, who began participating in regional exhibitions starting in the 1940s. S. F. Arefin grew up in Ussuriysk, during the Great Patriotic War he served at the headquarters of the Far Eastern District, where he completed courses for military artists. Returning to Ussuriysk, he joined the Union of Artists and was actively involved in not only creative but also social work in the organization. In 1966, the artist moved to Vladivostok and for many years practically abandoned easel painting, becoming a theater artist.

Undoubtedly, K. P. Koval played a leading role in creative development. His works appeared at all-Union and republican exhibitions in the late 1950s. A graduate of the Studio of Military Artists in Ussuriysk, he considered the Academic Dacha named after him to be his main school. I. E. Repin. Thanks to his creative races at the Academy, K. P. Koval was well known in Moscow and was called “Koval from Ussuriysk.” He was a wonderful teacher, continuing the tradition of studio teaching in Ussuriysk, and in some way continued the pedagogical line of V.V. Bezrodny on Ussuriysk soil. The students of his studio were called “forgers.” K. P. Koval devoted all his generous, strong talent to the seaside landscape, the merits of which were noted by the master landscape painter A.A. Gritsai. Natural talent and enormous capacity for work allowed K. P. Koval to become a highly professional artist, a person with a “creative beginning.” Thanks to him, the definition of “Ussuri school of painting” appeared at exhibitions in the Far Eastern region and all-Russian ones. The captivating power of his talent united and inspired Ussuri artists. The editor of the city newspaper of Ussuriysk, M. Dubranov, writes about this: “There are people who are destined by fate to leave their term in human history. From ... the history of Ussuriysk, the artist Kim Petrovich Koval can be considered such people without any stretch.”

In the 1940s, S. F. Arefin, G. K. Aslanov, Yu. L. Ars, V. M. Zotov, S. P. Chaika, S. I. Derek laid strong foundations for the stable artistic life of the city. In the 1950s-1970s, N. P. Borisov, B. A. Vyalkov, K. P. Koval, V. M. Medvedsky, N. Ya. Gritsuk, P. Ya. joined them and became members of the Union of Artists of Russia. German, A. V. Tkachenko, B. N. Loshkarev, V. A. Lutchenko, N. D. Volkov, V. A. Serov, G. G. Lagerev, A. A. Usenko, in the 1980s - Yu . P. Galyutin, O. K. Nikitchik, I. T. Nikitchik, A. V. Pikhtovnikov. In the 1990s, the organization was replenished with new members - Yu. P. Larionov, M. R. Pikhtovnikova, E. A. Pikhtovnikov, N. N. Kazantsev, S. V. Gorbach, M. P. Sobolevsky.

On March 18, 1985, the opening of the House of Artists, built through the efforts of Ussuriysk artists, took place. A.V. played a major role in this matter. Pikhtovnikov, who headed the cultural commission in the city council of deputies. For their contribution to the development of art in Russia and the Far East, the artists of the organization were awarded the title Honored Artist of the Russian Federation and Honored Artist of the Russian Federation (K. P. Koval), Honored Artist of the Russian Federation (A. V. Tkachenko, V. A. Serov, N. D. Volkov , O. K. Nikitchik, I. I. Dunkay).

The theme of the Creative Dacha in Andreevka is closely connected with the Ussuri organization. Andreevka, referred to in the artistic community as “the artists’ cottage,” turned out to be a surprisingly attractive place not only for relaxation and fishing. Here, on the lands of the Khasansky district of Primorye, the traditions of the creative houses of central Russia were continued. One of them is the Academic Dacha named after. I. E. Repin in Vyshny Volochyok - served for Primorye residents both as a place of communication and a place of learning, where participants in creative races were both venerable artists of Moscow, Leningrad and other cities of the Soviet Union, and those who were yet to become masters.

Primorye residents paved a permanent road to Vyshny Volochek. On the primordially Russian lands, in close communication with the famous sixties artists A. A. Gritsai, V. N. Gavrilov, A. D. Romanychev, A. P. and S. P. Tkachev, the depths of the artist’s profession were comprehended. In everyone’s creative baggage there is a sketch from the Academician, where, by the way, they still appear today, despite the radically changed circumstances of artistic life.

In the 1970s, after a series of long trips, it was decided to make their own creative dacha: “several seaside painters K. Koval, A. Tkachenko, A. Teleshov, V. Prokurov, V. Medvedsky came to Andreevka for the first time. Andreevka is a small village in the south of Primorye in the Khasansky district, located on the shore of Trinity Bay of the Sea of ​​Japan. The place is amazingly beautiful. The creative dacha “Andreevka” is now located here. It is maintained by the Ussuri organization of the Union of Artists of Russia. Artists from the Far East come here to work and relax - Primorye, Khabarovsk, Blagoveshchensk, and in good times artists from Moscow, Leningrad, the Baltic States, and Central Russia came here,” writes R. P. Kosheleva, referent of the Union of Artists of Russia. The editor of the newspaper found a place to publish about Andreevka on the page with the heading “In the Houses of Creativity” next to the material about the Academic Dacha in Vyshny Volochyok, which is not accidental. Andreevka was a place of inspiration and work for dozens of artists of different generations and at the same time a kind of connecting link with the center of Russia.

In 1990, with a staff of 10 people, the Ussuri branch separated from the Primorsky branch and acquired the status of an independent organization.

Today Primorsky branch, Nakhodka city and Ussuriysk city ​​organization VTOO "Union of Artists of Russia" closely cooperate in organizing art exhibitions and plein airs in Russia and abroad.

Olga ZOTOVA

member of the VTOO "Union of Artists of Russia",

executive secretary of the Primorsky branch

VTOO "Union of Artists of Russia",

candidate of art history,

Associate Professor, FEFU School of Humanities

© WHEN COPYING AND QUOTING MATERIALS FROM THE SITE,

Currently, there are twelve creative organizations of artists in the Far East: The Primorsky branch of the VTOO “Union of Artists of Russia” is the second largest.

The activities of the organization are closely connected with the history of fine arts not only in Primorye and the Far East, but throughout Russia.

1

The article is devoted to understanding the formation of some trends artistic directions in the Far East, their influence on the development of the unique features of the fine arts of the region. The stylistic features of Far Eastern art education, their differences and influence on the development of the sociocultural background of the modern period are considered. Dependence of the general level of cultural development of the region on the stylistic trends of modern art education. Individual stylistic features of the teaching of Veniamin Goncharenko and Nikolai Zhogolev, which were passed on to their individual graduates, are highlighted.

stylistic directions of artistic creativity

Primorsky Krai

art education

1. Glinshchikov A.V., Obukhov I.B., Popovich N.A., Chugunov A.M. Far Eastern State Academy of Arts. Memories and materials. – 2007. – No. 2. – P. 54–86.

2. Glinshchikov A.V., Obukhov I.B., Popovich N.A., Chugunov A.M. Far Eastern State Academy of Arts. Memories and materials. – 2012. – No. 3. – P. 97–114.

3. Kagan M.S. Social features art / M.S. Kagan / Knowledge. – 1978. –S. 34.

4. Kandyba V.I. Artists of Primorye. – L.: Artist of the RSFSR. – 1990. – P. 126.

5. Moleva N.M. Outstanding Russian artists-teachers / N.M. Moleva. – M.: Enlightenment. – 1991. – P. 147–158.

The relevance of the topic chosen for this article is determined by the fact that art education is an important link in the artistic life of the region. The overall level of artistic preparedness of both the producing and consuming circles of the artistic intelligentsia depends on the degree of its development. Art education, on the one hand, forms traditions in teaching artistic skills, and on the other hand, contributes to the development of unique features of the fine arts of the region.

Modern art education in Primorye is actively developing, including new institutions of additional education, specialized institutes, and colleges in its chain.

At the same time, the question arises about the degree to which the history of the development of art schools in the Far East has been studied, since there are not yet enough works covering this topic. Recently, works devoted to the fine arts of the Far East have appeared, dissertations have been defended (Zotova O.I., Levdanskaya N.A.). However, a holistic picture of the development of fine arts in the Far East has not yet been formed.

Modern Russian culture has several important features that have been characteristic of it since the beginning of the existence of the state - geographical dispersion, as a consequence the remoteness of regions from each other, and total centripetal trends in the development of all political institutions. These features directly affect the disunity of the country, causing artificial cultural isolation in a number of regions.

We can also include Primorsky Krai among similar regions of the Russian Federation. The problem of cultural isolation of the Far East is also noted by government bodies in the adopted document “Strategy for the socio-economic development of the Far East and the Baikal region for the period until 2025”.

Having examined the problems of the thinned cultural layer directly in the city of Vladivostok, we can draw objective conclusions. Developing in cross-border conditions, colossal distance from the cultural centers of Russian culture and monuments of classical fine art, the artistic culture of the city of Vladivostok, in the specific conditions of a port city, tends to develop imitation in the artistic and visual techniques of creativity of students and graduates of the Far Eastern Academy of Arts.

