Analysis of The Reply of the Zaporozhian Cossacks to the Sultan of Turkey to Sultan Mehmed IV of the Ottoman Empire
Il’ya Yefimovich Repin is considered one of the greatest Russian painters and is known for painting realistic scenes that depict the climate and times in which he was raised. Born in 1844 in Chuguyev, Russia, now a part of Ukraine, Il'ya Repin was born into the military settlers class. Both his social standing and his homeland would become important influences in his later paintings. The Reply of the Zaporozhian Cossacks to the Sultan of Turkey to Sultan Mehmed IV of the Ottoman Empire, one of Repin's more famous works, is a great example of the way Repin's works blended themes and scenery of his homeland together with his brand of Social Realist art. I will analyze Repin's representation of the Zaporozhian Cossacks through the lens of Repin's background—particularly his upbringing in Ukraine, his lower social class standing, and the turbulent time of Russian history in which he lived. By viewing the painting this way, the scene of the Zaporozhian Cossacks becomes not simply an illustration of a historical event, but a representational painting that conveys the nationalism, autonomy, freedom and strength that Repin associated with the Cossacks.
The influence of Repin’s upbringing features is notable in almost all of his works; therefore, in order to achieve a greater understanding of his paintings, it is essential to know Repin’s background. Firstly, Repin’s life spanned a vast and turbulent time among Russian History. Born in 1844 and living until 1930, Repin witnessed key events such as World War I, the Assassination of Alexander II and the emancipation of the serfs. The latter event played a key role in R...
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...ight of their former glory) and their pride in their group (though it might not be nationalism since they are a group of people)
• Related to Repin’s Life o He was from Ukraine o Refusal to be ashamed of his background when he was referred to as being low born and a commoner at exhibits and parties. o Depiction of people from Ukraine
• Conclusion o Repin drew on his experiences & background and used it in his paintings o The Reply of the Zaporozhian Cossacks to the Sultan Mehmed IV of the Ottoman Empire shows themes from Repin’s own life experiences and is shown through aspects of design in color, brightness, and presentation as well as the specific details of each Cossack. Each Cossack’s has a unique style of dress, position of their body, and smile. o Repin is a great artist because of the way he realistically depicts scenes that hold significant meaning to him.
The French occupation is a confrontation between exported modernity and an old regime: the French revolutionaries and their dominance over the Ottoman social order that is markedly different in contrast; and, al-Jabarti reports on how it transfers cross-culturally. Levels of contestation, open and/or secretive acceptances give way to losses and gains driven by high emotion – even for this writer. He “describes very carefully every step in the negotiation of the organization of society, from administration to inheritance, from property to charity or from justice to deliberation.”
With the coinciding of a revolution on the brink of eruption and the impacts of the First World War beginning to take hold of Russia, considered analysis of the factors that may have contributed to the fall of the Romanov Dynasty is imperative, as a combination of several factors were evidently lethal. With the final collapse of the 300 year old Romanov Dynasty in 1917, as well as the fall of Nicholas II, a key reality was apparent; the impact that WWI had on autocratic obliteration was undeniable. However, reflection of Russia’s critical decisions prior is essential in the assessment of the cause of the fall of the Romanov Dynasty.
The men at the forefront of the Young Turk’s rebellion were Mehmed Talaat, Ismail Enver and Ahmed Djemal. Eventually, they came to have more of a dictatorial sort of rule on their people, with their own visions of what they wanted for the Turkic people. They all wanted to unite their people and expand ...
Part One, “The Formation of Eurasian States” introduces the three major powers in central Eurasia, China, Russia, and the Zunghar State. Perdue describes central Eurasia as an “unbounded” land stretching from “the Ukrainian steppes in the west to the shores of the Pacific in the east, from the southern edge of the Siberian forests to the Tibetan plateau” populated by nomadic tribes who had no clearly defined national boundaries . Historical sources concerning Central Asia people in Central Eurasia are scares due to the lack of writing ability in the vast majority of the nomadic population. Writers from the “civilized” world such as China described these people as exclusively nomadic and “universally greedy, primitive, and poor” . Despite the lack of historical records in the area, the area has historically played an important role in linking the eastern civilizations to the western civilizations, which played a major part in global trade up until the sixteenth century . Although the nomads of the steppes in Central Eurasia has long been accused of constant raiding of “civilized” settlements such as in north western parts of China, Sechin Jagchid argues that peace was possible if the nomad’s needs were satisfied by trade, so that the they did not have to take supplies by force in order...
The 17th Century European View of Russia Being a Backward, Weak, Isolated and Barbarous State
Prior to my research, there were two interesting articles that have struck my attention regarding the states and issues that are being discussed in this essay. The first article is A Survey of the Turkish Empire by Sir William Eton. In the article, Eton discusses his admiration of the glorious army that had once belonged to the Ottoman Empire. He describes the Turkish army as “formidable”, and organized. Eton tune quickly changes by criticizing their faults and ultimately what led to their demise. Eton states that “it is a mob assembled rather than an army levied.” This article had great impact because while researching the topic, I was able to better understand the role of the military in the Ottoman Empire.
