Culture and Art - rubric Art and Art History

Abstract: The article is devoted to the study of Poem of Seven Fairy Tales (1901-1926), the only pictural cyclus in the art of V.M. Vasnetsov. The study aims to analyze the biographical context, which can reveal a personal aspect of the creative concept, what is especially important under the conditions of an almost complete absence of archival documents related to the concerned fairytale works. The story of the creation of the Poem of Seven Fairy Tales is examined in the context of the artist's world view, his creative and public activity in the first quarter of the XX century, which predetermined the vector of the creative idea development. The biographical method and the method of reconstruction were chosen as a methodological base, which allows achieving the set goals. The article recreates the history of the Poem of Seven Fairy Tale and identifies the stages of the artist's work on the paintings. For the first time, the idea that the starting point for the addition of the idea of Poem of Seven Fairy Tales was Vasnetsov's unsuccessful performance at the world exhibition in Paris in 1900, which prompted him to create a great and truly national work, is offered. There are three stages in the story of the creation of the Poem of Seven Fairy Tales: paintings of middle 1910-s - Sleeping Princess, The Princess Who Never Smiled, and Kashchei the Immortal - are devoted to the reconstruction of the old Russian world, and also to the religious and philosophical thoughts of the artist; works of 1917-1918 - Baba-Yaga and Frog Princess - became a specific artist's reflection on current events; in final works of 1920-s - Magic Carpet and Sivka-Burka - the attitude of Vasnetsov, who renounced the hardships and plunged into the world of fairy-tale dreams at his declining days, was reflected.

Keywords: Frog Princess, Baba-yaga, The Princess Who Never Smiled, Sleeping Princess, Poem of Seven Fairy Tales, Viktor Vasnetsov, Russian art, Kashchei the Immortal, Sivka-Burka, Magic Carpet

DOI: 10.7256/2454-0625.2020.4.32188

Abstract: The object of this research is the phenomenon of Siberian identity through the analysis of visual art of Siberian authors of the XX and XXI centuries. Siberian identity in the works of artists is substantiated by multiethnic population of Siberia and rich history of the region. The leading trend consisted in the popular in 1980’s – 2000’s “neo-archaic” motifs, i.e. reference to the ancient and traditional ethnic cultures of Siberia through the prism of modern perception. But it was not the first experience of resorting to the theme of Siberian ethnic archaism, since the masters of the late XIX – middle XX centuries also addressed to the artistic motifs of indigenous Siberian ethnoses and ancient culture, but it manifested in fundamentally different forms of aesthetics. The main method applied in this research consists in comparative analysis of the artworks of Siberian masters of visual and decorative art at two stages of its establishment (late XIX – middle XX centuries, and second half of the XX – XXI centuries), which reflected the process of finding Siberian identity. Novelty of the presented material lies in the thesis that the concept of “Siberian identity” is being developed by sociologists, philosophers and culturologists, who interpret it in the context of sociological and culturological constructs. The art review of this problem has not been conducted, despite the fact that the process of finding identity in the modern world is most vividly reflected through the images of visual and decorative-applied art.

Keywords: archaeology, ceramics, graphics, painting, art, archaism, ethnicity, Siberian identity, civilization, Asia

DOI: 10.7256/2454-0625.2024.5.70259

Abstract: The article examines the aesthetic and symbolic aspects of ancient Chinese snowy landscapes, covering the period from the IV to the XX century. The focus of the research is Guohua painting, representing classic snowy landscapes, compositions with birds and flowers, as well as snow portraits. An in-depth analysis of the symbolism and meaning of elements such as "four seasons", "snow", "snowy mountains", "three friends of cold time" and "cold beasts" was carried out, as well as the narrative characteristics of snowy landscapes were studied. It was revealed that snow scenes reflect the vitality and stability of a person, causing reflections on life difficulties. The work highlights how snowy landscapes have become a means of expressing emotions, reflecting sadness, but also demonstrating strength, well-being, morality and the sublimity of cultural values. The study uses the methodology of symbolism and iconology analysis to study the aesthetics of ancient Chinese snowy landscapes. A comparative approach is applied to various eras and techniques, including ink painting and engraving, to assess the cultural and emotional meanings of snow in Chinese art. The research touches on a rarely covered topic in the history of art — the aesthetic and symbolic depth of ancient Chinese snowy landscapes, from the IV to the XX century. Introducing into scientific discourse a deep analysis of changes in the perception and image of snow, the work presents a comprehensive study using iconology and semiotics to uncover hidden meanings in Chinese Guohua painting. She reveals how artists have reflected the emotional and philosophical aspects of life through snowy landscapes, demonstrating their influence on cultural representations of nature, man and society. The innovation of the study lies in the fact that it connects the aesthetic elements of snow with cultural and historical changes in China, showing their importance for understanding Chinese identity and aesthetic perception. This study not only enriches the academic understanding of Chinese painting, but also highlights the layering of symbols and metaphors in traditional art, reflecting a unique combination of natural phenomena and cultural meanings.

Keywords: Snowy mountain landscapes, Scenery, Painting, Chinese snow painting, Aesthetics, Wang Wei, Huang Gongwan, Symbolism, Snowy landscapes, Guohua

DOI: 10.7256/2454-0625.2017.1.21616

Abstract: The object of the research is Mitrofan Rukavishnikov's artwork created during the period since 1920 till 1930s. The subject of the research is the artist's creative life in terms of Russian artistic culture of the aforesaid period. Special attention is paid to critical responses to Mitrofan Rukavishnikov's easel artwork as well as his participation in various (including momentous) exhibitions and topics and themes his artwork of that period was devoted to. In her article Sedova does not only view Mitrofan Rukavishnikov's artwork as part of the artistic environment of that time but also defines his popularity as a sculptor during the period since 1920 till 1930s along with famous artists of that period. The main research methods included historiographic methods used to study archive documents, analysis of responses to Mitrofan Rukavishnikov's easel graphics of that period, exhibition catalogues, reference books, and historical-cultural method allowing to analyze and define the place of Mitrofan Rukavishnikov in the artistic culture of the epoch. The result of the research is the conclusion that Mitrofan Rukavishnikov managed to show himself as a brilliant sculptor of easel plastic arts and his artwork was highly approved by artistic societies. The novelty of the research is caused by the fact that analyzing numerous facts from Mitrofan Rukavishnikov's personal and creative life and appealing to rich archive data never published before, the author of the article reveals and completes our views on that epoch and gives us a better insight into the artistic process of that period.

Keywords: thinking monumentality, works, portrait, easel, sculpture, Mitrofan Rukavishnikov, Vsekohudozhnik, dynasty, plastic, culture

DOI: 10.7256/2454-0625.2017.1.68426

Keywords: thinking monumentality, works, portrait, easel, sculpture, Mitrofan Rukavishnikov, Vsekohudozhnik, dynasty, plastic, culture

DOI: 10.7256/2454-0625.2017.1.16679

Abstract: The object of the research is an artwork by Wassily Kandinsky painted in 1903 (oil on cardboard 55,0 x 65,0 sm. Zurich, private collection). The subject of the research is the formula and color composition of the painting that illustrates the theory of color movement in space offered by Wassily Kandinsky. The author of the article gives an insight into such aspects of the theory as the relation between the compositin of picture elements and their color. Based on the analysis of The Blue Rider Kocherova demonstrates how the composition of color forms on the picture plane affects the way the picture is being perceived. Kocherova gives a relevant reference to graphic and pictural techniques described by Kandinsky in his theory. The purpose of this research is to define how undeveloped theoretical provisions of the color theory were already expressed in early paintings of the artist. The methodology of the research is mostly based on the philosophical and cultural analysis. This research is the only analysis of Wassily Kandinsky's The Blue Rider published in Russian. The novelty of the research is caused by the fact that the author bases her analysis on the concept offered by the artist himself including his views on the role of color, dot, line, basic forms and plane in painting. The author pays a great attention to the role of color and what it symbolizes in painting. She defines the style of early Kandinsky's painting as 'color lyricism'. The research has allowed to discover that at the early stage of developing his creative style Kandinsky used the same forms, lines and colors that he would later describe in his theoretical research. For example, The Blue Rider has a so-called 'cold calm' composition because of prevailing horizontal axes and the combination of opposite colors, blue and yellow in the image of the main character. The plot is depicted as an illustration of a creative process. The artist's idea is to show the mission of an artist as a prophet who can foresee future changes and create new aesthetic values. To sum it up, the author of the article refers to The Blue Rider as the must-to-know painting that played an important role in Wasilly Kandinsky's creative life because it proved the main theoretical provisions of Kandinsky's theory and illustrated his personal attitude to the world and artist's mission.

Keywords: Kandinsky, Kandinsky's theory, The Blue Rider, meaning of colors, color theory, artistic composition, philosophical and cultural analysis, semiotic-hermeneutic method, mission of an artist, Russian art

DOI: 10.7256/2454-0625.2017.1.68561

Keywords: Kandinsky, The Blue Rider, meaning of colors, color theory, artistic composition, philosophical and cultural analysis, semiotic-hermeneutic method, mission of an artist, Russian art

DOI: 10.7256/2454-0625.2023.10.44221

Abstract: The object of research of the article is the process of development of art education in the Chinese city of Shanghai at the beginning of the XX century. The subject of the study is the contribution of educational institutions to the cultural life of the city, whose activities were aimed at training masters in the field of fine arts. The purpose of the article was to identify a unique scenario for the development of art education in the Chinese metropolis, in the formation of which the creative traditions of not only the Celestial Empire, but also European countries, including Russia, were included. The article pays special attention to art societies, whose activities in the first quarter of the XX century were particularly active and focused both on the development of art education and the organizing of creative expositions. For the objectivity of the results obtained, unique documents were used in the study, including archival sources and retrospective literature, which determines the scientific novelty of the work. Shanghai in the first quarter of the XX century became a "pioneer" in the formation of the modern system of art education in the country. Under the influence of Western culture, the creative education of Shanghai has undergone profound transformations in a very short time, changing the artistic life of the country, bringing genre, thematic, technological into it.

Keywords: art societies, teacher, artist, art exhibition, art education, arts, 20th century, Shanghai, China, art life

DOI: 10.7256/2454-0625.2017.1.17886

Abstract: The subject of the research is stereotypic decisions in a musical script, in particular, the way these decisions appear in a script, for example, melodic and texture formulas, external distinctive features, high degree of typification and low variability, repeatability in a set of works, steady position in the collective memory. The purpose of the research is to analyze general mechanisms that form the basis of stereotypes formation and perceptions. Research tasks include to develop fundamental principles of such decisions and to identify a general typology of situations connected with their concrete manifestations as well as correlations between them and the historical context of their functioning. The research is based on traditional methods of theoretical and historical musicology and also phenomenological, morphological and historical approaches. The researcher establishes that all situations related to manifestation of stereotypes in musical art can be divided into the following groups: structural (at the levels of grammar and vocabulary) and semantic. The general mechanism of perceiving stereotypic/not-stereotypic decisions is based on the principle of the model inertia following/violation in work formed in the collective memory. The author also shows historical variability of interpreting stereotypes at different periods and their relation to fundamental principles that make the cornerstone of a musical script.

Keywords: script, semantics, structure, mechanisms, perception, language, sample, formula, music, stereotype

DOI: 10.7256/2454-0625.2017.1.68562

Keywords: script, semantics, structure, mechanisms, perception, language, sample, formula, music, stereotype

DOI: 10.7256/2454-0625.2019.2.28825

Abstract: In this article, the subject of the study is a generalization of existing ideas about the fate of art crafts in the socio-economic realities of the late XIX-XX centuries. In the study, a number of crafts that existed before, but had undergone significant changes in the new conditions, received the status of "new". Art crafts represent the cultural core of ethnic communities, allow a deeper understanding of the culture of these peoples, and contain the possibility of reviving their cultural identity. All this in the context of rapidly spreading trends towards cultural unification gains a particular relevance. The methodological basis of the study is the cultural approach, which allows conducting a study of art crafts in an interdisciplinary manner. Besides, comparative-historical and analytical-synthetic methods seem to be promising. The scientific novelty of the research is that the development of artistic crafts at the present stage is understood as a contradictory process, which includes both a destructive (unifying) trend and an opposite (consolidating) trend. In the new socio-economic conditions, art crafts have almost completely lost the utilitarian component, having moved into the category of elements of visual culture.

