Articles

The article discusses the scientific grounds for studying the artistic and figurative originality of the Ugra costume ensemble, the features of the aesthetic understanding of the world of the inhabitants of the region, the reflection of artistic objects in things of the world, the uniqueness of their compositional structure.

The preservation of a special attitude to the costume and jewelry among the Khanty and Mansi is due to the figurative meanings invested in them over the millennia, which were born in the process of understanding by a person himself and the world around him, and determining his place in this world. In assessing the potential of a costume as an object of art, scientific, cultural, and technological aspects matter. The general regularity of the costume of the Ob Ugrians can be clearly traced from the Bronze Age. It was a world-historical process of widespread distribution of agriculture, animal husbandry and metallurgy.

The ancient authentic basis of the material things of the Khanty and Mansi is a very important factor for considering the art-figurative archetype in the culture of the two peoples by means of art.

The article is devoted to the study of jewelry from the point of view of the use of material in the chronological framework of epochs and styles in order to identify preferences in the trends of material selection, some methods of its processing, partly the stylistic relationship of materials in one work. The epochs proposed for consideration are from primitive art to the general characteristics of the twentieth century.

The choice of epochs and territories is based on the bright stages in which the characteristic features of the style in jewelry, trends of change or the importance of preserving the use of the material began to manifest. The article also presents the characteristics of the main forms of jewelry of each era under consideration and the functional load of these products, which largely determined the material.

The socio-cultural justification of some phenomena in the creation of jewelry is also touched upon, but this study shows one of the angles in the study of jewelry, which implies further research of forms, technology development, and their interrelations in the object under study.

The article deals with the phenomenon of the perception by the artists of the Weimar Republic of the classical heritage of the masters of previous centures. The reader is offered an attempt to comprehend the semiotic properties of the concept of "classical" and the attitude towards it on the part of German painters of the interwar era. The author substantiates the relevance of this issue from the perspective of state policy and the specifics of modern scientific interests.

The article considers the works of artists of different directions within the realist art of the 1920–1930s, verists (O. Dix, G. Gross, K. Hubbuch, G. Scholz, R. Schlichter, M. Beckmann) and neoclassicists (K. Schad, W. Peiner, E. Rüter-Rabinovitsch), taking into account their avant-garde past and "degenerate" future. In the course of reviewing the artistic material, several levels of appeal to the heritage of old masters were revealed, from imitation of the form of a medieval altar painting — a triptych, a complex semantic interpretation of meanings, to direct quotation, from sharp satire on modern society to exquisite humor directed at ourselves.

In conclusion, the author notes the paradox that, studying the works of artists of the new objectivity and those samples, the interpretation of which was the basis of many of the iconic works of the era, it turns out that in her eyes the concept of exemplary is related mainly to those periods of world art (Northern Renaissance, Romanticism, impressionism), which classical art history interprets as non-classical.

The purpose of this article is the manifestation of the influence of V.V. Kandinsky on the artistic processes in China in the 20th century. There is a resonance between Eastern aesthetic and philosophical conservatism, the centuries-old Chinese traditions of the symbolic expression of worldview meanings and individual experiences in landscape, still life, animalistic, plot and everyday compositions, and the revolutionary innovations of the generally recognized pioneer of Western non-objective art.

The phenomenon of this paradoxical resonance explains the rapid spread in an extremely inert cultural environment of the methods of alien abstract expressionism as a self-sufficient system of abstract pictorial-spatial relations: color, light-tonal, linear-rhythmic.

Thanks to the charm of innovative painting in combination with a program of original theoretical provisions, the work of V.V. Kandinsky performed the function of a conductor of abstractionism and modernism. Moreover, it helped Chinese artists to return to the national foundations and show their value to the world, the prospects for the humane humanity of the 21st century.

Early Russian symbolism as, in general, the art of the last quarter of the 19th century, characterizes by the process of a kind of "modernization", during which the layers of culture of the beginning of the century, primarily romanticism, excluded from the semiotic space, are returning again to the art on new ontological grounds.

