Term
| What have been the primary forms of expression of Russian art over the past 1000 years? |
|
Definition
| 16)(pictures, buildings, writings, music, movies) |
|
|
Term
| Who are the five artistic leaders presented in this book? Which forms of art did they create? |
|
Definition
| (Andrei Rublev—icons, Bartolomeo Rastrelli—buildings, Nikolai Gogol—novels,Modest Musorgsky—music, Sergei Eisenstein—movies) |
|
|
Term
| Why did the author choose these five? |
|
Definition
| (16)(They each created a new art form which connected with the cultural realities of the time.) |
|
|
Term
| Which three stages in cultural developments does the author describe? |
|
Definition
| (16-17) (adoption of form from another culture, astounding transformation and improvement, abandonment) |
|
|
Term
| What are the two “great constants of Russian history,” according to the author? |
|
Definition
| (23)(desire for strong central authority, spirituality of the people) |
|
|
Term
| How was Christianity brought to “Rus”? |
|
Definition
(23)(988, Vladimir, from Byzantine Empire,
rejection of paganism) |
|
|
Term
| How was worship introduced to Rus? |
|
Definition
| (24)(from Byzantium, without change) |
|
|
Term
| Why does the author write that Russia’s interaction with the West was both traumatic and transforming? |
|
Definition
| (25-26)(battles and borrowing) |
|
|
Term
| What were the “three fundamental forces” which shaped Russian culture? |
|
Definition
| (26)(Russian Orthodoxy, closeness to nature, borrowing from the West) |
|
|
Term
| What were “the three Russias”? |
|
Definition
| (26)(rural Muscovite Russia, separated Old Believers, urban aristocratic St. Petersburg) |
|
|
Term
| What happened to Ukraine in the 17th century? |
|
Definition
(26)(reconquered by Russia, Westernized,
capital in Kiev, sometimes called “Little Russia”) |
|
|
Term
| When was Russia under Communist rule? |
|
Definition
|
|
Term
| What was remarkable about the end of Communist rule? |
|
Definition
(27)(peaceful and unexpected,
from within, led to social collapse) |
|
|
Term
| What was the purpose of art for the early Russian monks? |
|
Definition
(28)(prepare people for salvation,
not entertain) |
|
|
Term
| Who was Andrei Rublev? What did he accomplish? |
|
Definition
(32)(greatest Russian icon painter
transformed Byzantine style, softer and warmer in style, 15th century) |
|
|
Term
|
Definition
• Distinctive feature of Eastern Orthodoxy
• Aids to prayer, windows to the spiritual world
• Demonstration of the incarnation
• Not worshiped, but venerated (but confusion) |
|
|
Term
| When and where did Rublev create his icons? |
|
Definition
| (32-33, 44)(15th century, Monastery of St. Sergius and the Holy Trinity, time of warfare and unrest) |
|
|
Term
| What is an iconostas? How is it arranged? |
|
Definition
(32-33)(multi-level screen of icons, a pictorial encyclopedia of faith, for teaching and veneration, in rows: OT kings at top,
then prophets, apostles, local saints, Mary and Christ near the center) |
|
|
Term
| What is the name given to Rublev’s icon of Christ? |
|
Definition
| (33)(Spas—Savior and hero, not just a teacher) |
|
|
Term
| What did you learn about the history of icons? |
|
Definition
(Egyptian funeral roots, iconoclasts,
Triumph of Orthodoxy in 843) |
|
|
Term
| What did you learn about monasteries? |
|
Definition
(frontier outposts and fortresses)
Mary? (protector through icons) |
|
|
Term
| Why does the author write that the creation of icons was a “deeply devotional, deliberately anonymous, communal activity”? |
|
Definition
| (43)(prayer, team effort) |
|
|
Term
| How is the transfiguration of Christ important in Orthodox faith? |
|
Definition
| (48-49)(believers are to reflect the beautiful divine light of Christ shown on the mountain, this beauty can save the world) |
|
|
Term
| What is portrayed by Rublev’s icon which is based on the account of Abraham’s hospitality? |
|
Definition
| (49-50)(a portrayal of the Trinity in perfect harmony and communion) |
|
|
Term
|
Definition
| (51)(dual belief, mixture of paganism and Christianity) |
|
|
Term
| Who are the Old Believers? |
|
Definition
| (61)(traditional Russian Orthodox Christians who rejected Patriarch Nikon’s 17th century reforms) |
|
|
Term
| How did Old Belief influence Russian literature and art? |
|
Definition
| (Avvakum’s [first] autobiography, and Surikov’s painting of the Boyaryna Morozova) |
|
|
Term
| How did Old Belief influence Russian literature and art? |
|
Definition
| (Avvakum’s [first] autobiography, and Surikov’s painting of the Boyaryna Morozova) |
|
|
Term
| How did the role of icons change during the time of Peter I? |
|
Definition
| (63)(replaced by portraits) |
|
|
Term
| How does the author explain the three legacies of Russian icons? |
|
Definition
(63-66)(aid to Orthodox spirituality, Communist icons [icon corners and Red corners,
influence on form and color in modern art, abstraction, Kandinsky and Chagall) |
|
|
Term
| How did Peter require aristocrats to dress? |
|
Definition
| (73)(shave beards, wear Western short coats) |
|
|
Term
| What are distinctive features of Saint Petersburg? |
|
Definition
| (73)(built quickly on a swamp, Dutch name, built at edge of country, built with straight lines, known as “Piter,” renamed Petrograd, Leningrad, and then back to St. Petersburg) |
|
|
Term
| What were the imperial three palaces built by Bartolomeo Rastrelli? |
