The collection is very diverse in content, hence the name: " arabesque" - a special type of ornament from geometric shapes, stylized leaves, flowers, animal elements, which arose in imitation of the Arabic style.
In the articles included in the collection "Arabesques" Gogol sets out his historical views and his views on literature and art. In the article "A few words about Pushkin", Gogol expressed his view of Pushkin as a great Russian national poet; in the fight against romantic aesthetics, Gogol outlines here the tasks facing Russian literature. In the article "On Little Russian Songs" Gogol gave an assessment folk art, as expressions folk life and popular consciousness. In an article about Karl Bryullov's painting The Last Day of Pompeii, Gogol made a fundamental assessment of the phenomena of Russian art.
Part one.
Preface (1835)
Sculpture, painting and music (1835)
On the Middle Ages (1834)
Chapter from a historical novel (1835)
On the Teaching of General History (1834)
Portrait (story)
A Look at the Compilation of Little Russia (An Excerpt from the History of Little Russia. Volume I, Book I, Chapter 1) (1834)
A few words about Pushkin (1835)
On the architecture of the present time (1835)
Al-Mamun (1835)
Hetman (novel)
The action of the novel takes place in the middle of the 17th century. Main character- Stepan Ostranitsa - a historical person, a colonel from Nizhyn, about which Gogol learned from The History of the Rus. Gogol worked on the novel in -1832, but was dissatisfied with what he had written and burned his work, sparing only two chapters. Several draft handwritten extracts from the novel have also survived, containing many inaccuracies.
In "Northern Flowers" for 1831, an excerpt from the novel was printed under the title "Chapter from historical novel". This passage, along with another passage - "The Bloody Bandura Player" Gogol placed in the collection "Arabesques", however, the end of the "Bloody Bandura Player" was not censored, so Gogol wrote a different ending. The original version was published according to the surviving author's proofreading, in the Niva magazine, 1917, No. 1
A look at the composition of Little Russia
Historical Nikolai Vasilievich Gogol, written in -1834. Included in the collection "Arabesques".
This article was supposed to precede the historical work of Gogol "History of Little Russia", unknown to this day. Gogol's biographers have never been able to find manuscripts or any material indicating that The History of Little Russia was written at all.
In a letter to Mikhail Maksimovich dated November 9, 1833, Gogol wrote about his work: “Now I set to work on the history of our only poor Ukraine. Nothing is more soothing than history. My thoughts begin to flow quieter and leaner. It seems to me that I will write it, that I will say a lot of things that have not been said before me.
On January 30, 1834, Gogol placed in Severnaya pchela "Announcement about the publication of the history of Little Russia", asking him to send him materials on the history of Ukraine for the great work he had begun. However, by the beginning of March 1834 (despite the fact that even in a letter to M.A. Maksimovich dated February 12, Gogol promises to write the entire History of Little Russia "from beginning to end", "in six small or four large volumes") Gogol began to gradually lose interest in the work he had begun.
On the reasons for his cooling, Gogol wrote on March 6, 1834 to Izmail Sreznevsky, who expressed a desire to help with the materials: “I lost interest in our chronicles, trying in vain to find in them what I would like to find. Nowhere is there anything about that time, which should have been richer than all events. A people whose whole life consisted of movements, whom involuntarily (even if they were completely inactive by nature) neighbors, the position of the earth, the danger of being led to deeds and feats, this people ... I am dissatisfied with Polish historians, they say very little about these feats … And that's why every sound of the song speaks to me more vividly about the past.
Part two.
Life (1835)
Schlozer, Miller and Herder (1835)
Nevsky Prospekt (1835)
On Little Russian Songs (1834)
Thoughts on Geography (A Few Thoughts on Teaching Geography to Children) (1831)
The Last Day of Pompeii (1835)
-
The collection "Arabesques" has the strangest fate of all Gogol's collections. In addition to being the least studied among them, for a long time it was not considered as a collection, one might say, almost from the very moment of its publication in 1835. Gogol himself initiated this when he removed three stories from Arabesques and placed them in the third volume of his collected works, published in 1843, which later formed the St. Petersburg cycle. Therefore, in literary criticism, the stories "Nevsky Prospekt", "Portrait", "Notes of a Madman" are traditionally considered within the St. Petersburg cycle, and articles - as part of Gogol's critical and journalistic heritage.
