Abstract: Purpose of this article is analysis of painting by P. I. Sokolov (1753-1791) «Mercury and Argus» (1776) in context preferences of era. Objectives of study: analyze preparatory drawings and picture; study archival sources, artist reports; reveal process of painting; represent aesthetic ideals of epoch and perception of personality. Our focus will be on artistic process of creation historical picture in second half of XVIII century on example of work by P. I. Sokolov «Mercury and Argus». Research subject is role of sketches from nature, sketch composition in work of P. I. Sokolov on picture «Mercury and Argus». Author considers of visual technique, graphic-plastic composition, preparatory graphic, identifying process of working on picture based on academic education system. Citing quotes from letters, reports and writings of second half of XVIII century author analyses what was typical for art of period under study, what tasks artist set for himself, what conditions were necessary for expressiveness of visual image and idea of picture as well as her positive evaluation by her contemporaries. During study were applied: formal, formal-stylistic, art criticism analysis. Author comes to conclusion that work on historical painting in second half of XVIII century included a large systematic creative process dictated by academic education system at Imperial Academy of Arts. Analysis showed that execution of sketches and drawings from nature became basis for subsequent search for better image. Historical painting of second half of XVIII century reflected aesthetic views and ideals of era, being an artistic embodiment of ideas of theoretical treatises aimed at improving visual image. Novelty of research lies in considering painting not only as part of artistic heritage, but also as a reflection of academic education system at Imperial Academy of Arts in second half of XVIII century and aesthetics of educational classicism.

DOI: 10.7256/2454-0625.2024.4.70387

Abstract: The subject of the study of the proposed article is the early plein-air works of the German expressionist artist Gabriele Munter, later a member of the Blue Horseman art association, a student and friend of Vasily Kandinsky. The authors of the article aim to review and introduce into scientific circulation a number of Munter's sketches created by her during summer trips to the plein air in 1902-1903 to the Alpine towns of Kochel and Kalmunz with the Munich art school "Phalanx", headed by Kandinsky. The article also examines the picturesque plein-air works by Kandinsky, created by him in the same years there, in Bavaria - mainly landscapes and sketches of figures in the landscape. The authors of the study see as their task to trace the influence of Kandinsky's artistic manner and his role as a teacher on the formation of a Munter painter. The research methodology includes formal stylistic, comparative methods of art criticism analysis, as well as a comprehensive historical and biographical approach. The relevance of the study is due to its scientific novelty: the authors of the article for the first time in Russian-language art history literature describe the pre-expressionist works of Munter during the period of joint plein-airs with Kandinsky, trace the formation of her artistic vision and picturesque manner, the influence of Kandinsky on her formation. The development of the impressionistic technique common to Munter and Kandinsky in the early 1900s, according to the authors of the article, is combined with individual searches for expressiveness of form and color. The first experiments of plein-air oil painting in a special "spatula technique" under the guidance of Kandinsky were accompanied by the successful search for Munter in the field of graphics, mastering the technique of printing color woodcuts. The authors of the article come to the conclusion that the formation of the original manner of Munter was equally influenced by both pictorial emancipation through sketching practice in oil, as well as their own experiences in drawing and engraving.

DOI: 10.7256/2454-0625.2024.4.70404

Abstract: The subject of this article is the study of the work of the famous Chinese master of folk crafts Ku Shulan (1920-2004), which demonstrates the trends in the modern development of the Chinese folk art of paper cutting (jianzhi). Particular attention is paid to the analysis of the collage technique of Ku Shulan, the identification of its creative method, the features of the technological process, the formal-stylistic and figurative-symbolic content of the carved paintings. The paper analyzes one of the most famous works of Qu Shulan "The Goddess of Paper Cutting", which demonstrates the characteristic features of her author's style. The key methods used in this study are historical-cultural, historical-comparative, and historical-biographical, which made it possible to show the work of Ku Shulan in the context of traditional jianzhi art. Also, to study the creative method of Ku Shulan and identify the figurative and symbolic specificity of the work under consideration, formal-stylistic and semiotic analysis was used. The novelty of the research lies in the fact that a detailed analysis of the technological process of creating works according to the method of Ku Shulan is carried out, revealing the specifics of her work with the jianzhi technique and the creative method itself. On the basis of the traditional technique of paper cutting, Ku Shulan created her own technology – she added collage, cutting, gluing and lining, thereby opening up new opportunities for the development of the art of jianzhi. The main conclusion of the study is that in the context of modern globalization, the art of paper cutting by Ku Shulan acts as a rich source of ideas for the preservation, development and popularization of Jianzhi folk art both in China and in the world.

