Artistic Techniques Research Articles

Features of the Formation of Artistic Means and Techniques of Traditional Chinese Silk Embroidery

The history of the embroidery art in China is at least two thousand years old. During this time, the methods of performing compositions, their purpose, motives, and means of artistic expression were changing. The plastic and technical transformations that occurred with silk embroidery led Chinese masters to creating works that were close in their characteristics to the images of traditional Chinese painting. Based on the surviving embroideries and their fragments, which were created during the period from the reign of the Shang dynasty to the end of the Qing reign, the author of the paper examines the fi gurative specifi cs, as well as the artistic techniques and methods of their implementation. The main task is to show how the visual language of Chinese masters and the corresponding technical features have changed.

A Literary Stylistic Analysis of Katherine Mansfield’s Miss Brill

Katherine Mansfield, one of the most renowned female writers in the world of literature, created 93 works in her brief lifetime, many of which are considered classics by posterity. Mansfield’s outstanding contribution to literature lies in her innovation in the realm of short stories, and she is widely recognized as one of the finest short story writers in the history of English literature. Miss Brill is one such masterpiece, depicting the story of Miss Brill as she dresses neatly and goes to the park on a Sunday, sitting on a bench and observing the people passing by, listening to their conversations and the band playing. She imagines herself as a part of their world, but her illusions are shattered by a young couple, and she returns home, disheartened, to what feels like a cupboard of a home. This short story exemplifies the artistic techniques in Mansfield's storytelling, with one of the prominent features being the charm emanating from the stylistic choices in her works. Literary stylistics is concerned with the language features of literary works, exploring how authors use language to express the themes of their works and enhance their aesthetic value. This paper will delve into literary stylistics, focusing on the text of the short story Miss Brill, examining its lexical features, grammatical features, and figures of speech to explore how Mansfield uses specific language choices to convey and enhance the thematic significance and aesthetic effects of her work.

The Influence of Pound’s Imagism on James Joyce

As a famous writer of the Modernist literature, James Joyce’s novels are said to be abstruse and obscure. By tracing Ezra Pound’s influence on James Joyce’s imagist writing techniques, we can better understand his writing methods that combine Imagism and Symbolism. Joyce put much emphasis on literary structure and an unusual awareness of the linguistic medium. His exploration of the artistic technique was reflected in the concern of people and the society. By decoding his works, not only the problems of the society at that time, but also the general psychological and philosophical thinking of human beings are profoundly reflected.

Rediscovering the Painting Technique of the 15th Century Panel Painting Depicting the Coronation of the Virgin by Michele di Matteo

The study concerned a diagnostic spectroscopic campaign carried out on the panel painting depicting the Coronation of the Virgin (first half of the 15th century) by the late-Gothic Italian painter Michele di Matteo. The main aims were the identification of the original painting materials and the characterization of the painter’s artistic technique. A combined approach based on non- and micro-invasive techniques was employed. Visible and ultraviolet-induced fluorescence photography was used to select the areas of interest for spectroscopic analyses; X-ray radiography assessed the state of conservation of the support, while X-ray fluorescence and external reflection Fourier transform infrared spectroscopies allowed the chemical identification of pigments, binders, and varnishes. Attenuated total reflection infrared spectroscopy, optical microscopy, and scanning electron microscopy coupled with energy-dispersive X-ray spectroscopy were used to visualize and characterize the materials in the pictorial layers. The results highlighted the presence of pigments, possibly applied with an egg binder, consistent with the period of the production of the painting, as well as modern pigments used during subsequent restorations: an imprimitura with lead white and a gypsum-based ground layer. Concerning the gilding, the guazzo technique was confirmed by identifying a red bolo substrate and gold leaf.

Textual Borrowing of Aftertime Literati from the Nineteen Old Poems

The Nineteen Old Poems, hailed as the crown jewel of five-character lines, has left an indelible mark on countless poets of subsequent generations, inspiring an array of imitative works. This paper aims to explore the diverse practices of textual borrowing from the Nineteen Old Poems across three distinct historical periods: the late Han and Wei-Jin periods (Cao brothers, Ruan Ji, Lu Ji), the Tang dynasty (Li Bai, Wei Yingwu), and the Ming dynasty (He Jingming, Li Panlong, and others among the Earlier and Later Seven Masters). By selecting representative imitative poems from these poets and comparing them with the original works, this paper reveals that each dynasty (period) exhibits unique characteristics in its textual borrowing from the Nineteen Old Poems, which differ widely. Notably, the influence of these poems was widespread during the late Han and Wei-Jin period, but varied significantly during the Tang dynasty due to the diversity of poets and poetic styles. This paper sheds light on the innovative linguistic styles and artistic techniques prevalent during the Wei-Jin period, as well as the tendency towards literati stylization, delves into the inheritance and reformation of the ancient poetic tradition by literati during the Classical Revival Movement in the Ming dynasty, contributes to the broader research on imitative poetry derived from the Nineteen Old Poems and probes into its artistic achievements and literary value.