The strange fate of the collection is explained by the "strangeness" of the collection itself. When you first get acquainted with it, you are surprised both by the variety of genres placed in it (these are scientific articles and novels, and chapters from a historical novel), and by the variety of topics (literature, history, music, painting, architecture, etc.). There is not that obvious unity of themes and style that is present in "Evenings on a Farm near Dikanka", "Mirgorod" and makes these collections monolithic in comparison with the chaotic, at first glance, devoid of one-plan "Arabesques".
The collection was published in the first half of January 1835, censorship permission - November 10, 1834 "Arabesques" came out in two parts.
CONTENT:
Arabesques (5).
ADDITIONS
ARTISTIC FRAGMENTS
Two chapters from the Little Russian story "The Terrible Boar" (217).
‹1› Teacher (217).
‹II› The success of the embassy (222).
(227).
Scary hand (230).
‹The lantern was dying› (230).
‹It rained for a long time› (232).
‹Rudokopov› (233).
ARTICLES. NOTES. SKETCHES
Woman (234).
"Boris Godunov", a poem by Pushkin (237).
On the poetry of Kozlov (241).
‹Fragment of a children's book on geography› (243).
‹At countless thousands of graves› (245).
1834 (245).
On the publication of the History of the Little Russian Cossacks (246).
‹Mazepa's Reflections› (247).
Table of contents ‹Volume V of the Collected Works of 1851› (248).
OPTIONS (250).
APPS
V.D.Denisov. Gogol's "Arabesques" (271).
Notes (compiled by V.D. Denisov) (361).
Text sources (502).
List of abbreviations (503).
List of illustrations (507).
LIST OF ILLUSTRATIONS:
H.V. Gogol. Portrait by A. Venetsianov. Autolithography. 1834. (Frontispiece).
Title page of the first edition of Evenings on a Farm near Dikanka. 1831.
In the bookstore of A.F. Smirdin. Lithograph by S. Galaktionov based on a drawing by A. Sapozhnikov. 1834.
Dinner of writers at Smirdin's. Engraving by S. Galaktionov based on a drawing by A. Bryullov. 1833.
V.A. Zhukovsky. Fragment of a portrait by K. Bryullov. 1836.
P.A.Pletnev. Portrait by A.Tyranov. 1836.
M.N. Zagoskin. Engraving on steel by an unknown artist in the collection. "One hundred Russian writers" (St. Petersburg, 1841. Vol. II).
A.A. Delvig. Engraving based on a drawing by V. Langer. 1829.
Kazan Cathedral. Lithograph by an unknown artist. 1825.
Cathedral of St. Peter in the Vatican. Engraving by P. Rug. 1824.
Count S.S. Uvarov. Autolithography by V. Golike. 1833.
N.I.Grech. Drawing by M. Stupin. Late 1830s
F.V. Bulgarin. Engraving on steel by an unknown artist in the collection. "One hundred Russian writers" (St. Petersburg, 1841. Vol. II).
O.I. Senkovsky. Engraving on steel by an unknown artist in the collection. "One hundred Russian writers" (St. Petersburg, 1839. Vol. I).
Zverkov's house. Photo from the 1970s
The building of the Patriotic Institute. Contemporary photography.
Courtyard of Zverkov's house. Autolithograph by E.B. Bernshtein. 1952.
Yard wing of the Lepin house, where Gogol lived in 1833-1836. Autolithograph by E.B. Bernshtein. 1952.
House of I.-A. Joachim. Autolithograph by E.B. Bernshtein. 1952.
D.V. Venevitinov. Portrait by P. Sokolov. 1827.
V.F. Odoevsky. Fragment of watercolor by A. Pokrovsky. 1844.
M.A. Maksimovich. Portrait by an unknown artist. 1840s
M.P. Pogodin. Lithograph from a 1840s daguerreotype.
Dmitry Venevitinov. Drawing by A.S. Pushkin. 1827.
N.V. Gogol. Drawing by A.S. Pushkin. 1833.
A.S. Pushkin. Drawing by N.V. Gogol. 1833.
Academy of Arts. Lithograph by P. Alexandrov. 1825.
Isaac's bridge across the Neva. Lithograph by P. Alexandrov. 1825.