Keywords: cultural approach, modernization, systems approach, tradition, cultural heritage, art crafts, ethnos, cultural identity, comparative historical method, analytical-synthetic method

DOI: 10.7256/2454-0625.2020.6.26460

Abstract: This article examines concentration of art around literature that resulted from Soviet cultural policy of 1930’s. The key role in this process was played by literary criticism. Based on the material of literature it attempted to develop universal criteria, which could later serve for assessing any types of art. Some of the authors defended the distinctness of approaches to various arts, but unification in accordance with literary pattern was more seemed more effective. In this context, an illustrative example is cinematography – a young and institutional but yet not well-established art without its own theoretical framework. The main research method is the comparative analysis of rare periodical materials. The scientific novelty of this work consist in circumstantiation of the widespread cultural processes of Stalin’s USSR: focus of all arts on the literature, but at the same time, expansion of the panorama of literary criticism and self-reflection. If in the 1920’s, film directors were actively engages in the theory of cinematography, in the 1930’s it became prerogative of the critics.

Keywords: Ivan Makaryev, criticism of the arts, The USSR's cinema, literary centrism, socialist realism, literary criticism, The USSR’s cultural policy, RAPP, Union of Writers of the USSR, Sergey Eisenstein

DOI: 10.7256/2454-0625.2018.1.25151

Abstract: The author of the article analyzes similarities and differences in costumes with traditional Chinese clothes elements that were created for The Red Poppy Ballet. The object of the research is onstage costumes of actors who played Chinese people in The Red Poppy Ballet staged at The Bolshoi Theatre of Russia in 1927, 1949 and 1957, The Mariinsky Theatre in 1929, 1949 and 1958, and Krasnoyarsk State Theatre of Opera and Ballet in 2010. Being based on photographs of artists who acted in The Red Poppy Ballet of aforesaid editions, the author of the article performs a comparative analysis and finds parellels between costumes for The Red Poppy Ballet and traditional Chinese clothes and accessories. The author discovers elements of Chinese clothes that were chosen by the ballet directors as the main elements to transfer the image of China through Chinese costumes for the ballet, in particular, traditional right-side fold, elements of traditional Hanfu, cheongsam, etc. style in clothes, elements of bufan embroidering using traditional shapes and signs (circle, square, birds, so on), men's and women's headwear elements and the dragon symbol as a direct reference to China.

Keywords: The Mariinsky Theatre, The Bolshoi Theater, editions of the ballet, traditional Chinese clothes, costumes for ballet, The Red Poppy Ballet, Hanfu, cheongsam, Robe, Supplement

DOI: 10.7256/2454-0625.2024.3.70121

Abstract: The article "The Spiritual Essence of Chinese Seascape Art" explores the evolution and specifics of seascape in Chinese painting, in the context of the spiritual and cultural life of China. The genre of seascape in Chinese art began to form relatively late, at the end of the 20th century, and became significant for modern landscape painting. The article pays special attention to the rarity of the depiction of the sea and ocean in traditional Chinese painting, due to philosophical and aesthetic grounds. The changes in the perception of the sea element are analyzed, which reflect the fundamental transformations in the thinking of Chinese society. The research covers the historical period from the end of the XX century to the beginning of the XXI century, revealing the contribution of individual authors and the influence of Western art on the development of the genre. The presented analysis demonstrates how, through the study of marine painting, a unique combination of traditional Chinese and Western aesthetics is revealed, forming a new artistic language and approach to the perception of nature and the sea element. The article uses an integrated approach, including historical and comparative analysis, stylistic interpretation, to explore the evolution of the seascape in Chinese painting and its spiritual and philosophical and aesthetic content. The article explores the spiritual essence of Chinese seascape art, describing its development as a late phenomenon in comparison with Western art and as an important element in modern Chinese painting. Special attention is paid to rethinking traditional artistic methods and approaches to depicting the sea, considering it as evidence of fundamental changes in the spiritual life of Chinese society. The article discusses how the seascape reflects philosophical and aesthetic changes, especially in the last third of the 20th and early 21st centuries. The authors analyze the works of Chinese artists seeking to find unique artistic languages by integrating traditional and Western elements. The novelty of the research lies in a deep analysis of the impact of socio-cultural changes on the formation and development of the seascape in Chinese painting, which allows for a better understanding of the uniqueness and dynamics of this genre in the context of global artistic and cultural trends.

Keywords: marine, landscape painting, Guohua, Chinese painting, Chinese art, seascape, methodology, marine painting, painting, spiritual essence

DOI: 10.7256/2454-0625.2018.3.25918

Abstract: The subject of the research is the theoretical views of an Austrian art historian Hans Sedlmayr on interpretation of art work. The corner stone of Hans Sedlmayr's approach is the idea of integrity. According to the art historian, art work is not just a system of external relations or formal structure but an organic whole that can be perceived both intellectually and sensually. The most important feature of integrity is a graphic nature of art work which was understood by Hans Sedlmayr as the unity of the sensual and spiritual, abstract and concrete, subjective and objective based on traditions of classical German philosophy. The method of this research is the systems approach that allows to understand ideas of Hans Sedlmayr as one whole. The novelty of the research is caused by the fact that the researcher views the ideas of Hans Sedlmayr in terms of classical German philosophy but not only as part of Vienna School of art. This approach allows to take another look at the main categories used by Hans Sedlmayr to analyze art work, in particular, the midpoint and graphic (visual) nature.

Keywords: contemplation, uniqueness, art, middle, visibility, whole, work of art, interpretation, Gestalt, Universal

DOI: 10.7256/2454-0625.2023.3.40113

Abstract: Alexander Nikolaevich Volkov (1886–1957) is one of the Soviet Uzbekistan fine art founders. He actively taught in Tashkent and had a significant impact on the younger generation of the artists. He was a member of the association "New East Masters", headed the informal group "Volkov's Brigade" trying to solve the problems of monumental painting. In addition, the artist's work has some traces of symbolism and impressionism, cubism and primitive art. This article is devoted to Volkov's painting "Teahouse with a portrait of V.I. Lenin”, created in 1928 and stored in The Karakalpakstan State Museum of Art. This picture was painted at a time when the master, in his own words, again turned to human. Therefore the masterpiece corresponded the request to design a new Soviet way of life, to invent the heroes among workers and dekhkans (peasants). However, behind the simple interpretation of "Teahouse", there is a deep symbolism, thanks to which the images go beyond the scope of an ideological statement, turning into a kind of myth. The novelty of this research can be found in the formulation of a problem that has not previously been considered in the scientific literature - the symbolic interpretation of the works of A.N. Volkov of the "socialist realist" period. This symbolic layer in the artist's works is the additional evidence of his sincere passion from the ideas of the cultural revolution and socialist movement in Central Asia. In addition, Volkov's paintings of the late 1920s and 1930s are often overshadowed by his earlier creative experiments. The purpose of this article is to consider and analyze one of the most revealing work belonged to the late period of the artist oeuvre, to identify the semantic layers behind the “tangible breath of the flesh”.

Keywords: Michail Kurzin, color symbolism, art of the 1920s, social realism, Nukus, art of Central Asia, Soviet Uzbekistan, red teahouse, Alexander Volkov, Usto Mumin

DOI: 10.7256/2454-0625.2020.1.30247

Abstract: The subject of this research is the genesis and evolution of iconography of historical images in illumination of the medieval monastic maps of the world – mappa mundi. Such images on the maps visually depicted the process of sacred Christian history. The reflection of the sacred history was necessary for introducing the time element into the model of the world represented by mappa mundi map. This moment was important in light of representations on the existing continuity of the world and its history, due to inevitability of realization of the divine plan. For the analysis of iconography of historical images of the maps, the author applied the means of formal, iconological, iconographic and comparative analysis. The medieval illuminated map of the world is views as a complex information matrix, as well as a methodological tool for tracing the historiography of sacred history. The role of medieval maps mappae mundi in comprising the worldview perception of the era until the present remains insufficiently studied not only within the national, but also foreign science.

Keywords: medieval Europe, iconography of the world, sacred history, oecumene, christian historiography, сhristian cartography, mappa mundi, Apocalypse, Last Judgment, Alexander the Great

DOI: 10.7256/2454-0625.2023.2.37826

Abstract: This article examines academic and mass genres in the work of the legendary singer of the Soviet pop music Muslim Magomayev. The subject of study is the musical creativity of M. Magomayev. The purpose of the study is the role of the creative heritage of a gifted singer, as well as understanding the value of his concert and artistic activities in the process of formation of the musical and artistic layer of the second half of the twentieth century, identifying the features of his musical language. The theoretical basis of the research was the works of M. Magomayev [16, 17, 22, 23], V. I. Antonova, A. N. Huseynova, V. V. Dubovsky, I. I. Nazarova, I. F. Sokolova, N. Reliable, R. Ramazanova, S. Belza, etc. The methodological basis of the work was the research of: M. Aranovsky [1], B. Asafiev [2], A. Iskanderova [7], L. Kazantseva [9], T. Lev [12], M. Lobanova [13], I. Mayevskaya [18], M. Mikhailov [19, 20, 21], E. Nazaikinsky [26, 27, 28, 29], S. Skrebkova [38], A. Sokolova [39], A. Sokhor [41, 42, 43], A. Zucker [47, 48], V. Zuckerman [49]; works on the problems of musical dramaturgy by Yu. Keldysh [10, 11], A. Selitsuogo [36], I. Sollertinsky [40], T. Chernova [50, 51]. The scientific novelty of the study is determined by the fact that for the first time the role of the performing interpretation of M. Magomayev's musical heritage is revealed, the stylistic features of the performer, the musical language of his songs and individual manner are revealed. The conclusions of this article may be useful in creating an educational and methodological base for the training of qualified specialists in the field of musical art. Also, in the study of the history of Russian pop music, and in the training of teaching staff in the field of music education. This problem can be introduced into the conservatorial disciplines of the historical, theoretical and methodological cycle for the specialties: musicology, musical art, pop and jazz singing.

Keywords: Creative style of the artist, Composer Arno Babajanyan, Magomayev 's performing style, Soviet twist, Pop singer, Soviet stage, Academic music, Creativity of Muslim Magomayev, Muslim Magomayev, Genres of Soviet music

DOI: 10.7256/2454-0625.2020.2.29690

Abstract: The subject of this research is the art of Cai Guo-Qiang (born in 1957) – the modern Chinese painter who lives and works in China and the United States (New York). The object of this research is the storyline fireworks of Cai and his innovative technique of “gunpowder painting”. The first works of the painter were canvasses in oil painting, and by 1980’s he invented a new “gunpowder” technique, which was first applied in combination with oil on the canvas, and since 1990’s – with ink on the paper, as a version of modern traditional painting guo-hua. His works evolved from social realism to a distinct variation of modern expressionism, as demonstrated the first in Russia retrospective exhibition of the works of Cai Guo-Qiang that took place in the Phuskin State Museum of Fine Arts (“October”, Moscow, 2017). Authors of the exhibition catalogue justifiably note the “cosmopolitan mission” of his art, but leave out of account the traditional context. The proposed methodology, which integrates art and culturological analysis, allows seeing in the works of this prominent modern painter the version of mass art that retains mental and reverse connection with the Chinese tradition. The scientific novelty of the article is defined by the following conclusions: the art of Cai Guo-Qiang is addressed to the international audience, but concords with the traditional paradigm due to Buddhist mentality deeply rooted in the painter’s consciousness. The traditional aspect is his proclivity for harmonization of social environment. This mass art that possesses formal and substantive novelty is associated with the modern international artistic market, as well as market version of “Chinese style” (Chinoiserie) of the XVIII century.

