DOI: 10.7256/2454-0625.2023.6.40810

EDN: HDRCDB

Abstract: The object of the study is contemporary works of public art installed in Russia and Europe. The subject of the study is the development trends of various forms of Western and Russian public art in its relationship with the urban environment. The purpose of the article is to analyze public art projects presented in the USA, Western Europe and Russia, determining their place in the urban space and their impact on public consciousness. Since this study is interdisciplinary in nature, its methodology involves the use of an integrated approach. In the work on the article, the methods of modern art history were used, aimed at theoretical and art criticism understanding of the period of development of the public art phenomenon. One of the key research methods was a sociocultural analysis, in which the author of the article examines the features of the relationship between Western and Russian public art works with the urban environment, revealing the patterns of their historical development and the reasons for their actualization in the space of a modern city. The semiotic method made it possible to interpret public art objects in terms of their meanings and cultural patterns, which are significant for the construction of urban space. The research materials have theoretical and practical significance and can be used in the preparation of lecture courses, scientific research, publication of materials for art historians, cultural experts, historians and philosophers involved in the study of the phenomenon of public art. Considering public art in a historical and cultural context using the works of American, European and Russian artists as an example, he proves that art objects installed in city blocks are part of the modern urban environment and, having fit into the broad context of visual art, coexist in union with urban design and national the specifics of the region. But if public art in the West tries to solve the material problems of citizens, then Russian artists working in the style of public art strive to create an atmosphere of intellectual development and emotional experience.

DOI: 10.7256/2454-0625.2023.6.40565

EDN: HFMTYF

Abstract: The subject of the study is Maurice Ravel's "Spanish Rhapsody" arranged for two pianos. The purpose of this article is to consider the genre features of the work, based on the refraction of the principles of rhapsody and suite. The performing means used by the composer in the implementation of the program idea of the work are also of research interest. The methodology of this study was made up of holistic and comparative approaches to the study of a musical composition. The novelty of the article lies in the fact that the study generalizes and concretizes the features of form formation in the work, which contributes to the study of the composer's creative method, the study of his peculiarities of working with cyclic forms. In the course of the study, the author comes to the conclusion that in M. Ravel's "Spanish Rhapsody" the features of directly rhapsody are reflected, expressed as a comparison of contrasting folklore layers in a single whole, features of suite, expressed in a generalized interpretation of Spanish imagery on the one hand and the composer's appeal to the genre models of a baroque dance suite, on the other. In addition, the suite principle in the structure of the form of the work is embodied in a specific impressionistic refraction of the genre features of Spanish dance folklore in each of the parts of the form. The obtained results of the work will contribute to the conscious interpretation of M. Ravel's "Spanish Rhapsody" arranged for two pianos from the point of view of the principles and laws of shaping and pianistic means of impressionistic expressiveness in the expression of Spanish images in music.

DOI: 10.7256/2454-0625.2023.6.40836

EDN: QILJHB

Abstract: The article outlines two directions of comprehension of the existential phenomenon of musical art (cataphatic and apophatic) throughout the history of culture within the framework of the Christian-Eurocentric tradition. The basis of methodological research includes Christian-idealistic and Christian-anthropological positions. These provisions of objective idealism contain a part of the Creator's Plan in the realization of his Image. The presentation of the main trends is presented in a contrasting ratio, which is characteristic of musical compositional thinking. The discourse of the problem is expressed in a cataphatic-preaching form. In the process of considering this phenomenon, the method of synthesis of ideas about music was applied as a reflection of the human being of such domestic thinkers as A. S. Klyuev, A. F. Losev, V. V. Medushevsky, M.O. Orlov, O.V. Leontieva and foreign philosophers R. Ingarden, A. Schopenhauer, F. England, D. Turner. The author makes an attempt to update the musical discourse from the perspective of Eurocentric Christian traditions by including the language of theology in it. Research in a given direction reveals the deep foundations of musical creativity, which arouse interest in the social significance of the master creator, leveled by post-industrial society. The scientific novelty of the research is contained in the choice of sources that reveal the European understanding of the existential essence of musical art as a historically formed part of the musicological discourse. According to the results of the study, it can be concluded that, unlike other types of art, music remains irreconcilably resistant to various forms of evaluation and paraphrasing, explanation and description. The essence of human existence is fully reflected in the musical art.