A.N. Mokritsky. Self-portrait. Early 1830s
A.S. Danilevsky. Drawing by T. Shevchenko. Early 1840s
N.Ya.Prokopovich. Lithograph from a 1840s daguerreotype.
N.V. Kukolnik. Fragment of a portrait by K. Bryullov. 1836.
Big Stone Theatre. Lithograph by an unknown artist. 1825.
Alexandria Theatre. Autolithography by A. Duran. Figures O. Raffe. 1839.
F. Schiller. A fragment of a portrait by A. Graf. OK. 1793.
I.V. Goethe. Portrait by O. Kiprensky. 1823.
E.T.A. Hoffman. Portrait by W. Henzel, engraving by I. Passini. 1821.
B.Scott. Fragment of a portrait by G. Rebern. 1822.
A.L. Shletser. Engraving by A.Florov based on Riepenhausen's print. Early XIX V.
I.G. Herder.
K.Ritter.
A. Humboldt. Engraving from a portrait by I. Shtiler. Early 19th century
Kings Bench Prison in London. Engraving by J. Garner after a drawing by T.-H. Shepherd. 1829.
Train station in Birmingham. Engraving after a drawing by G. Harris. 1820s
Cologne Cathedral. Engraving by I. Poppel from the original by L. Lange. 1820s
Strasbourg Münster. Engraving by an unknown artist. 1830s
View of the Milan Cathedral. Engraving by A.Biasioli from the original by Castellini. 1820s
New church in Haggerston. Engraving by W. Dybla after a drawing by T.-H. Shepherd. 1829.
Lutheran church on Nevsky Prospekt (architect A. Bryullov; 1833-1835). Fragment of the cover of the almanac "Housewarming" (Part II. 1834).
Arabesque patterns.
Sheet with sketches by N.V. Gogol (RPD. L.53).
The beginning of the article "On the Middle Ages" and drawings by N.V. Gogol (RPD. L.54).
Preliminary plan "Arabesque" (RM. C.3).
View of Theseus Temple from the Acropolis of Athens. Engraving by Thomas de Thomon. Early 19th century
View of the Colosseum. Engraving by A. Parboni. 1824.
View of the Moscow Kremlin. Artist I. Datsiaro. 1840.
View of the Palais Royal. Lithograph in F. Glinka's Notes of a Russian Officer (Moscow, 1815-1816).
Cossack Mamai. Folk picture. 18th century
Bohdan Khmelnytsky. Engraving of Gondius. 1651.
View of the Kiev-Pechersk Lavra. Engraving by A. Afanasiev. 1839.
Zaporozhye Cossacks. 18th century engraving (according to A. Rigelman's edition).
Jan II Casimir. Ceremonial portrait. 1650s
I.S. Mazepa. Engraving by A. Osipov. Early 1700s
Title page of the first edition of Arabesque.Arabesque Arabesque, Arabesque, Arabesque (French arabesque from Italian arabesco Arabic). Arabesque type of ornament. Arabesque is one of ... Wikipedia
- "Night stories" by E. T. A. Hoffmann (1817) Collection of stories a separate edition of a group of stories ... Wikipedia
- "Mirgorod" (February, 1835) a collection of stories by Nikolai Gogol, which is positioned as a continuation of "Evenings on a Farm near Dikanka". The stories in this collection are based on Ukrainian folklore and have much in common with each other. It is believed that ... Wikipedia
Evenings on a farm near Dikanka is the first book by Nikolai Vasilyevich Gogol (excluding the poem "Hanz Küchelgarten", published under a pseudonym). Consists of two volumes. The first came out in 1831, the second in 1832. The stories of "Evenings" were written in 1829 1832 ... ... Wikipedia
Years in the literature of the XIX century. 1835 in literature. 1801 1802 1803 1804 1805 1806 1807 1808 1809 1810 1811 1812 1813 1814 1815 1816 1817 ... Wikipedia
A few thoughts on teaching geography to children (“Thoughts on Geography”) article by N.V. Gogol, “Gogol’s first and perhaps the best pedagogical work.” Printed in " Literary newspaper”, 1831, No. 1, dated January 1, p. 4 7 under ... Wikipedia
Arabesque, Arabesque, Arabesque (French arabesque from Italian arabesco Arabic). Arabesque (ornament) type of ornament. Arabesque is one of the ballet poses. "Arabesques (collection)" a collection of works by Nikolai Vasilyevich Gogol, ... ... Wikipedia
Coat of arms of the Zaporozhian Army ... Wikipedia
- (1809 1852), Russian writer. Literary fame for Gogol was brought by the collection "Evenings on a Farm near Dikanka" (1831-32), saturated with Ukrainian ethnographic and folklore material, marked by romantic moods, lyricism and humor. ... ... encyclopedic Dictionary
- (Roe) (1809-1849), American romantic writer, critic. A classic of a strict story short story, mostly tragic, "terrible", "double", fantastic adventure (including science fiction) collection "Grotesques and Arabesques" ... ... encyclopedic Dictionary
Books
- Arabesque, Andrey Bely. Book of articles. The Arabesques contains a series of articles that, on the whole, serve as a continuation of the most important theoretical work A. Bely "Symbolism". To them the author added some excerpts and notes from ...
