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| Article name | Buddhist Reminiscences in Fine Structure Images of the Buryat Naive Artist Tsyren-Namzhil Ochirov (1920–1987) |
| Authors | Nikolaeva L.Y. Candidate of Art Criticism, artcritik@mail.ru |
| Bibliographic description | Nikolaeva L. Yu. Buddhist Reminiscences in Fine Structure Images of the Buryat Naive Artist Tsyren-Namzhil Ochirov (1920–1987) // Humanitarian Vector. Series Philosophy. Cultural Studies. 2016. Vol. 11, No 2. P. 161–166. |
| Section | PHILOSOPHICAL–RELIGIOUS DISCOURSE |
| UDK | 7 |
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| Annotation | Tsyren-Namzhil Ochirov is one of the most significant Buryat artists of the 20th century for whom the absence of professional art education did not mean total ignorance of previous experience and liberation from any tradition. In the Buryat Buddhist and folk decorative art you can find a common ornamental structure whose elements are reflected in Ochirov’s drawings. Self-taught artists create their own expressive system as closed and concise as the folk art in general. Traditional professional canonic artists are also very careful in their choice of means of artistic expression. More important is the system of values of the artist that stimulates creativity. It can be analyzed through recurrent themes and images and their interpretation. In the majority of Ochirov’s cosmological panoramic landscapes two themes are dominant: encounter and trek, with usually two protagonists, defined as man – woman or young – old. People are shown following Ancient and Medieval oriental traditions: no person is shown full face, the bodies are turned in a spiral, using the scheme ‘kneeling run’. |
| Key words | ideogram, lack of person’s full-face images, the ‘kneeling run’ scheme |
| Article information | |
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| Full article | Buddhist Reminiscences in Fine Structure Images of the Buryat Naive Artist Tsyren-Namzhil Ochirov (1920–1987) |
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