Coverage of fighting tasks of ukrainian aviation in documentaries

Introduction. Documentaries about Ukraine's aerospace industry create conditions for the audience to immerse themselves in the world of aviation, to feel the effect of being present during combat missions, to cover military events and military operations, but in the first place, they tell the story of a person or people. Documentary filmmakers touched upon the topic of aviation at the beginning of the Russian-Ukrainian war in 2014 and 2015. After the full-scale invasion, the role of aviation became more important in the war, and a new wave of documentaries about military aviation appeared. The peculiarities of covering the combat missions of Ukrainian aviation during the full-scale invasion of Ukraine by the Russian Federation, the use of the latest methods of recording events, transmitting testimonies, and creating images ofheroes in documentaries are the subject of this study. The purpose of the study is to identify the features of contemporary television documentaries on aviation in the context of the Russian-Ukrainian war. Research methods. The results of the study were obtained using theoretical, descriptive, comparative methods, and systematic monitoring of documentaries about Ukrainian military aviation. The features of these films were identified, in particular, by the following criteria: duration, methods of recording events and facts, peculiarities of presentation, creation of characters, artistic techniques. The documentaries from 2015 and 2023 were compared. Results. We have analysed documentaries about the combat missions of Ukrainian aviation, such as Pilots. Return", "Masters of the Sky", "Downed Russian pilots". The authors of the films use the techniques of video portraits, video interviews, and comments by experts or heads of relevant structures. Testimonies and interpretations of events help the viewer to understand the specifics of aviation. Conclusions. Documentary films enhance the publicistic images of heroes, including pilots and other aviation professionals, Ukrainian defenders, not only by recording facts, documenting events, testimonies, comments and interviews, but also by artistic techniques and editing.

The Symbolic Feelings of Opposites: An Analysis of the Characters in Bai Xianyong's Taipei People

Critical analysis of the stylistic features in the works of Bai Xianyong has already been richly explored by previous scholars. The theories on temporal and spatial themes have gradually made the analysis of artistic techniques a tool for supporting arguments. However, as the fundamental means of style formation, analysing artistic techniques alone remains an effective way to understand the article and the author's writing style and purpose. This article analyses the character-shaping techniques in Bai Xianyong's Taipei People, especially the use of metaphor and symbolism in presenting oppositions. Through in-depth analysis of The Eternal Snow Beauty and Wandering in the Garden, Waking from a Dream, it reveals how Bai Xianyong uses techniques such as symbolism and metaphor to reflect the oppositional relationships between historical changes, social realities, and individual destinies. These artistic techniques not only shape the complex characters but also express the author's deep thoughts on history and reality and his emotional attitude toward the social group that migrated to Taipei. Therefore, while Bai Xianyong integrates unique writing techniques from both Chinese and Western literature, he uses symbolism to soften oppositions, resulting in a unified texture in his works where conflicts are apparent but not contradictory.

ID Model: Classification and Criteria of an Impressive Drawing in Art and Design Perspectives for Higher Education

Drawing is widely recognised as a fundamental skill in higher education, particularly in art and design fields, where it plays a pivotal role in creative expression and technical development. However, assessing impressive drawings presents challenges due to the subjective nature of creativity and the evolving standards of art education. This study aims to develop a conceptual model that offers a structured approach for educators and students to evaluate impressive drawings effectively. Using qualitative research methods and inductive content analysis of literature from 2019 to 2024, the study identifies key components of impressive drawing, such as technical proficiency, creativity, conceptual depth, and visual communication. The findings highlight a shift in teaching practices, driven by historical and contemporary perspectives, and explore the integration of digital tools with traditional techniques in art and design education. The study acknowledges the inherent subjectivity in drawing assessments and recommends developing a more objective and consistent evaluation system that still preserves creative expression. The proposed ID model balances technical skill with creativity, providing a framework for improving assessment practices and guiding students toward meeting the expectations of impressive drawings. This model adapts to the evolving needs of the field, contributing to ongoing discourse in art and design education.