Unlike most “victimized” cultures of Western European domination, the Ottoman Empire was considerably successful and powerful for many years, particularly in the sixteenth and early seventeenth century under the rule of Sulayman the Magnificent (Haberman, 132). By 1520, the Ottoman Empire had secured much of the Arab Middle East, Belgrade and most of Hungary (Haberman, 132...
Like most artists, Rodin was not an overnight success. Even though he was rejected numerous times from art schools because of his art style, he prevailed in the end. Rodin, like many artists, got their inspiration from other great and famous artists. In Rodin's case, his inspiration came from Michelangelo. In Rodin's more famous works, one can see the similarities between the two artists' artwork. Rodin's parents were not wealthy, therefore, he was not able to attend an art school of his choice. His father, however, did send him to Petite École, "a training ground for commercial draftsman and practiciens--cutters and finishers of work in stone". At the age of seventeen, Rodin won his first prize for a clay model and he came in second place for one of his drawings. His teachers at Petite École encouraged him to "try for the Grande École des Beaux-Arts". He applied, but was not accepted. Not giving up hope, Rodin applied two more times, but was rejected. Determined to make a living, he worked for a large commercial designer. It was there, that he created numerous objects with his hands; anything from masks of gods to cupids. This is where he began to see that he had a future in what he loved the most, art. Even though Rodin was an artist, his career did not take off so soon. When he was 22, his sister Maria died. He anguished so much over her death that he decided to leave his art. He quit everything and decided to enter the Order of the Fathers of the Very Holy Sacrament.
Hooker, Richard. "The Ottomans: The 17th and 18th Centuries." Washington State University - Pullman, Washington. 1996. Web. 06 Apr. 2011. .
From youthfulness, to abusiveness, to persecution of the already downtrodden, horses in literature are able to reveal many things to us. They symbolize and give vitality, through their importance, love, and companionship; they show inner personality of their owners and the dreadful interpersonal reactions and relationships, and they even teach us things about history. Horses truly were not just important to the Russian population, but still remain important to us, through their use in literature.
At the height of its power (16th-17th century), the Ottoman Empire spanned three continents long. The Ottoman Empire controlled Southeastern Europe, Western Asia, and North Africa. It contained twenty-nine provinces and man vassal states, some of which were later immersed into the empire, while others were allowed other types of sovereignty during the course of several centuries. The empire was at the center of interaction between the Eastern and Western worlds for six centuries. With Constantinople as its capital city, and large control of lands around the eastern Mediterranean during the reign of Suleiman the Magnificent. Suleiman overruled the Ottoman Empire from 1520 to 1566. It is remarkable that though in Turkey he is distinguished only as the law-giver (Kanuni), in European history he is known by titles such as the Magnificent. Suleiman had no noteworthy rivals and was one of the most fortunate of the sultans. From his father he inherited a well-organized army, a disciplined army, and a sufficient treasury. Being raised in such a political environment, Suleiman would grow up to be the embodiment of all the excellent qualities of his Father’s talented generals, admirals, and viziers. Suleiman was a generous man even as a child. As a young boy, he befriended Pargali Ibrahim, a slave who later became one of his most trusted advisers. Suleiman believed greatly is his cause of spreading his law based on the Islamic system of law (Sharia). Su...
...s work The 3rd of May, 1808 is a very detailed and dramatic narrative within a collection of war themed works by the artist. I believe that by using the formal elements of color, texture, shape, lines, space, and the value I was able to sufficiently provide evidence that Goya offers a sequential order of direction for the audience to comprehend from their personal viewing. The twisted and grief stricken work creates a massive emotional connection and the artist plans for the viewers’ to grow and understand this message. The subject highlighted is obvious that Goya is passionate on his stance and outlook on war is suggested in the work. It’s obvious that Goya’s formal organization of his color palette, variation of brushes, repeating shapes, and play with lighting all correspond to depict man’s savage and at times monstrous actions are justified during war.
The Ottoman Empire had humble roots. Beginning as an Ottoman state, it progressively rose to power to become an empire. As a state, the Ottoman state started as a small state in current-day western Turkey. Based on Muslim beliefs and rule, the Ottoman State began to dissolve surrounding Muslim states, which were absorbed into the future empire. This move thereby ended all the other Turkish dynasties. The Ottoman Empire was marked as one of the largest, longest lasting empires. The Ottoman Empire lasted from the late 13th century to 1923. Throughout it’s time, the Ottoman Empire was remarked as highly successful and progressive. But like all empires, the Ottoman Empire had to make its end. The Ottoman Empire, like all dynasties, went through its rise, peak, and falling periods. This essay assesses each period in the Ottoman Empire's history.
Byzantine art had many basic characteristics. The first was expressionistic using color and emotion. Many of the are lacked depth in a two dimensional fashion. The art was symbolic in nature, decorative, detailed. The figures are stiff and ...
Painting in the 19th century, still highly influenced by the spirit of Romanticism, proved to be a far more sensitive medium for the kind of personal expression one should expect from the romantic subjectivity of the time. At the very beginning of the “modern period” stands the imposing figure of Francisco Goya (1746-1828), the great independent painter from Spain. With much indebtedness to Velazquez, Rembrandt and the wonders of the natural world, Goya occupies the status of an artistic giant. His artistic range goes from the late Venetian Baroque through the brilliant impressionistic realism of his own to a late expressionism in which dark and powerful distor...