- Arabesques, Gogol Nikolai Vasilievich. The collection of N. V. Gogol's `Arabesques` - the second after `Evenings on a farm near Dikanka` - in its motley composition resembles an `an almanac of one author`: articles on art,…
What is the meaning of the word "arabesque"? In life, we often come across this concept. This word is often used in accordance with its traditional characteristics, but is used as a figure of speech, as a common noun or in a figurative sense, when it means something cunningly intertwined or intricately ornate, in another version it is very crushed and mixed or very openwork , easy.
What is an arabesque?
The word is of Italian origin. In translation, the term arabesque - arabesco - means "Arabic". However, this ornamental style is used in cultures of different countries and in different types of art. There is no exact and unified definition of an arabesque. We are faced with a completely different use of the concept, it would seem. There are several meanings of what an arabesque is.
Initially, a type of oriental (Arabic) ornament was called an arabesque. In the future, this term began to be used as the name of a certain type of musical piece.
There is another way to use the word - in the masculine gender. What is "arabesque" in this case? In this case we are talking about a dance move or type of dance.
Let's look at each use case of the concept separately.
Arabic pattern in Europe
It is this use of the term that is really associated with its Arabic meaning, as it is a type of ornament that arose in the medieval era in the culture of nomadic Arabs.
What is an arabesque in art? Initially, the structure of the pattern included both geometric and floral motifs, but later only geometric motifs began to be included.
At a later time, text components began to be introduced into the floral pattern. That is why such a concept as "Arabic script" arose - a type of writing whimsically ornate, similar to an arabesque in appearance.
In the heyday of the Middle Ages, the "arabesque" ornament was used to design handwritten books, and in Byzantium and Italy - in majolica and engraving. At this stage in the development of the arabesque, she carried, first of all, symbolic meaning and was the main element of architectural structures.
The most popular type of ornament "arabesque" became in the Renaissance. Thanks to Giovanni da Udine, the pattern becomes the basis and connecting thread of the semantic component of fresco paintings and decorative and symbolic elements in architecture.
In the era of classicism, the "arabesque" ornament received the appointment of an independent decorative element, abstracted from the semantic component.
Arabic pattern in the countries of the Muslim world
In the Arab world, over time, the arabesque ornament became a whole science that was in the service of the church. After all, Arabic arabesque patterns served as a connecting thread between Heaven - the abode of God and Paradise - and Man as a representative of the Earthly House. If you think about it, then the Underworld, which, according to Muslims, consists of two parts: the grave as the threshold of Paradise or Hell and Hell itself. Thus, it is possible to express the version that the Muslim arabesque can be the image of the "World Tree". Arabesque ornaments can completely cover the walls of the mosque. In the interweaving of their elements, you will never find animals, birds, fish, humans and other living beings, since no one can compete with God - their creator.
Arabesque in the arts and crafts of the East
There is also a non-religious way of using the arabesque ornament in Eastern cultures. One of the most common is the Arabic patterned carpet. In this case, the creation of a pattern implies greater freedom of creativity: images of animals and people can be used as elements, weaving them into a ligature of stems, petals and leaves.
