Integration of Aivazovsky's visual code into the Crimea's artistic space of the first half of the twentieth century

The legacy of Crimean painting from the late nineteenth to the first half of the twentieth centuries requires a deep scientific approach in cultural studies, as a result of which the relevance of our research is determined by the analysis of the evolution of the visual code of the great marine painter I. K. Aivazovsky, reflected in the works of Crimean artists of subsequent generations. The application of the cultural approach together with the art historical analysis made it possible to address the problem of the synthesis of traditions and innovation, to trace the transformation of the methods of depicting the Crimean nature of I. K. Aivazovsky in the works of painters during the period under study. The cultural code, in the semiotic interpretation of Yu. M. Lotman, is identified with a communicative function and is a text in the form of a special form of message transmission. Based on this provision, we have named the term "Aivazovsky code" as a pictorial text, that is, a method of depicting the Crimea used and transformed in the works of Crimean painters and masters of the Cimmerian school, whose work is the object of our research. The subject of the study is the evolution of the Aivazovsky code, integrated into the art of the Crimean school of the first half of the twentieth century, in the context of creating an artistic image of Crimea. The research methodology includes the use of a cultural approach in conjunction with art historical analysis and the method of comparison, which makes it possible to address the problem of synthesizing traditions and innovation, to trace the integration and transformation of methods of depicting the Crimean nature of I. K. Aivazovsky in the works of painters during the period under study. A special contribution to the study of the stated topic is the characterization of Aivazovsky's visual code and the identification of its features transformed in the process of integration into the artistic space of the Crimean painters of the first half of the twentieth century. The novelty of the research lies in explanation of the term "Aivazovsky code" and conducting a cultural analysis of this phenomenon. It is established that Aivazovsky's visual code, as a carrier of information, in the process of integration determines the possibility of dialogue and communication between cultural spaces of artists. Throughout the twentieth century, the process of evolution of Crimean painting has been taking place based on the use of a synthesis of traditions and innovation, thanks to the introduction of new visual texts by artists into the cultural memory embedded in the Aivazovsky code. A feature of his evolution is the transition from romanticism and realism to the transformation of the artistic image.

the Aivazovsky code, visual text, integration, Evolution, dialogue, artists, Crimean painting, The Cimmerian School of Painting, synthetism, artistic image