This is understandable. The search for an artist’s independent style of expression is complex and lengthy. The author's style, which often requires abstraction from the material aspects of life, is difficult to achieve in the conditions of existence of a modern author.

Due to this, large mass regional artists, on the path to developing the stylistics of their narrative, choose the simplest path, appealing in their statements to the artistic expressive techniques of their teachers, at the same time creating an original style of fine art of the region.

The Institute of Art Education in the Far East is relatively young, so that we, being contemporaries of its founders, can easily trace its evolution, using the examples of the immediate founders of the institute and their followers, who, having picked up the baton, continue the traditions of the “Far Eastern school of painting”.

Veniamin Goncharenko and Nikolai Zhogolev can be called one of the first founders of the Far Eastern art and educational school. Having devoted a significant share of their creative career to teaching artistic disciplines to the first students of the Far Eastern State Academy of Arts, these professional artists became the basis on which the painting and pedagogical education system in the Far East would grow in the future.

A huge contribution to the methodology of teaching specialized disciplines was made by Veniamin Goncharenko, an artist-painter, member of the Union of Artists of Russia, Honored Artist of Russia, graduate of the Institute of Painting and Architecture named after. I. E. Repin, Faculty of Painting, workshop of B.V. Ioganson. From 1974 to 1993 - rector of the Far Eastern Pedagogical Institute of Arts. As rector of the Far Eastern Pedagogical Institute of Arts, Veniamin Alekseevich published a number of articles on the problems of art education and upbringing.

Nikolai Pavlovich Zhogolev played an equally important role in the development of art education. Honored Artist of the Russian Federation, graduated from the Vladivostok Art School and the State Institute of Painting, Sculpture and Architecture. I.E. Repin, a famous master of figure composition, portrait and still life.

From the point of view of teaching methodology, masters of special disciplines did not go beyond the tradition of the Russian realistic school, of which they were adherents. Was given special attention in-depth study of the fundamentals of compositional construction, academic drawing and painting. Since the founding of the art department of the Far Eastern Pedagogical Institute of Arts, the teaching of special disciplines has been carried out according to the plan of standard programs.

At the same time, the workshops of artists of the same St. Petersburg school gradually began to form new, authorial features. While the students of Veniamin Goncharenko actively turned to the sculptural possibilities of impasto painting, often breaking the light-air perspective, moving away from classical realism into pure impressionism, the students of Zhogolev’s workshop perfectly honed their mastery of the color spot. Bold color solutions in sustainable compositions become the “calling card” of their work.

Even with a superficial analysis of the paintings, art historians can talk about students borrowing the visual narrative of their course masters. Since the characteristic features of the author’s artistic language are quite stable, and being developed during the process of formation of the author’s figurative-semantic system, reflect his creative path, they are quite simply read by the iconological method.

Gradually, in the educational process, what can be called a mechanism for assimilating influences, adopting traditions of performing artistic expressive means of painting, moving away from the mechanical repetition of studies that inexorably leads to craft.

Under the leadership of two masters of one art school, two artistic lines, two directions are being formed, the students of each of which in their works operate with clearly formed figurative expressive systems within the framework of these directions.

Graduates of Veniamin Goncharenko’s workshop demonstrate a desire for a laconic palette, a desire to work with fewer colors, focusing on a greater variety of shades. The tradition of painting paintings includes emotional filling of color through the work of valers. Within this school, form is perceived as a light-air volume.

Thus, graduates of the workshop V.A. Goncharenko 1976 Sidor Andreevich Litvinov and Yuri Valentinovich Sobchenko taught at the Far Eastern State Academy of Arts for many years and have graduated more than one generation now famous artists. Today, the pedagogical traditions of Veniamin Goncharenko’s workshop continue to be practiced by Ilya Ivanovich Butusov.

For example, the impressionistic palette of the Vladivostok landscape in the work of V.A. Goncharenko (“Lights in the port”, oil on canvas, 2008, 840x1040 mm, gallery contemporary art“Arch”) is transformed in the work of student Ilya Butusov (“Festival of Lights”, oil on canvas, 2008, 1160x1300 mm, private collection). The same outlines of the seashore, ships, buildings hidden behind the fog, reproducing the very aerial perspective of the city of Vladivostok, for which it is so loved by its residents.

These paintings by the teacher and the student are very similar in color and content. One gets the impression that this is one direction, one line of artistic creativity.

Graduates of Nikolai Zhogolev’s workshop demonstrate a slightly different set of artistic expressions. In their works, a purposeful convergence of painting and graphics is clearly visible, where the combination of a laconic color spot with the softness of a light-color environment is obvious. The problem of conveying light-air perspective is solved through color contrasts brought to a unified sound within the canvas. In the works of representatives of this workshop one can notice a tendency towards decorative painting.

Nikolai Zhogolev’s creative approach to his work (“Evening in Novorossiya”, oil on canvas, 1995, 1490x1500 mm, private collection) is easy to recognize by its special, increased luminosity and expressiveness of color. The absence of traditional, for the Far Eastern school of painting, light and shadow modeling, heightened color relationships, motifs borrowed from nature and the organization of space only with the help of color are characteristic features of graduates of Nikolai Zhogolev’s workshop, who intuitively move towards Fauvism in their work. A similar planar interpretation of forms, emphasizing the decorativeness of painting, is demonstrated in their canvases by graduates of the Zhogol workshop, - Dyo Son Yong (“Snow”, canvas, acrylic, 2012, 110x140 mm, private collection), Alexey Fomin (“Surf”, canvas, oil, 2011, 500x700 mm, private collection), Nikolay Lagirev (“Golden Horn Bay”, oil on canvas, 2010, 610x350 mm, private collection). It is noteworthy that over the past 10 years, Fomin A.E. and Lagirev N.N., are teachers at the Vladivostok Art School, forming the initial artistic and stylistic characteristics of students.

Parallels between the style of creativity of the teacher and the student can be drawn in other names. However, this is not the main thing. Many talented students, relying on the style of the teacher’s creativity, created their own line of creativity, created their own unique author’s seaside style. The study of this seaside style seems to be an important task.

Rice. 1. Veniamin Goncharenko “Lights in the port”, oil on canvas, 2008, 840x1040 mm, “Arch” gallery of contemporary art

Rice. 2. Ilya Butusov “Festival of Lights”, oil on canvas, 2008, 1160x1300 mm, private collection

Rice. 3. Nikolay Zhogolev “Evening in Novorosiya”, oil on canvas, 1995, 1490x1500 mm, private collection

Rice. 4. Dyo Son Yeon “Snow”, acrylic on canvas, 2012, 110x140 mm, private collection

Rice. 5. Lagirev Nikolay “Golden Horn Bay”, oil on canvas, 2010, 610x350 mm, private collection

Rice. 6. Fomin Alexey “Surf”, oil on canvas, 2011, 500x700 mm, private collection

Artistic movements that emerged in the 60s continue to have a significant influence on art education and cultural level Primorsky Krai.

Yesterday's graduates of the art department of the Far East State Academy of Art, leaving their “alma mater”, become teachers, passing on the fine traditions of their teachers to the future generation of modern painters.

Thus, the masters who laid the foundations of art education in the Far East determined not only its development, but also the original appearance of coastal contemporary art.

Bibliographic link

Katanaeva D.A. SOME TRENDS IN THE FORMATION OF ART DIRECTIONS IN THE FAR EAST // International Journal of Applied and Fundamental Research. – 2016. – No. 8-4. – P. 639-642;
URL: https://applied-research.ru/ru/article/view?id=10143 (access date: 10/28/2019). We bring to your attention magazines published by the publishing house "Academy of Natural Sciences"

Submitting your good work to the knowledge base is easy. Use the form below

Students, graduate students, young scientists who use the knowledge base in their studies and work will be very grateful to you.

Posted on http://www.allbest.ru/

1. Features of the formation of culture, science and education in the Far Eastern region

2. Cultural monuments of the Far East

List of used literature

1. Peculiaritiesformationculture,scienceAndeducationVFar Easternregion

The discovery and economic development of the Far East was accompanied by cultural development. The development of the culture of the Far Eastern region took place under the influence of all-Russian factors, in line with domestic (Russian) culture. In the history of the development of the culture of the Far East, modern researchers chronologically distinguish several periods.

The first is the 17th century. - until the 80s of the XIX century. - this is the period of the birth and formation of Russian culture in the Far East and Russian America, the establishment of cultural and historical contacts with the indigenous peoples of the region.

The second period is the 80s of the 19th century - the beginning of the 20th century. - characterized by the emergence and development of professional artistic culture, the development of science and education.