DOI: 10.7256/2454-0625.2023.6.40983

EDN: TVPKHN

Abstract: The author analyzes various aspects of the role of women in the society and culture of China of the late XX-early XXI centuries, a special place is occupied by the analysis of family relations, education and artistic creativity of women. The subject of the study is women, the transformation of their status in society and culture, in particular, in the modern pictorial art of China. It is emphasized that at the end of the XX century there is a reassessment of values, the motivation of young people in the family sphere changes, the traditional importance of the family is lost due to state regulation of family relations. Comparative historical and iconographic research methods based on culturological, philosophical and art-historical scientific materials were used. The relevance of the topic is due to the increased interest in Chinese culture and the changing attitude towards women in society and culture. The novelty of the study is an attempt to trace the impact of modernization on the status of Chinese women, taking into account the availability of higher education, gender imbalance in society and culture. It is concluded that obtaining higher education, career development, personal freedom, participation in business, in the socio-political and cultural life of society, becomes a priority for a woman, putting marriage and family values at risk. It is revealed that the negative influence of mass culture leads to the decline of morals, psychological disorders, social infantilism. In contemporary art, Chinese female artists use unconventional artistic techniques to express their "I" in painting, but innovative methods of self-expression are less recognized than those of male artists, as well as defending their point of view and philosophy. The intertwining of cultural heritage and modern values have shaped the path of development of Chinese women's art.

DOI: 10.7256/2454-0625.2023.6.38496

EDN: SHSFJJ

Abstract: The Henan Museum is one of the first museums in China which requires modernization of its design. This work is devoted to the development of a new design concept for the Henan Museum space, the hall of musical instruments of the Great Silk Road, in order to develop recommendations for further brand promotion in the field of tourist attractiveness and the development of the local economy. The object of the study is the museum of Henan Province, China, the subject is the influence of the museum brand on the popularization of ancient Chinese culture. The analysis of some Asian museums is given, the stages of the museum's formation are described, the elements of rebranding are developed: logo, booklet, poster, website, advertising products of the museum. The concept of the design of the exhibition hall "Musical Instruments of the Great Silk Road" was proposed, visualizations were made and a video flight of the hall was created, with a visual representation of the exhibits for remote access and viewing. A situational approach to the organization of the environment was used when developing the design of the museum space. The scientific novelty and theoretical significance of the research lies in the rebranding of the Museum of Culture, in the development of a new concept for the design of the exhibition hall of the museum space of the Henan Museum. Some modern trends in the development of museum space design on the example of domestic and foreign museums are discussed.

DOI: 10.7256/2454-0625.2023.6.38189

EDN: TVRYNV

Abstract: The significance and artistic results of the Far Eastern ceramic productions launched in the second half of the XX century and liquidated at the beginning of the XXI century, as well as the creativity of the masters and artists who worked for them, are currently insufficiently studied In the Primorsky Territory, this is largely due to the general decline of the industry, the complexity of collecting primary information, the lack of reliable data, the problem of attribution of products etc. The subject of the study is the activity of master artists who worked at the art ceramics factory in the city of Spassk-Dalny, Primorsky Krai. The research was carried out using a set of theoretical and empirical methods, including comparative-historical, biographical, formal-stylistic, as well as interview methods and included observation, which allowed to identify the key figures of the masters who influenced the formation of their own unique style characteristic of this plant. As a result of the study, it was found that the formation of the creative team was carried out both from visiting specialists with specialized education and from local artists. Among the most significant masters of the Spassky Art Ceramics Factory are E. E. Skurikhin, A. I. Gornich, S. V. Danilyuk, Z. H. Zhelandinova, V. A. Lavrenova, A. A. Lupey, N. B. Ovchinnikova, L. Y. Skrynnikova, O. Timofeeva. These artists have made a significant contribution to the improvement of molding technologies and decoration of utilitarian and highly artistic products. The results of the activity of master ceramists led to a significant evolution of the forms and types of decoration of the products of the Spassky Art Ceramics Factory, creating their own style based on ethnic and regional flavor. The presented information can be used for attribution of ceramic products, studying the specifics of the author's artistic ceramics of the XX – XXI centuries, forming a general picture of the evolution of Russian decorative and applied art.