The theatricality and cinematography of Alessandro Baricco's literary works

The subject of the study is stylistic and genre techniques that go beyond literary traditions. The object of the research is the early works of Alessandro Baricco, the novels "Silk" and "Sea-Ocean", the scenario - monologue "1900: the legend of the pianist", the novel – scenario "Smith & Wesson" ("Smith & Wesson"), the novel "City". The research is going to show individual features and artistic techniques that allow achieving the greatest imagery, to identify innovative features of Alessandro Baricco's poetics. Baricco's literary narrative is completed by elements imitating acoustic and visual effects, which allows the reader to build suggestive images in mind, intense with visual and sound effects. This article research two types of works by Alessandro Baricco: those that were originally written not only for reading, but also for staging in the theater; and those where elements of theatricality and cinematography are implicitly inscribed in the text. The scientific novelty of the work is due to show various aspects related to the individuality of the author's thinking. The works of Alessandro Baricco are characterized by syncretism. The writer weaves elements from the theater and cinema into the narrative canvas, which makes his prose highly suggestive. It is also possible to talk about two author's strategies: a detailed description of the visual and sound accompaniment of the action, or half-hints aimed at the gradual recognition of interwoven theatrical and cinematic techniques, hints that help the reader understand what is happening. The results of the study can serve to expand interest to the work of Alessandro Baricco and further research his literature works as a whole with the diverse activities of Baricco in the world of culture.

The ‘Everyday’ in the Context of Japanese Cultural Anti-Modernism: A Case Study of Isao Takahata’s Anime My Neighbors the Yamadas

The post-World War II years in the history of Modern Japan were vital in deciding the fate of the Japanese archipelago in terms of its ambitions of regaining what Emperor Hirohito of Japan in the ‘Jewel Voice Broadcast’ on 15 August 1945 called “the innateglory of the imperial state.” While there is a note of surrender in Hirohito’s speech, urging his subjects to march forward to a globalised and modern Japan by “enduring the unendurable and suffering what is insufferable,” attempts at modernising Japan, at an incredibly rapid pace, had already begun during the Meiji period in the nineteenth century. What Hirohito’s speech critically points to is the final, official reassertion of, as well as yielding to, the temperament and paraphernalia of modernity, an issue that was vastly in contention in the first half of the twentieth century. The issue of incorporating Western modernisation within Japanese society, as the Japanese sought to construct an identity for themselves after their devastating defeat in the war, had divided the country. Japan had already gone through a period of almost two hundred years of self-isolation from the world to its West, albeit with limited trade relations with the Dutch. The Meiji government, which came to power in 1868, attempted to incorporate Western modernisation within the folds of the state of Japan and thereby fill in the gap that had been created between a ‘traditional’ Japan and an industrialised, modernised West as a result of such isolation. In the nineteenth century, the government took it upon itself to invite various scholarly and military experts from the West to boost the Japanese project of modernisation. As Dani Cavallaro writes: “grand edifices in the West’s neoclassical style were erected, its vogues were superimposed onto traditional vestimentary codes, its cuisine was incorporated into the national diet, and its artistic techniques were taught in many schools, sometimes to the disadvantage of time-honoured indigenous methods” (7-8). Such an account of how the Meiji government attempted to modernise Japan by reorienting how the average Japanese built their homes, what clothes they wore or the food they ate, and how their children were being educated in schools alert us unambiguously to the condition of the ‘everyday’ that served as a platform for such transformations. Such transformations not only established themselves by altering the ‘everyday’, but also inscribed their legitimacy and normalcy upon it. As Henri Lefebvre states in his essay “The Everyday and Everydayness:” “A condition stipulated for the legibility of forms, ordained by means of functions, inscribed within structures, the everyday constitutes the platform upon which the bureaucratic society of controlled consumerism is erected” (9).