Due to the romantic heritage, the art of symbolism, as a "transitional" one, gets at its disposition symbolic tools that correspond to the mythological way of organizing socio-cultural space.

In the article, using the example of M.V. Nesterov's work, it is shown how the inner concept of symbolism expresses via romantic allegory, carried out as a conscious, intellectual activity of the artist.

The article is devoted to establishing and depicting the development of the scheme in the iconography of the Christian Saint Mary Magdalene, where she is depicted as a separate figure with her main attribute — an alabaster vessel. With the development of iconographic creativity in Christian art and the spread of the cult of this holy form, the plot composition is affected and independence is gained in cult art.

Particular attention is paid to the process of secularization in cult art, as a result of which the detached and "non-local" prayer images begin to form in realistic transformations that reveal a portrait resemblance to patterns. As a result, there is a change in artistic means, and with them the nature of the image, and its semantics. In this regard, the portraits of the masters of the Northern and Italian images of the Renaissance are studied, in which Mary Magdalene finally acquires a secular character and turns into an allegorical portrait, typologically comprehensive in such a close portrait genre as the "portrait of a beauty".

Through the analysis of the comparative composition, the composition between substances, types of images in accordance with their purpose, the manufacturer as a book miniature, an altar polyptych and an easel painting.

The article deals with the principles of the creative method in the art of Titian Vecellio, the gratest painter of Venetian Renaissance, investigated on the base of analysis of two his paintings, "Crowning with Thorns", created at different stages of his life. To understand it in proper way it is possible to use in this respect the terms of classical rhetoric, which could be useful to deny some processes and principles of his work. Such a method helps to study them in the context of aesthetical polemics of mid-XVIth century on the merits of the two main Italian Renaissance schools of painting, Central Italian and Venetian.

The article attempts to focus on the so-called "places of power" on the way of St. Andrew the First-Called through the territory of ancient Russia. The presence of various underground tunnels, wells and caves in the places of the Holy Apostle's stay is noted. The Valaam archipelago in Lake Ladoga, which has become the spiritual center of the Ladoga lands, is considered in more detail. The analysis of the peredvizhnichestvo of St. Arseny, the founder of the Konevetsky Orthodox monastery on Ladoga, is carried out. As a result, it can be assumed that Christian missionaries were sent precisely to the "places of power" of ancient civilizations living in the Northern regions of Eurasia. Thus, a kind of continuity was obtained in the location of Orthodox monasteries and religious centers of previous eras.

The article analyzes the intermediate components of S.N. Durylin's articles from the period of his work at the State Academy of Art Sciences: «Landscape in the works of Dostoevsky» (1926), «Cimmerian landscapes Max.Alex.Voloshina in verse» (1927). In these theoretical articles, the author shows how the problem of intersemiotic correlations can be solved by analyzing the language of literature with the language of painting. S.N. Durylin consciously avoids describing figurativeness by means of literary studies alone, when considering the ontological landscape of oblique rays in the works of F. M. Dostoevsky, he tries to attract the tools of painting and creates a landscape symbol.

Thus, the writer implements the idea of showing a dialogue between two arts, where the languages of the two arts, without merging, but synthesized in a special way, become a declaration of intermediality. S.N. Durylin demonstrates intermediate correlations at the level of projection of conceptual models of one art form into another (sound painting, landscape remark, landscape symbol, landscape frame, etc.).

The writer sought in the process of analysis to create such a specific language that would take into account the meanings of a multi-layered artistic statement. The appendix to the article for the first time publishes theses and debates on the report of S.N. Durylin «Landscape in the works of Dostoevsky» based on the materials of the Russian State Archive of Literature and Art.

Canonical conventions are typological spiritual syntagmas of different epochs and presented in the form of "canon / canons", depending on the understanding / reading of the Image of the World by a person, in connections and relations with which he and humanity are, and part of which he and society are. In a generic sense, the Canon in art is characterized by the image of a referent or an object of worship. The canon is established with all the obviousness of the banner. This happens at the turn of great epochs and materializes in a special way in the trinity of factors of the "matrix of being": the social organization of society, the technological level of production, the idea of the spiritual, ideological content of life.

