Idea Of Art Research Articles

The Influence of the Bertolt Brecht System on Traditional Chinese Theater

Introduction. The article is devoted to the phenomenon of modern Chinese theater and aims to explore the ways of its evolution – from imitation of European avant-garde forms of theatrical art to the formation of an original artistic language. An important goal is also to identify the factors that have determined the unique aesthetic and meaningful characteristics of modern Chinese theater.Methodology and sources. As a result of the application of the comparative analysis method, the article compares the theatrical concepts of Ibsen, Stanislavsky and Brecht, which influenced the image of modern Chinese theater.Result and discussion. The special role of the European theatrical avant-garde is shown, namely, the concept of Brecht's dialectical drama, which became widespread in China at the end of the XX century. Over a twenty-year period (from 1959 to 1979), three so-called «Brecht booms» took place in China, radically transforming Chinese traditional theater. However, despite the high popularity of Brecht's ideas, the Chinese Theater did not turn into a literal translator of the European avant-garde, but formed its own artistic style based on traditional structures of audience perception. The key role in this process was played by the national cultural context – socio-political and mental – which determined the specific forms of adaptation of the cultural meanings of the European theater. The history of Chinese avant-garde theater lasts for more than forty years and began in the early 1980s. After experiencing a period of direct borrowing, Chinese theatrical figures came to rethink the European heritage in the context of their own culture. As a result, it was the middle path of Chinese theater development that turned out to be the most productive – a path that absorbed the outstanding artistic ideas of Stanislavsky and Brecht, the modern Western avant-garde, but also without rejecting traditional artistic principles. This is how Chinese theatrical culture has developed with its own unique style.Conclusion. The 20th century became the era of the interchange of Eastern and Western theatrical traditions, which largely shaped the world cultural landscape, in which the interaction of Brecht's theory and traditional Chinese culture forms a special topos.

Soviet Portrait Painting in China in the 1950s–1960s

Realistic portraiture occupies a special place in the history of Russian art. It had a huge impact on the fi ne arts of China, especially in the Soviet period, since realism and objectivity of the real world were closely intertwined in it, aesthetic perception was presented through artistic images and focused on reality and people. These artistic ideas and techniques suited the interests of the Chinese audience, allowing them to pay even more attention to the charm of modern life. This paper gives an interpretation of the study of Soviet realistic portraiture in China’s art history of the 1950–1960s, both from the side of history and from the side of research methods, and examines the serious infl uence and role of the realistic portrait of the Soviet period on Chinese painting.

From modernism to presentism: On the destination of art

The idea of modern art presupposes the rise of historicism and the sense of progress since the Enlightenment. Once art, however, conceives itself as progressive and hence modern, it is confronted by the paradoxes of progress: progress renders the modern obsolete at the same time as it seeks to give itself meaning by positing a goal, a destination that would be the end purpose and hence the end of progress. As a consequence, modern art is impelled to constantly transcend its own achievements and limits in a utopian quest for the artwork of the future, the ultimate work of art. But what happens to art when the grand art-historical narrative of modernism collapses? I argue that the ‘modern’ mutates into the ‘contemporary’ and that art now defines itself not in relation to the future but to the present. Contemporary art understands itself as operating in the present, that is, as an art for the present. It finds its destination now in the latest institutionalization of the paradoxes of progress: the museum of contemporary art.

Vicente Alanís, un pintor sevillano en la Baja Extremadura. Revisión a su catálogo de obras.

Vicente Alanís was the Sevillian painter who most openly derived from late baroque aesthetics into the most typical academicism advocated by the Royal School of the Three Noble Arts, a board in which he held several positions and in which his professional career ended. In 1795 he executed the painting Animas in the parish of Santa María de la Encina and San Juan Bautista, in the town of Burguillos del Cerro, Badajoz. The canvas testifies the aroma of historical thought in a place other than a heart of power at the end of the Old Regime, and shows the importance of the of art ideas and influence trafficking. As a result of this discovery, I have been able to add some other works to his oeuvre.

