Art Historical Analysis Research Articles

Impact and features of Chinese realism in painting with focus on tradition and modernity

The relevance of the research topic lies in the fact that Western trends dominate in contemporary the Chinese realistic art, while interest in traditional painting techniques in a realistic direction has practically disappeared. To preserve the national cultural heritage, it is necessary to study more carefully the possibilities of applying traditional ideas in modern realistic painting. The purpose of the study is to identify the features of the traditional foundations of Chinese painting and their applied value for teaching students of modern painting. The objectives of the research are to analyze the scientific literature on the topic, conduct a survey among students to assess the traditions of Chinese re-artistic painting, as well as summarize the results of empirical research. The research methodology includes the methods of the general scientific group (analysis, synthesis, induction, deduction), as well as methods of art history analysis: historical and logical; analogy method; method of formal comparison. In an empirical study, the method of statistical analysis was used, applied using the program Neural Designer, a tool for advanced statistical analysis. The research materials were the results of a survey of 3rd year students (bachelor’s degree). Three groups of students were interviewed, each of which included 25 people: two experimental groups and one control group. The author of the study came to the conclusion that the combination of traditional and modern techniques in realistic painting in the classroom can increase the motivation for learning, develop new technical skills among students studying in the specialty «painting and graphics».

Ethnocultural Dynamics of the Krasnoyarsk Territory in the Works of Krasnoyarsk Artists

The article analyzes the originality of the ethnocultural dynamics of the Krasnoyarsk Territory in the context of artistic practice. The general dynamics of ethnic groups inhabiting the Krasnoyarsk Krai from the early 17th century to the early 21st century is shown. At the same time, within the framework of this dynamics such stages pre-Soviet, Soviet and post-Soviet were identified. A general characteristic of the creativity of Krasnoyarsk artists who worked in the selected periods is given. Within the framework of the philosophical and art history analysis, the works of D. I. Karatanova, Yu. P. Ishkhanov and S. E. Anufrieva as the most representative for each period and, at the same time, allowing to consider creativity in its various forms (painting, sculpture and ceramics) were selected and studied in detail. As a result, it was concluded that these works most clearly reflect the changes of a person living in these territories and his/her relationship with nature and historical roots

Agency, affect and intention in art history: some observations

Recent years have seen a notable growth of interest in the operations of affect and agency in art. Works of art are said to have agency, primarily through their impact on the affectivity of the spectator. This turn is an inflection of a wider phenomenon in the humanities, motivated by interest in the theory of affect. Although it has only recently gained visibility, one can trace an art historical interest in affect back to Aby Warburg, whose work emphasised the non-rational, emotional engagement with works of art. This article explores some of the claims that have been made in relation to affect and agency in art, but it also subjects them to critical scrutiny. What does it mean to talk about art having agency? What is its purported significance for art historical inquiry? To what extent does affect theory provide a convincing theoretical basis for the idea of artistic agency? Indeed, what is understood by the idea of agency in such accounts? The article argues that while there are many attested historical cases in which works of art are said to act as if they were agents, these have to be understood in terms of culturally framed attributions of agency, rather than a general theory of affect, which may have a purely tangential significance for art historical analysis.

ХУДОЖНЬО-ОБРАЗНЕ ТА ЗМІСТОВНЕ ВТІЛЕННЯ НАРОДНИХ ТРАДИЦІЙ В УКРАЇНСЬКОМУ ТЕАТРІ ПОЧАТКУ XX СТОЛІТТЯ (ЗА МАТЕРІАЛАМИ ЖУРНАЛУ "НОВЕ МИСТЕЦТВО")