|
Definition
(78)(Winter Palace in St. Petersburg on the Neva, the Summer Palace at Peterhof on the Baltic Sea,
and the palace at Tsarskoe Selo, “the tsar’s village”) |
|
|
Term
| What are the two distinctive features of Russian church architecture? |
|
Definition
| (81)(tent roofs and onion domes, reminders of the tabernacle and the call to be the light of the world) |
|
|
Term
| What English words best sum up Peter’s approach to architecture? |
|
Definition
|
|
Term
| What natural disaster has returned to St. Petersburg at 100 year intervals? |
|
Definition
| (84)(floods in 1725, 1825, and 1924) |
|
|
Term
| Why did Peter prefer wide, straight streets in St. Petersburg? |
|
Definition
| (84)(for military parades) |
|
|
Term
| Who developed the aristocratic culture of St. Petersburg after the death of Peter? |
|
Definition
| (87)(three women: Anna, Elizabeth, and Catherine II) |
|
|
Term
| How did the empress’s receiving room in St. Petersburg compare to the tsar’s receiving room in Moscow? |
|
Definition
| (88)(huge and brightly lit, not small and dark) |
|
|
Term
| Rastrelli worked with which empresses? |
|
Definition
| (88)(Anna, Elizabeth, Catherine) |
|
|
Term
| How was the Rastrelli family connected to Peter the Great? |
|
Definition
| (91)(Peter hired Rastrelli’s father, a sculptor and metalworker, after he had worked in France for Louis XIV at Versailles) |
|
|
Term
| Which city served as a model for Rastrelli? |
|
Definition
|
|
Term
| What are the most important features of Rastrelli’s palaces? |
|
Definition
| (93)(long facades, many windows, setting for a parade) |
|
|
Term
| How does his architecture project a sense of the ruler’s power? |
|
Definition
| (94)(suggestion of power to transform nature) |
|
|
Term
| What did Rastrelli create at the Smolny Convent? |
|
Definition
| )(a finishing school for girls of the aristocracy with a magnificent church) |
|
|
Term
| How did Catherine II relate to Elizabeth’s architectural vision? |
|
Definition
(99)(Catherine II lived in the buildings ordered by Elizabeth. Catherine went on to expand this style
in St. Petersburg and Russia. However, her style was more simple, less Baroque.) |
|
|
Term
| How would you describe the two most significant works? |
|
Definition
(101)(Eugene Onegin, a novel
in verse on aristocratic life, and Queen of Spades, a psychological short story on gambling) |
|
|
Term
|
Definition
|
|
Term
| How would you describe Russia under the rule of Nicholas I (1825-55)? |
|
Definition
| (103-104)(authoritarian, conservative “Orthodoxy, Autocracy, Nationality,” secret police: “the Third Section,” geographic expansion in every direction) |
|
|
Term
| What was the largest church in Russian history? Why was it built? |
|
Definition
| (106-107)(The Church of Christ the Savior, built to commemorate the defeat of Napoleon in 1812 by the Russians) |
|
|
Term
|
Definition
| (108)(the new central square of Russia, the largest granite column in the world in the center, built between the palace and army headquarters) |
|
|
Term
| How does the author describe the central role played by Nikolai Gogol in Russian literature? |
|
Definition
| (111)(“ . . . he created Russian fiction. He brought the feel of the country back into the city, depicted the suffering human faces behind the facades of power . . .”) |
|
|
Term
| Where was Gogol born? Where did he work? Where did he die? |
|
Definition
| (111)(Ukraine, St. Petersburg, Moscow) |
|
|
Term
| What type of work did he do in St. Petersburg? |
|
Definition
(112)(minor official in the Department of Public Buildings, tried to find work as an actor,
prepared to teach history at the university) |
|
|
Term
| What is the setting in Gogol’s first literary works? |
|
Definition
|
|
Term
| What is the setting for his stories “The Nose” and “The Overcoat”? |
|
Definition
|
|
Term
| How would you describe Akaky Akakevich? |
|
Definition
| (117)(pitiful St. Petersburg clerk) |
|
|
Term
| What are the themes of his major drama, The Inspector General”? |
|
Definition
| (118)(corruption and shallowness) |
|
|
Term
| What is the theme of his major novel, Dead Souls? |
|
Definition
| (119)(corruption, spiritual emptiness) |
|
|
Term
| What becomes the ideal for Gogol’s life? |
|
Definition
| (120-121)(monastic holiness, Orthodoxy) |
|
|
Term
| What is significant about Gogol’s travel? |
|
Definition
(124-125)(sign of his spiritual searching—
within traditional Orthodoxy) |
|
|
Term
| How would you describe his last written work? |
|
Definition
(127-128)(Passages from
a Correspondence with Friends: moral and religious essays) |
|
|
Term
| According to Gogol, what was the purpose of art? |
|
Definition
| (132)(to save, not just entertain) |
|
|
Term
| According to the author, what is the legacy of Gogol to Russian history and culture? |
|
Definition
(133-134)(social criticism of the regime on behalf of ordinary people,
influence on religious revival within Orthodoxy during the 20th century,
influence on the dissident subculture of the USSR) |
|
|
Term
| How did Gogol borrow, innovate, and destroy? |
|
Definition
(135)(borrowing from German Romanticism,
creating a new form of satire, destroying his own work and finally himself) |
|
|
Term
| What is the “indelible message of Gogol”? |
|
Definition
(135)(“the search for truth is more noble
than the exercise of power”) |
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|
