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в последнее время даже превышающую доходность фондового рынка.
Еще в период становления артрынка выделились основные мировые центры торговли предметами изобразительного искусства — Лондон и Париж в Европе, Нью-Йорк в США которые сохранили этот статус и по сей день.
Таким образом, к настоящему моменту артры-нок уже полностью сформировался и существует как
специфический механизм, обеспечивающий функционирование художественной сферы в рыночных условиях и, опираясь на взаимодействие искусства и экономики, представляет собой сложное многоуровневое явление. В нем интегрируются большое количество субъектов, которые осуществляют все процессы его актуализации, отношения между которыми осуществляются в рамках высокоорганизованной и развитой системы мирового артбизнеса.
Список литературы:
1. Антиквариат: энциклопедия мирового искусства/Ген. ред. Х. Маллалью. - М.: Белый город, - 2001. - 640 с.
2. Арт-рынок и арт-бизнес//Библиографический потрал. 2008.URL: http://www.glossary.ru/cgi-bin/gl_sch2. cgi?Rdqutusoqg.
3. Арт-рынок в России и CHX//Artmers. Проект американского информационно-аналитического агенства ArtMarketEconomicResearch. - 2007. - URL: http://artmers.com/ru/RussianEvents.html
4. Арт-бизнес в России — кот в мешке или идеальное вложение денег?//Избранные статьи о едином художественном рейтинге. - 2001. - URL: http://rating.artunion.ru/article16.htm
5. Верман К.: История искусства всех времен и народов. - М: АСТ, - 2010. - 944 с.
6. Койфмам В. Сотбис, Кристис и другие. Всё об аукционах//Международный интернет-портал «Русский глобус», № 8, - август 2011. - URL: http://www.russian-globe.com/N114/Koyfman.SotbisKristi.htm
7. Ранинен И. Рекордные торги Christie’s. Старые мастера и живопись XIX века, 11.12.2009. Good Life. URL: http://www.thegoodlife.ru/art/1513-christie_dec.html
8. Skate’s TOP 1000 general indicators. - URL: http://www.skatepress.com/_index.php?cat=27.
9. Skate’s TOP 5000 by nominal value. - URL: http://www.skatepress.com/_index.php?cat=92
Tyurikova Yulia Mikhailovna, The Moscow state academic art institute named after V. I. Surikov, Postgraduate student, The Department of History of Art «Fine art, decorative and applied art and architecture»
E-mail: fii-rhea@mail.ru
Images of time in the Romanesque churches of the XI — XII cc. in the west of France (Saintonge-Poitou)
Abstract: This article is dedicated to the representation of Signs of Zodiac and Labors of Months in the monuments of the region of Poitou-Charentes, on the example of three churches in the Western France: the Assumption of the Virgin in Fenioux, St. Nicholas, Civray and Saint- Pierre, Aulnay.
The subject of this article lies at the intersection of several areas of art studies of the Middle Ages: particularly, the history of medieval art, especially architecture, sculpture, history of astrology, medieval symbolic and history of the image of Signs of Zodiac, Labors of Months, seasons and works.
This work clearly shows us that the examined images of time in the calendar cycles of the Romanesque art belong to the same regional tradition that unites not only composition and artistic solution Labors of Months, but also the stylistic peculiarities.
Keywords: the Middle Ages, the Romanesque art, the region of Poitou-Saintonge (Poitou-Charentes), the Assumption of the Virgin in Fenioux, St. Nicholas, Civray, Saint- Pierre, Aulnay, Labors of Month, Signs of Zodiac.
The pictorial tradition in the development of the in the Western France: the Cathedral of Dormition
theme of time and calendar cycles in Western Euro- of the Mother of God in Fenioux, the Saint Nicolas
pean art was studied on the materials of three churches Cathedral in Civray and the Saint Pierre cathedral in
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Aulnay in the given work for the first time in Russian literature the give work. In the Medieval times, this region of France was called Saintonge-Poitou and now it’s called Poitou-Charantes.
A cathedral as a central chronotope of the daily life of the Western Europe where all sides of personal and social being of a congregant were practically refracted was an imprescriptible encyclopedia of medieval outlook. Signs of Zodiac and so-called Labors of the Months were already depicted in the ancient times and the Romanesque artists continued to work on the given subjects in XI and XII centuries.