The purpose to demonstrate the implementation of folk traditions in the 1920s scenography on the example of two theatrical performances: “Sava Chaly” (Theatre “Berezil,” Kharkiv, 1927) and “The Fair at Sorochyntsi” (State Ukrainian Opera, Kyiv, 1925) based on the materials of the archival editions of the “New Art” journal (Kharkiv, 1925–1928). Methodology. The methodological basis of the study is a systematic approach, methods of synthesis, generalization, comparative historical and art history analysis. Results. The review of the archival issues of the weekly “New Art” journal allowed to confirm that folk traditions played a prominent role in theatre art at the beginning of the XX century and served as a source of inspiration for scenographers, composers, performers etc. The study indicates the importance of the “New Art” journal as a primary source of information on the cultural events in Ukraine. Based on its issues, the study analyses the publications and photo materials on the scenography of the “Sava Chaly” (Theatre “Berezil,” Kharkiv, 1927) and “The Fair at Sorochyntsi” (State Ukrainian Opera, Kyiv, 1925) performances. The elements of Ukrainian folk art in these performances were emphasised. It is noted that evocation of the folk traditions in the scenography was both a showcase and a guarantee of the preservation of the ethnocultural phenomena in the theatrical environment of the period. The novelty of the study is the identification of the specifics of the use of folk traditions and ethnic elements in the scenography of the 1920s, as well as the introduction into the scientific discourse of the “New Art” journal's issues, which offer materials on the implementation of the folk traditions by directors, stage designers and performers. The practical significance. The study can be useful for research of the history of Ukrainian scenography; the analysis of the artistic heritage of stage designers of the XX century's leading theatres is vital for enriching the modern Ukrainian stage design.

The concept of beauty in painting by Qi Baishi

The purpose of the study is to identify the foundations of the beauty concept in the works by Qi Baishi from the point of view of modern interpretations. The objectives of the article are: to provide a historical overview of the activities by Qi Baishi; to identify the main components of the beauty concept in the artist's works, as well as to verify the theses put forward using a mini-survey for the students. The methodology included among others: methods of art history analysis, content analysis of scientific literature on the research topic, the method of statistical analysis. The research materials were paintings by Qi Baishi in three genres «Mountains and Water», «Flowers and Birds», «Shrimp in Ink», as well as the results of a survey of 3rd year students, studying in the specialty «Painting and Graphics». The main research results are: three main components in the beauty concept by Qi Baishi were identified, the assessment of these components by students was considered, and a generalized concept of beauty in the works by Qi Baishi was formulated on the analysis results.

The specifics of the creative representation of classical and modern texts in the direction of A. Prikhodko

The purpose of the article is to reveal the peculiarities of the interpretive theater direction of A. Prikhodka in the context of experiments with the representation of classical and modern texts. Methodology. Comparative and structural methods have been applied in order to reveal the versatility of the director's intention; the method of hermeneutic and the semiotic method, which contributed to the opportunity to explore the specifics of the director's representation; the hermeneutic method is dominant in the process of evaluating performances since it contributes to the perception of the production as an artistic whole, provided that the functionality of its individual components is understood; the method of semiotic analysis of postmodern stage works, etc. The scientific novelty of the article lies in the fact that the specificity of the representation of classical and modern texts in the work of theatrical director A. Prikhodka is considered in the context of the trends of this process in the modern theatrical space on the basis of comprehensive art history, theater, and cultural analysis. The theoretical views of A. Prikhodka are analyzed, the factors of influence on the production process and its specifics are revealed; an attempt is made to consider the phenomenon of the representation of literary texts from the perspective of postmodern trends in the development of modern Ukrainian theater. Conclusions. The work of A. Prikhodka is characterized by the reworking of the literary source of the production at the text level, including, among other things, a significant substantive reworking - highlighting plot lines, building plot lines, a successive reworking of prose characters into dramatic ones, the emergence of new, non-fictional characters, etc. - turning into a unique a literary script for the author's embodiment of a stage composition with the help of specific means of director's expressiveness of postmodern, realistic and avant-garde theater. The study revealed that the creative representations of classical and modern tests by A. Prikhodka reveal the hidden potential of the literary source, giving it a new philosophical and worldview understanding.
 The purpose of the article is to reveal the peculiarities of the interpretive theater direction of A. Prikhodka in the context of experiments with the representation of classical and modern texts. Methodology. Comparative and structural methods have been applied in order to reveal the versatility of the director's intention; the method of hermeneutic and the semiotic method, which contributed to the opportunity to explore the specifics of the director's representation; the hermeneutic method is dominant in the process of evaluating performances since it contributes to the perception of the production as an artistic whole, provided that the functionality of its individual components is understood; the method of semiotic analysis of postmodern stage works, etc. The scientific novelty of the article lies in the fact that the specificity of the representation of classical and modern texts in the work of theatrical director A. Prikhodka is considered in the context of the trends of this process in the modern theatrical space on the basis of comprehensive art history, theater, and cultural analysis. The theoretical views of A. Prikhodka are analyzed, the factors of influence on the production process and its specifics are revealed; an attempt is made to consider the phenomenon of the representation of literary texts from the perspective of postmodern trends in the development of modern Ukrainian theater. Conclusions. The work of A. Prikhodka is characterized by the reworking of the literary source of the production at the text level, including, among other things, a significant substantive reworking - highlighting plot lines, building plot lines, a successive reworking of prose characters into dramatic ones, the emergence of new, non-fictional characters, etc. - turning into a unique a literary script for the author's embodiment of a stage composition with the help of specific means of director's expressiveness of postmodern, realistic and avant-garde theater. The study revealed that the creative representations of classical and modern tests by A. Prikhodka reveal the hidden potential of the literary source, giving it a new philosophical and worldview understanding.