Keywords: neo-archaic, Chan Buddism, performance, fireworks, Cai Guo-Qiang, gunpowder painting, postmodernism, Chinoiserie, zhongguo-feng, guo-hua

DOI: 10.7256/2454-0625.2020.6.31742

Abstract: The subject of this research is such artistic practiced of German Dadaism as photography and photomontage. Relevance of this topic is associated not just with the growing interest of art historians, cultural critics and writers to the culture of Weimar Germany, but also active study by modern scholars of the peculiarities of functioning of the various visual practices, which emergence is substantiated by constant shift and mutual integration of different artistic mediums, among which special place belongs to photography and related photo techniques. Research methodology is of complex nature and suggests the uniformity of cultural-analytical, philosophical-anthropological and historiographical methods through studying primary sources, which include literary texts, essays and manifests of the key representative of German Dadaism. The author concludes on substantial role of the category of “real” in ideological-semantic component of the movement in question, appeal to which justified usage of photomontage technique by the Dadaists. The result of this research lies in determination of the fundamental philosophical-methodological and ideological-semantic aspect of photomontage practices of German Dadaists. The article briefly indicates the vectors of further development of Dada photomontage in Weimar Germany. The acquired results may serve as a pivotal point for future research in the area of Dada art, German art of “new realism” presented in the works of artists of the “new corporeity” and “magic realism”, as well as subsequent art movements of the XX century, characterized by the use of photographic and photomontage techniques.

Keywords: photographic art, avant-garde, new objectivity, new realism, Weimar Germany, photomontage, photograhy, dadaism, magical realism, collage

DOI: 10.7256/2454-0625.2021.3.32778

Abstract: The article reviews and analyzes the key easel graphic works by A. P. Ostroumova-Lebedeva from St. Petersburg collection of woodblock prints, created over the period from 1900s to 1920s. These works resemble the genre of Japanese art Ukiyo-e. The subject of this research is the uniqueness of the artistic language and the means of its expression in the works of A. P. Ostroumova-Lebedeva. Alongside other Russian artists of the turn of the XIX – XX centuries she was affected by Ukiyo-e, but perceived the Japanese wood engraving on a more profound level. The author examines the works of accomplished in this period, as well draws parallels with the woodblock prints of Japanese masters, using the formal-stylistic method. This approach is relevant as it reveals the role Japanese woodblock prints played in the establishment of artistic language of A. P. Ostroumova-Lebedeva. Within the Russian art history, this research is one of the few attempts of conducting comparative analysis between the woodblock prints of A. P. Ostroumova-Lebedeva and the works of Japanese masters, which defines the scientific novelty. The conclusion is made that the influence of Ukiyo-e can be traced in the compositional solution and in use of particular Japanese motifs in her works. The artist also contributed to the establishment of woodblock prints as an independent genre of graphic art, having enriched it with the images and color introduced by the Japanese masters.

Keywords: search for new, ukiyo-e, James Whistler, Alexander Nikolaevich Benois, Utagawa Hiroshige, Anna Petrovna Ostroumova-Lebedeva, woodcuts, St. Petersburg, individual development path, Japanese art tradition

DOI: 10.7256/2454-0625.2022.4.37861

Abstract: Globalization is a factor that contributes to the unification and integration of national cultures of different countries of the world. This phenomenon, of course, has a significant impact on the development of modern painting. The article is devoted to the analysis of the work of contemporary artists in order to identify the features of the process of their transformation in the context of the development of global art. The boundaries of the concepts of "world art" and "global art" are defined. The characteristic features of the modern global art environment are revealed, as well as the forms of their perception and interpretation in the works of such artists as Chris Metze, Douglas A. Kinsey, Claire Fahy, Katarzyna Zvolinska, Nazafarin Lotfi and Daniel Hutchinson. The novelty of the research lies in the fact that the article examines the works of individual and most famous contemporary artists in the context of such a phenomenon as "global art". Here a watershed is drawn between the concepts of "global art" and "world art", their boundaries and the most important features are determined. Thus, it contributes to the formation of ideas about the global trends of artistic and creative activity on the example of specific paintings. Relevance and short-termness are designated as the main features of global art, which strongly affect the artistic form, figurative language and ideological content of works in the art of modern painting.

Keywords: Nazafarin Lotfi, Katarzhina Zvolinska, Claire Fahy, Kinsey, Douglas, Chris Metze, global art, world art, modern painting, Daniel Hutchinson

DOI: 10.7256/2454-0625.2019.10.29321

Abstract: The goal of this research is ti determine chronology of the activity of W. Swertschkoff’s stuido and role of this stage of life and work in biography of the painter; clarify the assortment of his works; characterizes the methods of interaction of different masters and the role of studio’s owner in the process of creation of the stained glass artworks; as well as outline the circle of his customers. The article leans on the extensive range of source in Russian, Finnish, and German languages: archival materials, periodicals, reminiscences of the painter, modern research of the Russian and foreign authors. The historical and iconographic methods are applied. The determined range of stained glass artworks characterizes them as the typical examples of the German school of stained glass art. Being brought to Russia not only as ornamentation for buildings, but also as exhibits for museums of industrial and applied arts, stained glass artworks of W. Swertschkoff were a visual aid, examples of highest level of artistic mastery, and thus, contributed to development stained glass art in Russian and Finland in the 1890’s – 1900’s.

Keywords: cultural connections, art of the nineteenth century, art history, Wladimir Swertschkoff, monumental and decorative art, art, stained glass windows, art glassmaking, stained glass production, stained glass workshop

DOI: 10.7256/2454-0625.2017.8.23593

Abstract: The main subject of research in this article is futurism as one of the most iconic stylistic trends of the first half of the twentieth century that played an important role in the development of the art of that century as a whole. The author of the article has identified the main standards formulated in the manifestos of Italian and Russian futurists, in particular, F. Marinetti and K. Malevich. They are compared. The main emphasis is made on the futuristic interpretation of standards by the famous artist Kazimir Malevich. His articles and illustrative and decorative material for staging the opera "Victory over the Sun" by M. Matyushin are chosen as the object of the research. The research of futuristic searches of Malevich is carried out in terms of general ideas of this direction, for which the terminological and analytical material (apparatus) of various kinds of art is involved. The novelty of the research is caused by the broad coverage of phenomena connected with the general notion of futurism including texts of representatives of futurism, musical scores, and research literature that regards futurism as a stylistic trend. The results of the research prove an important role of Malevich in the aesthetic interpretation of futurism and his specific role in the formation of the original Russian futurism that was so popular in the second half of the twentieth century of actionism as a phenomenon of culture.

Keywords: black square, musical performance, fine art, Victory over the sun, content of art, innovations, style in art, Kazimir Malevich, futurism, suprematism

DOI: 10.7256/2454-0625.2017.9.23713

Abstract: In the article the author touches on such pressing issues as the relationship between the master and the customer, the degree of participation of the owner in the artistic process, evolution of the private order during the XVIII - first half XIX, state regulation of private construction and raising the artistic taste of the customer. Being important for the history of art, all these questions are considered on the example of a rich and noble Apraxin family. The object of the research is the monuments of architecture and works of art belonging to their family. Comparison with the cultural heritage of other senior dynasties has allowed to reveal the peculiarities of private ordering in the Apraxin family. The author of the article has used sociological research method, and reconstruction method, iconology, and stylistic analysis of works. The novelty of the research is caused by the fact that the author is the first to assemble and summarize the contribution of Apraxin dynasty in the history of art. Most of the monuments of art belonging to the Apraxin family were not preserved, so they were reconstructed according to the archival documents and for the first time introduced into the academic literature. Analysis of the collected material has allowed a new perspective on previously known monuments and try to understand the content that is invested in them by the customer. In the process of the research they author has made several general conclusions on the subject of private ordering.

Keywords: estate of Olgovo, art of the New time, collection of works of art, country estate, portrait gallery, artistic taste, private customer, Apraxin family, semantic program of the estate, iconography

DOI: 10.7256/2454-0625.2020.1.30512

Abstract: This article examines the phenomenon of “enlightened balletomanes” within the Russian ballet critique (XIX century), as well as peculiarities and key trends of their critique activity. Ballet critique, similar to the contemporary to it theatrical critique, recruited into its authors educated and literary gifted ballet enthusiasts. Observing ballet on the regular basis, the theatre habitues were turning into its connoisseurs; they payed detailed attention to dance technique and content of performances, its weak and strong sides, were able to describe a stage movement and a dance, as well as formulate their perceptions and assessments. Such experts, who also wielded a skillful pen, were called the “enlightenment balletomanes” in analogy with “enlightened theatregoers”. Some of them used to be actors, journalist or dramaturgists, some even military officers or government officials, but being in a constant connection with the ballet theatre, they intergrew the profession of ballet peer reviewers and observers, contributing to the establishment of the professional ballet critique of its time.

Keywords: Bezobrazov Nikolai, Skalkovsky Konstantin, Plescheev Aleksandr, Ushakov Aleksandr, Khudekov Sergei., XIX century, Enlightened theatergoers, enlightened ballet lovers, ballet criticism, Svetlov Valerian

DOI: 10.7256/2454-0625.2021.12.35628

Abstract: The object of this research is the graphic design in the style of deconstructivism. The subject is the impact of deconstructivism upon font graphics of the XXI century. The goal lies in determination of the impact of deconstructivism upon font graphics of the XXI century. The article examines the concept of deconstructivism and the impact of this phenomenon upon graphic design and typography. The ideas of deconstructivism initially obtained their material form in architecture; thus analysis is conducted on the structures, the authors of which were inspired by the new philosophical ideas and brought them to life them in their projects. After familiarization with the architectural monuments, the article lists the key characteristics of the architecture of deconstructivism, which in turn, affected various types of design. Having analyzed the project situation in the area of visual communications, the author reveals the distinctive features of the objects of graphic design that were inspired by deconstructivism. The scientific novelty consists in comprehensive analysis of the impact of deconstructivism upon font graphics. The main stylistic peculiarities of modern font graphics created under the influence of deconstructivism are described. The acquired materials and results are translated into the sphere of graphic design and can be used in preparation of graphic design specialists, professional and creative activity of graphic designers and typographers, which defines the practical importance of this research.

Keywords: visual communication, graphic design, design, deconstructivism, deconstruction, typography, type graphics, font, style features, modern tendencies

DOI: 10.7256/2454-0625.2017.10.23490

Abstract: The subject of the research is the main questionable matters an art historian doing a research under the conditions of a disciplinary cognitive situation may face. The specifics of the problems under consideration are conditioned both by the initial material of actual art history research that has been chanding as a result of transformations in the subject area of art history, and with the specifics of the research activity of an art historian, who, while balancing between academism and discourse, sometimes turns out to be a component under reesearch himself or herself and becomes included in the subject area of art history. In his research Shtein has used activity approach as a functional but specific art history methodological tool as it is viewed by the traditional movement founded by G. Schedrovitsky. The novelty of the research is caused by the fact that the author of the article clarifies the main questions which adequate solutions may not only satisfy the actual needs of art history but also keep art history integral as a discipline. At the same time, the problems described herein allow to conclude that it is possible to solve them using the activity approach.

Keywords: disciplinary cognition, ontologization, activity approach, metaontology of art, ontology of art history, methodology of art, art theory, art history, science about art, contemporary art

DOI: 10.7256/2454-0625.2018.9.27366

Abstract: The emergence of "turfan studies" was accompanied by the beginning of research and excavation of ancient cultural relics in the stone caves of the Silk Road. Excavations of ancient cultural values in the stone caves of the Silk Road in different periods attracted the attention of scientists from different countries including Russia. International research activities including Russian expeditions in the field of studying archaeological finds and documents of Turfan have made significant scientific results . Currently, many cultural values of Turfan are represented in the expositions of the State Hermitage Museum. The author of the article convincingly substantiates the relevance of this problem, and, relying on concrete historical material, demonstrates the degree of participation of the Russian scientific community (starting from the end of the 19th century) in excavations in the region of the Turfan Basin. Numerous photos of cultural monuments and the ancient ruins of Turfan, sketches of plans for a number of buildings and structures, topographical survey, wall drawings, etc. , this is far from an incomplete list of the results of the scientific activities of Russian expeditions which are reported in the proposed material. It is significant that these art relics today are part of the State Hermitage’s art collection.