DOI: 10.7256/2454-0625.2024.4.70482

Abstract: This paper examines the impact of Russian realism on Chinese visual art, focusing on how Chinese artists have adapted and reinterpreted Russian aesthetic concepts. The study highlights the role of cross-cultural exchanges in enriching both traditional Chinese art and the broader understanding of realism. Through a detailed analysis, the author explores the reflection of Russian realism's social criticism and humanistic ideals in Chinese artistic practices, and how these influences have fostered new artistic forms and themes within China.The research employs comparative analysis of artworks and artistic traditions alongside historical and cultural contexts of both Russia and China. This approach underscores the importance of international artistic exchanges in creating a more diverse and multicultural art world. The study's novelty lies in uncovering the mechanisms of cultural integration and innovation through artistic exchanges between the two countries, detailing how Russian realism has not only shaped Chinese art but also spurred the creation of unique forms that reflect contemporary societal and cultural demands.Significantly, the fusion of Russian realism and traditional Chinese aesthetics has led to a new artistic direction in China that melds global artistic trends with local cultural values. This synthesis has facilitated deeper cultural dialogues and mutual understanding, enriching the artistic traditions of both Russia and China. Artists have been provided with new opportunities to explore innovative ideas and forms, thus strengthening cross-cultural ties and expanding the boundaries of artistic interaction. The paper emphasizes the transformative power of this artistic merger in enriching the global art space and fostering a more inclusive and varied artistic milieu.

DOI: 10.7256/2454-0625.2024.4.69957

Abstract: The author of the article offers the analysis and dissection of the image of Peter Verkhovensky, one of the main characters of F. M. Dostoevsky's novel «Demons» (1872). The prototypes of the hero from the history of Russia of the XIX'th century are considered in detail, on the example of S. G. Nechaev and M. V. Petrashevsky. The image of a character from F. M. Dostoevsky's novel is analyzed. The author pays special attention to the review of the hero's representation in three post-Soviet film adaptations from 1992 to 2024. The author analyzes the characteristic features, behavior and motivation of the character of Pyotr Verkhovensky from the novel in the screen adaptations, their independent evolution within the cinematography, how and to what extent the image changes depending on the actual socio-cultural context of the time and its positioning. This study used hermeneutic and dialectical method to analyze the form of representation of the image of the character in post-Soviet cinematography, as well as the theory of cultural hegemony of A. Gramsci is used to study the reasons for the changes and representation of the hero by the authors of film adaptations. The novelty of the study lies in the complex consideration and analysis of prototype images from real history. The key character from F.M. Dostoevsky's novel is studied, delving into the writer's worldview and perception of the revolutionary movement and individual personalities. The author examines the representations of the character in the domestic cinematography on the example of screen adaptations of «Demons (Nikolai Stavrogin)» 1992, «Demons» of 2014 and Sergey Arlanov's new mini-series 2024 «Qlipot». Attention is paid to the context of actual events for their time, which influenced the formation of the image of the movie hero.

DOI: 10.7256/2454-0625.2024.4.70545

Abstract: This study is aimed at identifying patterns of the embodiment of the female image in the information stories of domestic and foreign TV channels. The subject of this article is a mythological model of constructing reality in modern mass media. The object is television news stories in 2017-2023, in which female archetypes are most clearly revealed. Special attention is paid to the information coverage of the foreign topic of the feminist action MeToo and the domestic criminal case of the Khachaturian sisters. The research is aimed at comparing the mythological structure of the plot with the techniques of television broadcasting and understanding the broadcast of the female image on television screens. Thus, the article puts forward a hypothesis: when covering information topics, the media uses a model of a mythological structure, and as a result, a system of archetypes that forms the viewer's opinion. This work is based on the theory of archetypes developed by the scientist K. Jung, which is visualized in the information topics of the last decade. The analysis is of scientific interest in connection with the growing feminist discourse in society, of which television is becoming one of the key broadcasters. Of particular importance is the study of the symbolization of the female image on the television screen through the concepts of C. Jung and E. Neumann, using the example of the main themes of feminist discourse in recent years. The novelty of the research lies in a new theoretical understanding of the ways in which television content affects the viewer. The main conclusions of the study are the confirmation of a scientific hypothesis: about the use of the media of a mythological structure through which a system of archetypes is broadcast, which in turn leads to a stable formation of public opinion. In addition, the author examines the mythological archetypes of communication, which represent the main ways of transmitting information in the modern world.

