The present study focused on the characterization of the art materials and the degradation processes in the exterior (exonarthex) mural paintings of the main church of the Nativity of the Virgin in Rila monastery, Bulgaria, which is believed to be the last large-scale example of Eastern Orthodox wall painting. For the first time the art materials used to create a unique and colourful polychrome decoration of the outer gallery and the possible degradation products, caused by atmospheric influence - permanent exposure to open air and moisture - were revealed by a multi-technique approach. The mineral pigments were identified by means of attenuated total reflectance Fourier transform infrared (ATR-FTIR), micro-Raman spectroscopy, scanning electron microscopy energy dispersive X-ray spectroscopy (SEM-EDS) and X-ray diffraction (XRD). The natural yellow, red ochre, and green earth pigments, as well as some synthetic ones such as ultramarine and vermillion, were found in stable condition. Minium and emerald green pigments showed chemical transformations due to adverse environmental conditions which lead to chromatic changes of wall paintings. Black discolouration occurred due to the conversion of orange minium to black plattnerite (PbO2) and white discolouration – due to its transformation to white lead carbon oxide (PbCO3). The copper acetoarsenite (Cu(CH3COO)2.3Cu(AsO2)2) in the emerald green pigment showed partial transformation to arsen-containing mineral phases clinoclase and lindackerite, which fortunately did not affect much the colour appearance. Gypsum and calcium oxalate were found in the majority of the microsamples as decay products. Analysis of the binders by enzyme-linked immunosorbent assay (ELISA) implied the use of the Orthodox Church post-Byzantine egg-tempera technique. The registered Ca metal oxalates in accordance with ELISA results suggested binder chemical degradation induced by external factors. Most of the used painting materials are close to the those found in other Eastern Orthodox Byzantine and post-Byzantine monuments which indicates that the wall painting decoration of the main church of Rila monastery continues the post-Byzantine traditions. On the other hand, the study showed that the exonarthex wall paintings of the main charge of Rila monastery bear some new features as the religious artists supplemented the colourful scheme by emerald green as a new pigment and replaced smalt by the brighter synthetic ultramarine.

Nugmanova Amina Abdukarimovna is a famous singer, researcher, scientist, teacher and public figure, teacher with a capital letter, who devoted her life to art and science. Amina Abdukarimovna has lived for the benefit of people all her adult life, showed great attention and love for her people, she made a great contribution to the development of the Kazakh song art. As a creative versatile personality, she has established herself not only as a wonderful performer of folk songs, but also as a scientist who conducted an experimental study on the topic of a PhD thesis devoted to the vocal training of children of different ages. For many years she worked as a teacher in the vocal class, and then as the head of the department at the Kazakh State Women's Teacher Training Institute. She devoted most of her works to the issue of vocal education of children and adolescents based on Kazakh songwriting. Her proposed method of teaching children to sing songs is effective and acceptable in the practice of modern secondary schools.The author also considers in her research the problem of improving the quality of teaching singing at school. In the classroom, students with the help of a teacher on the basis of musical notation learn to perform songs in accordance with local requirements. One of the conditions affecting the quality of classes is the presence of a properly selected song repertoire. Another goal facing the teacher is the opportunity to teach children to understand music and enjoy it in the process of performing.Amina Abdykarimovna can be considered as a person who has deep knowledge in the field of musical education of children and adolescents, who has shown a high level of knowledge of Kazakh, Russian, Chinese languages, fluent in Arabic graphics, who has studied and scientifically substantiated the methodology of teaching singing and educating children's voices developed by her.

Introduction. The development of management as a cultural phenomenon is inextricably linked to the development of world civilization. Moreover, civilization is a kind of driving force for changing management culture. Therefore, the development of a civilizational paradigm for studying management culture is certainly an urgent scientific problem. Purpose and methods. The purpose of the article is to provide a theoretical and methodological substantiation of the civilizational paradigm for studying the phenomenon of management culture. The methodological basis of the study is the dialectical principle of cognition, system-synergetic, historical and interdisciplinary approaches to the study of social phenomena and organizational processes in society. Results. The basic theories of the study of civilization are considered. A two-dimensional approach to the study of civilization as a form of movement of social matter is revealed. The role and mechanisms of bifurcation of civilization as a driving force for the restructuring of society and management culture are revealed. The structure, characteristics and patterns of change in the world civilization and management culture of post-industrial society are determined. Conclusions. The scientific novelty of the research results lies in the substantiation of the civilizational paradigm of management research as a socio-cultural phenomenon, which allows to comprehend the deep essence, analyze the genesis and predict possible directions of future development of civilization and management culture. The significance of the study lies in the addition to the science of new provisions on the study of management culture based on the civilizational paradigm, as well as in the possibility of using them in the process of professional training of managers.

For the first time, wall paintings of 20th century Russian artists in Bulgaria were analysed by means of complementary analytical methods. Representative samples collected from the Russian church St. Nicholas in Sofia, decorated by the famous Russian artists Vasily Perminov, Michail Maletski and Nikolay Shelehov during different periods of time, were examined by means of micro-Raman spectroscopy, attenuated total reflectance-Fourier transform infrared (ATR-FTIR) spectroscopy and X-Ray fluorescence (XRF). The results of the study reveal that colourful palette was achieved by using various pigment mixtures of traditional and modern synthetic pigment as titanium white, barium white, calcite, chrome green, green earth, hematite, ultramarine, madder lake, carbon black, vermilion, Naples yellow. The analysis of the paint binders allow to conclude that Maletski and Shelehov have used egg tempera as painting technique, while Perminov has worked in two painting techniques - oil and egg tempera.