Linear perspective as aesthetic form

Background. The article provides a theoretical reconstruction of the linear perspective functioning as more than just an artistic technique that emerged and became an attribute of paintings starting with the Italian Trecento, in particular, in the works of Giotto. The purpose of the article is to reveal the heuristic potential of aesthetic form not in reflecting the consequences of the economic landscape transformation, but in anticipating its transformation and directing the efforts of the subject in its reorganization. The research's methodology is focused on the dynamics of cultural forms through the optics of art history and aesthetic theory, as well as on socio-historical reconstruction of the context without trying to prevent vulgar sociological reductionism and economic determinism. This approach reveals the relationship between the aesthetic text and the context, and the former's potential in clarifying the subtext by articulating the serial principle's aesthetic value and promoting the modern historical type of cultural production and consumption. Methods. This artistic guideline transformed not only the order of the signifiers of the painting (in particular, it replaced the golden background, which had been mostly filled with geometric shapes, humanized the illusory space, and saturated it with mathematically verified figures and objects) but also the order of signifies in the logic of the "picture of the world" (rehabilitation of sensory perception, declaration of the infallibility eye, autonomization of vision, dominance of pictorial space, compression of time to the moment of now, unification of the status of a separate thing in the general order, legitimization of holistic anti-metaphysical programs). Results. The article reveals the connection between the antimetaphysical program of linear perspective in the artistic dimension and the Cartesian homology of space in the theoretical dimension. It also emphasizes the architectonic principle of linear perspective: the rhythmicity of geometric shapes, a stable balance of nodal points, and dynamics of basic forms' reproductions and repetitions. Conclusions. Conducted research substantiates the understanding of linear perspective not as a method of legitimizing the correct vision of things, but as a representation of the valid order and scale of the world through a clear coordinate system, aimed at unification of the system of things and equivalent exchange within it.

ГЕРОЙ ПОД СТЕНАМИ КРЕПОСТИ: К ВОПРОСУ О ВИЗУАЛЬНОЙ РЕПРЕЗЕНТАЦИИ РАМСЕСА II В БИТВЕ ПРИ КАДЕШЕ

The Ramesseum temple erected under Ramesses II is one of the most significant monuments of Egyptian architecture of the XIX dynasty. Battle scenes illustrating the last major battle of the Bronze Age – the Battle of Kadesh – have been preserved on its walls. The fierce opposition of the young Pharaoh to the Hittites led to the signing of the first peace treaty in history. In Egyptian sources, Ramesses appears as a victor who prevailed over the enemy, thanks to his personal qualities and the will of the gods. The comparison of written evidence and relief images allows us to form an objective vision of the battle of Kadesh, its course and results. The analysis of sources also makes it possible to identify specific features of Egyptian official art, which include the canonical rules for the image presentation of the victorious king, as well as the artistic techniques used for that. Special attention is paid to the context of the creation of reliefs, namely, the state ideology and worldview of the ancient Egyptians in the era of the New Kingdom.

Grigor Khanjyan’s Triptych as a Visualization of the Commemoration in the Context of the Armenian Ethnogenetic Myth

The article is devoted to the visualization of three key events in the history of Armenia in the work of the artist Grigor Khanjyan: the invention of the Armenian alphabet by Mesrop Mashtots, the Vardanid War for independence. To achieve ideological and aesthetic goals, the artist turned to the monumental genre. The final result was a triptych, now stored in the heart of Yerevan, in the architectural and monumental Cascade complex, in the Gerard Gafeschyan Art Center, in the hall named after the artist. The frescoes are united by cumulation and intentional atemporality of the characters. Another characteristic feature of the triptych is that Khanjyan turned to academic classicism to implement the idea. As an artistic technique, the master uses achrony, shifting the time frame for different characters, but at the same time, remaining faithful to the plot and the entourage of the depicted events. The central part of the triptych resembles a temporary dromos, separating and simultaneously connecting the first and third khorans, epochal events that changed the paradigm of the Armenian nation’s existence. Through the time portal, the Armenian ethnic group flows from the early Middle Ages to our days. A cross-cutting idea is the ideal of the social structure of the Armenian nation, which has gained sovereignty, sought by Khanjyan. The artist models the Golden Age according to the type of social structure of the early Middle Ages, extrapolating the medieval paradigm to the present and tomorrow. The ukhronia of the Reborn Armenia created by the artist is a projection of early medieval Armenia. Among the researchers who conducted an art criticism analysis of this work of Khanjyan, it is perhaps worth highlighting the names of such researchers as N. Stepanyan, N. Eyramjians, V. Gamagelyan, etc., whose works we refer to in our study. This article is intended to partially fill this obvious gap. The scientific novelty of the study lies in its interdisciplinary approach, due to the fact that one of the co–authors is a historian and the other is an art critic. This allowed the authors to conduct a diverse analysis using historical, cultural, semiotic, anthropological, ethnographic and, of course, art criticism approaches.