Musical activity in psycho-pedagogical perspective: analysis of works of the beginning of the XXI century

The purpose of the article is to reveal innovative views on the importance of musical activity in the symbiosis of psychological and pedagogical approaches. The methodology consists of the study and analysis of pedagogical, musicological, art history source base, analysis, systematization, and generalization of scientific and methodological sources. The scientific novelty of the work is to study the features of the study of musical activity from a psycho-pedagogical perspective, taking into account the changing socio-cultural environment of the early 21st century. Conclusions. Musical activity in scientific works of the 21st century is studied in the traditional psycho-pedagogical approach but taking into account innovative pedagogical concepts (K. Orff, Z. Kodai, J. Ducklcroze, S. Suzuki) and the introduction of an updated methodology. Among the relevant in the 21st-century methods of teaching music are as follows: alternation of different types of creativity, use of various creative methods, development of unity of motor and musical abilities, improvisation, active musical perception, the combination of collective and individual types of musical activity, participation in artistic and cultural events, communication with artists, the involvement of parents in education.

Circus suit as a means of artistic expression

The purpose of the article is to identify the specifics of the costume as an expressive means of circus art, as well as to consider its function as a formative component of a circus show and to determine the role and capabilities of a circus costume in the process of creating an image. Methodology. The method of art history analysis and the systemic method were applied, which contributed to the systematization of the expressive means of circus art; the method of artistic and stylistic analysis and the typological method in order to identify the specifics of a certain artistic and expressive means and the main non-creative forms of creating a circus image with its help; the method of structural analysis of circus performances (to identify the peculiarities of the viewer's perception of the visual series as a whole and the role in its formation of the circus costume), etc. Scientific novelty. The circus costume is investigated as one of the means of expressiveness of circus art; the peculiarities of the perception of the costume in the circus act and the current trends of its use in the context of the introduction of the latest technologies for creating a circus show are revealed; the specificity of the evolution of the circus costume at the present stage of the development of the performing arts in general and circus in particular is characterized. Conclusions. The circus costume is an important means of expressiveness of modern circus art, which is intended to enhance the imagery and artistry of the circus program in general and the performance in particular, organically combining with musical design, props, apparatus or projectiles, lighting, plastic or choreographic solutions and affects the viewer within artistic image. The study revealed that the development of a circus costume as an expressive means is based on the analysis of the nature of the stunt work in the room, taking into account the complex of physical, mechanical and aesthetic features of fabrics, organic combination with other expressive means in accordance with the imaginative vision of the director. The functional purpose of the circus costume in a plot and plotless circus performance is excellent: in the first case, the costume creates a specific artistic image and enhances the semantic and content component of the performance, and in the second, it is not only an application for an arena image of the artist but in fact is the visual essence of this image. Modern circus costumes are characterized by the uniqueness of their compositional character, which reflects the interpretational logic of postmodernism and is expressed in a semantic game, an innovative strategy for using historical stylistics, etc.