The article examines how artistic collaboration and social engagement are present in 20th-century Bulgarian printmaking. It traces its footsteps from its academic inquiries, through its avant-garde and expressionist periods, to its development in conditions of ideological thematic and stylistic restrictions behind the Iron Curtain. Conclusions are drawn about the possibilities and forms of joint artistic activities of printmakers and the terrains print offered for experiments, research and engagement in diverse political and sociocultural contexts.

The purpose of the research is to identify the problems of training directors in the field of audiovisual art and production; to outline the prospects for modernization of the educational process in higher educational institutions of artistic direction in Ukraine. The research methodology is based on the methods of scientific analysis, comparison, and generalization. Analytical and systematic methods were used to study the art historical aspect of the problem. The empirical method was used to observe and study the educational process and production practice in the Kyiv National I K. Karpenko-Kary Theatre, Cinema and Television University, Kyiv National University of Culture and Arts, and Kyiv University of Culture. The scientific novelty of the study is that the problem of directing education in Ukraine in the context of the state support programs functioning time became the subject of a special study for the first; the concept’s content of “directing education” as specific integrity and unity of interrelated elements is argued; the worldview principles of training directors in the field of audiovisual art and production are singled out and characterized; the expediency of using communicative methods in the educational process of training directors is proved. Conclusions. Familiarization with the materials presented in the article expands the arsenal of knowledge about the specifics of providing quality educational services in higher education institutions of artistic direction in Ukraine and enables their use in pedagogical practices.

Ethnocultural traditions in choreographic art maintain an inseparable connection with related arts, and the centuries-old history of dance and music unity demonstrates the constant renewal and enrichment of synthetic genres. Therefore, here one should understand the specifics of the inseparable union of dance, visual arts and music, try to identify their phenomenon, cause-and-effect relationships or peculiarities and choreographic regularities. In this context, first of all, one should analyze those aspects in the art of choreography, which to the greatest extent express the nature of the phenomenon of choreographic art in its imaginative sphere as an independent art form.Ethnocultural traditions in choreographic art maintain an inseparable connection with related arts, and the centuries-old history of dance and music unity demonstrates the constant renewal and enrichment of synthetic genres. Therefore, here one should understand the specifics of the inseparable union of dance, visual arts and music, try to identify their phenomenon, cause-and-effect relationships or peculiarities and choreographic regularities. In this context, first of all, one should analyze those aspects in the art of choreography, which to the greatest extent express the nature of the phenomenon of choreographic art in its imaginative sphere as an independent art form.

Introduction. The processes that are taking place today under the influence of globalization in the world economy cause serious claims to the theory of economic management, since it mainly takes into account the economic component of economic activity and almost ignores its semantic, symbolic, moral, and aesthetic significance, which negatively affects labor productivity and efficiency management as a whole. Therefore, turning to the study of economic activity in the philosophical and cultural aspects seems relevant and justified. Purpose and methods. The purpose of the article is the philosophical and cultural conceptualization of the dynamic nature of the economic life of society, which will allow deepening the understanding of the essence of economic culture, its basic values, and its management system. The methodological basis of the research is the dialectical principle of cognition, systemic, cultural, historical, and interdisciplinary approaches to the study of organizational phenomena and processes. Results. The essence of the culture of the economic life of the society is revealed. The regularities and trends of the development of economic culture have been revealed. The basic values of the culture of human economic activity, their semantic, symbolic, moral, and aesthetic significance depending on the stage of development of society and its cultural specificity are determined. Conclusions. The scientific novelty of the research results lies in the deepening of the understanding of the essence of the culture of the economic life of society, the definition of its components, and basic values. The significance of the research is found in the addition of cultural science with new theoretical provisions about the culture of economic activity, as well as in the possibility of using them in the process of training managers of economic organizations.

Abstract A transdisciplinary exploration has allowed the author to combine art, hematology, computer science, and geography to attempt the visual translation of physical pain. Research subjects are stray animals that have experienced traumatic events (such as shooting) which have a lasting impact on their lives or, at times, prove to be fatal. By applying different computational geometry methods, the author creates geographic maps, which reveal the scale of the damage to the body. Thus, the application of transdisciplinarity allows a deeper understanding of complex events.

The concept of metamodernism relies on our understanding of modernism, postmodernism and the bigger cultural periods that originated them. While modernism is a product of modernity, postmodernism is not situated comprehensively within a well-defined period. Moreover, when dealing with the dichotomy of movement and era in the last century, we are presented with a taxonomic dilemma of conflating eras and their aesthetical manifestations. Contrary to the prevalent view of cultural shifts, here I propose a different attempt at periodising and understanding ontologically the concepts of modernism, postmodernism and metamodernism, and the related cultural periods in which they are situated. I argue that modernism and postmodernism should be considered as a continuum in a temporal sense, but not as equal orders in a categorical sense, and that postmodernism is not an apt descriptor for the period following modernity, nor for the aesthetic paradigm following modernism. To resolve this problem, on the one hand, I propose we adopt the term metamodernity, which better reflects the new era of cultural development. On the other hand, I discuss metamodernism, which is the current aesthetical, and to a degree axiological, manifestation of this new era.