Authors

Alieva Olga O.
TEXTURE IN POLYCHROME ASSEMBLED STONE ARTWORKS

Architecton: Proceedings of Higher Education №1 (41) March, 2013

Stone texture plays a significant part in the imagery of polychrome assembled stone artworks. This genre of national stone-cutting art has developed its own traditions in the use of stone texture. Carl Fabergé played an important role in the history of national anthropomorphic assembled stone plastic arts and in the development of techniques involving the use of stone texture. Texture was an important means in the creation of artistic images in stone at the House of Fabergé. Texture patterns simulated textile patterns, stained clothes of the characters, etc. Of the stones with pronounced texture, the stone-cutters mainly used jasper with its picturesque stains or strips, lazurite featuring fine speckles, and rhodonite. Monochrome stones would also be often used for creating strict, pedantic images, for example, military characters. The stone-cutters of the House of Fabergé were able to understand and appreciate stone’s specificity and pattern, spotting an artistic idea in it and combining the image thus created with the material’s properties.

In the stone-cutting plastic art of A.K. Denisov-Uralsky, polychrome assembled stone artworks occupy an important place. Besides a number of anthropomorphic sculptures, this Ural artist created a range of figurines of animals and birds, in which he took advantage of the material’s texture.

The Soviet artist V.V. Konovalenko followed Fabergé’s traditions and employed that artist’s stone texture techniques in his art. Moreover, he expanded the palette of materials used, enriching his artworks with expressive textures.

Polychrome assembled stone plastic arts, still being a popular stone-cutting genre, continue employing stone texture patterns. However, contemporary stone-cutters do not confine themselves to this well-established technique. They tend to take full advantage of all the artistic virtues of stone, using them as a basis for developing the imagery of their artworks.

Alieva Olga O.
ИСТОРИЧЕСКАЯ ТЕМА В ПРОИЗВЕДЕНИЯХ ОБЪЁМНОЙ МОЗАИКИ УРАЛЬСКОЙ КАМНЕРЕЗНОЙ МАСТЕРСКОЙ ИМ. ИЛЬИ БОРОВИКОВА

Architecton: Proceedings of Higher Education №4 (24) December, 2008

В статье анализируются некоторые аспекты техники скульптурной мозаики из камня на примере уральской камнерезной мастерской имени Ильи Боровикова, которая специализируется на резьбе по твёрдому камню и работает над мозаичными статуэтками, сюжетными композициями в рамках исторического жанра.

Alieva Olga O.
ГРИГОРИЙ ПОНОМАРЁВ – СОВРЕМЕННЫЙ МАСТЕР УРАЛЬСКОГО КАМНЕРЕЗНОГО ИСКУССТВА

Architecton: Proceedings of Higher Education №2 (22) June, 2008

Григорий Пономарёв – уральский камнерез. Специализируется на резьбе по твёрдому камню и, в основном, работает над мозаичными статуэтками. Ценность произведений художника в том, что он, следуя глубинным традициям уральского камнерезного искусства, отталкивается от специфических особенностей камня и показывает высокий уровень академических знаний. Работы камнереза Григория Пономарёва оценены по достоинству. Они заняли своё место в частных отечественных и зарубежных собраниях.