2025. 4

The article analyses the aspects underlying the process of constructing a virtual personality within the situation of total digitalization brought to all spheres of human life, including social interactions, culture and art, and creative process. Using methods and tools of deep semiotic analysis and sociological research paradigms, the authors study key structural components of virtual personality (avatar, profile, digital footprint, virtual personality, digital identity, online persona), elaborate a typology of virtual personalities (alter ego, idealised self, experimental identity), and critically overview the mechanisms of constructing virtual personality (selective self-representation, narrative identity in digital environment, and virtual representation). The focus of interest in the analysis is the influence such factors as social context, platform specifics, and cultural paradigm produce on a virtual personality constructing and the preference of a self-presentation strategy. In conclusion, the authors highlight that an adequate study of virtual personality construction requires elaborating and implementing interdisciplinary approaches based on the integration of traditional and digital methods.

One of Winckelmann’s most enigmatic judgments about ancient painting is examined from the point of view of contemporary theories of auto-communication and the mask of silence. Winckelmann suspected the ancient painter Parrhasius of lacking painterly effects, which caused his grace not to manifest itself in everything, despite the impeccability of his talent. The authors argue that Winckelmann proceeded from different modes of considering ancient art, not only direct contemplation but also ecstatic peeping. For him, what was essential was not only what glitters with perfection, but also what catches the eye. We apply the method of contextualising Winckelmann’s legacy. Winckelmann, in describing antique sculpture, was at the same time equal to the practical ways of describing drawing (‘disegno’) and to the theoretical parameters of characterising the expressiveness that prevailed in the era of Mannerism. In doing so, he did not speak of Mannerism; Mannerism remained the null signifier or blind spot of his system. This allowed him to ideologise drawing as an expression of pre-established harmony. But as soon as he confronted the obscure points of ancient art theory, he introduced dynamics, the interactive spinning of plastic choices, which makes him a forerunner of contemporary art with interactive space installations and the poly-screen. Winckelmann’s mimetic theory included an ecstatic element comparable to later theories of ecstatic or affective experience. This allowed him to characterize ancient painting in a consistent way, discovering its pathetic character. Nowadays, his ideas are essential for understanding the switching of modes in the contemplation of painting, from mere fascination to enhanced performative communication.

The article offers a comprehensive analysis of the artistic language typical of traditional Chinese painting, highlighting its unique semiotic and aesthetic characteristics. It explores how spiritual meaning is conveyed through the technique of free brushwork, the intentional use of empty space, and the profound symbolism of key motifs such as the lotus, peony, dragon, and phoenix. Particular attention is paid to the evolution of styles and techniques reflecting the transition from primitive forms to complex expressive compositions, as well as the role of traditional art in shaping national identity.

The article deals with children’s drawings considering them as a source of inspiration for artists. The study employs an interdisciplinary approach, focusing on characteristics of children’s drawings and their potential to contribute to professional artistic creativity from the viewpoints of art history and psychology. The position that children’s drawings might influence many artists is based on two sources. First, several studies provided by art historians address this impact. Second, documented oral and written testimonies of the artists themselves prove this influence. It is commonly accepted among art critics that children’s drawings may often serve as a reference in various artistic fields. However, this perspective tends to rely on an overly generalized and simplified, thus inaccurate, understanding of the nature of children’s drawings.

Artists frequently express opinions about their own work and often claim children’s drawings as a source of inspiration, emphasising the importance of maintaining a childlike perception of the world. Nevertheless, such statements should be taken with some skepticism. Artists’ remarks on this subject tend to be subjective and emotional, reflecting the nature of artistic creation and self-description, rather than providing reliable material for scientific analysis.

The author concludes that specific features of children’s drawings indicate that they cannot directly serve as source material for adult artists’ creativity. Children’s drawings are based on egocentric thinking inherent to children but alien to adults. Moreover, children’s drawings exhibit qualities absent in professional artworks. Therefore, the influence of children’s drawings on adult artists should be considered as distant and indirect.