The canon-"morph" in the art of the Paleolithic is expressed mainly in the worship of objects of the biocenosis. In the Mesolithic, Neolithic and Metal Ages, "morph" replaces the canon "morpheme" in the form of a cultural archetype of the Image of the Universe, in which there is a person and an entity that created the world, with which a person is connected with the help of a sacrifice. Such an Image of the World has come down to us in the structure of language, myth, fairy tale. It is deployed vertically and horizontally in the levels of aboveground and underground space and is presented in various mythopoetic models of the created world. This structure persists into the Neolithic and Metal Ages, but is refined in the details of cultural lore. Ancient civilizations preserve the figurative mytho-morphological context of the Universe as a system, but within them a canon-"metamorpheme" is born, in particular, the Abrahamic monotheistic idea of the Image of the World, and in a number of regions and cultures its monastic model, recognizing the existence of only one substance or one type of substances.

In monotheism and monism, the idea of a plurality of mythological worlds is abolished, and the image of the referent changes accordingly - in one case it becomes the Personality of the Creator, and in the other, it becomes an extrapersonal, extra-spatial and timeless "substance", defined in Buddhism by the category "nirvana". The former canonical structures do not disappear, but they are subordinated to the new laws of the objective and subject content of the Image of the World. Since the New Age, a special modality of the medieval canon has arisen — the "anthropomorpheme" as the scientific center of the Picture of the World — a predicate in which a person is recognized as its intellectual center. This figurative line in the 20th century forms the basis of another predicative — the "subject"-canon, a marker of a daring attempt at the subconscious construction of the Image of the World, that is, in the paradigmatic model of its presentation. Today, all canonical forms are present in world culture.

The article continues the study of the little-known phenomenon of Leonardo da Vinci's creativity — his innovative works in the field of scenography. In the fourth part, Leonardo's handwritten and iconographic materials for the proposed Milan production of «La Fabula di Orfeo» on the text of the pastoral drama by A. Poliziano are analyzed in historical, textual and art criticism aspects. The author turns to the analysis of Leonardo's drawings, fragments of his notebooks related to the development of stage space, stage mechanisms and stage plasticity of this possible production.

The author is based on the methodology of complex textual, iconographic and art criticism analysis, which makes it possible to show more deeply the historical significance and place of Leonardo da Vinci's scenographic works in the culture of the High Renaissance, in the formation and development of complex scenography as an iconic ensemble.

The author comes to the conclusion that the scenography of «Orfeo» is a key stage in the evolution of Leonardo's scenographic thinking. The constructive organization of the game space, embodied in the production of «Orfeo», transformed not only all the previous types of constructive and decorative design of the playground — aggregate and simultaneous, but also foreshadowed a new path of development of European scenography — the spatial and temporal perception of theatrical performance.

Over the three decades of the new Russian history, the science of folk art has experienced significant losses in the perspective of art history — along with the liquidation of the system of factories of art goods, the Ministries of local industry as management regulators, the technological resources of the folk arts and crafts industry have suffered, as well as the scientific environment — the Research Institute of Artistic industry and the museum was disbanded, created on the basis of the former Commercial and Industrial Museum of Handicrafts of the Moscow Provincial Zemstvo (1885), the purpose of which was to promote the development of handicrafts. In 1946, the museum was renamed the Museum of Folk Art NIIHP. At the same time, regions began to show interest in folk art, apparently in the search for what is called national and cultural identity, which was reflected in the initiatives of the Governments of a number of Republics to create network projects for the "revival" of folk arts and crafts in the regions, as well as educational methods of studying in systems education and school programs. Of great importance is the work in a number of regions on the formation of materials that include a description of the heritage and, which is very important, dictionaries and encyclopedias. The article describes the experience of creating the Encyclopedia "Udmurt Republic: Arts and Crafts" as one of the regional schools of the Russian Federation.