Н. А. РИМСКИЙ–КОРСАКОВ: ПРИТЯЖЕНИЕ ТАЛАНТА (к 180-летию со дня рождения композитора)

The interest in the personality and legacy of N. A. Rimsky-Korsakov is undiminished. The different poles of his artistic ideas seem to urgently require an ever deeper interpretation, a modern approach, going beyond what has been studied. On a timeless scale, the legacy and the ever-expanding influence of the master’s music, his “dialogues” with composers of the past and with contemporaries, the innovative principles of N. A. Rimsky-Korsakov’s thinking, his “unknown” memoirs (Chronicle), the tempting questions of symbols and topoi, stylistic allusions in the composer’s music, the reception of his works, philosophical and religious foundations, mytho-poetics and much more are being studied. The volume of research is quite large, and the collective works occupy an important place in it, including N. A. Rimsky-Korsakov. On the 150th Anniversary of His Birth and the 90th Anniversary of His Death: collection of articles. Moscow, 2000; N. A. Rimsky-Korsakov and His Legacy in Historical Perspective: collection of articles, Saint Petersburg, 2010; The Triumph of Russian Music: Rimsky-Korsakov — Window to the World: collection of articles. Saint Petersburg, 2016. The author of this article, who has been studying the materials and manuscripts of Rimsky-Korsakov’s students A. K. Lyadov, M. M. Ippolitov- Ivanov, and the composer of the Saint Petersburg school G. N. Popov for many years, summarises some questions accumulated by the modern knowledge about the composer, focusing on the topic “N. A. Rimsky-Korsakov and His Followers”.

ЭКРАННАЯ КУЛЬТУРА: СУЩНОСТЬ И ПЕРСПЕКТИВЫ ТРАНСФОРМАЦИИ

The article shows that at the present stage, the question of the need to transform screen culture into a new quality that meets the ideas of high art and has intellectual (including philosophical) saturation is particularly acute. It is proved that the basis of approaches that make it possible to make the transition to high screen culture can be the views of cultural figures of the Silver Age, in particular A.N.Scriabin, who proposed the concept of "Mystery" as a kind of synthetic action capable, among other things, of transforming human consciousness by means of art filled with philosophical content.From the point of view of general ideas about the evolution of society, this, among other things, corresponds to the use of resources at the transpersonal level of information processing. Currently, there is an opportunity to transform the ideas of A.N.Scriabin and his contemporaries, not only filling them with rational content, but also ensuring their implementation into cultural and pedagogical practice using modern information technologies.

ОРГАНИЗАЦИЯ ХУДОЖЕСТВЕННОГО ОБРАЗОВАНИЯ БУДУЩИХ ЖУРНАЛИСТОВ: ОСНОВЫ МИМЕТИЧЕСКОГО ОБУЧЕНИЯ

The purpose of this article is to determine the specifics and features of organising the art education of future journalists based on the analysis of the experience of training journalists at the Kazan (Volga Region) Federal University. A comprehensive analysis made it possible to determine the goals and objectives of art education, to identify its integral components, approaches and principles, as well as to describe the content. Defining the artistic training of future journalists as cultural training, the author relates this to the idea of art forms as a highly potential means of educating a person, capable of satisfying the needs of an individual, elevating these needs, immersing a person in the world of culture. This point becomes especially important in conditions of underestimation of the role and significance of aesthetic consciousness and artistic culture, their influence on the dynamics of development of modern society. The main components of art education of future journalists include the developed skills of semantic creativity as an attributive mechanism for the translation of the meanings contained in works of art; formed competences in the field of art and artistic creativity; digital methodology of educational activities; dynamic cultural and educational space; mimetics of experimentation with the discovery of the meanings of the art world, based on artistic experience, formed and developed under the influence of artistic imagery. Art education of future journalists is based on a number of principles, the most important of which are the principles of an integrated approach, uniqueness, traditionality, realisation of the moral potential of art, universality, intercultural interaction, and involvement.