DOI: 10.7256/2454-0625.2024.4.69044

Abstract: The object of the study is ornaments in the architecture of ancient and modern mosques. Using the example of mosques in Amman (Jordan), traditional ornaments are considered from the point of view of their purpose, content and symbolism, location and plastic organization. The compositional techniques, stylization methods, images used in ornaments are analyzed. In the modern architecture of mosques, continuity in approaches to decoration is combined with the active use of modern technologies in the construction and interpretation of ornaments, their embodiment in the material. Since there are strong changes in the space-planning solutions of mosques in connection with modern functional tasks, it is ornaments that are the most important means of identifying religious buildings. New interpretations of the visual language and the purpose of the decoration of mosques are due to the processes of globalization and the use of computer technologies for the design of structures. The authors conclude that it is necessary to follow the canons of Islamic ornamental motifs when using them in modern architecture, especially in religious buildings. By offering engineering and artistic innovations, architects must preserve the structure, plasticity and symbolism of ornaments in which the philosophy of Islam accumulates.

DOI: 10.7256/2454-0625.2024.4.70201

Abstract: The object of the study is the work of film director Alexander Petrovich Dovzhenko. The subject of research is the concept of "land" in the director's work, considered as a "garden," as an "earthly paradise". One of the main ideas of A. Dovzhenko's work is the glorification of the earth, "soil," which has already been indicated by many researchers. This tradition can be traced not only in "Earth," but also in other films by A. Dovzhenko ("Aerograd," "Shchors," "Michurin"), as well as in films created according to his scripts by director Yu. Solntseva ("Charmed Desna," "A Tale of Fiery Years"). The purpose of this study is to comprehend the worldview of A. Dovzhenko. The tasks of the study include: an analysis of the spatial organization of the director's works, a study of the significance of the concept of the earth, its connection with mythopoetics, with the folklore and religious origins of the figurative system. This study uses a comprehensive cultural approach, including comparative, dialectical, phenomenological and psychological methods. The novelty of this study is that the "garden" is considered as "a creative space," as "an earthly paradise." The main conclusion of this study is that "earth" as "garden," as "earthly paradise" is one of such spaces. The Bible garden is God's creation, "earthly paradise," is human creation. In Zvenigor, the land acts as a natural given. In the film "Earth," the garden as an "earthly paradise" appears as a creation of natural and human efforts. In "Ivan" and "Aerograd" "earthly paradise" appears as the city of the future. "Garden" in the work of A. Dovzhenko there is a "creative space" symbolizing an earthly paradise.

DOI: 10.7256/2454-0625.2024.4.70370

Abstract: This article is a study of such an original trend in art as "Afro-surrealism". The study contains an excursion into the history of this phenomenon, but special attention is paid to the special connection of the genre of Afro-surrealism with the realm of the otherworldly. The genre, being an offshoot of the general group of surrealist trends, tends to create images that cross the line of rational reality, in other words, Afro-surrealist works by their nature strive for knowledge of the otherworldly. Nevertheless, Afro-surrealism contains unique structural elements and techniques that make it possible to separate it from classical surrealism and make it a rich material for research. The purpose of the article is to examine the history of the genre, as well as some works in the genre of Afro–surrealism and, using their example, based on the "Manifesto of Afro-Surrealism" to identify special elements of language and demonstrate how they help to reveal the otherworldly reality of the work. The main research method in this article is a systematic film analysis. The special structural elements of the film language and their role in the isolation of the genre are the focus of the research. The results of the study can be considered the very fact of highlighting a cultural phenomenon, since this genre is quite young and unique for a group of authors belonging to the same cultural group. In this regard, the phenomenon is practically unknown and extremely poorly studied in the Russian-language scientific literature. In addition to analyzing the historical and theoretical foundations of the genre, this article identifies special elements of the language of works, thanks to which the view of the problem of the otherworldly acquires a special philosophical depth, turning into a question about the limits of knowledge and mystical experience. The article analyzes in detail some of the images created by the authors of the series "Atlanta", and also draws a parallel between this series and David Lynch's older surrealist work "Twin Peaks", which allows us to more specifically draw a line separating "classic" surrealism from Afro-surrealism.