Keywords: artistic value, relic, exposition, monument, cave, painting, turfanovedenie, buddha, monk, bodhisattvas

DOI: 10.7256/2454-0625.2017.2.19072

Abstract: The subject of the research is the synesthesia aspect of the art thinking of romantic composers. Through detailed analysis of the creative heritage of Robert Schumann, Frédéric Chopin and Johannes Brahms as well as other composers of the romantic epoch the author examined the phenomenon of synsthesia in terms of historical and cultural environment. The author also analyzed issues related to understanding the processes of developing and interpreting an artistic image which actualizes not only one's cognitive abilities but also his or her perceptive emotional experience. The researcher also examined the interrelation and interdependence of perceptive and affective evaluations of musical compositions. The research is based on the systems approach as well as the method of theoretical generalization and comparison. The author also used a specific interdisciplinary and historical approaches. In her research Zaitseva defines synesthesia grounds in the art thinking of romantic composers of the 19th century. Based on the analysis of the epistolary and critical heritage of romantic composers the author was able to define particularities of synesthesia display in their art thinking. The author also proved the importance of visual, tactile, tasteful, and kinesthetic sensations in the processes of the meaning and image creation.

Keywords: visuality, art thinking, aesthetic perception, romantic composers, art, synesthesia, tactility, kineticism, Schumann, Chopin

DOI: 10.7256/2454-0625.2017.8.23893

Abstract: The place and the role of painting of the period of the USSR in the history of world art of the last century remain relevant and poorly understood. They are the subject of analysis in this article.The purpose of the study is to check the assumption that the catastrophic events of the beginning and the middle of the twentieth century in the history of world culture destroyed many value systems, blurred the difference between good and evil. Therefore, during this period, less attention was paid to the difference between the genres of painting and did not give a special status to the history of painting, including in the Soviet Union. Nevertheless, this kind of fine art was considered as a resource by which artists wanted to demonstrate the relevance of the theme of their work.The methodology of research predetermines the purpose of the work. Its basis was the method of analytical study of sources, which clarifies the place of Soviet painting in the history of world art of the period under study. Methodological basis in the article were thematically necessary works on the theory and history of art, the history of the fine arts of the USSR, the psychology of art. Partly became relevant for a number of electronic publications.The basis of the article is a comparative-historical method. With his help, the author determined that changes in world and Soviet painting are tracked from an earlier time. Thanks to this method, it is also clarified that the transformations in the artistically-shaped structure of painting by scientists are tracked from the end of the XIX - beginning of the century.The novelty of the article is to expand the view on the artistic culture of the XX, seeking a comprehensive review of world art and the place of Soviet painting in it. And also the novelty of the work consists in the fragmentary analysis of works of art by Soviet artists from the point of view of cultural values (cultural relativism) not only of domestic criticism, but also of Western European art history.The conclusions emphasize the fact that socialist realism is a style of realistic art that was developed in the Soviet Union and became the dominant style in this country, as well as in other socialist countries. Socialist realism is characterized by a glorified depiction of communist values, such as the emancipation of the proletariat, through realistic images.It is stated that the first exhibition organized by the Leningrad Union of Artists took place in the world art of the 20th century, which took place in 1935. Mikhail Avilov, Isaak Brodsky, Pyotr Buchkin, Nikolai Dormidontov, Rudolf Frentz, Kazimir Malevich, Kuzma Petrov-Vodkin and Alexander Samokhvalov became the founding fathers of the Leningrad school, and their works were one of the richest layers and the foundation of the largest museum collections of Soviet painting of the 1930s. 1950s.

Keywords: socialist realist artist, proletarian culture, creative personality, genre painting, world art, Soviet Union, Leningrad Union of Artists, socialist realism, soviet painting, twentieth century

DOI: 10.7256/2454-0625.2022.6.35993

Abstract: The subject of the study is the existing classification of graphic art of anarchist periodicals of the turn of the XIX–XX centuries. The object of the research is publications devoted to the problem of compiling a classification of works of graphic art of anarchism. These are the works of R. and E. Herbertov, A. Dardel, L. Litvak, J. Godard-Davant, K. Ferguson - foreign experts in the field of anarchist graphics. There are no domestic publications on this topic. The author of the article pays special attention to the similarity in approaches to the classification of different authors and the existing gaps in this field of art criticism in order to determine further prospects for the study of the issues under consideration. The scientific novelty of the work is to clarify the classification trends not systematized in Russian historiography, proposed in the literature in English, French and Spanish, on the basis of which a methodological basis for the analysis of the topic is being developed. The methods used in the work are as follows: analysis of historiography in order to identify existing approaches to the study of graphics of anarchist periodicals; comparative analysis, which allows us to compare the two main trends (according to the thematic-iconographic and figurative-thematic principle) with each other, finding further perspectives of interpretation and existing gaps. The results of the study reveal the existing tradition of classification, the authors of which promote their methods, preventing the emergence of other approaches and types of classification that can shed light not only on the image of an anarchist, but also on the peculiarities of the dialogue between anarchist graphics and the artistic avant-garde.

Keywords: figurative-thematic principle, thematic and iconographic principle, iconographic trends, artistic avant-garde, classification, graphic art, anarchist periodicals, turn of the century, anarchist history of art, foreign literature

DOI: 10.7256/2454-0625.2022.12.37449

Abstract: Attribution and the study of painting pose two important questions to researchers: the choice of methodology and terminology used in describing and highlighting the characteristics of a work of art. "Visual research" as an integrated approach to the problems of reception and creativity forms a system of stable principles of analysis of the monument, focused on the study of the vision and complex extraverbal aspects of the existence of the subject in the historical and cultural space. The analysis of painting involves an integrated approach based on the study of technique and material, the features of shaping and means of artistic expression, iconography and semantics, the creative method of the master and the consumer's reaction, the role in the context of everyday culture and the principles of reception in a synchronous and diachronic cut.In the 19th century, the Italian art critic Giovanni Morelli made a significant contribution to the theory and practice of painting by outstanding masters of the Renaissance. Methods based on deep knowledge in the field of human anatomy and the analysis of the artist's professional skills have influenced not only the history of art, but also the development of criminology, criminology, psychoanalytic theory and psychotherapeutic practice. This article analyzes the method of Giovanni Morelli, which is adapted not only to the needs of attribution, but is also applicable to forensic tasks requiring the analysis of human skills and habits, as well as the identification or attribution of works of art.

Keywords: methodology of art history research, visual research, history of art, attribution, Giovanni Morelli, means of artistic expression, painting, scientific approaches, methodology, fine arts

DOI: 10.7256/2454-0625.2017.7.22314

Abstract: This article is devoted to analyzing the features of the image model used for interpreting the historical reality. Within the framework of this model history, historical fact and historical reality are considered to be a dynamic unity of past and present events. This creates the concept of historical experience including the concept of individual historical experience. According to the image interpretation model, past events are not abstract but possess national and historical (temporary) content. As a consequence, it is possible to analyze specific features of a particular historical event in a new light, i.e. as a creation of credible and vivid images of the past. The methodology of the research is based on the genetic approach to understanding the concept 'historical reality'. The author analyzes historical continuity of how scientific views on the nature of historical reality evolved which predetermined the culturological interpretation of cultural phenomena. The main conclusion of the research is the proof of the thesis that the concept of historical reality has a double meaning that includes knowledge and understanding of the past, on the one hand, and continuous construction of the present, on the other hand. From the point of view of the image interpretation model, historical reality is viewed as a developed system of signs and symbols that has the status of 'reality' only in the process of learning and understanding the past. According to the author, the image model analysis is as important as other research approaches to history studies.

Keywords: Karamzin, image in art, semiotics, image of the past, historical image, interpretation model, historical reality, Russian history, history of cinema, screen image

DOI: 10.7256/2454-0625.2022.7.36139

Abstract: The subject of the research in the article is the work of the American composer John Milton Cage (1912-1992), who is considered one of the most famous and influential avant-garde musicians of the twentieth century. The composer's ideas about sound, the "open form of music", "random operations", "extended" musical instruments and many others were developed in the complex technical, discursive, institutional, cultural and political conditions of life in the United States, constantly changing in the course of his long and productive career. The article analyzes the "artistic and theoretical" legacy of composer John Cage in a philosophical and aesthetic way and shows how his work problematized artistic inventions in music, blurring the boundaries between artistic expressive forms, and his legacy became not only interdisciplinary, but also transdisciplinary, as a result of which the composer's musical experiments were reflected in the work of such American artists like Bill Childs, Fritz Reiner, David Tudor, Christian Wolf, Morton Feldman, Earl Brown, La Monte Young, Pauline Oliveros, Cornelius Cardew, etc. The scientific novelty of the article is that the author attempts to comprehend the creative path of the composer as one of the radical innovators in music, whose musical innovations during the 50s, 60s of the twentieth century led to paradigmatic changes in all areas of American art. Cage fundamentally rebuilt the ideas of what music was and what music could be, eventually becoming one of the most influential avant-garde composers of his time, largely predetermined the trends of the movement of American musical culture of the twentieth century. Cage's experimental innovation, the composer's ability to capture the spirit of the times and the anticipation of many creative ideas related to the nature of sound, made his works an integral part of world culture, an important milestone in the modern development of music

Keywords: an open form of music, the uncertainty principle, sound organization, synthesis of the arts, creativity of the composer Cage, American musical experimentalism, philosophy of music, aleatorics of music, random operations, advanced musical instruments

DOI: 10.7256/2454-0625.2023.7.43628

Abstract: The article examines the features of the image of the family theme in the woodcuts of China and the USSR of the 1930s-1950s. The subject of the study are Soviet and Chinese woodcuts of the 1930s-1950s. The focus is on the analysis of the processes of interaction and mutual influence of graphic art of the two countries, special attention is paid to the study of expressive means and techniques used by artists to convey images of people within the family theme. The reasons for the appeal of the masters of engraving of the time under consideration to the theme of family, the embodiment of eternal universal values in the works, which became a common feature and trend of graphic art of the two countries in the middle of the twentieth century, are revealed. The scientific novelty lies in the introduction into scientific circulation and analysis of the works of woodcut of Russia and China, the identification of common and different features in the subject of Chinese woodcut and Soviet engravings of the 1930s-1950s. The study shows and substantiates the significant influence of Soviet realistic art on the work of Chinese masters, reveals the patterns of development of Chinese woodcut art in the period under review. In conclusion, the gradual appeal of Chinese artists to their own national heritage and the strengthening of the national identity of Chinese art in the middle of the twentieth century is noted, the causes of these processes in the artistic life of the country are revealed.

Keywords: family, expressive means, plot, technic, national style, China, soviet realistic art, woodcut, engraving, mutual influence

DOI: 10.7256/2454-0625.2017.9.24071

Abstract: The subject of the research is the trick performance as an element of cinematographic language. Analysis of the development of silent film clearly demonstrates that there are certain stages of implementation, adaptation and development of tricks that is later transformed into cinematographic tricks by the means of cinema. Combined actor's, cameraman's and cutter's techniques made cinematographic tricks to be the most spectacular part of the cinematographic language. At the very beginning when it was just an element of the plastic partition of a hero's role, trick performance enriched the film's narrative structure with bright emotional colors. 'Montage of attractions' of Sergey Eisenstein implied cinematographic trick attraction, too, and the trick performance art of the Battlehip Potemkin is a brilliant example of it. The main conclusions of the author's differentiated analysis of trick performance during the silent film epoch focus on the following: a) analysis of trick performance art in terms of the plastic role partition during the silent film period, b) study of transformations of tricks into cinematographic tricks, c) particular features of the cinematographic language identification of tricks in the structure of a cinematographic phrase as an element that form the message of the film.

Keywords: trick cinema, imitation trick, trick metaphor, trick performance, cinematographic phrase, cinematographic language, plastic expression, cinematographic trick, plastic role partition, trick performance art

Abstract: At the beginning of XX century the idea of mobility and uncertainty of formerly stable and Þ xed artistic form becomes very popular. During the second half of XX century Umberto Eco’s conception of esthetics acquires a bright representation in a music mobile and aleatorics development. Syntax inconsistency and semantic disintegration in Joyce’s works inspired Cage and Beriot to create uncertainty in composition and performance of music. Form of labyrinth was also shown in Boulez’ and other authors’ works. Before changing forms were quite rare in music and usually caused y these or those circumstances and traditions of music performance. Music mobiles and aleatorics were a typical tendency in art of XX century though – the tendency of individualization of music and structure when each performance had a unique structure and reß ected the author’s approach. Mobile form due to accident inß uence has led to far-reaching consequences and open form of music-in-movement resulted in a search of structural decisions and development of innovative strategies of form generation. This is the topic the given article is devoted to.