ДІАЛОГИ ФЕОФАНА ПРОКОПОВИЧА: ОСОБЛИВОСТІ ІДЕЙНО-ТЕМАТИЧНОГО СПРЯМУВАННЯ

Background. The article explores the specific features of the thematic spectrum in Feophan Prokopovych's dialogues, specifically "The Conversation of Tekton, or Tesla, with a Merchant" and "The Conversation of a Townsman with a Peasant and a Sexton". The actuality of this study lies in the fact that the texts of these dialogues serve as an additional and important source for studying the writer's artistic worldview and the specifics of his poetic work. The poetics of these dialogues represent the realization of classical principles in the works, synthesizing stylistic features of Antiquity, Baroque, and Enlightenment. The thematic spectrum of the works reflects the author's understanding of God, the role of education and knowledge in the life of individuals and society. The objective of the study is to analyze features of the thematic spectrum in F. Prokopovych's dialogues. Tasks involve identifying specific characteristics of author's dialogues and analyzing their realization in terms of thematic, genre, and stylistic aspects. Methods. The writer's dialogues are analyzed using historical-philological, hermeneutic, and comparative research methods. Results. In the dialogue "The Conversation of a Townsman with a Peasant and a Deaco", Feofan Prokopovych presents an artistic interpretation of religious and philosophical issues. The author focuses on the specificity of interpreting the phenomenon of simplicity, expressing his attitude toward it as a particular cultural concept. The work tends toward the sermon genre. An artistic idea of knowledge as a secular phenomenon important for further social progress is presented. The character of the Townsman embodies the idea of education and knowledge as acquisitions that are not innate but achieved through the efforts. Prokopovych advocates the thesis of the necessity of accessible and popularized education among broad segments of society. Conclusions. the thematic spectrum of F. Prokopovych's dialogues is focused on presenting the artistic interpretation of issues related to religion, the church, and education. In these dialogues, a particular societal stance of the writer is interpreted. The dialogue texts remain a prospective material for further scholarly studies. It is necessary to explore the dialogues from the perspective of the author's evolution of worldview and creative work.

On the Integration and Development of Artistic Creativity and Digitalization

In the era of digital technology, the development of information technology and art culture helps to enhance artistic creativity through digital technology. New forms of art emerge from the parallel between art and "digitization": This article discusses digitization in artistic creativity, and theoretically discusses and summarizes the creativity generated by the integration of artistic ideas and digital art in the current digital era in China. Digitization is a brand new mode of production and economic form, which has become an im-portant standard of modern economic development. At the end of 1980s, the rapid development of digital technology and information technology made digital art appear in the world. Based on computer and Inter-net technology, it has created a space for digital development, and provided a new platform for artists to create digital art in all aspects of digital technology and application ability. At present, digital art is growing into a new art form in the art and creative industry of the 21st century.

Examining the Relationship Between Moral Literacy and Art Literacy of University Students

It can be said that individuals who socialize under the roof of education express their artistic understanding of the creatures they choose or be influenced by the moral understanding they choose and are influenced by. It is important how individuals paint the world with the paint of their moral character on the basis of the education they receive, rather than in which field they are educated. Painting here is a kind of art. Art is individual and has a place in almost every branch. For example, with their own morals, architects build the world, doctors heal the world, painters draw and color the world, teachers educate the world, and musicians gift the world with melodies. These created worlds are manifested by the representation of the moral aspects of the minds. Within the scope of this study, it is aimed to examine the relationship between moral literacy and art literacy of university students studying in different departments in terms of various variables. Relational survey model, one of the quantitative research methods, was used in the research. The sample of the study consists of 242 university students studying in different departments of Kırıkkale University. As data collection tools in this study, the scales developed by Tekin (2022) in "The Moral Literacy" and Yücetoker (2014) " The Art Literacy " were used. SPSS 25.0 statistical package program was used in the analysis of the data. According to the results obtained, it has been observed that there is a positive and 'moderate' relationship between the moral literacy and art literacy levels of university students studying at different faculties and having different socioeconomic levels. With the results of this research, it is thought that it may be beneficial for higher education authorities to carry out studies in order not to limit the moral and artistic ideas and skills of young university students with their socioeconomic levels.