UKRAINIAN AND POLISH POPULAR SCIENCE BLOGS ON THE YouTube PLATFORM: FUNCTIONAL FEATURES

In this scientific research, attention is paid to the functioning of the Ukrainian and Polish blogospheres.The popular science blogs of those blogospheres with the widest audience are considered. The problem is urgent, since blogs on various platforms are not only informative or entertaining, but also educational.It is already possible to receive educational, scientific and cognitive information from blogs. In fact, popular science blogs function as a relatively free educational resource that operates parallel to government and commercial institutions. Based on the theoretical developments of Ukrainian scientists, we can say that blogs, in which you can use audiovisual and textual components, are the most convenient means of creating popular scientific content. Actually, this meets the demands of the modern consumer of information. The novelty of the article lies inrevealing the specifics and trends of the functioning of popular science blogs and highlighting the features of blogs on the YouTube platform, which have audiovisual and textual capabilities for creating popular science content. Based on the ranking and content analysis, it was found that the most popular are historical topics, followed by natural sciences, astrology, medicine and psychology. In particular, the top five popular Ukrainian blogs include: «Imeni T.H. Shevchenka (Named after T. H. Shevchenko)», «Istoriia bez mifiv (History without myths)», «Kliatyyratsionalist (Damn rationalist)», «WAS: Populiarnaistoriia (WAS: Popular history)», «Interesting science». And among Polish popular science blogs, «Historia bez cenzury», «SciFun», «emce», «Uwaga! NaukowyBełkot», «Polimaty». On the basis of the analyzed popular science blogs, the following trends have been identified: the presentation of material in the blogs has features of the author’s journalistic programs; use of historical methods of science; use of emotionally colored vocabulary, subjective judgments and other artistic techniques in materials (in their titles, on the covers or in the videos themselves); features of citation of sources of information used in a blog differ in blogs on different subjects (while all the blogs note their sources, their mention specifically in the description of the video is mostly absent in materials on historical subjects, but present in the rest of the studied blogs).

Современная детская книжная иллюстрация: композиция, пространство, движение, время

The composition in a modern children’s book is associated with solving the problems of space and movement. Dynamics is part of the structure of the book, the book design system is determined by the movement of the plot, the principles of reception, the rhythm of the font and the alternation of images are dynamic. The principles of space construction in a modern children’s book are associated with the leading means of artistic expression of the art of graphics. The space of the book turns into a narrative, a space of history; narrative space acts as the theme of the image, and the void is also narrative as a kind of figure of silence. Space as an artistic technique uses the principles of panorama, division into plans, and the location of the horizon line. The transformation of time in the structure of a modern children’s book is focused on the concept of dialogue between the plot and the image. Time uses a reception complex, focusing on perception, viewing, interactive practices, book design can use the principle of repetition and return. The epoch style and font can mark the epoch. Space and time act in book design as a system of plot development, a spacetime continuum. The time of the narration, the time of the artist and the time of the viewer can exist in a synchronous and diachronic format. Time as a character change involves the interpretation of a theme, a change in spatial coordinates, search, study, movement. The use of a certain point of view and foreshortening in the composition of a modern children’s book illustration can be achieved by the technique of duplication of viewing, an image «from the back» or from above, a panoramic view and fragmentation. Classical «pictorial» composition and spatial construction are often used. The theme of movement in the composition of the book is associated with the popularity of the type of travelogue book (tales of wandering-the formation of a hero, educational literature, travel literature, guidebooks). Methods of constructing space in the book composition system – top view, angular composition, combination of spatial plans, close-up. The dynamics of the font correlates with the dynamics of the text, the letters «come to life». Several effects associated with new media: animation, cinematic effect of space, theatricalization, imitation of a recognizable screensaver. The serial nature of the images can apply a sequential arrangement of the stages of movement, «storyboard», step-bystep approach or removal of the object, dialogic composition, close-up.

Петровский «Аптекарский дом» в Китай-городе. Судьба исчезнувшего здания Москвы

The Moscow ensemble of the Main Pharmacy was built in the first decade of the 18th century and turned out to be one of the most remarkable buildings in Russia. The new construction attracted attention due to the location between the Nikolsky Gates of the Kremlin, the Resurrection Gates of Kitay-Gorod and the Berg Office of the Mint. The architecture of the building successfully combined the best traditions of ancient Russian architecture with the techniques of Western European building art and elements of oriental decoration. Polychrome volumetric tiles played special role in the design of the multi-tiered main facade. These ceramic inserts formed the platband frames, order details, friezes, cornices and other elements. According to the state programs of Peter I for the development of the pharmacy business, special attention was paid to the new building, and contemporaries called the erected Pharmacy “one of the best in the world”. The experience of creating the ensemble and the appearance of the building influenced the character of the new parade construction of the public architecture of St. Petersburg. This explains the interest in the study of the building, which was lost in 1874. In order to understand and visualize the changes in the state of the building, its graphic reconstructions of different historical stages were carried out. The presented digital models reflect not only the external solution of the facades, but also the arrangement of the internal layout.