The third period falls on the decades of Soviet power (from 1917 to the 90s of the 20th century) and is associated with the creation and development of Soviet, socialist culture. Let us consider some characteristic features of these periods.

Discovery and development of the Far East by Russian people in the 17th century. was accompanied by the spread of Russian culture to new lands and the establishment of contacts with the indigenous population.

In the period from the 80s of the 17th century to the mid-19th century, due to the loss of the Amur region under the Treaty of Nerchinsk (1689), the cultural development of the Far Eastern region took place mainly in its northern part (Okhotsk coast, Kamchatka, Russian America).

The Russian Orthodox Church and its ministers played a leading role in spreading Russian culture to new lands and introducing the indigenous population to Russian culture.

This was explained, firstly, by the fact that the Orthodox religion remained the main moral support Russian person.

Secondly, professional culture here was taking its first timid steps.

In addition, the basis of the Orthodox religion was humanism, the universal principle. Its commandments and its demands guided the Russian pioneers who came into contact with the indigenous inhabitants of the Far East. The ministers of the church, as sources testify, both ordinary and those endowed with high rank, spared neither strength nor life to fulfill their high mission.

The first clergy arrived in the Far East in 1639 along with the governors of the newly formed Yakut district. Already in 1671, two monasteries were founded in Albazin and Kumarsky fort by the priest Hermogenes. In 1681, the Selenga Trinity and Ambassadorial Spaso-Preobrazhensky monasteries were created - centers for the development of Russian Orthodoxy and Russian culture in the east of the country. In the 70s XVII century Almost every fort had a church.

With the arrival of Russian explorers in the Far East, enlightenment began to emerge: schools began to be created, and literacy appeared. Schools became one of the links in the formation of Russian culture in the Far East. The construction of schools is developing especially intensively with the creation of settlements on new lands, with the formation of cities and other settlements. It is characteristic that literacy schools were created not only at churches and monasteries, but also on the initiative of explorers and sailors. Children of both Russian and aboriginal populations studied there.

In the XVII - first half of the XIX century. Literature also originated in the Far East. Its formation was influenced by books that reached the eastern outskirts from Russia in various ways: with expeditions, settlers, spiritual missions, and private individuals. These were books of religious, reference, legal, and artistic content; handwritten and printed books. Already in the 17th century. Libraries began to appear at forts, monasteries, schools, and educational institutions. The library of the Resurrection Church of Albazin had rich liturgical literature. Among the residents of Albazin there were literate people who knew not only books, but also published them. These include the priest Maxim Leontyev, the governor of Albazin Alexei Tolbuzin, the merchants Ushakovs and Naritsins-Musatovs.

In the 18th century on the Far Eastern outskirts, notes, memoirs, letters appear on the history of the region, its nature and population, about new settlements, etc. Among them are the notes “ Russian merchant Grigory Shelikhov's wanderings from 1783 to 1787 from Okhotsk along the Eastern Ocean to the American shores" (published in 1791). The book aroused great interest among readers. The poet Gabriel Derzhavin called G.I. Shelikhov “Russian Columbus.”

The Decembrists and talented writers N.A. had a great influence on the emerging literature in the Far East. Bestuzhev, D.I. Zavalishin, V.L. Davydov and others, who left numerous notes and memoirs. The creativity of the Decembrists, their high citizenship, protest against oppression and serfdom, their faith in a bright future, had a great influence on the young literature of Siberia and the Far East.

An important component of the spiritual life of Russian explorers and settlers of the Far East were songs, epics, and legends. For example, Russian Cossacks have preserved in their folklore the legends “Terrible Trouble” (about the difficult trials that befell the Cossacks who were settling Transbaikalia in the 17th century), “About how life used to be” (about the construction of the first forts and the conquest of the Buryat and Tungus tribes ). Song occupied a special place in the spiritual life of the pioneers and settlers. The songs sung from Transbaikalia to Russian America, wherever Russian people lived, reflected the history of the discovery and development of the Far East. In this regard, the historical songs “In the Siberian, in the Ukraine, in the Daurian side” are of great interest.

A vast layer consisted of comic works that served as accompaniment to a round dance or dance.

A characteristic feature of the formation of culture in the Far East was the interaction and mutual influence of cultures - Russian Orthodox Christianity and pagan - the aborigines. Russian people, finding themselves not only in a specific natural and climatic environment, but also in an unusual ethnic environment, were forced to adapt to new conditions and adopt material and spiritual culture from the local aboriginal population.

During the development of the Far Eastern lands, there was an active process of interaction between two cultures: Russian culture with the pagan culture of the aborigines.

Considering the influence of Russian culture on the culture of the aborigines, scientists note that the sphere of traditional culture experienced the greatest changes as a result of cultural contacts. material culture aborigines, it was enriched with new elements.

The indigenous peoples of the Far East borrowed new crops and farming techniques from the Russians; certain ethnic groups in the southern part of the region settled down and adopted a peasant way of life. Animal husbandry began to develop in the aboriginal economy, and riding and draft horses appeared.

Gradually, all the peoples of the Far East mastered the technique of Russian log house construction, Russian stoves appeared, and in place of the canals they began to install wooden bunks, and subsequently beds.

By the beginning of the twentieth century, the Russian hut had become the main type of housing. The influence of Russian culture is reflected in the addition to national food in the form of flour, cereals, potatoes, and vegetables.

The Aborigines borrowed food preparation methods from the Russians: salting, frying; began to use clay and metal utensils. Very soon, the indigenous peoples of the region began to adopt Russian clothing and shoes, and the most prosperous of them (Nanais, Negidals) began to wear kosovorotka shirts, boots, caftans, and caps, like Russian merchants. Materials such as fabrics, threads, and beads were widely used for sewing and decorating clothes.

Under the influence of Russian culture, the decorative art of all indigenous peoples of the Far East became widespread in the second half of the 19th and early 20th centuries. a little richer. The influence of Russians in the art of the Itelmen and Aleuts was especially strong. These nationalities widely used satin stitch embroidery, Russian factory fabrics, and Russian beads in decorative arts. Evenki and Even craftswomen very skillfully used Russian colored fabric and colored threads to decorate clothes, bags, and belts.

From the middle of the 19th century, Russian influence became noticeable in the art of the peoples of Amur and Sakhalin. Thus, the Nanais began to wear shirts of Russian cut, and on traditional women's robes one could see a border made of Russian lace braid. IN home production Carpenter's and joiner's tools began to be used, which had an impact on the improvement of wood carving.

In the second half of the 19th century, qualitative changes occurred in the development of the culture of the Far Eastern region, associated with the level of socio-economic development and the nature of the formation of the region’s population, as well as its geopolitical position.

Firstly, the geography of cultural construction has changed. Unlike the initial stage of development of the Far East, when cultural processes flowed mainly in Kamchatka, the coast of the Sea of ​​Okhotsk and in Russian America, from the middle of the 19th century. The southern regions became centers of culture: Amur, Primorsky and Transbaikal regions. This was explained by the fact that the Amur region and Primorye, on the basis of peace treaties concluded with China (Aigun in 1858, Beijing in 1860), were annexed to Russia. In 1867, Russian America (Alaska) was sold by Russia to the United States of America. The tasks of economic development of the Far Eastern region required the settlement of new Russian lands and ensuring their socio-economic and cultural development.

Secondly, the construction of the Trans-Siberian Railway (1891-1916) and the Chinese Eastern Railway (1897-1903) was of great importance for the cultural development of the region. Since 1893, the sea route from Odessa to Vladivostok was opened. The establishment of railway and sea connections between the Far East and Siberia and European Russia accelerated the state resettlement of the population from the western provinces to the Far East and the socio-economic and cultural development of the region.

Thirdly, the peculiarities of the socio-economic development of the region also influenced the formation cultural environment. First of all, not only the government and local authorities played a significant role in cultural construction, but also the numerically growing Far Eastern intelligentsia - the core, the basis of the regional cultural environment. It was the intelligentsia that especially acutely expressed the social need to satisfy the cultural needs of the population. Thanks to her initiative, all types of professional art are emerging in the region.

A feature of the cultural development of the Far Eastern region in the second half of the 19th century - the beginning of the 20th century. there was a simultaneous development of all areas of culture and art: education, science, artistic and musical culture, theater, that is, the active formation of the socio-cultural space of this region was underway. It should be noted that one of the main features of the Far East is high level literacy of its population compared to Siberia and European Russia.

Secondary and higher specialized education has been developed. Here in the Far East, as well as in the center of the country, the following were created: the Naval School - in Nikolaevsk-on-Amur; river - in Blagoveshchensk; railway - in Khabarovsk. In 1899, the first Oriental Institute in the entire Eastern Siberia and the Far East was created in Vladivostok.

The difficulties in establishing public education were associated with a shortage of not only schools, but also teachers. Suffice it to say that among all teaching staff in the region, only 4% had special education.