Ukrainian Territory A Artistic Agency: a Synthesis of Ukrainian Folklore and Popular Music Art in Sound Recording

The basic principles of the development and synthesis of Ukrainian popular and folk (folklore) art of the late 20th – early 21st centuries are investigated in the article. Peculiar attention is paid to the work of the Territory-A artistic agency (ideologist and project masters are producer Oleksandr Bryhynets, presenter – Honored Artist of Ukraine Anzhelika Rudnytska), which managed to find the methods and forms of introducing Ukrainian culture into radio and television spaces, to replenish the creative fund with sound recordings of Ukrainian origin, to distribute popular song in modern arrangements in the mass-media spaces and to popularize Ukrainian folk traditions among young people by initiating festivals called EthnoWinter, EthnoSpring, EthnoSummer and EthnoAutumn. The main analysis of the synthesis of Ukrainian popular music and folklore is dedicated to the theme of revival of archetypal tunes of Western Ukraine, the creation of new compositions based on them and their popularization among the audience, the promotion of ethnic music on television and its importance for national culture in general. Also noteworthy is the first Ukrainian large-format Territory-A hit parade on ICTV channel, which has broadcasted domestically produced videos three times a week for five years (1995–2000), on the revealing new names of young performers as a leading prototype for subsequent art projects such as Star Factory, X-Factor, The Voice of the Country, etc. Besides, attention is focused on the issue of the Musical Week newspaper, which has improved eventually the style of magazine published works. The Territory-A artistic agency is known as the publisher and order performer, famous for its hit parades of video- and audiography among Ukrainian popular music artists on the ICTV All-Ukrainian TV channel. It is emphasized in the conclusions on the necessity of such artistic ideas in the future. This, in turn, positions the revival of national culture and symbolism in the sphere of self-identification of Ukrainian art among the people of other cultures.

Mystery and artistic veil – Widma [Phantoms] by Stanisław Moniuszko and Paweł Passini

The purpose of this paper is to analyse Moniuszko’s Phantoms with a particular focus on the relationships between music and libretto in order to compare them later with modern strategies of performances staged recently in Polish operas and concert halls. The source-historical context referring to cultural and perceptive aspects of Phantoms serves as a starting point. The question is also raised concerning the relationship and fusion of arts constituting that intriguing work. A search for dramaturgic-theatrical aspects of Moniuszko’s work assumes an attempt to capture a so-called ‘intentio operis’, created at the intersection of Mickiewicz’s text and musical intentions of the composer. The analysis was centered on selected aspects of dramaturgy of a few performances of ‘Phantoms’ staged at the Wratislavia Cantans Festival (2017, dir. P. Passini), the Wrocław Opera, (prem. 2018, dir. J. Fret), and the Polish Royal Opera (prem. 2017, dir. R. Peryt). All stagings were an interesting attempt to reinterpret a starting form of cantata bringing it closer to theatrical work. This paper intends to answer the following questions: what dramaturgic and theatrical strategies are generated by Moniuszko’s cantata? To what extent does the cantata nature of this music-textual work contributes to new theatrical interpretations? To what extent are modern stage productions the answer to an artistic potential present in its music-textual layer? Do the new projects of its visualization and dramatisation result, even indirectly, from the structural and staging potential of the work, or whether they attempt to add new artistic ideas in order to make Phantoms more attractive as a starting, incomplete, music-textual structure?