The article aims to offer a detailed analysis of the artworks by the German artist Kate Diehn-Bitt. The performed analysis considers the broader context of the period — social and cultural changes unfolding in Europe — and focuses on the perception of female identity. The article examines the paradoxes of modernism, emphasizing the dual nature of artistic activity: the desire for self-expression, on the one hand, and the existence of certain aesthetic norms, on the other. The key objective was to study the artist’s portraits through the lens of gender, as well as examine their iconography and semantics within a complex socio-cultural context. Kate Diehn-Bitt’s works reflect the traditional social roles women played, such as mothers and wives, while considering them from the standpoint of a woman painter, which shapes their perception. The very fact of turning to figuration places her works (mainly portraits and considerably fewer genre compositions) among the masters of new materiality. However, she also significantly stands out due to an unusually lyrical tone of her works, encouraging the viewers approach seemingly familiar motifs from a different perspective. Many of her works show archetypal images; by addressing this theme, the artist questions the possibility of female self-expression in the 20th century society. The author concludes that without radicalising the topic, nor turning to resonant motives, Kate Diehn-Bitt managed to become one of the main exponents of the true self-awareness of women of her generation. Namely, of the mid-20th century European women who, were not deprived of their original essence after getting “freedom of speech”, but rather acquired further opportunities to do achieve their aims, play a significant role in political and social life, as well as to act as an equal partner.

For the first time in Russian art criticism, this article examines the history of the creation and exhibition activities of the association of Italian painters “Modern Artists of Reality” (1947–1949), identifies the most striking features of their painting practice, and defines the creative individuality and identity of each participant in this group. The article analyses the Manifesto of the “Modern Artists of Reality” movement and its basic provisions, which allow us to determine the goals and motivations behind the association’ formation. It traces individual trajectories of each group member in adhering to the principles of the Manifesto, as well as their subsequent artistic careers as ‘artists of Reality’. Both movement-related documents and their artworks were used as materials for the study. The author employs a comprehensive interdisciplinary approach to outline the creative methods of the association’s participants. The conclusion addresses the reasons for the association’s dissolution and assesses the contribution of the ‘artists of Reality’ made to post-war Italian visual art. Moreover, the article discusses the contemporary demand for their artistic heritage and its actual reception in the early 21st-century art world.

The article explores Xiangtun Xi, a traditional musical drama from the border region of Yunnan Province, China, preserved in Baoshan. The most complete surviving form of ancient local art and culture, Xiangtun Xi originated from primitive shamanistic rituals, combining early religious practices with unique local drama. Considering legends and the historical context, the article examines how regional language, customs, and traditions shaped the development of Xiangtun Xi drama into a distinctive musical genre. Furthermore, the author highlights the drama’s role in expressing ethnic identity and embodying humanistic values, underscoring its significance in the cultural heritage of the borderland communities.

The article focuses on studying the origin and existence of urban romance song melodies used by Igor Stravinsky in the musical score of his ballet “Petrushka” (1910–1911). It examines the most important events surrounding Stravinsky during the creation of the ballet score, which is considered one of the composer’s unsurpassed masterpieces. Various opinions about the ballet are presented, including a controversial statement by Stravinsky’s contemporary, Sergei Prokofiev. The article outlines how Stravinsky employed new artistic means to create a vivid and noisy sound palette of the Maslenitsa festivities in St. Petersburg of the 1830s, with street melodies taken from urban folklore serving as the centerpiece. Among such melodies was the song “Chudnїy mesyats” [“A Wondrous Moon”] written by the poet and songwriter M. I. Ozhegov (1860–1934) — which is specially highlighted. The author draws attention to the gap in musicological studies: though being part of the ballet “Petrushka” score, Ozhegov’s urban romance has lacked a musical analysis, as well as detailed information concerning its creation and authorship. The article fills this gap, clarifying and correcting the currently available information in the studies related to Stravinsky’s composition.

This article studies the way natural geography, regional cultural identity, socio- economic factors, historical continuity, and lyrical musical traditions contributed to the development and aesthetic character of Kunqu opera. The material is analysed through the lens of cultural and artistic geography. The authors argue that Kunqu’s emergence in its historical context and its continued relevance today were conditioned with markedly Chinese cultural elements. Being a foundational condition for human artistic creation and material culture, the natural environment has shaped unique aesthetic sensibilities over time. Specifically, the geographic conditions of Suzhou, where Kunqu opera appeared, have played a crucial role in the formation of its distinctive aesthetic style. Moreover, geography fosters a unique regional cultural ethos that underpins Kunqu’s artistic vitality. The socio-economic development of different historical periods is shown to have significantly impacted the evolution of Kunqu. The authors conclude that diverse musical forms and lyrical traditions occurred in various dynasties served as vital sources of its artistic life and continuity; they incorporated to shape Kunqu’s aesthetic temperament.

The album, titled “From Forest to Steppe: Russian Wooden Architecture,” is a fundamental work by William Brumfield, a recipient of the Order of Friendship and a professor of Slavic studies. It contains over 400 color photographs. The material is presented in two sections, with explanations provided in each chapter, covering wooden architecture from the Russian North to Siberia.