UDTR — Radar mondial des droits de la Nature

«What Kind of Landscape Do We Need?»: The Depiction of Nature as an Ideological Instrument of Soviet Imperialism

Identification

Clé publique

doi:10.17721/2518-1270.2026.79.17

Auteurs

Polina Bukharina

Année déclarée

2026

Langue déclarée

en

Type source

article

Première détection

2026-11-09T19:14:54.809434+00:00

Dernière observation des métadonnées

2026-11-09T19:14:54.809434+00:00

Dernière vérification HTTP

Non effectuée

Institutions déclarées par la source

Taras Shevchenko National University of Kyiv

Résumé documentaire — langue originale

Relevance. The article examines the transformation of landscape art within Socialist Realism from the late 1920s to the 1950s. Despite its apparent apolitical nature, the depiction of nature within the method of Socialist Realism played a key role in shaping public consciousness. Identifying the mechanisms that turned landscape painting into an instrument of ideological influence is crucial for understanding the underlying processes of Soviet cultural policy. The aim of work is to analyze the ideological transformation of the landscape genre in Ukrainian art during the 1930s – 1950s in the context of socio-political and economic changes, particularly collectivization and industrialization. Research Methodology. The methodology is based on the principles of historicism, objectivity, and systematic analysis. The method of critical source analysis was employed to examine Soviet art periodicals from the 1920s to the 1950s. Results of the Study. The research demonstrates that the attitude towards landscape art evolved from complete rejection to its full integration into the ideological apparatus. An analysis of art criticism from the late 1920s to the 1950s made it possible to trace the transformation of the landscape’s role as an ideological tool and to outline the specific requirements imposed upon it. Conclusions. Within Socialist Realism, landscape art emerged as an artistic medium that became a distinct political practice for conveying ideological frameworks. The influence of landscape painting extended beyond the mere perception of nature to encompass the practices of its transformation, particularly collectivization and industrialization. The requirements for these depictions – namely anthropocentrism, narrative quality, and an affirmative, life-asserting character – reveal the landscape’s function as a tool for constructing a collective vision that naturalized the imperial and modernization policies of the totalitarian regime. Landscape painting did not merely reflect but actively produced the perception of Soviet reality.

Identifiants

OPENALEX

W7155037029

DOI

10.17721/2518-1270.2026.79.17

Repères documentaires

Famille documentaire

Doctrine

Types déclarés par les sources

article

Entités naturelles mentionnées

Paysage

Les mentions d’entités ne constituent pas une preuve de reconnaissance juridique. La juridiction étudiée est distincte du pays d’affiliation des auteurs.

Sources

OpenAlex · Document 1 · Document 2

• DOI · https://doi.org/10.17721/2518-1270.2026.79.17
• OpenAlex · https://openalex.org/W7155037029

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• openalex:w1973557404 · CITES
• openalex:w2100896193 · CITES
• openalex:w2559929585 · CITES

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