REPRESENTING THE CONCEPT OF “SOCIETY” IN THE RUSSIAN GENRE PAINTING OF THE 1860-1870S

The aim of the study is to reveal the ways of representing the concept of “society” in the works of the genre art in the Russian painting of the 1860-1870s. The research is carried out using the method of philosophical and art history analysis of works of fine art. The main object of the study is the painting “Rural procession on Easter” by Vasiliy G. Perov. The study describes the specific features of the genre art in the Russian painting of the 19th century. The research shows how works of the genre art realize their didactive and educating functions. A theoretical analysis of the concepts of “everyday life”, “being”, “society” made it possible to conclude how genre painting of the 19th century models both an ideal person who is in co-existence with the absolute spirit, and a person who is far from the ideal. In the research the authors reveal two worldview models that developed in Russian painting in the 1860-1870s: a model of a perfect human being and a model of a person who is mired in everyday life. The study proves that the latter human model is represented in index signs of characters that worship only material values. The study investigates the versatility of the pictorial model of the Russian society, represented not only as a community absorbed in the routine of the everyday life, but also as a group of people whose life is elevated upwards to the true existence. The research has resulted in the typology of characters of paintings of the genre art, where the type of the character depends on the model of the society represented by the work of art. In its conclusion the study discloses two models of representing the society in Russian painting of the genre art in the 19th century. According to the first model, the everyday principle acts as an absorber of being. The second model represents a society in which everyday life manifests true existence, in harmony with nature and filled with the divine essence.

PECULIARITIES OF THE ARTISTIC LANGUAGE OF THE UKRAINIAN ARTIST YEVHENIA GAPCHYNSKA

The subject of the research is the developments of the modern Ukrainian artist Evgeniya Gapchinskaya, who is now successfully working in various fields of art and design, ranging from jewelry and book graphics to monumental mural art. The purpose of the work is to investigate the specifics of the artistic language of the named artist in the context of the development of modern mass culture. The methodology of the work is based on a combination of chronological and the principle of scientific comprehensiveness, art history, design and culturological approaches, ontological, axiological, hermeneutic, historical-comparative, cross-cultural and art history analysis methods. The results of the work allow us to understand the secrets of E. Gapchinskaya's success in the field of contemporary art and design. The scope of application of the results – artistic and design practices of the present, history, theory and criticism of art, teaching activities for students and graduate students of creative specialties. Findings. It was found that the artistic language of Yevhenia Gapchinskaya was formed under the influence of Ukrainian and German artistic traditions. Taking into account the one-year internship in Nuremberg at the beginning of the formation of the artistic language, the author was inspired in her artistic searches by the impulses of the high art of the Northern Renaissance and mannerism. In particular, the work of I. Bosch and P. P. Bruegel the Elder (Peasant), whose phantasmagoric language still has a significant impact on the work of young European artists. Also, the formation of the artistic originality of Evgenia Gapchinskaya's handwriting was significantly influenced by the Dutch and Flemish art of the 17th – 18th centuries, headed by Frans Halls and Rembrandt van Rijn, and individual searches for Baroque-Rococo artists from other European countries – J. B. Greuze and T. Gainsborough. In general, the specific artistic and figurative manner of E. Gapchinskaya was influenced by the artist's appeal to related areas of knowledge – nail design, creative work with plastic, environmental design, advertising, image-making, art gallery business, restoration, art management, marketing, logistics and the like.Key words: artistic manner of creativity, Evgeniya Gapchinskaya, Ukraine, the beginning of the XXI century.