Industrial development, railway and naval construction, mass migration of the population to the Far East from the middle of the 19th century. accelerated the development of science.

The Oriental Institute, opened in 1899 in Vladivostok, had a positive influence on the development of Far Eastern science.

A distinctive feature of the Far East was large number periodicals. It testified to the socio-economic and cultural development of the region, and the fact that a group of professional journalists and writers had formed in the region and a large readership had appeared. The periodical press covered all the most populated and developed areas of the region, and reflected the interests of all segments of the population.

A characteristic feature of the formation of the culture of the Far East during this period is the emergence and development of professional artistic culture. However, unlike the artistic culture of Russia, it was created in the form of amateur associations (musical, theatrical, etc.). This can be explained, first of all, by the late entry of the Far East, in comparison with other regions of the country, into Russia. The region's remoteness from European Russia and insufficient funding for culture and professional personnel also had an impact.

The origin of theater in the Far East began in the 60s. XIX century with amateur performances for soldiers and officers. On December 24, 1860, in one of the barracks of Blagoveshchensk, the lower ranks of the line battalion and artillery team presented the play “The Station Warden” (based on A.S. Pushkin) and the vaudeville “Much Ado about Trifles” by A.A. Yablochkina. The first mentions of amateur theatrical productions in Vladivostok date back to the early 1870s. In 1873, reserve paramedic Bakushev with the clerks of the naval crew and garrison, as well as female convicts, presented to the audience a performance based on the play by A.N. Ostrovsky "Poverty is not a vice." In Khabarovsk, the first amateur performance was staged at the city's Public Assembly in 1873. Professional theater troupes were created in the Far East in the early 90s. XIX century Permanent theaters are being created in the cities of Vladivostok, Blagoveshchensk, and Khabarovsk.

Musical culture in the Far East, like theatrical culture, developed from amateur to professional. The origin of musical art began with naval orchestras. In 1860, a military orchestra with a staff of 51 people was established in Nikolaevsk-on-Amur, and in 1862 - in Vladivostok. In the 80s In the 19th century, music circles appeared in Blagoveshchensk, Vladivostok, Chita, and Khabarovsk, which began to play a significant role in satisfying the musical needs of city residents.

The touring and concert activities of artists from Siberia and European Russia were of great importance for the emergence of professional musical and entire artistic culture in the region. Since the mid-90s. Until the beginning of the twentieth century, tours became an integral part of the cultural life of the region. The system of touring and concert practice influenced musical life Far Eastern cities, increased the cultural level of the population, shaped the tastes of the Far Eastern public, facilitated the adaptation of newcomers, and stimulated the development of the region.

2. MonumentscultureDalnyEast

The Far East is a unique region. He is rich in his natural resources, the history of the peoples inhabiting it; it is full of various historical and cultural monuments. All historical monuments known in the region are of great value, most of them are of national importance and are protected by the state.

The most remarkable monuments of ancient art are rock carvings (petroglyphs or pisanitsy, as they are also called). On the territory of the Amur region and Primorye there are several known locations of rock carvings left by ancient craftsmen on pliable stone. This is on the Amur River near Sikachi-Alyan, on the rocky bank of the Ussuri River above the village of Sheremetyevo and in the valley of the Kiya River on the road from Khabarovsk to Vladivostok.

Largest center rock paintings- Sikachi-Alyan. Near the village, along the rocky shore of the Amur, blocks of basalt are piled up in long shafts - the remains of destroyed rocks. There are ancient drawings on them.

The drawings near the village of Sheremetyevo are no longer placed on individual blocks of stone, but on the even and smooth surfaces of the rocks of the Ussuri River.

A unique cultural monument of the Far Northeast Asia are the Pegtymel petroglyph images. They are carved on 12 rocks on the right bank of the Pegtymel River, 50-60 kilometers from its confluence with the Arctic Ocean. At a height of 20-30 m, 104 groups of images have been preserved. This “picture gallery” was created during the first millennium BC. - first millennium AD Older images are partially overlapped by later drawings. The rock paintings reflected the main activities of the ancient inhabitants of the North of the Far East - sea hunting and wild deer hunting.

In different cities of the Far East, erected majestic monuments fallen heroes during the harsh years of the Civil War. The most expressive of them is located in Khabarovsk, on Komsomolskaya Square. The grand opening of the monument took place on October 26, 1956 in the presence of more than 300 Far Eastern partisans, among whom were former commanders of partisan detachments and active participants in the revolutionary movement.

Monument to the Fighters for Soviet Power in the Far East in 1917-1922. installed on the central square of Vladivostok on April 28, 1961. Authors: sculptor A. Teneta, engineers A. Usachev and T. Shulgina. The largest monument in the city. It consists of three separate compositions - two group ones and a central sculpture of a Red Army trumpeter, towering above the square at a height of thirty meters. It was the central figure who was “to blame” for the appearance of the unofficial names of the monument among the local informal and bohemian public: “Trumpeter in his own juice” and “Vasya Trubachev and comrades.” The right sculptural group depicts participants in the events of 1917 in Vladivostok. Left - Red Army soldiers of the People's Republic of the Far East who liberated Vladivostok in 1922.

Bright and illustrative example How in history the seemingly irreconcilable is reconciled - is the Memorial site of the Marine Cemetery in the city of Vladivostok. It arose in 1905 during the Russo-Japanese War of 1904-1905. The memorial site of the Marine Cemetery is a striking and illustrative example of how history reconciles the seemingly irreconcilable. People of different eras, ideologies and religions are buried here. Next to the veterans of the “red” partisan movement during the Civil War lie English and Canadian soldiers and officers, Czech legionnaires who died in the same years, but professed completely different values.

In Khabarovsk, on the high bank of the Amur River, the city’s youngest square is located - Glory Square, opened on the 30th anniversary of the Victory in the Great Patriotic War 1941-1945 In the center of the square rises a 30-meter obelisk of three pylons. The Glory Square memorial appeared in Khabarovsk in 1985. On its plates are the names of Far Easterners who died in the Great Patriotic War. The names of 47 thousand people are engraved on the granite slabs of the local memorial - all those who were called up to the front from the Khabarovsk Territory.

In the city of Komsomolsk-on-Amur, on June 23, 1972, the grand opening of the unique Memorial Monument to the Komsomol heroes who died in 1941-1945 took place.

Monumental sculpture has become a specific phenomenon of the culture of the Far East. Monuments to historical figures have become landmarks in cities. It is characteristic that all the sculptural monuments were united by one big theme: the development and protection of the Far Eastern lands of Russia. The main purpose of sculptures: to affirm the positive, heroic in the minds of contemporaries, and then their descendants. All created monuments were the result of social activity.

For 40 years now, there has been a monument to Erofey Pavlovich Khabarov in the city of Khabarovsk, erected on the centennial anniversary of the city. The monument was opened on May 29, 1958 in a solemn ceremony. The height of the sculptural figure is 4.5 meters, and the total height of the monument (with pedestal) is 11.5 meters.

There can be no talk of a portrait resemblance to Khabarov, since neither portraits nor even descriptions of Erofey Khabarov’s appearance have been preserved. Therefore, the monument decorating the city station square is a kind of collective image of those brave Russian explorers who were the first to reach these distant lands.

In 1891, on the cliff of the city garden of Khabarovsk, a monument to Nikolai Nikolaevich Muravyov-Amursky was erected with the carved names of the participants of all rafting expeditions of the Amur expedition: G. Nevelsky, N. Boshnyak, M. Venyukov, K. Budogossky, L. Shrenko, R. Moake , K. Maksimovich, etc.

A monument dedicated to the outstanding Russian officer, Admiral G.I. Nevelsky stands in a cozy park on Svetlanskaya Street in the city of Vladivostok. The name of this man is widely known and very revered in Russia. The work of the Amur expedition (1851-1855) led by him played a decisive role in the formation of Russian statehood in Primorye.

A monument dedicated to G.I. Nevelsky was also built in Nikolaevsk-on-Amur. The monumental obelisk made of granite with relief and copper plaques with inscriptions was unveiled on August 31, 1813.

And in Khabarovsk, above the Amur, the bronze Nevelskoy stands just as naturally as in Nikolaevsk. The monument to this famous navigator and explorer of the Russian Far East was erected in 1951 in the Central Park of Culture and Leisure. With his head uncovered, with a telescope in his hand, he stands on a high bank and watches the waves of the Amur flowing towards the expanses of the Pacific Ocean. The author of this expressive sculpture is Khabarovsk resident A. Bobrovnikov.

In the city of Arsenyev, in the area of ​​the Uvalnaya hill, a monument to V.K. Arsenyev, a famous explorer, archaeologist, ethnographer, and writer, was erected. It reaches a height of about four meters. At a small distance from it there is a huge block of stone. Part of its façade is occupied by a bas-relief of Dersu-Uzala. Udege ornaments are carved on the reverse surface. The monument was erected in honor of the 100th anniversary of the researcher’s birth. Built with money from residents of the city of Arsenyev and the scientific intelligentsia of Russia.