Keywords: art history, open, form, mobile, aleatory music, improvisation, composition.

DOI: 10.7256/2454-0625.2017.5.19691

Abstract: The subject of the research is the development path of the symbolic language of a Dutch painter Jan Toorop (1858 - 1928) who was a contemporary of Vincent van Gogh and Gustav Klimt and played an important role in the origin and development of symbolism on the European scene at the end of the 19th - beginning of the 20th centuries. Both today and back in 1890 - 1900s Jan Toorop has been seen as an activist and curator of exhibitions that were very important period in the history, and to a lesser extent he was an artist who became the main figure of the 'Northern' version of symbolism. Having absorbed the Indonesian culture and European traditions of French symbolism and the English school of painting, Jan Toorop declared a new mysticism. Analyzing the painter's personality, his creative path and fundamental artwork, the author of the article describes stylistics of Jan Toorop and his role in developing certain schools of painting. The research is based on the comparative history analysis of Jan Toorop's artwork as well as the biographical method alloing to define directions of searches for cultural self-identification of the painter. The rationale of the present research is based on the fact that inspite the growth of the interest towards Jan Toorop over the last decade, and his personal exhibitions in France and Holland, his steps towards developing a national version of symbolism and his recognition on the European scene as well as his practice of abstract painting and refusal from natural kinds of painting through the linear language. Therefore, the author of the present article tries to describe the main steps of Jan Toorop towards symbolism and his search for the ornamental field of cognition within it.

Keywords: composition, esotericism, symbol, mysticism, France, Holland, ornament, line, art nouveau, symbolism

DOI: 10.7256/2454-0625.2019.12.29887

Abstract: Chinese calligraphy is viewed as the key to a more in-depth understanding of the Chinese cultural code; therefore, the goal of this research consists in determination of cultural meanings underlying the spatial structure and visual image of hieroglyph. In the course of this study, the authors advance the idea of the national Sinologist V. V. Malyavin, which implies that artistic realm of the works of Chinese calligraphy represents a “median” space for interaction of the two diverging planes of existence – revealed and concealed (“earlier Heavenly” and “later Heaven”). The study applies the culturological method for interpretation of artistic space of hieroglyph within the context of the traditional for Chinese culture spatial models. The formation of “median” space though the description of hieroglyph testifies to the competence of a calligraphist to find balance in the “flow of changes”. Hieroglyph represents a visual metaphor of the moving human body that is in the state of inner peace (which is reflected in the precision of internal connections of the symbol, its relation to the physical center, and sense of the “firmness” of emptiness.

Keywords: Earlier Heaven, the Five Movements, yang, solid void, yin, median space, space of the Chinese character, art of calligraphy, Chinese calligraphy, Later Heaven

DOI: 10.7256/2454-0625.2017.4.18459

Abstract: The article is devoted to the St. Mark's Basilica in Venice as an important memorial of Venice art and culture. The problem of the architectural prototype of San Marko is analyzed in historical context. In particular the author considers specific features of exterior and interior decoration of St. Mark's Basilica which appeared as a result of the mass export of spolias (spolia means 'plunder' in Latin) from Constantinople which was captured during the Fourth Crusade (1202-1204). Usage of this spolias for decoration of facades and interior of the St. Mark's cathedral is considered as well. The specific nature of the integrity of San Marco is revealed through going beyond the architectural and structural characteristics of the monument and appealing to ideological and representative (triumphant) as well as decorative and picturesque side of its style and images. Exteriors and interiors of St. Mark's Basilica is a symbiosis of both natural and historical layers. Noteworthy that Basilica's exteriors are more of picturesque than architetural nature created not only as part of applied arts but also typical landscape of Venice. The research has allowed to define significant features of Venice artistic thinking that were formed at the early stage of Byzantine art but appeared only in St. Mark's Basilica. Later those features were perceived and developed as artistic principles of the painting and architectural school of Venice during Renaissance.

Keywords: the problem of style, medieval art, medieval architecture, art of Byzantine, Constantinople, spoiler, the Fourth Crusade, art of Venice, San Marco, St. Mark's Basilica

Abstract: The article is devoted to the development of erotic in fi ne and graphic arts of Moscow and Leningrad artistic underground in the 60th – 80th of the 20th century. The author of the article names the key stages of development of the underground art and describes the basic trends in erotic art during the above mentioned period of time.

Keywords: art history, fi ne arts, graphic arts, erotic arts, underground, Nonconformity, socialist realism, censure, exhibition, expression.

DOI: 10.7256/2454-0625.2017.5.21360

Abstract: The subject of the present research is the perception of national peculiarities of Spanish paintings in the Spanish literature of the 17th - 18th centuries. In Europe of the 17-18th centuries Spanish painting was understood only as the variant of Italian Painting of Renaissance. The purpose of the article is to analyze whether the national character of Spanish Art was comprehended by national Spanish theorists and historians. While foreigners often knew very little about Spanish Art due to the fact that European collections did not have any paintings by Spanish artists, Spanish people lived surrounded by national art. Did they understand it? In her research Morozova applies historiographic analysis of Spanish treatises on art and comparison of opinions of different authors on Spanish Art in the 17th - 18th centuries. The main conclusion of the research is as follows. There was an understanding of national character of Spanish Art in the texts of various Spanish authors of 17-18th centuries. But at theoretical level for Spanish authors by the end of the 18th century the Italian art of Renaissance remained the standard of artistic perfection.

Keywords: Carducho, Murillo, Zurbaran, Ribera, Velazquez, Sources at Art, Spanish Painting, Spanish art, Martinez, Palomino

Abstract: The article is devoted to the problems of conflict management at circus. The author describes how the conflicts are formed, constructed and solved there. The author also describes the dependence of a trick expressivity on the level of effect of actor’s surroundings - stage property, partner, audience, and animals –on development of a conflict.

Keywords: circus, conflict, artist, emotions, partner, space, state property.

DOI: 10.7256/2454-0625.2017.4.18489

Abstract: The subject of the research is the poetics of the play The Cabal of Hypocrites staged in 2013 by Vladimir Magar at Sevastopol Academic Russian Drama Theatre named after Lunacharsky. Vladimir Magar was the leading Sevastopol stage and art director in 2000 - 2014. Being his most famous performance, the aforesaid play is being analyzed from the point of view of director methodology, i.e. techniques and methods used by Magar, in particular, transformation of literary drama elements into a stage plot using the montage of narrative themes and motives as well as developing the narration based on musical composition laws. The author of the article also analyzes the role of the stage design, plastic arts, music and other elements of drama performance. The article is based on the comparative historical method, personal experience of the author when seeing the play and analysis of articles and responses to the play. Vladimir Magar's creative work is studied for the first time in the academic literature. Analysis of his director style can be useful to define certain patterns typical for the regional theatre life and to restore pages of the Russian theatre history that have been ignored by Russian researchers so far. Analysis of the poetics of the aforesaid play is very important for understanding such principles of the director's activity as multi-layer literary and dramaturgical basis of his performances, their montage composition, playing method of an actor and the system of keynotes.

Keywords: keynote, multi-episode, episode, montage, director methodology, Boris Blank, Moliere, The Cabal of Hypocrites, Bulgakov, Vladimir Magar

DOI: 10.7256/2454-0625.2017.9.24228

Abstract: The subject of this research is John Cage's methods of composition used by him in the 1940th years: melodic or rhythmic ostinato, counterpoint technique and rhythm pattern technique. He has found in these, initially traditional methods of composition, something new and has anticipated what will appear in music later, in particular, ways of the repetitive technique used by minimalists. Special attention is paid to such Cage's works as Metamorophisis and Amores Cycles as well as Credo in Us that present the composer's typical style. The research method used by the author to analyze Cage's composition technique involves analysis of the sound material, its features, and principles of organisation of small and major structural units and form in general. The novelty of the research is that Cage's techniques (ostinato, counterpoint, rhythm pattern technique, etc.) are studied in detail on the example of musical pieces for the first time in Russian academic literature, and the early period of works by Cage, who is better known as an experimenter and avant-gardist, is also researched for the first time in Russian literature. At the same time there is a discovered individual approach in using of these methods of the composition which are characterizing composer style of Cage.

Keywords: twelve-tone technique, counterpoint, seria, ostinato, rhythm, technique, composition, Cage, music, pattern

DOI: 10.7256/2454-0625.2019.1.28350

Abstract: In this article Salienko discusses the influence or absence of Kandinsky in the art of the 1920s. Salienko tries to find the points where Kandinsky's influence could have been seen and thinks whether at least some ideas of the artist and art theorist were put to practice and whether it was because of his influence or not. There is a common belief that being a famous master of the XXth century whose prosperity fell on the 1900-10s, Kandinsky had no influence on the development of the Russian art of the first decade after the Revolution. However, creative principles and teachings of the artist who stood at the origins of the art education reformation in the Soviet Russia left a trace for the VKHUTEMAS students, most of all, their sense of inner freedom, the marginal concept for the art of the Soviet era. In the course of writing this article, the author has used the methods of art historical and cultural analysis. The researcher analyzes unpublished archive materials. The novelty of the research is caused by the fact that Kandinsky's influence on the art or artists of the 1920s has never been studied in the academic literature before. After Kandinsky had left the Soviet Russia in 1921, his name was forgotten. However, the author of the article tries to bring up the phenomenon of Kandinsky's influence despite all the grounds for the opposite. The final results, however, are still not obvious and needs further research.

Keywords: VHUTEMAS, SVOMAS, Tyshler, Society of Easel, OST, students of VKhUTEMAS, art of revolutionary Russia, artistic life, Kandinsky, Communist Academy

DOI: 10.7256/2454-0625.2017.9.24405

Abstract: Chinese calligrapher Zhang Qiang (born in 1962, People’s Republic of China) is a reputable researcher in aesthetics of the traditional calligraphy, expert in the history of the Western art, theorist of the avant-garde calligraphy and creator of the calligraphic traceology (from the mid 1990’s to the present moment). Multiple exhibitions and calligraphic performances by Zhang Qiang in China and abroad made him a prominent figure in the modern calligraphy. Zhang Qiang perceives the future of calligraphy in its roots, which are linear flourishes of the ink, which depict deep-seated acts of conscience. Zhang Qiang, in trance and with his eyes closed, makes spontaneous strokes with a brush, which leaves traces of ink on the long slips of paper, geometric figures or directly on the bodies of the assistants, who decide themselves, where and how the brush of the master touches them. Zhang Qiang engages interaction of the male and female energy, thus creating new forms of calligraphic expressiveness, while implementing the internal connection with the basics of the traditional aesthetics. Zhang Qiang’s works are the most radical attempt at Sinification of the western avant-garde art.

Keywords: zhi, shuang mian shufa, jiushen shufa, xingwei shuxie, xingwei yishu, zongji shufa, zili menhu, yang sheng, xiandai shuimo zhi, de men er

DOI: 10.7256/2454-0625.2021.5.33445

Abstract: The subject of this research is the modern history of development of Kazan jewelry art. The article explores the development of Kazan jewelry art in the 2000s; the creation of remarkable jewelry artworks as the models of famous architectural monument and their authors. The research material contains the iconographic sources – unique images of the jewelry art patterns, as well as testimonies of the eyewitnesses – the jewelry artists. One of the authors is the direct participant and co-author of the jewelry works under review Thus, the article employs the method of overt observation, interviewing, and source analysis. The scientific novelty is first and foremost defined by the chronological proximity of the studied period. The article introduces the previously unpublished images of the jewelry artworks under consideration, as well as the new facts on the revival of jewelry art in Kazan of post-Soviet period. Analysis is conducted on the sources of the revival of Kazan jewelry art and the peculiarities of jewelry works. The article also unveils the plotlines of the jewelry works and history behind them. The conclusion is made that the revival of jewelry art in Kazan, which was partially lost in the Soviet period, has begun only in the late 1990s – early 2000s. After the removal of a number of legislative restrictions, the jewelers were given the opportunity to experiment and create the true works of art.