Represented mainly on portals of Christian churches and cathedrals, they were reliefs or calendars made in the technique of a fresco that can be found across France and which were part of their special decoration. It should be noted that in some cathedrals they were partly lost and today they can often remain unidentified. According to a remark by an American art historian James Webster, who dedicated a special research to the images of calendar cycles in the western medieval times, «an own cycle different in special unity among a wide circle of French cycles of XII century» for the first time developed in the historic region of Saintonge-Poitou [5, 78]. Here, in the west of France, the sculptural decor was centered on the ar-
chivolt of portals, framework of windows and caps. «The method of positioning of figures along the arch ring, a motive perceived by the gothic sculptors, was used in the working of archivolts for the first time» [2, 137]. Usually, the given cycle started with the image ofAries in the month of March or Aquarius in January. The names of months or signs of zodiac are sometimes listed in Latin above sculptures that represent them.
James Webster considers the portal of the Romanesque Cathedral the Assumption of the Virgin in Fenioux (built in IX century, fa$ade dates back to 1150-1160) as a starting point, because two cycles are represented there (Image 1). The images are located on the external archivolt; the cycle starts from the left with the image ofJanu-ary accompanied by Aquarius and ends on the right with the image of December and Capricorn. It is a peculiarity of the given cycle because in XII century on the territory of France as a whole the year started with the Easter and Aries, i. e. between March, 22 and April, 21. Star signs are located above the images of «Labor of the months»; the names of signs and months are carved in the stone, on the concentric plaster decorations. One can attribute a remark of E. Male to the early period about images, which are located along with the movement of the sun: rising to June, solstice, and then going down [3, 67].
Image 1. Portal depicting Signs of Zodiac and Labor of months, church Fenioux
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January is embodied by a bearded man sitting sidewise and cutting bread. He keeps holds bread in the left hand and the knife in the right hand. Above the arch that separates him from the star sign there is Aquarius with the legs up; a vessel full of water, the unchangeable attribute of Aquarius, is destroyed by time and cannot be differentiated. February is depicted as a frontal sitting man who warms up the freezing hands and feet by the fire. His legs are depicted in parallel to each other and the fire is between the feet. This subj ect is particularly typical for the given region. For instance, this composition is also presented on the arch of the portal ofthe church in Civray; however, it is complemented with some details. Above the arch there is zodiacal fish. The left hand of a man representing February is on the laps and the open right hand looks as if it is directed towards the sign of Pieces. Tonnellier sees a special meaning in the nature of this gesture that is related to the symbols of Christianity. Thus, in the given image there is an unusual connection between February and Pisces [4]. The embodiment of March is destroyed a lot: one can define a standing man who looks right with a lifted left arm. According to J. Webster, the entire image depicts the cutting of vines [5, 67]; the very vine was probable carved in front of him in the lower angle between two combination beams on which the figure is depicted. Above, there is Aries. April is personified by a sitting man who looks right and holds flowers in his hands. Obviously, it is a variant of a flower collector very well-known according to the ancient iconography, who is usually depicted standing up. Above, there is the sign of Taurus. May is personified by a horseman. He rides to the right. There is something behind him that reminds ofa scarfor a flag; however, judging by parallel images, it is probable a reaping hook. Above him there is Gemini. The figure ofJune is partly destroyed, but the silhouette a mower waving a scythe can still be distinguished. Above him there is Cancer followed by Leo, according to the logic of going down the archivolt, below which there is July — a person depicted in a bent position. He cuts wheat heads that he holds with the left arm: harvest. Virgo is located above the destroyed image ofAugust: over the shoulder of a man one can distinguish something reminding of a thrasher lying near his feet that he uses to grind wheat. It is followed by Libra — a female figure sitting with her face to spectators; she holds scales in her skirt. Below there is a man who looks left and puts his right leg into a tub, which undoubtedly means pressing of grapes for wine in September. Scorpio was destroyed almost completely just like the next image of October. On the basis of comparison with other cycles, it is doubtless that this figure depicted a man who collects glans from the
trees — a common presentation of worries related to the feeding of pigs in October. Below there is Sagittarius and below it, under the arch, there are two bulls that carry the feed in the hacks. The illustration of November is perhaps related to the coming cold weather as well as indicates that the time of field works is over. The sign of Capricorn is also destroyed. December is personified by a figure sitting frontally under the arch with a plate, which should mean idle and domestic life, just like in other winter months the images of which are characterized above.
This series is full of medieval figurativeness and almost doesn’t reproduce ancient images; the only parallel with ancient images can be found in the depiction of leaves and flowers in the image of the flower collector in April, but this figure is depicted in an absolutely different pose compared to ancient interpretation of the given topic [5, 68].