Among the great variety cultural heritage A special place is occupied by architectural monuments - a kind of chronicle of the world. Architectural monuments are silent witnesses of the past; by studying them, we simultaneously get to know ourselves, because in the monuments are the deeds of our ancestors. Architectural monuments embodied in wood and stone reflect the social and economic state of cities at different stages of development, the level of culture and education. In the Far Eastern cities, despite the fact that they developed far from cultural centers, there are many beautiful buildings. Different architectural styles were used in their construction: classicism, eclecticism or modernism.

One of the most beautiful architectural sights of Khabarovsk is rightfully considered the House of City Government, well known as the Palace of Pioneers.

In 1868, the first wooden church was built in Khabarovsk, and two years later it was consecrated, named Innokentyevskaya in honor of St. Innocent, the first bishop of Irkutsk - the patron saint of Siberia and the Far East, canonized after his death.

From 1899 to 1901 construction of a beautiful building was underway - the Public Assembly. The building was built according to the design of the Irkutsk architect V.A. Rassushin. The building turned out to be really beautiful and for more than a hundred years it has been decorating Khabarovsk with its unusual architecture.

A significant and unique structure of pre-revolutionary Khabarovsk is a three-kilometer railway bridge built in 1916. It was called the “miracle of the 20th century.” This is the longest railway bridge in the Old World. To this day, the Amur Bridge is an example of engineering art.

The city of Blagoveshchensk is notable for its wealth of historical and cultural monuments: on its territory there are eighty-three monuments that are under state protection: fifty architectural and urban planning monuments, four archaeological monuments, twenty historical and monumental art monuments. The most significant of them is the Amur Regional Theater.

A remarkable building is the building of the Blagoveshchensk railway station. It was built in 1908-1912. in tradition ancient Russian architecture Novgorod and Pskov.

The history of the creation of the building of the Blagoveshchensk Regional Museum of Local Lore is interesting. This is a monument of republican significance. The building was built in 1911 by the Far Eastern trading and industrial company “Trading House Kunst and Albers” to house its department store in Blagoveshchensk.

Vladivostok, the largest center of Primorye, has more than two hundred monuments. IN architectural appearance The city is a mixture of old and new. Buildings from the late 19th - early 20th centuries are adjacent to buildings built at the end of the 20th century. Very interesting in architectural terms is the station square, the central place of which is the railway station building. Its architectural and artistic image is designed in the style of old Russian architecture and is reminiscent of the tower palaces of the Russian tsars of the 17th century. The building was built in 1894 by the architect A. Bazilevsky. In 1908, it was expanded and partially reconstructed by the architect N.V. Konovalov.

The Vladivostok fortress is a unique monument of military defense architecture. It (the fortress) is one of two sea fortresses in Russia, built at the end of the 19th - beginning of the 20th centuries. in accordance with the concepts of fortification that were new for those years, which developed after the Franco-Prussian War of 1870.

culture far east monument

Listusedliterature

1. Russian Far East: Economic potential. Vladivostok: Dalnauka, 2006.

2. Dunichev V.M., Zhukova Z.I. Factors influencing the state and prospects of education in the Far East // Culture, science and education of the peoples of the Far East of Russia and Asia-Pacific countries. - 2006. - No. 4.

3. History and culture of the peoples of the Far East. - Vladivostok, 2005.

4. Essays on the culture of small nationalities of the Far East of the USSR (History, decorative arts, musical folklore, folk sports). Khabarovsk, 1980.

Posted onAllbest. r

Similar documents

Universal values ​​and national culture. Culture and its understanding in the East. Formational originality of the culture of the East. Models of culture of civilizations of the Ancient East, Mesopotamia. Specifics of the development of Eastern culture: from antiquity to modernity.

abstract, added 11/23/2008


Formational originality of Eastern culture. Specific features and basic meaning that distinguish it from Western culture. Characteristics of cultural models of civilizations of the Ancient East. Specifics of the formation of the culture of the East: from antiquity to modernity.

abstract, added 04/06/2011


The originality and distinctive features of Eastern cultures. Models of culture of civilizations of the Ancient East (Jericho, Mesopotamia, Ancient Egypt). The specifics of their development from antiquity to modernity. Features of “Eastern” culture in comparison with “Western” culture.

test, added 01/23/2010


Social and ideological foundations of the culture of the Ancient East. The place and role of man in the sociocultural space of the ancient states of the East. Achievements and symbols of material and spiritual culture.

abstract, added 04/06/2007


Analysis of the culture of the East, features of the typological value of the East. Revealing the essence of the cultures of China, India, Japan. The problem of modernization of the countries of the East is the growth of opportunities to use modern technology in the most important areas of material production.

test, added 06/14/2010


Features of the socio-ideological foundations of the culture of the Ancient East are determined by the method of collective survival. Main achievements and symbols of material and spiritual culture. Development of agriculture and crafts, scientific knowledge, mythology.

test, added 06/24/2016


The emergence of culture as the primary role of communication. Ancient evidence of the existence of human culture. Early stages of culture formation. Concepts of language in the cultures of the ancient Near East. Anthropogenesis and prerequisites for the development of culture.

abstract, added 10/26/2008


Concept, meaning and main types of culture. The role and place of culture in human life. The development of culture in conjunction with religion, science and art. The essence of artistic culture. The meaning of science and scientific activity. Myth as a special form of culture.

test, added 04/13/2015


History of the development of Eastern culture - from antiquity to modernity. Her specific features, beauty and originality. The formation of Western culture, its origins, typology and features. Common points of contact between these cultures and the main differences from each other.

abstract, added 12/25/2014


Development of ancient culture within the framework of history " eternal Rome"as a type of European rational culture. Anthropocentrism of Greek culture. The main stages in the development of Hellenic artistic culture. Plastic arts and architecture in Ancient Rome.

The first university in Russia to combine three types of art - music, theater, painting- was created as the Far Eastern Pedagogical Institute of Arts. In the year of its 30th anniversary (1992), it was renamed the Far Eastern State Institute of Arts, in 2000 the institute became an academy, and in 2015 it was again renamed the Far Eastern State Institute of Arts.

In the joint training of musicians, artists, dramatic artists and directors, it was expected to find many points of contact: common or related disciplines, wide opportunities opening up in the field of synthetic arts, for example, opera, where music, painting and theater are combined, creative mutually enriching communication.

The Ministry of Culture took the creation of a new university seriously. The corresponding orders were issued to assign patronage over the music faculty to the Moscow State Conservatory. Tchaikovsky; over the theater department - State Institute of Theater Arts named after. Lunacharsky; over the art faculty - the Institute of Painting, Sculpture and Architecture. Repina.

In addition, these educational institutions were ordered to donate from their funds easels, art books, academic works, casts of ancient heads for drawing, musical instruments, and books for the library. Secondary educational institutions - to ensure a sufficient number of applicants for the Far Eastern Pedagogical Institute of Arts.

The creation of the Institute of Arts became an event in the cultural life of the Primorsky Territory and the entire Far East. It became possible to train highly qualified personnel for theaters, orchestras, teachers for schools and colleges, and artists.

Capitals helped

The foundation of higher education in the field of art in the Far East was laid by excellent teachers, graduates of central universities: Moscow Conservatory: V.A. Guterman (student of G.G. Neuhaus), M.R. Dreyer, V.M. Kasatkin, E.A. Kalganov, A.V. Mitin; Leningrad Conservatory - A.S. Vvedensky, E.G. Urinson; Ural Conservatory - A.I. Zilina, Odessa Conservatory - S.L. Yaroshevich, GITIS - O.I. Starostin, GITIS B.G. Kulnev, Leningrad Institute named after. Repina V.A. Goncharenko and others. The music faculty began to study according to the usual plan of conservatories, the art department - according to the plan of the Institute. Surikov, theater - according to the plan of the school. Shchepkina.

Rectors of FEGII

1962–1966. A cellist was appointed the first rector German Vladimirovich Vasiliev - graduate of the Moscow Conservatory (class of S.M. Kozolupov).

1966–1973. DVPII was headed by Honored Artist of the RSFSR and TASSR, professor Vladimir Grigorievich Apresov, graduate of the Moscow Conservatory (class of M.V. Yudina).

1973–1993. Rector of DVPII - Honored Artist of the RSFSR, Professor Veniamin Alekseevich Goncharenko graduate of the Leningrad Art Institute named after. Repin (workshop of Professor B.V. Ioganson) .

1993–2008. Head of the university - candidate of art history, professor Igor Iosifovich Zaslavsky. ( In 1991, under the leadership of L.E. Gakkel defended his Ph.D. thesis “Keyboard performance and pedagogy in England in the second half of the 18th century”).

