INTERPRETATION OF THE SUBJECT OF THE PASTURAL POEM IN THE TAPESTRY FROM THE PRIVATE COLLECTION

Abstract

The European tapestry of XI-XVII that have survived to our time are integral attributes of the interiors of that time. The combination of functionality and symbolic value provided tapestry an important place among the monuments of material culture. Living conditions that changed in the 18th century, the changes in the requirements for interiors and visual range content, led to the end of tapestry fashion lasted for several centuries. The methodological basis for the study of tapestry history and technology was the work of the Russian expert in decorative and applied art N.Yu. Biryukova, the Hungarian authors - L. Emoke, K. Kiado. Tapestry is regarded as the symbiosis of two masters - the artist of the cardboard and the weaver. A brief overview of the European tapestry plot is given, beginning with the German rugs of the XIIth century and ending with the XVIIIth, when the creative approach of the master weaver is more and more controlled by the cardboard artist. The article defines the plot depicted on the 17th century tapestry, which belongs to the private museum of the International Institute of Antiques in Kazan (Russia). On this tapestry, the images are interpreted as the scenes from the pastoral novel Honore d'Urfe (1568 - 1625) "Astrea". The novel is a vivid example of precision literature. The tapestry illustrates several scenes from the novel.