AN ECLECTIC TREND IN PRODUCTS OF JOZEPH MARSHAK'S JEWELRY FACTORY ON EXAMPLE OF A SILVER TEA AND COFFEE SET, EXIBITED AT THE ALL-RUSSIAN EXIBITION IN KIEV IN 1913

The subject of research is the legacy of Joseph Abramovich Marshak – famous Kiev jeweler and owner of a jewelry enterprise, whose period of activity covers 1878–1918. Among the large number of jewelry made during the forty years of the factory's operation, it should be noted products that correspond to the stylistic trends of the era of historicism, in particular, the silver tea and coffee set, exhibited at the All-Russian Exhibition in Kiev in 1913. The main task of this work is to investigate artful language of eclecticism, expressiveness of which allowed artists of J. Marshak's era to combine decorative heritage and semantic interpretation from Antiquity to beginning of the 20th century. Methodology of this work is based on general scientific principles of historicism and an art history approach. They were realized through the use of following general scientific research methods: otnological, hermeneutic, semiotic, cultural, cross-cultural, iconographic, typologization and art history analysis. Scope of results application outlines teaching activities in specialized educational institutions in formation of plans for art and cultural disciplines, jewelry attribution by Kiev jewelers of marked period, writing scientific and popular scientific works, reference books, encyclopedias, textbooks. Main conclusion: features of jewelry artistic language, which were presented in the tea and coffee set, produced in eclectic style at the Joseph Marshak's factory are revealed. Importance of active exhibition activity and its connection with improvement of stylistic solutions in the jewelry production is displayed. It has been established that eclecticism was given priority in comparison with other stylistic directions at the basis of creative developments at J. Marshak's factory.Key words: jewelry, eclecticism, Joseph Marshak, late 19th – early 20th century.

The “Latins” on Mangup. Unique Western-European Cross-Encolpion from the Excavations of Prince’s Palace in Ancient Mangup: Problems of Attribution and Dating

Introduction. The article is devoted to the analysis of a unique cross-encolpion of the WesternEuropean type from the excavations of the Mangup Prince’s Palace. Methods. The research is complex. When describing the find, traditional methods of art history analysis were used, and data from X-ray fluorescence studies were used to determine the material of the product. Attribution of the cross is made on the basis of the generally accepted method of analogies in archaeological science. Analysis. The encolpion is related to a small group of cast silver crosses with “Latin” features, which were produced during the third quarter of the 15th century in one of the craft workshops of Kaffa. Their author was a master-scholarship holder who most likely moved to the capital of Genoese Gazaria in the Northern Black Sea region from one of the cities of Northern Italy. Results. Among the many reasons why this encolpion, as a mandatory attribute of the clothing of a Catholic Priest, could end up on Mangup, the most likely are: unknown in the sources Genoese embassy to the capital of the Principality of Feodoro in the period of 1450–1475 for the purpose of establishing a permanent Catholic mission here; the presence of a Catholic priest in the large embassies of Kaffa to the court of the rulers of Feodoro in 1455, 1465 or around 1471; participation of Genoese, who fled from Kaffa after its capture by the Ottoman army, in the subsequent defense of the Mangup fortress in summer and autumn 1475.

The student choral activity organizational structure

The topicality of the problem. One of the main tasks of higher education institutions of non-artistic orientation is creating conditions for the formation of the creative personality of student youth by involving them in various types of amateur art. Participation in choral cultural and leisure groups will promote the realization of natural abilities and talents of the individual, as well as the acquisition of the necessary knowledge, skills and abilities of interpersonal interaction by mastering and manifesting in public the best examples of choral music. Therefore, it is important to clarify sense and student choral activity organizational structure as a specific art phenomenon. The purpose of the article is to substantiate the student choral activity organizational structure, clarify its sense and show its educational potential as an effective means of personality socialization. The task is to analyze the scientific sources of the problem. Methods. of the article, The following general scientific theoretical methods are used in the article according to defined tasks: art history analysis, educational and psychological literature. Results. It was clarified that the student choral activity organizational structure shows poly-functional artistic and creative activity, which meaning is accomplished in the integration of pedagogical, developmental, and recreational functions, aimed at activation and creative development of personality. It was proved that the organizational structure of the phenomenon is seen as a summation of strong connections and consists of the following interconnected directions of artistic and creative activity: organizational, social and cultural determination, organizational forms of artistic and creative activity, common activity, moral and ethical and psychological comfort, interpersonal relations, intergroup connections, leading of choral activity. It was justified, that student choral activity organizational structure and mechanisms of interaction between its participants are arisen and defined by the practice of choral singing, they depend on the style, methods, and systems of a ruling of this process. Perspectives. Our scientific research of student choral activity organizational structure revealed the diversity of specific features, which need a further scientific generalization of highlighting aspects of real artistic practice in conditions of modern social and cultural reality.