WITH 2008 the rector is Andrey Matveevich Chugunov- university graduate, laureate of international competitions, professor of the department of folk instruments.

Andrey CHUGUNOV, rector of FEGII

Material base

Educational building No. 1 on the street Peter the Great, 3a includes a concert hall with 260 seats, a small hall with 72 seats, 70 classrooms for group and individual lessons; workshops, priming room, costume room, dressing room, music library and recording rooms, information center, art fund, editorial and publishing base. The first floor has been converted for classes for students with disabilities in accordance with the state program “Accessible Environment”.

Educational building No. 2 on the street Volodarskogo, 19 is located in a building that is a historical and cultural monument of federal significance - “People's House named after. A.S. Pushkin." Along with this building, the academy acquired a unique concert hall with 400 seats with excellent acoustics, 19 classrooms for group and individual classes.

Music and video library The institute has the largest collection of audio and video recordings in the Far East. These are concert performances by teachers, graduate students, students, invited musicians, recordings of all International competitions, performances by students of the theater department, opera studio.

The institute's library is connected to the KnigaFond and Lan electronic library systems. The library has a computer program for the blind and visually impaired - NVDAI. In 2012, work was carried out on the integrated automation of library activities (SCBAD) of the institute’s scientific library, with pre-installed software. Has its own Electronic library system (EILS) FSBEI HE DVGAI on the AIBS Marc SQL platform.

Tools: all classrooms and halls are equipped with keyboard musical instruments (85 grand pianos and upright pianos, including concert grand pianos Steinway & Sons, Yamaha, Bechstein, Forster). The orchestras are provided with wind, string and percussion instruments, and Russian folk instruments. The concert hall has a Rodgers 968 electric organ.

The institute has a 4-storey dormitory building, which has a gym and tennis hall. A sports ground is equipped for outdoor activities. Students, teachers and staff eat in the cafeteria located in the academic building. There is its own first aid station.

Education

Currently, the Far Eastern State Institute of Arts is the center of professional music, theater and art education in the Far East. The Institute has created a three-level art education system (children’s art school – college – creative university):

children's aesthetic center "World of Art", children's art school;

music college;

university: specialty, bachelor's, master's, postgraduate and internship programs; additional advanced training and professional retraining programs.

The Institute includes three faculties: music(conservatory), theatrical And art, in 1998 a foreign branch was created.

Every year the institute graduates on average 90 people various specialties and thus solves the issue of providing the entire Far East with highly professional personnel in the field of musical, theatrical and artistic arts. Graduates of the institute work in drama and opera theaters (including the Primorsky branch of the Mariinsky Theatre), philharmonic societies, symphony orchestras, music and art colleges, universities, and children's art schools. Among them are laureates and diploma winners of international competitions, the All-Russian competition “Young Talents of Russia”; scholarship holders of the President and Government of the Russian Federation, the Governor of the Primorsky Territory. Many of the graduates have honorary titles of the Russian Federation.

Education at the institute represents the unity of educational, scientific and creative processes. All students and graduate students are involved in the concert and creative life of the institute, Vladivostok, Primorsky Krai: as part of various orchestras (FEGII, TSO, Pushkin Theater, Pacific Fleet Headquarters, M. Gorky Theater, VMU), academic choir, ensembles, etc. soloists. Students of the theater department are involved in performances of the Primorsky Academic Regional Drama Theater named after. M. Gorky, “Cruisers”, “Funeral Prayer”, “Three Sisters”, “Comrade”, “Jester Balakirev”, “Wall”. The best students and graduates of the music department work in the Primorsky branch of the Mariinsky Opera and Ballet Theater.

Scientific activities

Over 55 years, the institute has formed an original research school, based on the tradition of in-depth study of written musical theoretical monuments thanks to the efforts of the famous scientist E.V. Hertsman and the activities of Yu.I. Sheikina, R.L. Pospelova, who worked at the Academy for a long time. The results of fundamental research by university teachers are reflected in the monographs of V. Fedotov “The Beginning of Western European Polyphony”, E. Alkon “Musical Thinking of the East and West: Continuous and Discrete”, O. Shushkova “Early Classical Music: Aesthetics, Stylistic Features, musical form”, G. Alekseeva “Problems of adaptation of Byzantine singing in Rus'”, I. Grebneva “Violin concert in European music of the 20th century”; in numerous publications by S. Lupinos.

Among the areas of scientific work of the academy teachers is the study of ancient, medieval and modern musical traditions of the East and Asia (Japan, China, Korea, India), archaic folklore, musical art of the European Middle Ages, Baroque, Renaissance, early classicism, Russian and Western European paleography, history of theoretical musicology, music of the 20th century.

Unique material has been accumulated - the pride of the university - translations into Russian of Latin, German, and English treatises by Western European scientists of the 9th–18th centuries.

Topics of dissertation research: canon in the musical heritage of Japan (S. Lupinos), methodology of musicology (T. Kornelyuk), musical and liturgical practice of Catholic parishes in the Asian part of Russia (Yu. Fidenko), traditional musical writing of East Asia (S. Klyuchko), theory and the practice of the late Renaissance (E. Polunina), “mythological” in musical thinking K. Debussy (O. Perich), national piano schools of the Far Eastern region (S. Eisenstadt), the poetic work of Arrigo Boito (A. Sapelkin), issues of the history of musical performance and methods of musical education (I. Zaslavsky, P. Zaslavskaya).

Far Eastern State Institute of Arts - member of the joint dissertation council D 999.025.04 at the Far Eastern Federal University in specialties 17.00.02 - Musical art(art history) and 24.00.01 - Theory and history of culture(art history and cultural studies).

A scientific conference is held annually "Culture of the Russian Far East and Asia-Pacific countries: East - West."

Creative activity

FEGII hosts competitions and creative projects with the support of the Ministry of Culture of the Russian Federation and the Federal Target Program “Culture of Russia”

IAndIIAll-Russian music competition (regional stages). In the Far Eastern Federal District, the competition is held in two cities: Vladivostok and Yakutsk.

International competitionyoung musicians-performers "Musical Vladivostok"- the only competition of its kind in the Far Eastern region, which is held in the following specialties: piano, string instruments, wind and percussion instruments, folk instruments, solo singing, choral conducting. Soloists and ensembles take part in the competition, and a Video Competition of ensembles and orchestras is held. More than 350 participants from Russia, China, Korea, and Japan take part in the competition. World-famous musicians were invited as jury chairmen: People's Artists of the Russian Federation A. Sevidov, V. Popov, I. Mozgovenko, S. Lukin, V. Zazhigin, A. Tsygankov; Honored Artists of the Russian Federation Yu. Slesarev, Sh. Amirov, A. Mndoyants, B. Voron and many others.

Organizers of the competition: Vice-Rector for International Relations A. Smorodinova, Vice-Rector for Creative Work, Honored Artist of the Russian Federation, Professor A. Kapitan, Dean of the Faculty of Music, Honored Artist of the Russian Federation, Professor F. Kalman.

"Art Vladivostok" - International exhibition-competition of creative works of students and young artists of the Far East, Russia and APEC countries. Participants present works in several categories (painting, graphics, decorative and applied arts) and several age groups. About 150 people from Russia, China, Korea, Japan, and Vietnam take part in the competition. The jury included: Vice-President of the Russian Academy of Arts A. Yastrebenetsky (Moscow), Honored Artists of the Russian Federation. N. Chibisov (Moscow), S. Cherkasov, Chairman of the All-Korean Association of Artists of Korea, Professor of Dong-A Jang Gab Ju University (Busan, Republic of Korea), Honored Artist of the Russian Federation, Professor V. Goncharenko, K. Bessmertny (Portugal) .

All-Russian Olympiad in musical theoretical subjects “Masterpieces of world musical culture” for students of professional educational institutions and children's art schools. The theme of the Olympiad determines its main goal: to master the necessary basic minimum of knowledge during primary and secondary education and to stimulate the development of students’ horizons.

Students of performing arts also take an active part in the Olympiad. The total number of participants is about 80 people from the Primorsky Territory, Sakhalin Region, Amur Region, Khabarovsk Territory, and the Republic of Sakha (Yakutia).

Regional creative school "Theatrical Surf" for students of secondary schools, students of theater studios and art schools, students of secondary and higher educational institutions in the Far Eastern region and Western Siberia. The project includes master classes and open lessons, allowing young actors to demonstrate their capabilities in various areas of theater education: acting, stage speech, stage movement and plastic arts.

“Debut of young musicians-performers, laureates of international competitions - residents of cities and settlements of the Far East”. The project was implemented as a series of tours around the cities and towns of Primorsky Krai. The concerts were attended by students, trainee assistants, and graduates of the Far Eastern State Institute of Fine Arts.

