DOI: 10.7256/2454-0625.2021.6.35875

Abstract: This article explores and systematizes the exhibition of chandeliers as the unique art objects within the museum space, as well as reveals the peculiarities in comparison with the interior space. The subject of this research is the display of such multi-component item of decorative and applied art as chandelier in the modern exhibition projects. Based on a range of exhibitions held in the XX and XXI centuries dedicated exclusively to chandeliers and ceiling lights, the author conducts their classification, and reveals the peculiarities of displaying chandeliers in such projects. The representative examples of exhibition projects are considered. This article is to analyze and systematize the experience of exhibiting chandeliers, which is especially relevant because the topic of studying chandeliers as part of the interior is of particular interest among not only scientists, but the artists and curators as well. The conclusion is made that in the most successful projects, the chandeliers are displayed at eye level of the visitors, which allows studying more details about the item. Chandeliers are displayed either as the unique objects, or together with other antique and luxury items, harmonizing on the formal stylistic or historical level, and indicating the modes of stylistic perception of the interior as a reflection of culture of a certain era.

DOI: 10.7256/2454-0625.2021.6.35836

Abstract: This discusses a relevant topic of perception of the world and reality, which are usually characterized as complex and ambiguous. The author, who graduated from Moscow Methodological Circle (MMC) and mentored by its founder G. P. Shchedrovitsky, reconsiders his views upon the interpretation of the topic at hand. Analysis is conducted on comprehension of the activity by G. P. Shchedrovitsky, the task of overcoming the naturalistic approach towards reasoning formulated by him, and the transformation of views within the MMC (transition from the concept of reasoning towards the theory of activity, and later on, mental activity). The article provides the authorial representations on reasoning acquired in the course of research, which are substantiated by a range of factors – history, culture, language, identity, concepts, and sociality. Based on the examples from the history of philosophy and science, the author explores the key stages in the formation of ideal objects and the role played by various factors, including reasoning and activity, as well as the peculiarities of shaping understanding and worldviews. In the current context the author demonstrates why it is difficult to comprehend the “world order”. The main reasons include dual transition (end of modernism and establishment of the “future culture”; project nature of innovations; imperfection of methodology, namely incomplete empirical generalizations. The author indicates that his goal was not the criticism of G. P. Shchedrovitsky and his successors, but overcoming own representations, which allow developing creativity as the foundation of modern mentality.

DOI: 10.7256/2454-0625.2021.6.33755

Abstract: This article analyzes the impact of the visual images of well-being upon interpretation of the concept of well-being in consumer culture. The object of this research is the paintings by postmodern artists, constructivists. and hyperrealists – A. Warhol, R. Rauschenberg, J. Jones, L. Lawler, T. Matin, as well as the posters of advertising constructors of A. Rodchenko. Examination is conducted on the artworks, since the time horizon of paintings is not limited to the “here and now”. The author discusses the images from semiotic and hermeneutical perspectives, which allow revealing the content of meanings expressed in the visual form. Artistic images become the object of research in the field of visual semiotics. The scientific novelty consists in the comprehensive socio-philosophical research of the process of creation, proliferation, and inverting meanings in the visual discourse on well-being. The article employs philosophical, rather than art history discourse. As a result, the author establishes correlation between visual images, social culture, and social conventions. The conclusion is made that the visual images of well-being emphasize the social component of well-being, dictate the logic of public consumption, and manipulate collective consciousness. Visual images become the markers of social well-being, translators of the myths on consumer culture, delicately manipulating the constructed Self.

DOI: 10.7256/2454-0625.2021.6.36020

Abstract: The subject of this research is an ancient Chinese board game “Promoting Officials” (Shengguan Tu), which has a history of more than a thousand years. Unfortunately, after the overthrow of the monarchical structure in 1911, this game gradually ceased to be played. The “Promoting Officials” can be referred to as the game of chance, and its rules remind of the modern game “Monopoly”. Two or more players take turns to roll the dice, which decide whether to move forward or step back. The winner is the one who first reaches the center, position tai shi – mentor of the emperor, grand preceptor. The relevance of this work is substantiated by the absence of research on this cultural phenomenon within the Russian science. The study is based mostly on authentic materials in the Chinese language. The author highlights the connection of the game with the historical era, social structure, hierarchy of state service, education and upbringing of youth, the Confucian doctrine prevalent in the Chinese society. The main conclusions consists in recognition that the board game “Shengguan Tu” played an important role in strengthening the cult of education among youth and regards to the government bureaucratic apparatus. This game also resembles the folk wisdom of the Chinese people.

DOI: 10.7256/2454-0625.2021.6.36004

Abstract: This article is dedicated to modern trends in the art of wooden sculpture. The key question raised in the article consists in drawing the line between art and craft. The problem of distinguishing between these two terms is one of the crucial issues of the theory of art. Having examined the works of multiple contemporary artists in the genre of wooden sculpture, the author comes to the conclusion that the fundamental difference between craft and artistic wooden sculpture is the pursuance of naturalness by the artists, work with unfinished wood, fixation of the natural the beauty of the material, which is not much inherent to craftsmen. Turning to the modern ecological trends, it is suggested that the task of a contemporary artist and a human who desires to live in harmony with nature lies in cognizing the beauty of nature, even in its unsightly forms. The author claims that the greatness of nature is its diversity, in the current era of excessive production (for example, oversaturation), which also pertains to art objects, our shared goal is to working with the objects discovered, which are exposed to minimal processing, and first and foremost, demonstrate the beauty of nature.