Art space of painting by V.I. Surikov «Morning of the Streletsky execution»: philosophical and art-historical analysis

Art space of painting by V.I. Surikov «Morning of the Streletsky execution»: philosophical and art-historical analysis

ОСОБЕННОСТИ СТИЛИСТИКИ РОССИЙСКИХ АРТ-ФИЛЬМОВ НАЧАЛА XXI в.

Contemporary Russian theater and cinema are approving a new aesthetic paradigm that implements such principles of postmodernism as deconstruction, relativism, a mixture of various types, genres, and stylistic devices. The purpose of this article is to identify the most characteristic stylistic features of Russian arthouse films of the 21st century. The author’s task was to show that this style is not something radically new, as some art critics and cultural experts try to present. Using the methods of hermeneutic, art history and comparative analysis, the author identifies the methods and techniques of creating a special art space that are characteristic of modern Russian arthouse. These are combining real and conditional, concrete and symbolic, psychology and parable, recognition of everyday realities and explicit functionality of the characters. Based on the idea expressed by a number of scientists that there is much in common between the state of the modern world (that is, what is now called postmodernism) and the public consciousness of the Middle Ages, the author of the article puts forward a hypothesis about the similarity of the stylistic techniques of the Russian arthouse with the aesthetics of the Middle Ages. First of all, arthouse films bring closer to the literature and art of the Middle Ages such a characteristic as hybridism, i.e. combining different styles in one work, in particular, combining a realistic image with a parable form and symbols and an artistic interpretation of space as a background that weakly interacts with characters. First of all, Russian arthouse films brings closer to the literature and art of the Middle Ages such a characteristic as hybridism, i.e. combining different styles in one work, using, along with a realistic depiction of the parable form and symbols and artistic interpretation of space as a background that weakly interacts with characters. One of the reasons for the emergence of a new aesthetic interpretation of art space in modern Russian literature and cinema was the radical changes that took place in Russia in the 1990s. The disappearance from the world map of a huge country called the USSR and the loss of familiar landmarks and stereotypes could not but affect the worldview of artists, writers and filmmakers trying to artistically comprehend what is happening. The conclusion that follows from the analysis is that many principles of the aesthetics of postmodernism were reflected in the style of the arthouse films of 21st century, with the exception of such traits inherent in the best postmodern examples as humor, irony, game element and non-linearity of narration. The coexistence of real and clearly conditional art space in such films contributes to the fact that the cinematic texture contradicts conditional situations and characters, causing the viewer to feel art inorganic. Analyzing the perception of art films by experts and the audience, the author concludes that the assessments of art critics and viewers are largely diverging for the same reason: viewers mostly perceive author films as works of a realistic style but can not find in them psychological characteristics of the heroes and the motivation of their actions, i.e. the traits inherent in realism; experts evaluate these films based on the presence of the elements of symbolism and metaphorism and metaphysical and universal image of reality.