POVteacher training educational institutions in the field of culture and art and secondary schools "Academy of Arts". Such projects are especially relevant for the Far Eastern region, remote from central universities of culture and art, and are aimed at preserving and developing the art education system, improving the professional level of teachers, and supporting young talents in the field of culture and art. This project usually involves from 200 to 400 people from Nakhodka, Vladivostok, Blagoveshchensk, Khabarovsk; Petropavlovsk-Kamchatsky, Yuzhno-Sakhalinsk, Yakutsk. Artem, Ussuriysk, Dalnerechensk, Arsenyev, Raichikhinsk, Spassk, Komsomolsk-on-Amur, Belogorsk, Partizansk, Amursk, Shakhtersk, Yuzhno-Sakhalinsk.

FEGII projects

The first Far Eastern pop music competition-festival. The emergence of the competition-festival was initiated by the Department of Wind and Percussion Instruments and is associated with the development of education in the field of pop art in the Far Eastern region. In 2014, the first intake of students in the field of preparation “Variety Musical Art”, the profile “Variety Orchestra Instruments” was made at FEGAI. This made it possible to obtain higher education in this field in the Far East. The competition-festival is the successor to the traditional festival "Saxophone Day", which since 2006 has been held annually on November 6 by Honored Artist of Russia, Professor V. Kolin (head of department A. Eshchenko).

Regional festival of children's creativity. The Institute has been operating the Children's Aesthetic Center "World of Art" for more than 20 years. This is a kind of “art academy for children” who attend lessons in music, painting, rhythm, ensemble, art of communication and game creativity. The most talented continue their studies at Children's Art School of the Far Eastern State Institute of Fine Arts, which has been operating for four years. Today, 73 people are studying there in pre-professional programs in the following specialties: Piano, String instruments, Wind and percussion instruments, Folk instruments, Choral singing, Painting. School students have already become winners of competitions and festivals at various levels: city, regional, international. School student Liza Elfutina (accordion) became a participant in the Blue Bird competition.

The annual festival of children's creativity is aimed at preserving and developing the cultural environment and identifying talented children capable of receiving professional education in the field of musical, theatrical and artistic arts (Director of the Children's Center T. Razuvakina, Director of the Children's Art School - Candidate of Art History, Associate Professor E. Polunina).

Far Eastern Winter Arts Festival and Show of Young Talents are held annually in December. The best groups and soloists of the Far Eastern State Institute of Fine Arts, as well as creative teams of educational institutions in Vladivostok, the Sakhalin region, Khabarovsk and Primorsky territories take part in it. Festival events take place in Concert hall Institute of Arts and attract a large number of professionals and lovers of music, painting and theater. Since Vladivostok today is already the largest cultural center in the Asia-Pacific region, the Far Eastern Winter Arts Festival can be called the calling card of the city.

“Golden Key” - Far Eastern competition of performing skills of teachers of children's music schools and children's art schools named after. G.Ya. Nizovsky. The competition is held once every two years and is designed to stimulate creative activity and exchange of experience among music teachers, expanding the pedagogical repertoire; identify and support talented teachers, promote various forms of collective music-making. During the competition, advanced training courses are held.

The first International Russian-Chinese children's art festival "Oriental Kaleidoscope". The festival is designed to strengthen cooperation between China and Russia in the field of art education, stimulate creative activity and exchange of experience between the two countries in the field of culture and art, and identify talented youth for further education in Russian educational institutions. Support talented Chinese and Russian teachers, promote Chinese and Russian music, painting, and various forms of collective creativity. More than 100 participants took part in the first festival.

Far Eastern reading competition “My love is my Russia” - an annual competition that brings together more than 200 participants in the Far Eastern region: from secondary school students to young theater actors.

Regional Contemporary Music Performers Competition - successor to a similar competition, which has been held at the music department of the Far Eastern State Academy of Arts annually since 1966.

Competition for the best performance of works by composers of the second halfXXcenturies - conducted by the General Piano Department. This competition stimulates students' studies, activates their interest in modern music, and helps to reveal the creative potential of students (head of the department - Associate Professor E. Bezruchko).

"Tkachev Readings" reading competition named after People's Artist of the Russian Federation L. Tkachev, permanent long-term leader department of stage speech theater department. Conducted jointly with the Primorsky branch of the Union of Theater Workers of the Russian Federation. Participants - final year students of higher educational institutions of art and culture of the Far East, young artists of Far Eastern theaters (dean - Honored Artist of the Russian Federation, Professor A. Zaporozhets, head of the department - Professor G. Baksheeva)

"Theatrical Hope" - competition of independent works on acting bears the name of the Honored Artist of the Russian Federation S. Grishko, who served in theater department over 30 years. The competition is held with the support of the Primorsky branch of the Union of Theater Workers of the Russian Federation (head of the department - People's Artist of the Russian Federation, Professor A. Slavsky)

"Plein air"– an annual exhibition-competition of paintings and graphic works by students of the art faculty. Exhibitions are held in the halls of the Primorsky State Art Gallery and the Primorsky branch of the Union of Artists of the Russian Federation. This is the first opportunity for young artists to express themselves and communicate with visitors to the exhibition - residents of Vladivostok and Primorsky Krai. Over the years, students worked in the open air in Venice, Florence, and St. Petersburg. During the plein air in Italy, students became laureates of the International Competition for Young Artists “Venice Vernissage” (Dean of the Faculty of Art - Associate Professor N. Popovich).

Remote master classes using the Disklavier: Vladivostok - Moscow. As part of the implementation of a project of cooperation between the Far Eastern State Academy of Arts and the Association of Laureates of the International Competition named after. P.I. Tchaikovsky ( general manager A. Shcherbak) regular lessons were held using the Disklavier installed in the Far Eastern State Institute of Art. The lessons were taught by a professor at the Moscow State Conservatory. P.I. Tchaikovsky A. Vershinin. The final stage of the project is a joint concert of musicians from Moscow and Vladivostok, dedicated to the 175th anniversary of P.I. Tchaikovsky. The concert took place on April 27, 2015. After the successful experience of conducting systematic classes, the opportunity arose to develop a distance learning program using innovative technologies.

« From history creative schools Institute of Arts: origins, traditions, outstanding teachers...". Teachers of the Institute of Arts tell stories - graduates of central universities: Leningrad Conservatory - professors G. Poveshchenko (piano), L. Borshchev (viola), L. Vayman (violin), associate professor V. Bukach (piano); GMPI named after. Gnessins - Professor R.E. Ilyukhin (piano), Novosibirsk Conservatory - Doctor of Art History, Professor S.A. Eisenstadt (piano).

Festivals and concerts are held annually: International Music Day, “Saxophone Day”, “Viola Festival”, “Chamber Assemblies”, “Balalaika - the Soul of Russia”, “Bayan, Accordion and Accordion”, “Plastique Evening”, “Knights of the Bayan”.

Master classes, exchange of experience

Creative meetings, open lessons and master classes by famous artists contribute to improving the quality of education and student interest. The most significant events recent years The following projects were launched: “Domra XXI century”, which included a scientific and practical conference and master classes by the People’s Artist of Russia, Professor S. Lukin and Mosconcert soloist N. Bogdanova (piano); seminars and workshops “Musical pedagogy: theory, methodology, practice” by Doctor of Art History, Professor of the Russian Academy of Music. Gnesins M. Imkhanitsky); “Learning to create” by T. Tyutyunnikova; “Stage movement and fencing” by B. Domnin;

Master class by Pavel MILYUKOV

Master classes by invited specialists: American actress Maude Mitchell, participants of the project “Rachmaninoff Trio and Friends” V. Yampolsky, N. Savinova, M. Tsinman, N. Kozhuhar, J. Kless, E. Coelho, K. Mintsi, O. Khudyakov, S. Delmastro;

Creative schools: “Domra. Perfect masters" by A. Tsygankov and "Masters of accordion performing art and pedagogy" by Y. Shishkin, master classes by professor of the St. Petersburg Conservatory N. Seregina.

Master classes organized by the Mariinsky Theater and the St. Petersburg House of Music, conducted by People's Artist of the Russian Federation, Professor of the St. Petersburg Conservatory S. Roldugin, Honored Artist of the Russian Federation, Professor of the Moscow Conservatory A. Diev, Laureate of international competitions P. Milyukov, Honored Artist of the Russian Federation E. Mirtova, Honored Artist of the Russian Federation, Professor of the St. Petersburg Conservatory N. Seregina, Honored Artist of the Russian Federation, Associate Professor of the Moscow Conservatory A. Koshvanets; Associate Professor of the St. Petersburg Conservatory B. Taburetkin; laureate of international competitions, soloist of the Mariinsky Theater Orchestra D. Lupachev.

