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Mobilizing artistic heritage in 1920s Uzbekistan
Mollie Arbuthnot

artistic traditions, reviving them, and reinterpreting their function in the new society. 6 Visual art could constitute a usable past for constructing Soviet culture. Two types of Islamic art—Tatar shamail prints and Persianate manuscript illustrations—presented themselves as appropriate usable pasts for poster artists in the Turkestan, and later Uzbek, Soviet Republic in the 1920s. This chapter centers on how their forms were adapted and appropriated, and the discursive contexts in which this process took place. It is

in Russian Orientalism in a global context
Abstract only
Maria Taroutina

practitioners as evidenced by the numerous extant works of Russian Orientalist painting, sculpture, architecture, photography, theater, music, and ballet. From the fashionable chinoiserie and turquerie of Catherine the Great’s court, to Ivan Argunov’s portrayal of a Kalmyk girl (1767), Ivan Aivazovskii’s moonlit views of Constantinople (1840s), Vasilii Vereshchagin’s controversial Turkestan series (1868–72), and Pavel Kuznetsov’s modernist steppe paintings of sheep-tending Kyrgyz women (1912), Orientalism had persisted over the course

in Russian Orientalism in a global context
Allison Leigh

referring to Russian artists as Orientals and barbarians to varying degrees throughout the earlier nineteenth century. After seeing Vasilii Vereshchagin’s Turkestan series in London in 1872 and 1873 (an artist who is discussed further by John Webley in Chapter 5 of this volume), one Russian critic wrote of the painter’s “savage force” and described his work as “neither French nor Bavarian: it is half-barbarian and Russian.” 47 After seeing the works again in Vienna in 1880, the same critic noted that Vereshchagin had

in Russian Orientalism in a global context
Andrew M. Nedd

this idea when he described the Russian Empire as “gradually, irresistibly spreading on all sides, settling neighboring unsettled territories, and assimilating into herself and her national boundaries foreign populations.” 10 The primary means of this expansion was, of course, military strength, and its price was commonly war. Russia’s cultural identity was tied to this legacy of war and territorial expansion, including the conquest of the Caucasus and Turkestan (1830–81), the Crimean War (1853–56), and the Russo

in Russian Orientalism in a global context
Karl Rakhau’s Orientalizing interiors
Katrin Kaufmann

in Caucasian mountain resorts, were often given an Oriental twist by the amalgamation of various Islamic architectural traditions. In the empire’s eastern territories, that is in Russian Turkestan and the Russian protectorates of Bukhara and Khiva, newly established relations between patrons, architects, and executing masters had brought about a fusion of contemporary Islamic and Russian architecture and interior design. The geographical focus of this chapter is, however, St. Petersburg, where palace and mansion interiors

in Russian Orientalism in a global context
Vasilii Vereshchagin’s Blowing from Guns in British India
John Webley

(London: George Allen, 1904), 219. 12 Nochlin, “The Imaginary Orient,” 38. 13 Ibid ., 48. 14 Maria Chernysheva, “‘The Russian Gérôme’? Vereshchagin as a Painter of Turkestan,” RIHA Journal 96 (2014): 5. 15 Vasilii Verestchagin, Realism: Second Appendix to Catalogue of the Verestchagin Exhibition (New York: American Art Association of New York, 1888), 8. 16 Ibid ., 5

in Russian Orientalism in a global context
Art and empire in Ilia Repin’s Reception of Volost Elders
Nikita Balagurov

, inorodtsy (aliens)—the Jews, nomads of Central Asia, and sedentary Muslims of Turkestan—occupied the outermost circle of the empire’s cultural hierarchy. Their racial otherness and cultural distance were deemed so alien as to preclude their integration into the imperial system. 32 Having this scheme in mind helps to navigate Repin’s densely populated painting and see the logic in his compositional choices. Repin was exposed to various channels and artifacts through which this unofficial cultural hierarchy manifested itself. One

in Russian Orientalism in a global context
Jane Chin Davidson

analysed by scientists and verified as mixed ancestry – mostly from Eastern Europe, Central Asia, and Siberia, but rarely from China.19 Uyghur nationalists have adopted this research as proof that Xinjiang should not be considered as a territory of China at all, even as the province has been included within China’s borders since the Qing dynasty took control in the eighteenth century.20 The cause of the separatist movement was due to Russian influence in the twentieth century, which led to Xinjiang’s independence as the East Turkestan Republic from 1944 to 1949. When Mao

in Staging art and Chineseness