The images of the church in Fenioux suffered from time: the faces are demolished, some reliefs are completely destroyed; however, the condition of the cycle as a whole allows making certain conclusions regarding the stylistics and flexibility. At the same time, it is important to remember that the main function of images embodying the periods of time of the medieval epoch was allegorical and the entire composition and flexibility of the image is subject to allegory and not life similarity.
Another example of the development of the topic of calendar cycles in this region is the cathedral in Civray devoted to the Saint Nicolas (Image 2.). It was built in XII century and has rectangular fa£ade as tall as two floors with four arches richly decorated with carvings; at the sides, there are framed with corner towers. Images of star signs and labor of the works considered by us located on the fourth arch.
Comparison of this cycle with the images in Fenioux shows that the kind of «labor» selected for every month remains the same. Its reproduction only differs in some cases. Hence, the figures embodying March and April are in different poses; June is oriented radially against the archivolt and not along the length of it; in the scene of September, there are two figures: a person who presses the grapes and his assistant who adds new portion of grapes. The image of May is almost completely destroyed; however, one can presuppose that it was same as in Fenioux. Some star signs — Cancer, Leo and Sagittarius — also have slightly different location.
Simultaneous use of two types of location (radial and tangential) of figures shows close relation with the Western portal of the church Saint- Pierre, Aulnay (Image 3.). Practically, it was a model for many portals of the churches in the region of Saintonge-Poitou.
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Image 2. Portal of the church depicting images of Signs of Zodiac and Labors of Months, cathedral Civray
Image 3. Portal of the cathedral depicting Signs of Zodiac and Labors of Months, church St. Pierre, Aulnay
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Reliefs in Civray are different in the scale of figures, detailed secondary parts. Here, the images ofpeople and animals are not that suppressed with the frames of relief; they are freely located in the space. The water from the cup of Aquarius flows into January; in February the feet of the siting person are bare and are pressed against carved floor and the boots are nearby; there is wonderful bloom of vine in March. The appearance of the second person in the wine scene in September is also indicative. Some figures are depicted in three fourth (including the bulls in November), relieving themselves from the captivity of stone two-dimensionality. One can say that in the cycle in Civray the depiction is fully subject to expressivity, i. e. allegory, but it has its own value.
To compare, let’s give an example of the above mentioned Saint Pierre cathedral in Aulnay (Image 4). This
place in the north-east of modern department of Charente-Maritime was one of the main stops for pilgrims before the departure for Saint-Jacques-de-Compos-telle during the medieval times. This cathedral built in 1120-1140 shows perspective location of a range of carved archivolts, capping windows and portals typical for western school of medieval art. The scenes were obviously moved with replacements and gaps. Thus, Sagittarius, the place of which is empty, took the place in the bestiary on the southern side. Scripts and iconography, however, allow the interpretation of the preserved reliefs. General order, when a signs of zodiac is depicted above the month starting from January and Aquarius is on the left and general image remains the same as in the cycle in Fenioux.
Image 4. Portal of the St. Pierre cathedral, Aulnay (fragment)
Some differences, for example, related to the use of additional figure in the scything scene (June) do not change the common similarity that is confirmed by the appearance of two bulls in the hacks to depict November — in that part of relief, which apparently avoided restoration — as well as the use of arches above the scenes located at the sides of the relief. The images of April and May were lost.
General flexible solution in the calendar cycle in Aulnay follows the principles noted earlier: disproportional-ity of figures, picture-like poses, presence of fine details of the background (where it can be distinguished). At the same time, the location of images is quite free and lit
leaves space for wide backgrounds, additional figures; and the figures themselves are relieved of stockiness related to grotesque enlargement of a head.
Thus, the considered images of time in calendar cycles of images in the Romanesque art belong to same regional tradition, which is united by not only the consistency and artistic solution of Labors of months, but also by stylistic features: certain grotesque nature in depiction of separate details, tendency to working of the existing textures (wheat, wicker, clothes wrinkles etc.). These features explain, first of all, allegoric function of medieval art, which was dominating in the cult construction and decor.
Reference:
1. Galkova I. G. The Saint Pierre cathedral in Aulnay: Aquitanian and Burgundian models of entrance//Science about culture: step in XXI century (materials of the conference) - M., - 2004. - P. 55-78.
2. Tyazhelov V. N. Medieval art in the Western and Central Europe - M.: Iskusstvo, - 1981.
3. Male E. LArt religieux du XIIIe siecle en France. - 6th edition, - Paris, - 1925.
4. Tonnellier C. Les belles eglises romanes de Saintonge, Fenioux. - Editions Delavaud - Saintes, - 1977.
5. Webster J. C. The Labors ofthe Months in antique and medieval art. - Princeton.: Princeton University Press, - 1938.
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