Sergey Roldugin, Alexandra Tishchenko, master class

Laureates

For the first time, young musicians from Vladivostok brightly declared themselves at festivals in Leningrad (1967, 1971), Saratov (1969), and since the 1990s they have won prizes at various Russian and international competitions (Moscow, St. Petersburg, Beijing, Novosibirsk, Italy, etc.).

Orchestra of Russian Folk Instruments DVGAI- winner of Grand Prix V All-Russian competition them. Kalinina (St. Petersburg).

Symphony Orchestra DVGAI- winner of the Grand Prix of the VII Far Eastern instrumental music competition “Metronome”.

Academic choir of DVGAI- Grand Prix laureate of the VI International Competition "Musical Vladivostok".

Students of the Faculty of Music won awards at international competitions “Contemporary Art and Education” (Moscow), “Lanciano City Prize” (Italy), the International Vocal Competition named after B.T. Shtokolov (St. Petersburg), “Nadezhda” competition (Krasnoyarsk); International festival-competition “Play, button accordion” (Rzhev), XIX International competition “Bella voce” (Moscow, 2013), Review-competition of vocalists-graduates of music universities of Russia (St. Petersburg), International competition of button accordionists “Harbin Summer” (PRC, Harbin).

Students of the art department became laureates of the International exhibition-competition “Russia-Italy. Traditions and Innovation" (Florence), II International Contemporary Art Competition "My Ugra" (Khanty-Mansiysk), I International Festival-Competition of National Fine Arts "Soul of the Motherland... Motherland of the Soul..." (St. Petersburg).

International activities

Since the 1990s, the Institute’s international relations have been intensively developing in various areas and types of activities.

The Institute is the organizer of a number of international projects: “Days of the Stuttgart Opera”, “The Magic Flute in Vladivostok”, “Figaro in the Far East”, “Don Giovanni on the Pacific Ocean” (with the assistance of the German-Russian Forum, the State Opera of Stuttgart, Goethe- Institute (Moscow), Ministry of the State of Baden-Württemberg (Germany).

Among the projects of FEGII: a joint Russian-American project to stage the musical “Company” (Stephan Sondheim - George Furth); Russian-Japanese musical meetings in collaboration with Reiko Takahashi Irino (JML Yoshiro Irino Music Institute); art exhibitions: “Modern painting in Russia: artists of Vladivostok” (Busan, Republic of Korea); “East meets East” (National Museum of Heilongjiang Province, Harbin); VIII International Exhibition of “Seven Seas” (South Korea); exhibition of countries of the Southeast region (Shanghai) and others.

As part of a previously reached agreement between the Far Eastern State Institute of Arts and the Tokyo Concert Company

BELCANTOJAPAN L.L.C. on cooperation in the field of culture and art, tours of teachers to Japan are conducted.

International project “Figaro in the Far East”

Creative groups

Symphony Orchestra - winner of the Grand Prix of the VII Far Eastern instrumental music competition “Metronome”.

Folk Instruments Orchestra conducts active concert activities in the Far East. Over the years, famous musicians have performed with the orchestra: People's Artist of the USSR Zurab Sotkilava, People's Artist of the Russian Federation Valery Zazhigin, conductors Honored Artist of the Russian Federation Boris Voron, Honored Artist of the Russian Federation Ivan Gulyaev, as well as teachers and students of the academy. The orchestra is the winner of the first prizes of the IV and V International competitions of young musicians-performers “Musical Vladivostok” 2005–2007, winner of the Grand Prix of the V All-Russian competition named after. N.N. Kalinina (St. Petersburg, 2009).

Director of the symphony and folk orchestras - Honored Artist of the Russian Federation, Professor S. Watermelon.

Academic choir. The choir took part in the international projects “The Magic Flute in Vladivostok” and “Figaro in the Far East”. In 2010, the choir became a laureate of the regional competition “Singing Ocean”, in 2012 – winner of the Grand Prix of the VI International Competition “Musical Vladivostok” (video competition).

Head - Associate Professor L. Shveikovskaya.

Academic choir of FEGII

Chamber music ensemble "Concertone" exists since 1990. The ensemble is a laureate of the International Competition named after. Shenderev (1997, 3rd prize), II International Competition in Beijing (1999, 2nd prize). "Concertone"- a team with incredible capabilities to cover the repertoire palette. The secret of this is in the composition of the ensemble: violin, button accordion, clarinet, cello, piano, and sometimes flute, which allows musicians to perform music of various directions and styles.

The credo of Concertone is a constant search for new musical discoveries. For the first time in the Far East, the ensemble performed such works as “The Revision Tale” by A. Schnittke, “Silenzio” by S. Gubaidullina, works by I. Stravinsky, S. Slonimsky and A. Piazzolla.

Russian instrumental trio “Vladivostok” has been performing with the same lineup since its founding in 1990: Honored Artists of the Russian Federation Nikolay Lyakhov(balalaika), Alexander Captain(accordion) Sergey Arbuz(balalaika-double bass). This is one of the leading groups in the Far East working in the folk instrumental genre. The trio gives concerts in Russia (Primorsky and Khabarovsk Territories, Jewish Autonomous Region, Republic of Sakha (Yakutia), Chita, Sakhalin, Kamchatka regions) and abroad (Japan, China, USA, Thailand). Participates in international, all-Russian and regional festivals in the cities of Ise, Sakata (Japan), in Nanjing (China), in the Northwest folklife festival (USA, Seattle), “On the Amur Expanses” (Khabarovsk), “Singing Strings of Yakutia” ", "Transbaikal Harmonica" (Chita), "Musical Review-2004", "Far Eastern Spring" (Vladivostok).

The team is a laureate of the International Competition named after. G. Shendereva (Russia, Vladivostok, 1997 - Silver diploma); XVII International Competition “Grand Prix” (France, Bischviller, 1997 - Grand Prix and Gold Medal); II International Competition of button accordionists (China, Beijing, 1999 - 1st prize); 38th International Competition of button accordionists, (Germany, Klingenthal, 2001 III prize).

Opera studio- laureate of the 1st prize at the International Competition “Musical Vladivostok” (2014, 2016) for productions: Sokolovsky. Scenes from the opera “The Miller, the Sorcerer, the Deceiver and the Matchmaker”, Purcell - “Dido and Aeneas”, Mozart - “Bastien and Bastienne”. The director is Honored Artist of the Russian Federation, Professor V. Voronin.

Trio "Expecto" - laureate of international competitions for button accordion players in Harbin (China, 2014, 1st prize), in Castelfidardo (Italy, 2015, 1st prize, gold medal).

Quartet "Collage" - laureate of international competitions for button accordion players in Harbin (China, 2016, 1st prize).

Trio "Orient" consisting of Artem Ilyin (accordion), Evgenia Zlenko (piano), Anna Zvereva (violin) - laureate international competition in Lanciano (Italy, 2014, 1st prize).

Outstanding graduates of FEGII

Over the course of half a century, many musicians who are now widely known in Russia and around the world have graduated from the Far Eastern State Institute of Arts. Among them:

musicologists, doctors of art history: Professor of the Russian State Pedagogical University named after. Herzen E. Hertsman, Professor of the St. Petersburg Conservatory, Honored Artist of Karelia U Gen-Ir, professor at the Moscow State Conservatory. P.I. Tchaikovsky R. Pospelova, professor of the Russian Academy of Sciences named after. Gnessins E. Alkon, Professor of the Department of Fine Arts, School of Art, Culture and Sports, FEFU G. Alekseeva, professor at the Moscow State Institute of Culture N. Efimova, professor, acting head Department of Philosophy, History, Theory of Culture and Art, Moscow State Institute of Music. A.G. Schnittke A. Alyabyeva, professor FEGII O. Shushkova, Y. Fidenko;

performers: Honored Artist of the Russian Federation, director of the ensemble "Dzhang" N. Erdenko, Honored Artist of the Russian Federation, Head of the Department of Orchestral Conducting, Professor of the Russian Academy of Music. Gnessins B. Raven, laureate of an international competition, Honored Artist of the Republic of Sakha (Yakutia), Professor of the Orchestral Department string instruments Higher School of Music of the Republic of Sakha (Yakutia) (Institute) named after. V.A. Bosikova O. Kosheleva;

actors: People's Artists of the Russian Federation A. Mikhailov, S. Stepanchenko, Yu. Kuznetsov, S. Strugachev, State Prize laureate V. Priemykhov, Honored Artist of the Russian Federation V. Tsyganova; People's Artists of the Russian Federation, actors of the Primorsky Regional Drama Theater named after. Gorky, professor of the department of acting skills A. Slavsky, V. Sergiyakov, People's Artist of the Russian Federation, laureate of the State Prize of the Russian Federation, artistic director of the Primorsky Regional Academic Theater named after M. Gorky E. Zvenyatsky;

honored artists RF S. Litvinov, S. Cherkasov, I. Dunkay.