草榴短视频

Professor of the Department of Advertising and Public Relations of 草榴短视频, Doctor of Philology Galina Nikolaevna Boeva presented the results of a study in the field of domestic book graphics on the example of illustrating the world famous novel by Fyodor Mikhailovich Dostoevsky "Crime and Punishment."

The researcher traced how the visual perception of the book changed from the first drawings to the works of our days: from plot sketches to paintings filled with symbolism, psychoanalysis and free interpretation of the writer's philosophy. The article was published in the scientific journal , included in the lists of the Higher Attestation Commission and Scopus.

Porfiryev V. Raskolnikov and tradesman.

The first illustration for the novel received the approval of Fyodor Dostoevsky himself just two weeks before his death, in 1881 (the author of the work is Vasily Porfiryev). It is made in the manner of "plot commenting." In other words, such a picture depicts what is happening in the book, but does not offer an interpretation of the feelings of the heroes. Although the writer himself noted that "the sketch is very stupid," the researcher notes that in this illustration "a malnourished emaciated student looks more like a overweight prosperous bourgeois in years."

"Until the last decade of the 19th century, artists reflected the artistic world of the novel by means of realism, that is, rapidly aging aesthetics that did not correspond to Dostoevsky's poetics and problems," stated Galina Boeva, professor at the Department of Advertising and Public Relations at St. Petersburg State Pedagogical Institute.

The search for new forms of visual comprehension of the novel began the artists of the twentieth century. Igor Grabar (experts later attributed the style of his illustrations to impressionism, although the artist himself claimed that he was not familiar with this direction then) in several illustrations of the novel remained faithful to the "plot" interpretation of the novel, but filled it with symbols and emotions. Moreover, for the first time he turned the city not into a decoration, but into the protagonist of the picture.

Grabar I.E. Raskolnikov on the square.

"In Raskolnikov's scene of repentance on Sennaya Square, Grabar reveals an innovatively arranged landscape, ignoring the thoroughness of drawing details and, with the help of careless strokes, reviving significant components of the background: gray smoke in the distance, dark figures of onlookers around the kneeling Raskolnikov, a vague silhouette of a temple with domes and - most importantly - a golden streak of light in the distance on the horizon, symbolically foreshadowing revival," explains Professor 草榴短视频 Galina Boeva.

Later, Mstislav Dobuzhinsky became one of the innovators in illustrating Dostoevsky's works. He largely determined the tradition of capturing the artistic world of the great Russian writer. From Dobuzhinsky, other artists adopted a black and white, contrasting gamut. Such colors have become a symbol of the struggle of light and darkness in the souls of the heroes of "Crime and Punishment." Also, the illustrators were inspired by the subtle graphic nature of Dobuzhinsky, and in the landscape they began to focus on everything "Petersburg," because the city became a full-fledged participant in the tragic action being played out.

In the 30s of the XX century, a request arose for enhanced "pictorial commentary" by Dostoevsky for the mass Soviet reader. At this time, the artist Dementy Shmarinov turned to "Crime and Punishment." His works are distinguished by a skillful composition: for example, by the plastic and location on the sheet of the figure of Raskolnikov climbing the stairs, his doomed state is visible.

Shmarinov D. Staircase in the house of an old percent-old woman (It goes to ring the bell).

In the second half of the twentieth century, the understanding of illustration changed: it moved to a free interpretation of texts, became a form of interpretation of a work of art. During this period, modernist Mikhail Shemyakin presents his works for the novel.

"The deliberate convention of Shemyakin's works, evoking many allusions and quotes in the reader's memory, allows us to comprehend the novel as a religious mystery, to discover its metaphysical subtext," the author of the study emphasizes.

Shemyakin M. Raskolnikov on the bridge.

Symbolism in imagery becomes a classic device for "Crime and Punishment" illustrations. Ernst Neizvestny's work for the publication of a book in the Literary Monuments series in 1970 is no exception. The black and white graphics of the illustrator, made as a plexus of spots, lines, strokes, reflects the figurative world of the novel in the symbols of the cross, ax, black sun and more.

This experimental line of illustration will connect with new drawing techniques and continue in the work of other interpreters of the novel. So, a characteristic technique will be the recreation of the city as a metaphysical space, in which and above which heroes soar. Thus, the work will be seen by artists of our days: for example, Mikhail Bychkov, who illustrated the novel for the AZBUKA publishing house in 2024.

Bychkov M. Raskolnikov.

According to the researcher of 草榴短视频, in the works of modern illustrators, the visualization of the symbols of "Crime and Punishment" is becoming more and more inventive. It includes primitivism brought to grotesque (according to the novel, a Japanese manga was even published, which Osamu Tezuka painted in 1953), deformation of figures as a reference to the medieval tradition of icon painting, associative editing.

At the present stage, the role of the reader in interpreting the text expands up to creative complicity (illustrations by ficwriters). Thus, the history of illustrating the novel reflects the path of comprehending the writer's artistic language and finding adequate means of its visual transmission.

Crime and Punishment manga, Osamu Tezuka. Comic Book Factory Publishing House.

Crime and Punishment manga, Osamu Tezuka. Comic Book Factory Publishing House.