Between Art Historical Representation and Didactic Functionality: The Cast Collection of the Royal Academy of Fine Arts of Antwerp

During the long nineteenth century, the Royal Academy of Fine Arts of Antwerp – just like many other art schools in this period – assembled a collection of some 500 plaster casts after ancient and modern sculptures, which played an essential role in the education of young art students. The creation of such collections went in parallel with the blossoming of cast museums all over Europe, as well as the emergence of a large-scale exchange network set up to facilitate the international dissemination of plaster casts. However, in contrast to cast museums, which brought together masterpieces of classical Western sculpture in order to contribute to the aesthetic edification of the public, the cast collections of art academies had a more pragmatic and didactic function. This article focuses on cast collections at art academies, and how the formation and functioning of such collections related to broader educational concepts and practices at these schools. Taking the collection of plaster casts at the Royal Academy of Fine Arts of Antwerp as a case study, we will trace the various actors, methods and strategies employed to create the collection, uncover how the collection related to the artistic idea(l)s expressed in the educational programme of that institution, and discuss how and where it was located and displayed. Based on the rich archives of the academy, it examines a broad range of different sources, including purchase lists, inventories and correspondence concerning the formation of the collection, as well as floor plans, photographs and original drawings attesting to the location and use of the casts. It traces the provenance of the objects, analyzes the profiles of the individuals and institutions involved in creating the collection, and identifies to what extent and how creative repurposing played a role in the collection’s functioning. The article argues how cast collections formed by art academies – in addition to representing the art historical canon of a given place or period – are an important reflection of the didactic practices, aesthetic priorities and, above all, the creative encounters that distinguish these institutions from the purposes of the public (cast) museum.

Baboiyen Interpretasi Lagu Tenggi Kekomposisi Pendekatan Populer Bergenre Folk

"Baboiyen" is a composition of karawitan music inspired by the traditional art form of Saluang Patiak Tigo, specifically the repertoire of the Tenggi song from the Ujung Jalan village in South Solok Regency, Minangkabau. Saluang Patiak Tigo is often presented in various traditional ceremonies and weddings. The inspiring Tenggi song repertoire features intriguing musical elements with fluctuating tones and a melodic journey that rises and falls, creating a captivating impression. "Baboiyen" is an expression of the artist's ideas and concepts, developing the modes of the Tenggi song into an engaging musical composition with a popular folk genre approach. Through this work, the creator aims to share their musical experiences, provide inspiration, and foster interest in the development of traditional music.

Features of the Organization of a Multi-perspective Narrative of Levon Khechoyan’s Historical Novel “King Arshak, Eunuch Drastamat

Key words: polyphony, narrator, narrative methods, structure, the death of the author, intertextuality The organization of the narrative, using folklore genres and narrative techniques with the combination of new techniques, makes it possible to convey life experience and artistic ideas from generation to generation, ensuring the continuity and actuality of literature. The epic narrative of Levon Khechoyan “King Arshak, Eunuch Drastamat” is created according to this principle. The historical novel, generally, reflects those features of narrative organization (changes in the point of view, intertextual connections), that are observed in the literature of the 20th century. The innovative nature of the historical novel and the most important characteristics of story construction have not been unnoticed, just on the contrary: they have always been highlighted by researchers. Literary scholars, who have studied the historical novel, have noted several unique features of the structure of the narrative, hovewer, with all the depth of the analytical research and notes made, the regularities of the narrative organization have not been studied specifically. Therefore, it is relevant to study the historical novel from this point of view. The aim of this article is to examine the features of the narrative structure found in L. Khechoyan's historical novel "King Arshak, Eunuch Drastamat." To this end, we have assigned ourselves the task of examining the primary structure of the narrative, the viewpoint, and the various ways in which it is expressed in the aforementioned novel.