DOI: 10.7256/2454-0625.2024.4.70227

Abstract: The article separates the concept of art synthesis and a new intellectual practice, which the author called "creativistics". The motive for this distinction was the research of works of art and dance by Aida Aylamazian and the author. Based on the work of Guzel Yakhina and Meir Shalev, the turn from art to life and creativity is analyzed. It is within the framework of such a turn that the phenomenological discourse is realized, among other things. The article considers Shalev's 1985 work "The Bible Today", which is read with enthusiasm, but it is almost impossible to understand what kind of creativity you are dealing with. A number of parts of this work are written as fiction novels, others refer to commentaries on the Bible and scientific research; to the author's reflections on life; to the history of Israel; to modern life; refer to different types of creativity and knowledge. Nevertheless, this work is perceived holistically and organically. All this is typical for creativistics. The question is posed: how does creativistics manage to create a complete work, a real new world, from completely different discourses and constructions (artistic, scientific, psychological, historical, etc.)? At the end of the article, the features of creativistics are discussed. First, the creative artist does not hide the different discourses and grounds he uses, moreover, he often points them out to the user either in the form of preliminary explanations or by characterizing the concept of the work. A necessary condition for such an approach is a more or less deep reflection of one's own creativity. The second feature is due to the difficulty for the user to understand the reality of the work of creativistics: he easily recognizes individual discourses, but since they are different, and often outwardly opposite, the user cannot grasp and assemble the whole, understand what events he encounters, how they are interconnected.

DOI: 10.7256/2454-0625.2024.4.69933

Abstract: The subject of the study is one of the features of the iconography of the artists of the Viennese Secession, namely the mixing in one work of elements belonging to different cultural traditions, and the use of the Nietzschean concept of decadence (primarily presented by the philosopher in his work "Casus Wagner") to understand the reasons for such a misplacement of boundaries. The author pays special attention to the combination of elements of Christian cult and ancient Greek and Roman mythology in one work (as in the cases of the "Beethoven Frieze" by G. Klimt or such works by M. Klinger as the sculpture of Beethoven for the 1902 Secession exhibition and the monumental canvas "Christ on Olympus"). Another aspect of the above-mentioned cultural mixing was the blurring of the boundary between the fantastic and the real, which is especially evident in such a work as "Self-Portrait with a Mermaid" by K. Moser. The main method of this work is the iconographic analysis of works of art in the collections of museums in Vienna. The conclusion of the article is that the artists of the Vienna Secession, who worked in the last years of the existence of the Austro-Hungarian Empire, which was disintegrating due to many factors, despite their desire to create a new artistic language capable of uniting the peoples of the collapsing country, reflected the destruction of the social order surrounding them in their works. Decadence, which F. Nietzsche associates with the disintegration of a single whole and the loss of hierarchical relationships in favor of individual individuals, released the creative energy of an entire generation of Austrian artists who created their works, ignoring the boundaries that existed before between secular and religious and, as a result, between Christian and pagan, real and imaginary. The novelty of this study lies in the use of special optics, the core of which is the phenomenon of decadence. Through this prism, it is possible to consider the legacy of the Vienna Secession not as a regional vesrion of European art nouveau or the forerunner of twentieth-century modernism, but as part of a different stream of cultural phenomena permeating the culture of Europe of the XIX-XX centuries, not bound by strict stylistic (art nouveau) or iconographic (symbolism) restrictions.

DOI: 10.7256/2454-0625.2024.4.70493

Abstract: This article conducts a study of the typological features of visual territorial identity from the perspective of content and from the perspective of form, as well as approaches to its creation, on the basis of which a design algorithm is further formulated. It is noted that the separation of form and content in the analysis and design of such symbolism is extremely important from the point of view of correct reading and reflection of meaning, and a separate consideration of these aspects is a correct approach for art historical analysis. The article presents the author's classification of the typological features of territorial identity from the perspective of form and content; for the first time in technical aesthetics, these two important factors of formation are separated. The material is presented in the form of tables with detailed content, as well as figures; a comparative analysis was carried out with existing classifications of territorial identity, in which inaccuracies were identified. The most relevant approaches to creating modern visual identities of places are formulated – synthesizing, official-symbolic, national-cultural and natural-climatic, which received such names from the point of view of the underlying meaning. Based on the approaches to the formation of modern territorial identity highlighted in the article, a practical algorithm for the development of modern emblems of territories and their graphic identity has also been developed. This article conducts a study of the typological features of visual territorial identity from the position of content and from the position of form, as well as approaches to creating territorial identity, comparing the material with existing theoretical models. It is noted that the area under study is characterized by weak research in the field of science; fundamental works of Russian-speaking authors in this area are practically absent.