2023.1/2

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.

The article is devoted to topical issues related to teaching Chinese students of fine arts. Due attention in the work is devoted to the general didactic principles of teaching students.

From year to year, there is a growing need for methods that contribute to the intensification of the educational process of preparation in the context of expanding intercultural communication. Russian-Chinese cooperation is of particular importance in this regard.

The development of a conceptual framework for arts education should be carried out taking into account the details of each of the three areas: academic, traditional and innovative. Because these differences are of a qualitative nature and cannot be carried out on a single philosophical, didactic and technical basis.

The purpose of this article is to reveal the world of Chinese nephrite miniature, to give an insight into the art of carving on semi-precious stone as one of the oldest artistic practices of benevolent culture in China.

Traditional themes, types, carriers of well-wishes and specificity of approaches to their interpretation in the lower segment of sculpture size range are shown, taking into account the unique pictorial and textural possibilities of each piece of nephrite. The work of the symbolic sense-making mechanisms in the construction of subjects, the benevolent symbolism plot synthesis logic with the help of the configurations of speech expression is traced. The specific forms of spatial implementation question of this synthesis is considered.

On the example of the collection created by the masters of modern jade crafts in the Xuyan region, the whole variety tythe whole arietypology of jade miniatures as single and complex plastic metaphors is established. In turn, with the help of cultural-historical, semiotic, formal-compositional analysis the types of complex metaphors as compositional solutions of greater or lesser spatial development, static or dynamic character, with the participation of one or more dominants are identified.

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.

E.V. Denisov entered the history of music as a bold innovator, generator of new ideas, theorist and researcher of art. The author of the article analyzes the piano miniatures written by E. Denisov in the 1960s–1980s in the context of the composer's innovative concept in the field of musical genre, style and compositional technique of the 20th century. Piano miniatures were for E.V. Denisov the deepest way to express the soul, thoughts and emotions, as well as a source of inspiration in his new creative searches.

The works of different years contain detailed, emotionally filled melodies and a special rhythmic system: asymmetric combinations, timed and non-timed rhythmic forms, rhythmic harmonic sequence, as well as "seriality". They have a combination of rich texture, a new sense of sonic geometry and a unique musical organizational space.

The article summarizes the considered features of E. Denisov's piano miniatures, which are full of contrasts, including the combination of traditional spiritual foundations with new techniques of composer's writing, allowing to embody new ideas for which traditions have become a source of inspiration and motivation.

The article is dedicated to the musical and poetic creativity of the talented Russian songwriter of the late XIX — early XX century M.I. Ozhegov. It is emphasized that, being a native of the peasants of the village of Mikhino in the Nolinsk district of the Vyatka province, Ozhegov knew the life of a poor peasant well and spoke about it with great sympathy in his beautiful poems and songs. M.I. Ozhegov did not have the opportunity to receive a systematic general and musical education and received all knowledge mainly through self-education.

The self-taught poet wrote more than a hundred "songs in the spirit of the people of his region", some of which, having high artistic merits, became popular songs and romances and were included in the repertoire of such outstanding Russian singers of the past as F.I. Chaliapin, S.Y. Lemeshev, N.A. Obukhova, A.V. Nezhdanova. They are still heard today in the concert programs of modern "romantics of romance".

The article discusses the most important milestones in the biography of Ozhegov, who went through a difficult life path from a peasant from the Vyatka hinterland to a famous Moscow poet-songwriter, author of several poetry books, compiler of popular collections of songs published in thousands of copies, an active participant in the Surikov literary and musical circle. The article highlights the history of the creation and song existence of the best works of Ozhegov's musical and poetic heritage, which received a second life as songs and romances, became almost folk. It is noted that the merits of M.I. Ozhegov in the field of poetic creativity was evaluated by the "Literaturnaya Gazeta" 1930, calling him "an original and probably the only song writer in Russian literature".

The article presents the main trends in the development of modern Russian opera remake, a concept and term introduced into musicological practice by the author of this study. The definition of an opera remake has been clarified. The author considers the philosophical concept of «possible worlds» to be the basic reason for the emergence of this type of opera.

Literary and film criticism works devoted to the remake are analyzed. Their study made it possible to extrapolate some positions of the theory of a literary remake into the field of musical stage genres, in particular, into opera. The conditions for the extensive development of the opera remake at the beginning of the 21st century are revealed. The analysis of the works of G. Korchmar («NIGENO YIENEGVE»), V. Kobekin («Hamlet»), I. Yusupova («Don Juan's List of Don Juan»), S. Levkovskaya («Carmen-perezagruzka») belonging to this genre is presented.

The typology of opera remakes of the named composers is given. The narrative, genre and plot transformations underlying the typology of the works under consideration are described. As a result of the analysis of modern Russian opera remakes of the early XX century. the author comes to the conclusion that they represent all types: pseudo-remake (remake-reinterpretation) and postmodern remake (remake-deconstruction and destructive remake).

The article is devoted to the influence of the traditions of the Moscow Art Theater on the literary and critical-journalistic creativity of I.L. Andronikov.

The oral stories in which Andronikov creates images of prominent figures of Russian stage art — A.A. Ostuzhev, V.I. Kachalov, F.I. Chaliapin, — using the skill of getting used to the character of thought, plasticity of the hero, reproducing the syntax of his speech, the timbre of his voice, gestures, creating a portrait that can be recognized not only by those who knew the prototype personally, but also by those who recognize him only in the narrator's transmission.

In this regard, some aspects of the author's conception and embodiment of oral stories are highlighted in the light of the provisions of the Stanislavsky System, such as "the truth of experiences", "the film of the role", "the method of physical actions", perceived by Andronikov through direct observation of the art of the founders of the Moscow Art Theater in its heyday. The phenomenon of the synthesis of musical arts in the creation of artistic images is outlined.