Рецензия на монографию Н.Ю. Молока «Давид Аркин: „идеолог космополитизма“ в архитектуре»

The New Literary Observer (NLO) publishing house published a scientific biography of David Arkin, one of the most famous architectural critics, whose influence on the artistic life of the country persisted for almost forty years from the early 1920s to the late 1940s. The source-based nature of the work, the core of which is unique archival materials, does not negate the strong impression that the monograph leaves on the reader. In addition to the remarkable text by N.Yu. Molok, the work has a large, carefully selected documentary block that gives an idea of the metamorphoses that happened in different years not only to David Arkin and his colleagues, but also to the country as a whole. Looking at the fate of one of the brightest and most talented people of his time from a close distance, it is especially frightening to see how certain artistic ideas, theories, tastes or sincere beliefs were transformed into an instrument first of professional and personal, and then political and ideological struggle.

ملامح تشكيل المهارات الأدائية لطلاب آلة الكمان في نظام التعليم الموسيقي العالي

Modern music pedagogy aims to develop progressive forms of learning and create new technologies to modernize the educational process and increase its effectiveness. The main task for music-pedagogical educational institutions is to bridge the gap between artistic ideas, interpretive intentions, and technical abilities in the professional training of students, in order to achieve a well-rounded development of all performance qualities. Under these circumstances, the issue of developing the performance skills of violin students in music-pedagogical education systems holds significant global importance and requires urgent research and development. Solving this task will contribute to improving vocational training for students in educational institutions and universities that train performers and teachers. Additionally, it will enhance the development of effective teaching methods by providing students with practical experience not only in performance but also in teaching the violin. Drawing from foreign experiences in this field can have a positive impact on the productivity and validity of research aimed at modernizing local education, making it an additional source for development and enrichment. Although resources may currently be scarce and insufficient, the global trend is to continuously increase and reevaluate existing resources and methods. Examining the techniques, approaches, and studies of violinists helps in developing more effective performance techniques. The techniques of the violin instrument have a long history of development and have always been of interest to musicians and methodologies. Methods have evolved and improved based on various factors, such as the development of music, its relevance to different musical periods and cultural contexts, and advancements in the design of the instrument. These methods are constantly evolving to meet specific technical requirements and specifications. It is important to emphasize that contemporary performers are often not limited to rigid interpretations of musical texts. They strive to find their own unique interpretations, which may at times diverge from the original ideas and intentions of the composer.

S. Bortkiewicz’s piano style

Statement of the problem. The genre-style richness of S. Bortkiewicz’s legacy does not except the dominance of piano music in it, which is explained by the composer’s piano education, the experience of his public performances and teaching activities. The 21st century became a time of revival of the composer’s name in the modern culture, but the specifics of his piano style remain outside the scope of special studies. Recent research and publications shows the great interest in the artist’s figure. Scientists focus on the performance of S. Bortkiewicz himself (Levkulych, 2021), highlight his violin compositions (Yakubov, 2021), develop the theme of dance and dance quality in his music (Kościelak-Nadolska, 2016), examine the composer’s life and creative legacy (Ishioka, 2016), stylistic influences on his thinking (Johnson, 2016). Objectives, methods and novelty of the research. The purpose of the study is to reveal the features of S. Bortkiewicz’s piano style based on observations of leading solo genres (sonatas, preludes, etudes). The scientific novelty of the article is determined by the original thesis about participation in the realization of the artistic idea of a complex of certain pianistic techniques, which are perceived as carriers of emotional content. The presented study is based on the principle of historicism and a comprehensive scientific approach involving various methods of analysis. Research results. In S. Bortkiewicz’s legacy, the piano sonata is represented by two compositions: op. 9, B major, and op. 60, C sharp minor. The purely piano techniques, the totality of which indicates virtuosity as a means of realizing the art design, have the great importance in these works (large-scale technique, bright jumps, rapid octave passages on f, a wide dynamic palette from pp to fff). The combined technique, the use of rubato play become the typical features of his piano style. Preludes op. 13, op. 33, op. 40, and op. 66 are distinguished by the dominance of a single image, embodied by the laconic pianistic means. The image and genre spectrum of prelude cycles is diverse and reflects almost the entire experience of a romantic miniature. The composer finds his own ways to reveal individuality and to manifest the modern thinking, the essence of which is in the use of combinatorial methods in the field of both language means of expression and purely pianistic techniques. The etude genre can be classified as one of the most popular in S. Bortkiewicz’s creativity. Ten Etudes op. 15 and Twelve Etudes-novels op. 29 are a true anthology of the concert etude, which combines the effectiveness of style brilliant and al fresco with spiritual imagery, playing allusions, ironic approach to typical formulas, nostalgia for lost ideals. Conclusion. S. Bortkiewicz demonstrates his own attitude to the classical-romantic tradition, which reveals an individual author position. Relying on typical pianistic techniques, the composer combines a concert virtuoso style with inspired confessional expression, prefers lyrical and scherzo imagery realized often through widely uses polyrhythmic layering, closely connects each of the playing techniques with a certain artistic idea, due to which the author’s own “word” is always felt.