On the basis of the Arabic traditional ornament in the art of carpet weaving, a special direction emerged - Islami - a decorative ornament consisting only of bindweed and spiral elements. In addition, six additional types of Islami are distinguished: "shekasti" - with open ornaments; "bandi" or "vagire" - the elements of the pattern are repeated both horizontally and vertically, and intertwined with each other; "dakhane azhdar", whose arabesques resemble the mouth of a dragon; "toranjdar", in it, along with traditional patterns, such an element as a medallion is used; "lochak-toranj", where a composition of medallions in triangles is placed in the corners of the carpet; "mari" - with spiral-shaped arabesques.
Arabesques in the "bandy" style also have a number of subspecies: "islimi" - in the form of fastened arabesques; "pichak" - in the form of connected weaves; "shekaste" - in the form of untied arabesques; "katibei" - in the form of an associated inscription; "varamin"; "caleb-hashti" in the form of connected square frames; "derakhti" - in the form of intertwining trees; "sarvi" - the main element - cypress; "adamaki" - in the form of a pattern of human figures; "bakhtiyari"; "khushe-anguri" from intertwined bunches of grapes; "shahae gavazne kheyvandar" from linked figurines of deer; "hatame shirazi", reminiscent of inlays; "dastegul" from intertwined bouquets.
In addition to creating unique carpet products, the arabesque motif is used to create models of clothes, dishes, interiors, and even in landscape design.
Pattern creation technology
When creating an "arabesque" ornament, an ideal mathematical calculation is required, which is used to form absolutely accurate compositional elements of its elements and their alternation in an ornamental chain. The elements of the pattern are very complex in composition, often fit into each other. At the same time, it is also necessary to use mathematical knowledge, because the elements of arabesques are difficultly combined variants of various geometric shapes- circles, ovals, rectangles, hexagons, octagons, trapezoids, triangles, rhombuses, etc. Moreover, each type of element has its own color. With such a mathematical pattern, the background is never used for it.
Musical composition
In music, the term "arabesque" was first introduced in relation to a proper name for his work by the famous composer Robert Schumann. Later, the concept of "arabesque" began to be applied to a certain genre of instrumental music, as a rule, a work of small size, but very diverse, light, with an openwork interweaving of elements, rhythms, intonations, tempo, fragments of a melody. The intertwining melody of the arabesque was used in the work of the amazing French impressionist and symbolist composer Claude Debussy. Of the domestic composers, Alexandra Lyadova turned to this genre.
dance movement
What is "arabesque" in dance art? The arabesque, or rather the arabesque, is one of the main movements in classical choreography. In the classification of Agrippina Yakovlevna Vaganova, we meet four types of arabesque, and the Italian choreographer Enrico Cecchetti has five. These movements have a similar setting of the body, head, but differ in the position of the raised and retracted arms and legs.
From classical choreography, the modified arabesque was transferred to sports ballroom dancing and figure skating. It has a fairly long tradition of application in Indian belly dance.
Arabesques is a collection of works by Nikolai Vasilyevich Gogol in two parts, compiled by the author. Published in the first half of January 1835 (censored on November 10, 1834). The collection combined articles on annals, geography, art, as well as several works of art. Nikolai Vasilyevich Gogol, 1835, 1834
In the articles included in the collection "Arabesques" Gogol sets out his historical views and his views on literature and art. In the article "A few words about Pushkin", Gogol expressed his view of Pushkin as a great Russian national poet; in the fight against romantic aesthetics, Gogol outlines here the tasks facing Russian literature. In the article "On Little Russian Songs" Gogol gave an assessment of folk art as an expression of folk life and folk consciousness. In an article about Karl Bryullov's painting "The Last Day of Pompeii", Gogol made a fundamental assessment of the phenomena of Russian art.
