V.V. Vereshchagin and Usto Mumin: Two Poles of Russian Orientalism

Abstract

This article provides a comparative review of “Russian Orientalism” in the visual arts, associated with the names of artists such as V.V. Vereshchagin and A. V. Nikolaev (Usto Mumin), who differently approached this movement. The article raises the question of the characteristics of “Russian Orientalism” and examines the historical context that shaped this phenomenon, which also manifested itself in the visual arts.

This work takes E. Said’s concept of “Orientalism” as its methodological basis, serving as the starting point for the scholarly analysis. In the case of V.V. Vereshchagin and his “Turkestan Series”, the perception of the East corresponds to E. Said’s well-known “Orientalist” theory. When it comes to Usto Mumin’s works, methodological situation appears more complex and contradictory. Life and work of A. V. Nikolaev do not fit into E. Said’s concept. The analysis draws on the works of several authors to explore “Russian Orientalism” within the context of cultural studies, including art history.

The author concludes that although both authors under consideration do formally comply with the “Orientalists” movement, they belong to different cultural and historical contexts. Their careers and personal life embody the contrasts in their understanding of their art – so as academic classics might be opposed to the “modern” avant-garde.

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