The article focuses on the philosophical analysis of the concept of time. Thanks to M. Haidegger, time is interpreted outside the attitude to movement and three forms of time (present, past, future). The authors position boils down to the fact that time scales being, thereby representing different paintings of the world and different ontologies. In terms of their ontological status, the concepts of time and knowledge intersect. As for the traditional ratios of time and movement, this ratio is of a particular nature, significant in the everyday scaling of time.

The concept of luxury in the spirit sciences does not have a categorical status, meanwhile, luxury in the history of culture sometimes played a primary role. It is difficult to overstate the role of luxury in the development of art and technology. On the other hand, luxury often served as a cause for the ruin of cities and countries. The article focuses on the role of luxury in ancient ethics. Negative attitudes towards luxury contributed to a positive image of austerity. The positive image of austerity in the Hellenistic schools of antiquity served as the basis for the theoretical synthesis of creed and philosophy in Christianity. The spread of Christianity to the upper strata of Roman society was due to the fact that it was high society that was tired of luxury. Ascesis was subjected not to the poorest strata of society, but to the richest, so the problems of exploitation, it must be admitted, had no direct relation to the genesis of Christianity.

The essay refutes the idea of M. Haidegger that he will be understood in two hundred years. Heideggers texts are quite monotonous in style; at the same time, they are distinguished by a deep rootedness in the little-known intricacies of Aristotelian thought, on the one hand, and concern for the state of modern science, on the other hand. Heidegger deliberately combines the culture of ancient philosophical thinking with the erudition of philological and physical and mathematical sciences, which sometimes requires a share of irony from the reader in the presence of his own competencies.

The article presents the cultural genesis of the nobility society through the synthesis of the military adventure of men and the playing leisure of women into a common courtly culture In the courtly culture of court society, a system of regulation of relations arises with an orientation to an excellent act and, accordingly, with the requirement to see yourself from the outside, show yourself from the best side. As a result, a phenomenon arises that can be called pictorial Pictorial communication precedes the emergence of the visual arts, which sometimes arise on a random occasion. Ancient painting was no exception. The turn to luxury after the Greco-Persian wars initiated the mural by analogy with the trellis art of the Persians. The content of ancient painting in the form of wall painting and vase painting was the culture of communication that Hegel in his lectures on aesthetics called the color of man and which by the 19th century began to disappear.

With a cultural approach, the history of Russia falls into three different stories: the history of the state, the history of the ethnic group, the history of the culture itself each of which lives its own life and in its own time. The Russian state did not form around the Russian world, but around the Danish money of the IX-XI century, the phenomenon of which distorts the whole picture of European feudalism. The ethnic culture of Slavism is determined by the taboo system of civilization in the process of Indo-Aryan migrations, which can theoretically be restored. As for the Russian culture, it is more original and Russian state, and Slavic. Russian culture, the Russian spirit are related to the society of the nobility of previous civilizations, borrowing elements of chivalry. The overlapping of three different stories turns into both the originality of Russia and many oddities in politics, economics, warfare, in the fields of art, religion, education.

The article is dedicated to the formation of Valaam’s own school of painting for monks and novices of the monastery. This process consisted of several stages connected to both the historical development of the monastery itself, as well as the expanding influence of the Russian Imperial Academy of Arts. The official establishment of the painting school, which trained artists according to academic methods, dates back to the late 19th – early 20th centuries. The entire preceding history of the monastery paved the way for the inauguration of the school. In particular, the monastery gathered a carefully selected collection of engravings and reproductions of famous religious paintings, art manuals, human anatomy atlases and picturesque copies of popular works of art. Construction of the new Transfiguration Cathedral, to be supposedly painted by monastery artists, provided the main impetus for the eventual opening of the school. Gifted Valaam monks Alipiy (Konstantinov) and Luka (Bogdanov), as well as a student of the Russian Academy of Arts, V. A. Bondarenko, taught at the monastery’s school. Among some of the most diligent students of the school were hegumen Gavrill (Gavrilov), the main proponent of its establishment and its trustee, along with monk Fotiy (Yablokov), the future head of the icon painting workshop. The school continued to operate until the monks of the Valaam Monastery were forced to flee to Finland as a result of hostilities that broke out in the archipelago during the Soviet-Finnish war of 1939–1940.