Part one. Preface (1835) Sculpture, painting and music (1835) On the Middle Ages (1834) A chapter from a historical novel (1835) A chapter from a historical novel On teaching world history(1834) Portrait (novel) A look at the compilation of Little Russia (An excerpt from the History of Little Russia. Volume I, book I, chapter 1) (1834) A look at the compilation of Little Russia A few words about Pushkin (1835) A few words about Pushkin On the architecture of the present time (1835 ) Al-Mamun (1835)
Hetman (novel) The action of the novel takes place in the middle of the 17th century. The protagonist Stepan Ostranitsa is a historical person, a colonel from Nizhyn, about whom Gogol learned from the History of the Rus. Gogol worked on the novel for years, but was dissatisfied with what was written and burned his work, sparing only two chapters. Several draft handwritten passages from the novel have also been preserved, containing many inaccuracies.XVII centuryStepan OpageColonel
In Northern Flowers for 1831, an extract from the novel was printed under the title "Chapter from a historical novel." This excerpt, along with another excerpt from "The Bloody Bandura Player", Gogol placed in the collection "Arabesques", however, the ending of "The Bloody Bandura Player" was not allowed by the censors, so Gogol wrote a different ending. The original version was printed according to the surviving author's proofreading, in the Niva magazine, 1917, 1 Northern Flowers, 1831 Arabesque censored Niva
A look at the compilation of Little Russia Historical article by Nikolai Vasilievich Gogol, written in years. Included in the collection "Arabesques". article by Nikolai Vasilyevich Gogol yearsArabesques This article was supposed to precede Gogol's historical work "History of Little Russia", unknown to this day. Gogol's biographers have never been able to find manuscripts or any material indicating that The History of Little Russia was written at all.
In a letter to Mikhail Maksimovich dated November 9, 1833, Gogol wrote about his work: “Now I set to work on the history of our only poor Ukraine. Nothing is more soothing than history. My thoughts begin to flow quieter and leaner. It seems to me that I will write it, that I will say a lot of things that have not been said before me "Mikhail Maksimovich 1833 Ukraine history
On January 30, 1834, Gogol placed in Severnaya Pchela an "Announcement about the publication of the history of Little Russia", asking him to send him materials on the history of Ukraine for the great work he had begun. However, by the beginning of March 1834 (despite the fact that even in a letter to M.A. Maksimovich dated February 12, Gogol promises to write the entire History of Little Russia "from beginning to end", "in six small or four large volumes") Gogol began to gradually cool down to the work he had begun. Northern bee
On March 6, 1834, Gogol wrote to Izmail Sreznevsky about the reasons for his cooling, who expressed a desire to help with the materials: “I lost interest in our chronicles, trying in vain to find in them what I would like to find. Nowhere is there anything about that time, which should have been richer than all events. A people whose whole life consisted of movements, whom involuntarily (even if they were completely inactive by nature) neighbors, the position of the earth, the danger of being led to deeds and feats, this people ... I am dissatisfied with Polish historians, they say very little about these feats ... And that's why every sound of the song speaks to me more vividly about the past. To Izmail Sreznevsky
Part two. Life (1835) Schlozer, Miller and Herder (1835) Nevsky Prospekt (1835) Nevsky Prospekt About Little Russian Songs (1834) About Little Russian Songs Thoughts on Geography (A Few Thoughts on Teaching Geography to Children) (1831) The Last Day of Pompeii (1835) Prisoner ( Bloody bandura player) (1835) Captive (Bloody bandura player) On the movement of peoples at the end of the 5th century (1835) Notes (1835)
"Nevsky Prospekt" The story of Nikolai Vasilyevich Gogol. Included in the cycle Petersburg stories. Written in years. Nikolai Vasilyevich Gogol's Stories from Petersburg First published in the book “Arabesques. Miscellaneous works by N. Gogol, part 2, St. Petersburg, The concept of Nevsky Prospekt dates back to 1831, when Gogol made several unfinished sketches depicting the landscape of St. Petersburg. Arabesques. Various works by N. Gogol in 1831 in Petersburg
Two sketches have survived: “A terrible hand. A story from a book called: moonlight in a broken attic window "and" The lantern was dying ... ". Both sketches relating to years are associated with the concept of Nevsky Prospekt for years.
"On Little Russian Songs" An article by Nikolai Vasilyevich Gogol, in which he compares a folk song and a reflection of folk history, folk aspirations and ideals. The song for him is nothing but " folk history, lively, bright, full of colors, truth, exposing the whole life of the people ..., living, speaking ... chronicle. Written in 1833. Nikolai Vasilievich Gogol 1833 The article was written about the "Zaporozhye antiquity" by Izmail Sreznevsky. Zaporozhye antiquity by Izmail Sreznevsky
"Notes of a Madman" The story of Nikolai Vasilyevich Gogol, written by him in 1834. For the first time the story was published in 1835 in the collection "Arabesques" with the title "Scraps from the notes of a madman." Later it was included in the collection "Petersburg Tales". The story of Nikolai Vasilievich Gogol in 1834 in 1835 Arabesques Petersburg stories