Юго-восточное предместье Бахчисарая в акварелях К. Ф. Богаевского: Салачик и Чуфут-Кале

Although the watercolours and pen drawings of still existing and already lost architectural buildings created by K. F. Bogaevskii in the 1920s are more modest than his pictures, they still form the golden collection of the Crimean past. The sketches of architectural monuments are a specific part of the painter’s heritage, which certainly made an impact on the development of his creative approach to the Crimean landscape, were the job he did by an order from the institution responsible for all cultural heritage in the region, or the Crimean Department for the Museum Affairs and Protection of the Sites of Art, Past, Nature, and People’s Daily Life (KrymOKHRIS). This paper presents K. F. Bogaevskii’s watercolours discovered in the collection of the Bakhchisarai Historical, Cultural, and Archaeological Museum Preserve and I. K. Aivazovskii Feodosiia Art Gallery: they show mediaeval monuments located in the south-eastern suburbs of Bakhchisarai, Salachik, and Chufut-Kale. The art historical analysis of these works has been done; the history of their creation has been explored. The author underlines the significance of these drawings for the scholarly studies of the cultural heritage sites of Bakhchisarai, reconstruction of their authentic appearance, localization and identification, and the studies in the cultural heritage site protection works in the Crimea in the 1920s. Artistic value of the painter’s works under analysis is beyond any doubt: the precision of drawing, reproduction of architectonics of buildings, necessary details of pictures were caused by the task and corresponded to K. F. Bogaevskii’s high professional attitude to works. The watercolours and drawings create an artistic image of the monuments with the composition incorporated into the existing natural setting. K. F. Bogaevskii was a landscape painter, a master with academic education, who passed through A. I. Kuindzhi’s school.

НЕКЛАССИЧНЫЙ КЛАССИК. ВЗГЛЯД НА ИСКУССТВО С. ЭРЬЗИ (1876-1959) ИЗ XXI ВЕКА

For the first time in Russian art history, the article attempts to show the integrity of the art of the Russian-Argentine sculptor S. Erzya on the basis of an art history analysis of his most famous works created in Italy, Russia and Argentina. The features of his personal and creative development are revealed in the context of socio-cultural events, which were distinguished by a stormy, sometimes catastrophic nature. The youthful ideals of Tolstoyism in the mind of a mature master acquire the features of a worldview that asserts the priority of the ideals of moral and spiritual perfection, the devotion to which was almost invariably paid with the price of life. A documentary confirmation of Erziʼs words is given in the entry of his secretary, L. Orsetti. People who knew Erza intimately in Italy, Russia, and Argentina also wrote about their commitment to these ideals. The theme of sacrifice, the suffering path unites both his biblical works and things of revolutionary themes. Their success is described in the article not only on the basis of periodicals, but also for the first time with the involvement of exhibition catalogues. In Argentina, Erzya created monumental portraits of the spiritual leaders of mankind - these portraits by the sculptor himself were collected in a special exhibition in his house: Moses, Beethoven, Tolstoy, N. Gogol. The motives of beauty and birth, the continuation of the human race are embodied by Erzya in the famous female images «Nude», «Eve», «Motherhood», «Dance». The plastic beauty and the mystery of the transformation of the female body fascinated the audience at the exhibitions of the sculptor's works and were evidence of the change in his somatic perception in Argentina. Thus, in the art of Erzi in Argentina, the intuition and emotional supernormality inherent in the cultural consciousness of Latin Americans are manifested. The sculptor's attitude to the material he chose for a particular work was dictated by the concept. His rare ability to work in any material - cement, marble, bronze, wood-makes him stand out among modern sculptors. He followed the Michelangelo tradition in the processing of the marble block and became the only master to conquer the hard species of tropical trees. Today it is obvious that the legacy of the sculptor-thinker Erzya is not fully appreciated.

ИСТОРИЯ ЦЕРКОВНОГО ПОЧИТАНИЯ ИКОН СВЯТИТЕЛЯ НИКОЛАЯ «РАТНОГО» И ИССЛЕДОВАНИЕ СРЕДНЕВЕКОВОЙ ИКОНЫ «НИКОЛА МОЖАЙСКИЙ»

The purpose of the article is to present the history veneration of icons-copies of St. Nicholas the Wonderworker, who was located in the fortress of Mozhaisk. The iconography of «Nikola Mozhaisky» or «Nikola the Feat» was distin-guished by the image of a sword in the right hand of the Saint. The historical and cultural study of the icon «Nikola Mozhaisky, the Miracle of Nicaea» from the collection of the Orel museum of local history is being conducted for the first time. The author offers a comprehensive method of historical and art history research with a combination of the method of art history analysis of the subject.The author dates the subject to the last third of the 16-th century, defines the historical and cultural context of this subjectorigin and existence, and also considers the historical and artistic sources of and similar objectsoriginin late medieval Russian culture.

