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Semantica gravurii în acvaforte din perioada postbelică a RSSM

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dc.contributor.author MUSTEAŢĂ, Elena
dc.date.accessioned 2020-10-02T08:57:15Z
dc.date.available 2020-10-02T08:57:15Z
dc.date.issued 2014
dc.identifier.citation MUSTEAŢĂ, Elena. Semantica gravurii în acvaforte din perioada postbelică a RSSM. In: Arta. 2014, nr. 1(AV), pp. 159-164. ISSN 1857-1042. en_US
dc.identifier.issn 1857-1042
dc.identifier.uri http://repository.utm.md/handle/5014/10331
dc.description.abstract Lucrarea de faţă urmăreşte ca scop elucidarea unor aspecte de semnificaţie şi iconicitate caracteristice acvaforte-lui din Moldova din perioada postbelică. Operele grafice supuse studiului au fost selectate în mod subiectiv, ţinând cont de tipul imaginii, de limbajul mijloacelor vizuale deţinut - nediscursiv, prezentativ, auto-reflexiv sau ambiguu. Pentru a satisface o atare abordare a mesajului plastic, s-a optat pentru analiza selectivă a lucrărilor în funcţie de genul tematic, de factorul temporal, precum şi de criteriul estetic şi calităţile stilistice ale imaginii artistice. Au fost studiate, în particular, creaţii grafice semnate de Gh. Vrabie, L. Grigoraşenco, P. Ţurcan, G. Fiurer, V. Ivanov ş.a. en_US
dc.description.abstract This work aims to elucidate some aspects of signification and iconicity of Moldovan etching, characteristic for the postwar period. The surveyed graphic works were selected subjectively, taking into account the type of the image, the language of visual methods detained as - non-discursive, presentational, self-reflexive or ambiguous. To meet such an approach to the plastic message was chosen a selective works analysis according to a thematic genre, the time factor, as well of the aesthetic criteria and stylistic qualities of the artistic image. Were studied, in particular artworks signed by Gh. Vrabie, L. Grigorashenco, P. Țurcan, G. Fiurer, V. Ivanov etc.
dc.description.abstract Целью данной статьи является выявление некоторых аспектов семантики и иконичности, характерных для молдавского офорта послевоенного периода. Графические работы рассматриваются, отталкиваясь от типа композиции, характера языка изобразительных средств – недискурсивный, презентационный, саморефлексивный или неоднозначный. Для данного исследования были выбраны работы, исходя из тематики жанра и временного фактора, а также учитывая эстетические и стилистические качества эстампов. Наиболее детально были изучены графические работы Г. Врабие, Л. Григорашенко, П. Цуркан, Г. Фюрера, В. Иванова и др.
dc.language.iso ro en_US
dc.publisher Institutul Patrimoniului Cultural al AȘM en_US
dc.rights Attribution-NonCommercial-NoDerivs 3.0 United States *
dc.rights.uri http://creativecommons.org/licenses/by-nc-nd/3.0/us/ *
dc.subject simbol en_US
dc.subject semantică en_US
dc.subject acvaforte en_US
dc.subject gravură en_US
dc.subject perioada postbelică en_US
dc.subject creaţii grafice en_US
dc.subject symbol en_US
dc.subject signification en_US
dc.subject aqua-fortis en_US
dc.subject engraving en_US
dc.subject postwar period en_US
dc.subject artworks en_US
dc.subject символ en_US
dc.subject семантика en_US
dc.subject офорт en_US
dc.subject гравюра en_US
dc.subject послевоенный период en_US
dc.subject графические работы en_US
dc.title Semantica gravurii în acvaforte din perioada postbelică a RSSM en_US
dc.title.alternative The engraving etching’s semantic in postwar MSSR en_US
dc.title.alternative Семантика молдавского офорта послевоенного периода en_US
dc.type Article en_US


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