Keywords: jeweler, tatar culture, precious metal, modern kazan art, jewelry making, architectural monuments, jewellery models, kazan jewellery art, jewellery art, history of modern art

DOI: 10.7256/2454-0625.2022.4.37819

Abstract: This work is devoted to the study of the development and evolution of ancient Chinese jade art up to the 3rd century A.D. In ancient Chinese society, jade served not just as a decorative element, it performed the function of personal identification and communication. This study analyzes the origin and technical characteristics of jade art, as well as the artistic characteristics of different themes in different periods (From a technical point of view, the most popular in the manufacturing of jade products was the deep engraving of yinke, used to create decorative elements of products, carving or relief), the development of jade art is evidence of the historical development of China, it is closely related to it is connected with the theocratic political regime of the ancient state. The main conclusion of this study is that the author confirmed that the Chinese jade culture has a profound influence on the artistic style of jade, analyzing the characteristics of jade in different periods, and ideology is one of the important factors influencing the development of jade. The novelty of the research lies in the article that the author emphasizes the culture of "funerary jade" in the development of Chinese jade art, and "funerary art" in Chinese jade culture. At the same time, author emphasizes the importance attached to "people", which may be of interest to specialists engaged in the relevant research areas.

Keywords: object, figure, funerary jade, history, culture, decoration, Chinese Jade, development, master, art

DOI: 10.7256/2454-0625.2024.3.69971

Abstract: With the strengthening of cultural exchanges with the international community, China's contemporary fiber art has been developing rapidly. This reveals certain problems that need to be investigated and solved. The subject of the article is the development process of Chinese contemporary fiber art, to clarify the role that China's International Fiber Art Biennale "From Lausanne to Beijing" has played in the development of Chinese contemporary fiber art. The purpose of this article is as follows: to determine the role of innovative technology in the development of the art field; to trace the influence of how the development of forms and materials of Chinese contemporary fiber art affects the artists' forms of creativity; to make a comparison between the current situations of fiber art in China and foreign countries in order to identify the immediate development prospect in this field. To achieve this goal, the scientific methods of historical analysis, comparative analysis, case studies and content analysis were used to explore the development of contemporary fiber art in China and its future trends. This study provides an in-depth analysis of the impact of the International Fiber Art Biennale from Lausanne to Beijing on the development of contemporary fiber art in China, exploring the role of innovative technology in the art field and how the development of contemporary fiber art forms and materials has influenced artists' creative forms. Вy comparing the current situation of fiber art in China and abroad, this study reveals the development prospects of fiber art in China. The analysis of this area suggests that with the deepening of artistic exchanges at home and abroad, the market and collection of Chinese fiber art will gradually take shape, providing more opportunities for artists to display and develop, and promoting Chinese fiber art to the world stage.

Keywords: Chinese contemporary fiber art, material, creativity, textile artists, traditional Chinese culture, fiber art market, connotation of oriental art, international textile biennales, fiber art, textile art

DOI: 10.7256/2454-0625.2020.12.32072

Abstract: The subject of this research is the work of the Austrian expressionist painter Egon Schiele “Levitation” (1915). Emphasis is placed on the phenomenological dimension of this work, for which was adapted and implemented the methodology of American phenomenologist Louis Lankford. This technique allows analyzing the work of visual art using the art criticism and phenomenological means simultaneously. It includes five successive stages: receptiveness, vectoring, bracketing (phenomenological analysis), interpretive analysis, and synthesis of acquired information. The research is of interdisciplinary nature, combines the methods of art criticism and methods of philosophical science. The conclusion is made that Lankford’s methodology allows analyzing the works of visual art from phenomenological perspective, being adjusted to the composition under review. This case requires the increased role of audience in post-artistic communication. At the same time, special attention should be given to the body as a medium for the information contained in the painting, and to the information received and interpreted by the audience.

Keywords: subjectivity, expressionism, Egon Schiele, Maurice Merleau-Ponty, perception, physicality, phenomenology, painting, Louis Lankford, art criticism

DOI: 10.7256/2454-0625.2015.2.13983

DOI: 10.7256/2454-0625.2015.2.66075

Abstract: The research subject of the article is one of the most significant art phenomena of the XXth century, performance art that involves synthesis of arts in one piece of art and it is well-known that synthesis of arts is the main feature of post-modernism, the symbol of the modern society. Performance art has been developing through the evolution of general art. The sources of performance art can be found in the syncretic ritual, Medieval street theatre and some theatrical performance of the XVth – XVIIth centuries during Italian Renaissance and Baroque. These sources are studied by Petrov in his article in detail. The research of performance art as an integral phenomenon is performed from the point of view of the historical evolution of art. The main advantage of the research is an opportunity to compare the sources of performance art and performance ideas of the XXth century. This approach allows to fully cover the research subject. The novelty of the research is caused by the fact that for the first time performance art is viewed not only as an art phenomenon of the XXth century but of the past centuries as well. Genetic prototypes of modern performance art were expressed in the syncretic rituals, dell’arte comedy and artwork created by Leonardo da Vinci, Gian Bernini and other artists, musicians and writers of the past.

Keywords: Art, art studies, performance art, happening, actionism (the action art), ritual, synthesis of arts, music, architecture, epatage.

DOI: 10.7256/2454-0625.2016.2.17919

Abstract: The subject of the present research article is the differences between the readymade practice in Marcel Duchamp's creative work and appropriation art. At the present time all researches of appropriation art touch only upon similarities between these two artistic practices. The author of the present article describes differences as well. These differences include: prerequisites for readymade and expansion of appropriation art; importance of the actualization of mass culture images for art through textual field; importance of aesthetica categories for artists and their creative work; and different positions of an artist with regard to his/her creative work. In the course of her research Schetinina has conducted the comparative analysis of similar phenomena in the art of the XXth century which allows to demonstrate their similarities and differences. The novelty of the research is caused by the fact that the author demonstrates peculiarities of appropriation as an independent phenomenon in terms of the development of American art of that period. The author describes the following peculiarities of appropriation art that make it different from Marcel Duchamp's readymade: the influence of post-modernist discourse viewing the art of modernism as the object of criticism on the expansion of appropriation art; work with conventions and cliches of culture, mass culture and advertising; creation of works which cannot be fully interpreted either from the linguistic or aesthetic points of view; and typical out-of-subject position of an artist.

Keywords: appropriation, American art, borrowing, context, Marcel Duchamp, mass culture, culture of the XXth century, readymade, contemporary art, quotation

DOI: 10.7256/2454-0625.2016.2.67611

Keywords: appropriation, American art, borrowing, context, Marcel Duchamp, mass culture, culture of the XXth century, readymade, contemporary art, quotation

DOI: 10.7256/2454-0625.2013.3.62833

Abstract: the article examines the historiography of perception of West European art by Russian travelers in the second half of VXIII century (by the example of reports by retired members of Academy of Arts) simultaneously with defining the stages of Russian study of Art development since the second half of XIX century to modern day. The author distinguishes the XVIII-century Russian travelers by groups according to social stratum and knowledge about art. The author illuminates the main stages of West European art familiarization during the journey: extramural acquaintance at home, forming of an artistic consciousness, direct perception, comprehension, confirmation by confirmation or revisal of knowledge, using the acquired impressions. Comparative analysis of Art study works on the topic at hand, as well as track logs of the travelers gives an impression that the issue is covered, and directions for further research are designated.

Keywords: Study of Arts, culture, West European art, perception, traveler, retired, Academy of Arts, Europe, Russia, XVIII century.

DOI: 10.7256/2454-0625.2016.3.17615

Abstract: The main purpose of the present research article is to summarize methodological peculiarities of art research. The author's approach to the topic has allowed to describe destructive and constructive aspects of defining methodological grounds for studying art and artistic forms from the scientific point of view. According to the author, the main problem is the unreasoned application of the so-called integrated approach and analysis. Not all researchers can handle this approach so their researches have methodological gaps. On the other hand, the author emphasizes the crucial role of the interdisciplinary approach in studying the phenomenon of art. The methodological basis of the research is defined by the systems analysis of arts in the human life and society. The main conclusions of the research are the following: 1) Reasoned and adequate application of the integrated approach and analysis is very important for studying the phenomenon of art. The idea of art studies as a plain combination of research methods and/or techniques makes it much easier to achieve the research objectives. 2) Interdisciplinary approach has certain advantages, however, important rules are to be observed in order to avoid the risk of obtaining declarative or invalid results.

Keywords: interdisciplinarity, science, methodology, art, cognition, integration of sciences, values, philosophy, society, culture

DOI: 10.7256/2454-0625.2016.3.67826

Keywords: interdisciplinarity, science, methodology, art, cognition, integration of sciences, values, philosophy, society, culture

DOI: 10.7256/2454-0625.2016.3.19081

Abstract: The main subject of the present research is the human ability to appeal to unconsciousness by means of creating action-plastic stage settings that allow the stage director to evoke necessary associations in the minds of the audience. These images are capable of changing the static character of one's world view of the reality into artistic action and image-bearing associations. According to the author of the article, the spiritual and philosophical basis of the theatricable way of thinking introduced by Clement Marty and his team of actors is a peculiar transformation of the reality of being into the sacral mysteric action. There is no personality in principle there. However, it is not a depersonalization. It is more likely to be a generalized archetypical image expressed intuitively. Unconscious displays of these images are a sublimate integration of the artistic imaginative vision into plastic action revealed in the original theatricable form. The article deals with artistic and aesthetic features of performances staged by the French equestrian theater 'Zingaro' of Bartabas. The author of the present article focuses on the analytical interpretation of the works of theatrical art created by Clement Marty (Bartabas) through the prism of anthropomorphism of the audiovisual, philosophical and psychological perception of the human cultural and historical experience initiated by the most noble animal, the Horse. In the course of her research Danilova has ued the systems approach, analysis and generalization. The new form of the metaphoric active-plastic expression established by the proper background music and lighting allows to convey information at the non-verbal level. This staging technique used at the plastic theatre allows to evoke certain emotion-and-action audiovisualization of unconscious images and fulfill the director's intention in a non-trivial way.

Keywords: art, mystery, tempo-rhythmic pattern of the role, symbol-mask, active-plastic philosophy of Being, creative anthropomorphism, clip thinking, artistic action and image-bearing associations, demonstration and performance skills, horse

DOI: 10.7256/2454-0625.2016.3.67827

DOI: 10.7256/2454-0625.2016.3.19130

Abstract: The subject of the present research article is the theatre education in Korea and associated problems. The biggest problem of the modern Korean theatre is the relationship between actors and directors based on traditional Confucianism and traditional patterns of behavior. Even though contemporary Korean actors receive their education at universities, Korean system of higher theatre education is still in the process of development. Except for some universities, most Korean universities do not have individual departments of acting, stage directing or theatre history but have only general drama or cinematographical-theatrical faculties. The researcher has used the comparative method to compare the Korean system of theatre education with the Russian system of theatre education based on Stanislavsky's method. The main conclusion of the research is that Stanislavsky's system Koreans are already accustomed to should be completed with Meyerhold's method which may contribute to the development of the national theatre because conditionality is the main feature of Meyerhold's method and the basis of the Korean national theatre. Enrichment of Stanislavsky's method with Meyerhold's pedagogical techniques can be useful for the Korean acting school and provide the key to success of a Korean student in the theatre world.