КУЛЬТУРОТВОРЧЕСКИЙ ПОТЕНЦИАЛ ИСКУССТВА КЛОУНАДЫ В ФОРМИРОВАНИИ ПЕДАГОГИЧЕСКИХ КОМПЕТЕНЦИЙ ЭПОХИ МАССМЕДИА

The article is devoted to the consideration of the art of clowning as a tool for diagnosing pedagogical competencies that are constantly transforming under the influence of the mass-media cultural paradigm.It is suggested that the image of a clown in modern culture translates a conglomerate of behavioral patterns historically entrenched in the mass consciousness, which have a high cultural and pedagogical potential. A hypothesis is proposed, according to which the attitude to the figure of a clown, as to a pattern of cultural and creative behavior, can be a marker of the teacher's professional competence. The teacher's ability to distinguish a fictional character (a set of situations in which the hero-clown finds himself; episodes in which he appears; his individual characteristics) from a real person; serious activity from play and comic creativity; find it possible to compare their behavior in some cases with the clown one; the manifestation of humorous reflection and laughter creativity are considered as such urgent modern pedagogical competencies as laughter reflection, laughter self-presentation and laughter creativity. The study is based on the provisions of the concept of resilience by S. Vanishtendael; researches devoted to culturological, art history analysis of the figure of a clown. The intermediate results of the pilot survey confirm that the figure of the clown is perceived by teachers as ambivalent, either as a creative person, or as an artistic image of art and media reality, or as their symbiosis. Humorous self-reflection and laughter self-presentation of the teacher can be considered as a predictor and correction of the further trajectory of his professional activity. The peculiarities of the perception of the figure of a clown as a pattern of cultural and creative behavior can be used as a diagnostic tool for determining the level of formation of the teacher's actual pedagogical competencies in the era of mass media.

Discourse of the Retention of Cultural Values by Axiological Archetypes in the Visual Art of Primorye in the 60s of the 20th Century - the Beginning of the 21st Century

This article is devoted to the problem of preserving cultural values in the fine arts of the 60s of the 20th century — the beginning of the 21st century in the Primorsky Territory in connection with the period of perestroika in Russia. The regional features of artistic life and the main plots of canvas paintings, conveying traditional archetypes in the visual arts were studied on the basis of the original works of five leading Primorye artists of the 1960s — early 2000s. It is quite predictable that a number of value archetypes in the visual arts of the 20th–21st centuries does not lose its importance; moreover, their self-development in art gives a new driving force to fine art. Among such historically formed archetypes are the Great Mother, Hero, Tree of Life, Road (Ladder) and Fish. These symbolic images are implemented in different ways in the works of famous masters of the Primorsky Territory, such as V.S. Chebotarev, K.I. Shebeko, I.V. Rybachuk, R.V. Tushkin, V.A. Goncharenko, N.P Zhogolev, I.A. Kuznetsov, A.V. Teleshov, G.A. Omelchenko. The authors of the article identify archetypes that change their appearance in a new cultural and historical environment, but are recognizable due to the constant iconographic schemes and personal characteristics of a particular master. A new working term «axiological archetype» is proposed, which is consonant with the concept of «value archetype», which is based on the mental and value attitudes of society, expressed by the artist by means of visual arts, iconographic schemes, revealed through understanding the logic of hidden meaning. The use of an interdisciplinary approach made it possible to adapt the axiological approach to art history analysis and to present the visual arts of Primorye as a value phenomenon in the historical context of the development of Russian fine arts.