Gender Features of Art Practice of Ukraine and the East in Modern Context

The purpose of this study is to elucidate the contextual narrative of artistic expression of gender in the artistic practices of the East and Ukraine. The research methodology combines the analytical method of reviewing secondary sources. Moreover, the research is carried out in accordance with interdisciplinary knowledge principles, taking into account the intersection of gender psychology, art history, and cultural studies in addressing the specified issue. The methodological approach facilitated the synthesis and modelling of a shared artistic perspective on gender issues, unveiled within the trend of glocalisation for creative resistance in both Ukrainian and Eastern traditions. The scientific novelty of the study lies in its comparative approach, transcending monolithic and indigenous studies of artistic practice. The juxtaposition of Ukrainian and Eastern practices forms the basis for a synthetic description of gender as an artistic category within a cross-cultural context. In conclusion, significant contrasts in the aesthetics and techniques of the Ukrainian and broader Eastern artistic spaces are shaped by the tradition of forming a socio-cultural paradigm. Concurrently, these ethnic communities utilise common and similar approaches in contemporary artistic exploration of gender identity, memory, and critique. Despite significant divergence in creative methodologies, artists from both regions leverage traditional artistic elements and digital technologies to craft hybrid forms and narratives of masculinity and femininity that challenge societal norms and contribute to artistic resistance. It is noteworthy that gender appears within the cultures of the East (specifically within the Ukrainian context) as a variant of dialogue regarding the colonial narrative. The similarity in opposition to patriarchal and socialist ideologies indicates a broader ethical vector within the aesthetic system. The presented results contribute to the re-evaluation of global artistic narratives. The ongoing assimilation of artistic ideas in the context of globalisation dynamics is transforming contemporary art practices, promoting the development of glocalisation as a form of resistance, not only within the confines of artistic work, but also in its projections onto socio-psychological reality. The article emphasises emergence, revealed in the close interplay of numerous factors shaping the artistic practice of individual communities in the global world.
 Keywords: art practice, gender discourse, artistic resistance, glocalisation.

The Silk Road as One of the Phenomena of Chinese Music: Past and Present

The article presents two collective art projects for the fi rst time: the multimedia symphony “In Pursuit of the Dream of the Silk Road” and the large-scale macrocycle “The Silk Road”. Both of them consider the theme of the Silk Road in different genre-stylistic and dramatic planes. The concept of the interaction of the Silk Road with the artistic culture of China opens up broad and versatile perspectives for researchers of modern Chinese music. The point is not only that over the past twenty years dozens of quite original works have appeared, one way or another interpreting its cultural and even “economic” motives. A look at these experiences allows us to imagine a whole range of compositional and artistic trends that characterise the work of musicians of different generations, religious schools and ideological positions, as well as new searches in modern performance and music education. Two large collective projects presented in this article are inspired by the general artistic idea of the Silk Road. However, this concept is implemented in them with completely different genre-stylistic and technical means.