Chinese culture is the only cultural civilization in the world whose life has not been interrupted for millennia. 56 nationalities formed a single image of the country, but each of them formed its own language, its own customs and traditions, religion, culture. The fate of the peoples of the northern part of China, the Mongols of Inner Mongolia, was not simple. From generation to generation, they have built their civilization and do this to this day, being brilliant representatives of the diverse culture of not only China, but the whole world. For the Mongolian people, dancing to music is a concept inseparable from life. The article discusses the development of the Mongolian folk dance.

The following methods of scientific research were used in this article: Observation, which allowed to study this type of dance and its features, as well as deduction, because during the analysis, we looked at the dance as a whole, subsequently moving to the analysis of a specific genre, namely Mongolian folk dance.

Dance has always held significant place in the daily culture of the Mongols in northern China, originating from basic human needs for work, play, and hunting. It became an expressive medium to understand and connect with culture. In Chinese culture, dance is vital to public consciousness, reflecting the people's aesthetic aspirations and national spirit. The dance art of Inner Mongolia, China has a long history with unique genre, choreographic, and aesthetic features developing through each historical epoch. It assimilates elements of folk dance, acrobatics, and martial arts. Props like fans, swords, and sleeves are common, often used to express feelings and experiences. Mongolian dance in Inner Mongolia, known for its purity, fairness, and grace, fosters new cultural trends and creates a culture of purity, compassion, and beauty. Therefore, the choreographic culture of Inner Mongolia is a heritage of its people and holds value for the global community.

The article analyzes «Winter Dreams», a ballet in one act by K. MacMillan, based on Chekhov's play «Three Sisters», staged in 1991 in the UK, in the context of interpreting the literary source on the ballet stage. The idea of the ballet is revealed, the dramatic and musical foundations, the set design, the features of choreographic dramaturgy, and the artistic methods compared with the choreographer's personal style are analyzed. The research provides a brief overview of the theatrical productions of «Three Sisters» in London, in the context of the approval of Chekhov's works in the English classical repertoire of the XX century. The author explains how the internal structure of the ballet meets the compositional complexity of the original play and how Chekhov's psychology is remained in the conditions of the ballet genre. It is noted that the choreographic dramaturgy principles used by K. Macmillan hide the linear development of the action, and escape the interpretation excessive illustrativity. It is also specified that the musical score in the form of mixing piano pieces by P.I. Tchaikovsky and Russian folk music supports a «Chekhovian genre», characterizing personal states of mind, and reflecting the reality in its comical ordinariness; and the characters are presented through a life prism and are truthfully revealed by the choreoplastic nuances. In conclusion, the article's author notes that the choreographer's experience looks credible, characterizes the mutual influence of cultures in the ballet directing, and the interpretation itself marks the rejection of a direct recreation of the plot with the help of artistic methods and the transformation connected with the literary source rethinking and conceptualizing in European choreographic art.

The article deals with the nature of the choreographer's appeal to the themes of the 18th century, which rarely becomes the subject of scientific research, the features of his work with the material in the conditions of a recognizable (largely acquired the so-called "canonical" appearance in the course of his activity) stage embodiment of a ballet performance of the second half of the 19th century with its inherent features - the structure of the action, operating with complex choreographic forms, great diversity in the part of the main performer. In the course of studying the creative heritage of Petipa, a hypothesis is revealed about the choreographer as one of the creators of the theatrical myth of the 18th century, who shaped his stage image among the public, which later became generally accepted, develops the very principle of aesthetic perception of history in the auditorium. The problem of recognition, which is especially relevant for the ballet theater, is investigated, which allows the viewer to perceive what he sees, correlating the impression he received from the performance with the well-established image of the past era that exists in his mind, characteristic of a person in the second half of the 19th century, i.e. separated from the epoch under consideration by a sufficient temporal distance. For the choreographer, brought up in the French tradition, as well as for his Russian audience, a sense of historical authenticity is combined in one production with "variations on a rococo theme."

The author analyzes Petipa's productions, in one way or another correlated with the historical material of the 18th century, created over four decades from the early one-act ballet The Parisian Market (1859) to one of the last creations, the pantomime The Heart of the Marquise (1902).