Keywords: professional theatre, Korean's mentality, Meyerhold, Stanislavsky’s system, Koreans, director, actor, Confucianism, Korean theatre, theatre education

DOI: 10.7256/2454-0625.2016.3.67828

Keywords: professional theatre, Meyerhold, Stanislavsky’s system, Koreans, director, actor, Confucianism, Korean theatre, theatre education

DOI: 10.7256/2454-0625.2014.4.12916

DOI: 10.7256/2454-0625.2014.4.65426

Abstract: The article is devoted to the analysis of a very important problem, the so-called ‘open form’ which is expressed in incomplete works written by authors of the past and modern age including post-modernism when the open form became the main principle of text creation. The other problem is the relation between different layers of the literary basis of a music piece. Based on the example of the opera (Puccini’s ‘Turandot’ in our case), the author of the present article shows that in the operatic work as a new creation that has emergent properties, it is impossible to separate the initial literary text which could have been viewed independently from the final result – music scores without the loss of the integrity of the operatic work. In his research the author has used the semantic analysis of literary texts, in particular, librettos; comparative analysis of various literary works and artworks that constitute the discursive basis of the opera under discussion and the critical – analytical analysis of sources. The research has an interdisciplinary nature and applies the art historical, literary and musicological approaches that view the operatic work as the part of the cultural environment. By studying Pucchini’s opera ‘Turandot’, the researcher distinguishes between an indeliberately unfinished work and a work created according to the non finito principle when a composition is deliberately incomplete. The researcher shows that the above mentioned technique had the esthetic grounds created in the middle of the 20th century and was used mostly in avantgardism and post-modernism.

Keywords: Art, opera, music, drama, music scores, libretto, art form, genre, finale, interpretation.

DOI: 10.7256/2454-0625.2014.4.65427

Abstract: The subject under research is the esthetic education as an important factor in formation of esthetic views and the system of values of a modern human. At the present time esthetic education is experiencing a crisis caused by the transformation of value orientations in a modern society and fragmentation of the cultural environment under the influence of both post-modernistic tendencies and global IT development. The need for esthetic education of a person of the 21st century is uncontroversial. The authors of the present research share their views and solutions of the problem. In their research they have used such approaches as the analysis of sources, diachronic approach to analyzing various systems of esthetic education, the philosophical and cultural approach to a number of cultural practices of modern times. The article is written in a form of a dialogue which allows to express different points of view on the problem of esthetic education and the role of esthetic views in the system of values of a modern human. Dialogue is an important form of a philosophical discourse allowing not only to compare different points of view but also to invite all those who are interested into the discussion and create the polylogue space for the discussion. The authors offer to create a new model of esthetic education that would combine both traditional approaches and cultural practices that have been popular among youth but haven’t acquired the institutional status.

Keywords: Esthetics, esthetic education, dialogue, emotion, perception, artistic education, empathy, information society, esthetic category.

DOI: 10.7256/2454-0625.2015.4.15062

Abstract: The subject of research is the work of a renowned American composer, music theorist, artist and a pioneer of aleatory (chance music) in electroacoustic music John Milton Cage (05.09.1912 - 12.08.1992), author of the famous "prepared piano" and the piece 4'33'', the comosition of 'music silence'. Conceived by the composer in 1947-1948, the piece became for Cage the epitome of his idea that any sounds may represent and constitute music. The composer developed the idea of expanding the space of the academic performance of concerts by the use of natural sounds as elements of the music that changed not only the notion of music but also the concept of the musical material. Music critics evaluated John Cage as one of the most influential American composers of the twentieth century and one of the leading figures of the post-war avant-garde. In his research Lipov has used the philosophical - aesthetic method for studying the diverse creative work of the composer that formed the basis for the evaluation of the piece 4'33'' as a model of the music of silence and examples of the and music of noise and aleatoric music because it forms random sounds of the environment . The author examines the experimental work of the composer as one of the most radical attempts in the history of music to transform the musical text, to extend the boundaries of the art of music and the use of new sound materials for composing music. The main contribution of the author's research is that the research fills in theoretical gaps in Russian academic literature on the art of music and aesthetics of music in relation to the creative work and personality of the composer. Moreover, this article is the first most comprehensive theoretical and aesthetic research devoted to the main musical composition of John Cage 4'33", the piece that fills an important niche in the history of music between the usual musical production and the sounds of nature. Cage's music consists of imitations of natural sounds and human voices which helps Cage to complete a brilliant musical process and overcome the cultural distance that has developed in classical music.

Keywords: 'extended musical instruments', 'random operations', aleatory music, creative work of a composer John Cage, American experimentalism, philosophy of music, acoustic sound, uncertainty principle, the music of silence, piece 4'33''

DOI: 10.7256/2454-0625.2015.4.66547

Keywords: aleatory music, creative work of a composer John Cage, American experimentalism, philosophy of music, acoustic sound, uncertainty principle, the music of silence

DOI: 10.7256/2454-0625.2016.4.19296

Abstract: This article is devoted to one of the important problems of instrumentation which is not yet explored – the problem of saxophone interpretation. It also reflects the basic scientific result of the master’s thesis under the same title. Based on the analysis of numerous works of composers living in different countries and different epochs as well as academic literature on the theory and practice of instrumentation, the author of the article discovers methods, peculiarities and trends in using a family of saxophone instruments in symphony orchestra compositions. The research was conducted based on the analysis of music scores of both applied and autonomous nature. The research covered only music pieces that had one or more saxophone parts. In the course of analyzing music scores, the author has traced back and defined peculiarities, methods and trends of orchestra saxophone interpretation typical for both the composer's individual style and the style of a particular culture-historical epoch. As a result of the research, the author has integrated data on interpretations of saxophone as an ochestra instrument. The author has also described how saxophone became famous in different countries and genres of music. Being used in French opera initially, by the beginning of the 20th century saxophone became famous with the composers from other countries and genres of music. In the process of the research the author has also defined peculiarities, methods and trends in the interpretation of saxophone as a symphony orchestra instrument.

Keywords: French composers, family of saxophones, composer, symphony orchestra, works, element of the orchestral texture, orchestra, saxophone solo, saxophone interpretation, saxophone

DOI: 10.7256/2454-0625.2016.4.68085

Keywords: French composers, family of saxophones, composer, symphony orchestra, works, element of the orchestral texture, orchestra, saxophone solo, saxophone interpretation, saxophone

DOI: 10.7256/2454-0625.2016.4.19309

Abstract: The subject of the research is the ethological aspects of Charles Drawin's theory of kinesics and their role in the art criticism of Heinrich Wölfflin, Aby Warburg and Ernst Gombrich. Special attention is paid to the analysis of applying kinesics as a non-verbal universal in the history of art. The researcher describes communicative and aesthetic functions of kinesics in art in relation to the mechanism of empathy based on the imitation function of the figurative language of graphic arts. Limanskaya analyzes views of Heinrich Wölfflin, Aby Warburg and Ernst Gombrich on the role of kinesics in relation to their views on the role of kinesics in the development of the emotional memory. Based on that, she traces back the connection between kinesics and collective unconscious as well as cultural archetype. The methodological basis of the research is based on the analysis of the role of sensualist ideas in the devlopment of evolutionary, psycnoanalytical, semiotic methods of studying the history and theory of art. The scientific novelty of the research is casued by the fact that the author studies the role of kinesics in the development of the figurative language of graphic arts. For the first time in the academic literature the author of the present article traces back the influence of sensualism, evolutionism and psychoanalysis on art studies of the 19th - 20th centuries as well as describes a number of parallels between ethology and art studies in relation to the communicative function of kinesics as a non-verbal universal of the figurative language in graphic arts.

Keywords: artistic image, collective unconscious, visual topos, cultural-historical archetype, kinesics, empathy, style, anthropomorphism, personification, imitation

DOI: 10.7256/2454-0625.2016.4.68086

Keywords: artistic image, collective unconscious, visual topos, cultural-historical archetype, kinesics, empathy, style, anthropomorphism, personification, imitation

DOI: 10.7256/2454-0625.2016.4.19484

Abstract: The object of the research is the pre-history of the development of Sino-European painting style at the court of Qing dynasty. The subject of the research is the social, historical and cultural background of the new style. Being the foreigners and the conquerors, the Manchu dynasty of Qing was less limited by Chinese canons in art and more susceptible to European influence. However, even during the previous epoch elements of Western influence were manifested in graphic arts including paintings which are also analyzed by the author of the article. The research methods include general scientific methods as well as specific scientific methods and principles such as the comparative principle, historical principles, system-oriented analysis, analysis and synthesis, induction and deduction; sociological, art history and semiotic approaches to analysis of visual artworks.The main conclusions of the research is that Manchurians who had conquered China rather fast became 'Chinese' in the area of art. There had already been a background for the development of the Sino-European style in paintings during Ming dynasty. Conquerors, ironically, created the conditions for the emergence of the new Chinese court graphic arts during Qing dynasty. The novelty of the research is provided by the following statement: when two cultures meet, progressive development of graphic arts of high artistic value is possible even in a conquered country, as it happened in this case, despite the fact that until recently paintings of Sino-European style had been considered as 'non-Chinese' and not possessing the authentic aesthetic features by many of fine art experts and had remained understudied.

Keywords: linear perspective, oil painting, landscape painting, narrative painting, funeral portrait, 'flowers and birds', chinoiserie, realism, Qing epoch, court painting

DOI: 10.7256/2454-0625.2016.4.68087

Keywords: linear perspective, oil painting, landscape painting, narrative painting, funeral portrait, chinoiserie, realism, Qing epoch, court painting

DOI: 10.7256/2454-0625.2013.5.9151

DOI: 10.7256/2454-0625.2013.5.63371

Abstract: It is known that in figurative system of art of the XX century totalization of problems of the modern world is observed. The present article is devoted to the new images of art which have been created during this century as a result of many artists, musicians and writing striving for epatage. Among such images, there is an image of Nothing (silence in music, one-color canvas without images in fine arts, zero in literature), hyperbolization of everyday items and accessories which does not seem that esthetic-looking at first sight, in verismo, naturalism, dadaism, ready-made, expressiveness, spontaneity in the capacity of such significant genres as happening and etc. It is noted that all these work certainly have an art concept, even despite the fact of their controversial esthetic importance and value. The author of the article analyzes examples from Marcel Duchamp, Kazimir Malevich, Allan Kaprow, Robert Rauschenberg, Andy Warhol, Jackson Pollock and John Cage artwork.

Keywords: epatage, art, music, fine arts, literature, concept, synthesis of arts, happening, image, innovations.

DOI: 10.7256/2454-0625.2013.6.10561

DOI: 10.7256/2454-0625.2013.6.64024

Abstract: Epatage in art of XXth century was a widespread and quite contradictory phenomenon that was described by many artists, composers, poets and writers but still cannot be clearly classified due to its diversity. However, the author of the present research article tries to give a classification of epatage artwork of XXth century from the point of view of observation or denial of linguistic expressive means. The main research method used by the author of the article is the analytical analysis of regular patterns of the artwork of XXth century and synthesis of the results into a classification. Epatage in art of XXth century hasn’t been sufficiently studied modern cultural researchers. Therefore the author of this article tries to compare major pieces of the epatage art and create their classification. For the first time in cultural researches the author views works created by V. Ekiomvsky, S. Zaniy, E. Brown, R. Haubenstock-Ramati and D. Cram from this point of view.

Keywords: art history, music, music of XXth century, epatage, classification, Ekimovsky, Zagniy, Brown, Haubenstock-Ramati, Cram.

DOI: 10.7256/2454-0625.2016.5.18404

Abstract: The article is devoted to the creative work of one of the most influential and contradictory figures in the history of music, American experimental composer of the XXth century, musical theorist, writer, artist, pioneer of aleatoric (accidental) electro-acoustic music and unusual use of musical instroments and the founder of electronic music that is based on accident and uncertainty as the essential and shape-generating element, John Milton Cage (5 September 1912- 12 August 1992). One of the first instrumental actions using aleatory music and noises of nature was his composition 'Water Music' that was created in 1952 for two 'prepared' pianos with the radio, water containers, card pile, stick, and a stop watch and used the sound of water as the main element of composition. It was one of the compositions that made John Cage popular around the world. Through denying deeply established composition principles, Cage rethought and essentially predetermined the experimental practice of music, thus changing the course of modern music and forming a new concept of the after-war art of the XXth century. The author of the present article views the composer's experimental creativity as one of the most radical attempts in the history of music aimed at extending the borders of music and applying new materials for composing and playing music. In the course of the research the author has used the philosophical aesthetic research method. The research methodology is based on the interdisplinary definition of such concepts as the uncertainy principle, choas theory, stochastic (probable) procedures, 'accidental operations', etc. The given article is one of the first one to provide an in-depth research of one of the most unique experimental compositions of Cage 'Water Music' and cover the theoretical gap in Russian academic literature on musical art concerning the composer's versatile creativity and personality. The author of the research makes a thesis that Cage created his own creative method that is based on the principle of managed accident, unity of life, nature and art, invention of new materials and instruments for creating and performing music. Along with other numerous theoretical and instrumental innovations that led the composer to the radical extension of the sound space and, in fact, changed the subject of the music in general.

Keywords: American musical experimentalism, uncertainty principle, stochastic procedures, 'accidental operations' , aleatory music, free musical form, 'extended musical instruments' , noise music, philosophy of music, Cage's creative work

DOI: 10.7256/2454-0625.2016.5.68266

Abstract: This article focuses on the study of the similarity of the circumstances of the art world in the Soviet Union and South Korea 1960-70s., when started to be formed the new movement in the history of contemporary art in the two countries. Because of different administrative and canonical obstacles to creative activity of young artists, who are not consistent with outdated principles of art, the artists of the new generation had to find a breakthrough from the stagnant state of the art scene in their countries. In the course of struggle to solve the problems, similar approaches are observed. In order to clarify and show the similarities, which were observed in the history of the two distant countries, the author uses the method of comparative analysis of historical materials. A special contribution of the author's research theme is that despite the great distance between the Russian Federation and the Republic of Korea, the author was able to find a common feature in the history of contemporary art of the two countries. In both countries, the same was observed commensalism amongst leading artists and the political authorities. Consequently, the artists of two countries whose work has been distant from the requirements of the official art world, had to develop a similar strategy for the resistance to the circumstances and for the survival of his courier as an artist. The use of open space was their general strategy.

Keywords: performance, actionism, comparative analysis, On-Wall Exhibition, Bulldozer Exhibition, contemporary art of Russia, contemporary art of Korea, Soviet recusant art, underground art of the USSR, art of the XXth century

DOI: 10.7256/2454-0625.2016.5.20397

Abstract: The research is focused on the analysis of the two understudied portraits of a religious figure, Hegumen of Novgorod Antoniev's Monastery of the 20s of the XXth century Vissarion painted by the Stalin Prize Winner Pyotr Konchalovsky. The purpose of the research is not only to provide an in-depth analysis of the portraits but also to extend the concept of Konchalovsky's creativity rather as a master of integral portait images created in the process of combination of the author's individual style and Russian national Christian tradition than an artist of color and shape. The researcher points out some specific interpretations of the aforesaid portraits by Soviet cultural experts. Starting from description of the historical background when those portraits were made, the author of the article also analyzes style, color, technology and composition and performs a comparative analysis of the two portaits. The author's contribution to the topic is the determination of the main role of the motive of the action in constructing an image of a clergy. The researcher compares the portraits to M. Nesterov's triptych 'Works of Sergius the Reverend'. As a result, Shokolo outlines the difference in searches for the spiritual ideal by modern artists. The researcher concludes that the artist deliberately created the integral image depicted in two mutually reinforcing genre paintings, thus achieving his goals through portrait. Konchalovsky depicts the clergy as a real man preaching eternal Christian values despite the tragic church crisis of the 20s. in conclusion the author describes a unique phenomenon of the artist's presenting his religious portraits at Soviet and international exhibitions.

Keywords: colour, spiritual ideal, Sergiy Radonezhsky, artistic image, Yurievsky temple, Vissarion- shoemaker, Russian painting, Pyotr Konchalovsky, portrait of the Russian clergy, the motive of the action

DOI: 10.7256/2454-0625.2016.5.68267

Abstract: In the early Christian and medieval art of Europe the Old Testament's story of the Fall was one of the most famous. Its iconography developed already in the III-IVth centuries. The composition was fixed and excluded any inessential elements. Every small detail was important and allowed an adequate interpretation and visualization of the biblical text. That being said, the absence of a common view when identifying and depicting such important parts of the plot as the Tree of Knowledge of Good and Evil and its «forbidden fruit» seems odd. The author of the article analyzes basic depiction methods of the «forbidden fruit» that were widely used in European painting of the III-XIIIth centuries. The classification proposed by the author includes three types of images that can be characterized in the following way: 1) absence of a visual fixation on fruit (the Tree of Knowledge of Good and Evil is either portrayed without any fruit or the fruit is indistinguishable and unidentifiable); 2) attempt to depict something abstract, a fruit that does not exist or is unknown to mankind (that is to say – an attempt to find a visual equivalent of the biblical definition of fruit); 3) identification of the "forbidden fruit" with the fruit that exists in reality. The author supports her iconographic analysis of a wide range of paintings by appealing to apocryphal texts, theological treatises, spoken and written legends. Despite the fact that iconography of the Fall had been already developed in the early Christian period, the common method of depicting the 'forbidden fruit' was not developed throughout the first centuries of European art. Following the text of Genesis, Bible interpretations and commentaries and oral traditions, the art of that time offered the answers not only to the questions about the image or the name of the «forbidden fruit» but also about its meaning and symbolism. They can be interpreted as a reflection of the socio-cultural context of the era, belief systems and values of a particular region of Western Europe in a particular historical period.

Keywords: visualization, depiction methods, the Fall, forbidden fruit, tree of knowledge, identification, European painting, biblical plot, genesis, medieval art

DOI: 10.7256/2454-0625.2015.6.16411

Abstract: The subject of research is the work of a renowned American composer, music theorist, artist and a pioneer of aleatory (chance music) in electroacoustic music John Milton Cage (05.09.1912 - 12.08.1992), author of the famous "prepared piano" and the piece 4'33'', the comosition of 'music silence'. Conceived by the composer in 1947-1948, the piece became for Cage the epitome of his idea that any sounds may represent and constitute music. The composer developed the idea of expanding the space of the academic performance of concerts by the use of natural sounds as elements of the music that changed not only the notion of music but also the concept of the musical material. Music critics evaluated John Cage as one of the most influential American composers of the twentieth century and one of the leading figures of the post-war avant-garde. In his research Lipov has used the philosophical - aesthetic method for studying the diverse creative work of the composer that formed the basis for the evaluation of the piece 4'33'' as a model of the music of silence and examples of the and music of noise and aleatoric music because it forms random sounds of the environment. The author examines the experimental work of the composer as one of the most radical attempts in the history of music to transform the musical text, to extend the boundaries of the art of music and the use of new sound materials for composing music. The main contribution of the author's research is that the research fills in theoretical gaps in Russian academic literature on the art of music and aesthetics of music in relation to the creative work and personality of the composer.

Keywords: The philosophy of music, American music experimentalism, creativity composer Cage's, aleatory music, "extended musical instruments", Acoustic sound, "random operations", the uncertainty principle, the music of silence, the play "4'33".

DOI: 10.7256/2454-0625.2015.6.67062

Abstract: The subject of research is the work of a renowned American composer, music theorist, artist and a pioneer of aleatory (chance music) in electroacoustic music John Milton Cage (05.09.1912 - 12.08.1992), author of the famous "prepared piano" and the piece 4'33'', the comosition of 'music silence'. Conceived by the composer in 1947-1948, the piece became for Cage the epitome of his idea that any sounds may represent and constitute music. The composer developed the idea of expanding the space of the academic performance of concerts by the use of natural sounds as elements of the music that changed not only the notion of music but also the concept of the musical material. Music critics evaluated John Cage as one of the most influential American composers of the twentieth century and one of the leading figures of the post-war avant-garde. In his research Lipov has used the philosophical - aesthetic method for studying the diverse creative work of the composer that formed the basis for the evaluation of the piece 4'33'' as a model of the music of silence and examples of the and music of noise and aleatoric music because it forms random sounds of the environment. The author examines the experimental work of the composer as one of the most radical attempts in the history of music to transform the musical text, to extend the boundaries of the art of music and the use of new sound materials for composing music. The main contribution of the author's research is that the research fills in theoretical gaps in Russian academic literature on the art of music and aesthetics of music in relation to the creative work and personality of the composer.

Keywords: the music of silence, uncertainty principle, American music experimentalism, philosophy of music, creative work of a composer John Cage, aleatory music, acoustic sound

DOI: 10.7256/2454-0625.2016.6.20702

Abstract: The subject of the research is the theory and practice of the gardening art of China during the period of the Myng Dynasty (1368-1644) when the gardening tradition reached the height of its development. The object of the research is the treatise 'Yuan e' ('Gardening') written by a famous practical and theoretical expert in gardening Ji Cheng (1582-1642?) as well as an essay 'Jan u Ji' ('About Things that Delight our Eye') written by a well-known writer Wen Zhensheng (1585-1645). The purpose of the research is to systematize artistic devices and analyze artistic principles which have predetermined the national singularity of the phenomenon of Chinese gardens. The art studies methodology was completed with the methods of semiotics, hermeneutics and cultural analysis. The author gives extracts from the aforesaid treatises in her own translation and offers new interpretations of the key terms there. Her analysis of the gardening tradition once again proves the unity of theory and practice that is so typical for Chinese art in general. The novelty of the results is caused by the fact that the author clarifies the content of theoretical postulates about Human having the right to actively transform Nature through the art of landscape design which creates prospects for better understanding of the status and role of Human in the traditional Chinese culture in general.

Keywords: jie jing, jing dian, yang sheng, binglei, penjing, dengfen ping, jin you, jingmian qiang, danzi wo, fengshui

DOI: 10.7256/2454-0625.2016.6.68504

Keywords: jie jing, jing dian, yang sheng, binglei, penjing, dengfen ping, jin you, jingmian qiang, danzi wo, fengshui

DOI: 10.7256/2454-0625.2016.6.21356

Abstract: The subject of the research is the first stage in the active acquaintance of the Russian audience with Spanish art during the first half - the middle of the 19th century. According to the author of the article, this is a very important period because it was the time when the main approaches of Russian art studies to Spanish painting developed. The author analyzes responses and perception of Spanish art by Russian writers, artists and first scholars in art history. Writers discussed by the author are Botkin and Brullov and a scholar is Somov. The research method used by the author of the article involves comparison of evaluations of Spanish painting demonstrated by different people, representatives of literary groups, artists and the first representatives of new Russian art studies. The main conclusion of the research is that studies of Spanish images and styles were rather discrete. A major art critic Somov, for example, whose researches combined aesthetical and artistical approaches, expressed his admiration by the imaginary side of Spanish painting and dissatisfaction of its stylistic patterns. Evidently, Russian science was still to come to understanding that there was an inextricable connection between the former and the latter in Spanish painting of that time.

Keywords: Zurbaran, Ribera, Murillo, Velazquez, images, style, Spanish art, Somov, Botkin, Brullov

DOI: 10.7256/2454-0625.2016.6.68505

Keywords: Zurbaran, Ribera, Murillo, Velazquez, images, style, Spanish art, Somov, Botkin, Brullov

DOI: 10.7256/2454-0625.2016.6.21448

Abstract: The subject of the present research is the society Compagnie della Calza and their role in the life of the Venetian Republic of the XVth - XVIth centuries. Very little is mentioned about Compagnie della Calza in Russian academic literature while descriptions of the unions of young noblemen may considerably complete the picture of the cultural life of Venice during Renaissance. The logic of existence of such unions in Venice of the XVth - XVIth centuries is explained by the fact that they were completely congruent with internal and external policy of the Republic's government aimed at supporting the so called Venetian myth. As a result of rare researches devoted to Compagnie Della Calza, the author has used the interdisciplinary approach to her studies. Ezernitskaya has conducted an analysis of the historiography on the phenomenon of Compagnie Della Calza. For the first time in the Russian academic literature the author views the reasons of appearance and the nature of activities of the representatives of those 'gilded youth' membership clubs'. Based on the analysis of archive materials related to Compagnie Della Calza's activities, the author defines new trends for further researches of plots and themes depicted in the artwork of such Venetian artists as Gentile Bellini, Vittore Carpaccio, Giorgione, Titian and others.

Keywords: Titian, Vittore Carpaccio, Gentile Bellini, sumptuary laws, venetian art, Renaissance, Venezia, Compagnie della Calza, Giorgione, la Tempesta

DOI: 10.7256/2454-0625.2016.6.68506