ENCAUSTIC AS AN ANCIENT PAINTING TECHNIQUE: A FAILING TRADITION

The article highlights the peculiarities of the encaustic painting technique and the main problems of preserving this unique technique in the modern art of Ukraine. The meaning of the concept of “encaustic” is revealed. Considerable attention is paid to the technological varieties of encaustic as an ancient pictorial art. Thus, ancient authors wrote about the expressiveness and beauty of the encaustic technique, but, at the same time, “wax painting of the ancients” turned out to be one of the mysterious techniques. First of all, this is due to the fact that very few encaustic works have survived, and the description of technologies was almost absent. Thus, after studying the “Fayum portraits” found in 1887 in Middle Egypt (the Fayum oasis), it was possible to determine that the funerary masks were made in the encaustic technique. Mentions of encaustic works date back to the ancient literature of the times of imperial Rome. During the Renaissance, even Leonardo da Vinci tried to unravel the mystery of encaustic painting, but even he had very little information about this technology. According to the descriptions, it was necessary to solve a complex technological process, so the masters collected information piece by piece and experimentally implemented this technique. These were the first stages of the revival of encaustic painting, which is also called wax painting, because the basis of encaustic paints was wax. The stability of this painting technique was ensured, in particular, by the presence of various resins, linseed oil and dyes of natural origin in the composition of encaustic paints. These paints were applied layer by layer on special soils under high temperature. The exceptional artistic value of the encaustic technique made it possible to preserve it and gave the prospect of revival thanks to the creative searches of artists of the 1970-1995 years of the 20th century. Painting with wax paints meets all the requirements of modern monumental art along with frescoes and mosaics. Modern construction technologies and materials provide ample opportunities for monumental artists to solve various artistic and plastic tasks related to the application of the encaustic technique. The article also considers the role of encaustic in modern easel and monumental art. The work of modern masters of Ukraine who worked in the encaustic technique is analyzed.

Естетична свідомість та емпатія в професійній підготовці майбутнього дизайнера

The article presents aesthetic consciousness and empathy as multifunctional constructions that interact and influence knowledge and understanding of art, solving problems of aesthetic experience, processes in personality development. The purpose of the article is the study of aesthetic consciousness and empathy, ways of their intersection in the professional training of a future designer. The study examines the intersection of aesthetic consciousness and empathy at the level of key theories of aesthetic perception, aesthetic experience, empathy, understanding of emotional states, emphasizing the peculiarities of human reaction to art and aesthetic stimuli. It has been determined that aesthetic consciousness goes beyond simple perception and extends to the understanding of emotions and the meanings they evoke. Empathy combined with aesthetic awareness provides an opportunity to engage more deeply with art, to resonate with it, which allows not only to appreciate the beauty and artistic qualities of the work, but also to interact emotionally with the aesthetic experience. The need for the formation of aesthetic awareness and empathy in the process of professional training of a future designer has been proven. The study describes the approbation of a new approach to the study of the theoretical material of the educational component “History of Art” of the bachelor’s training in the specialty 022.01 “Design” of the educational and professional program “Graphic Design” of the “Luhansk National University named after Taras Shevchenko” by studying ancient creative technologies and techniques of famous artists from further practical reproduction of these styles in their own creative works by students of higher education. It is emphasized that the students of higher education project their own emotions and experience onto the work, creating an individual, but at the same time deeply connected with the original idea of the artist. It has been established that the paths of intersection of aesthetic consciousness and empathy in the activity of the designer are defined in aesthetic perception from the position of emotional empathy. Under such conditions, designers are able to create expressive aesthetic images that have a deep emotional and intellectual content that makes you think, feel and empathize.

Exploring Urban Aesthetics from the Viewpoint of Shared Culture: Gaozhuang Xishuangjing of Jinghong and Chiang Mai Old City

<p> 東南亞的共享文化是一種社會現象，共享文化一旦符碼化後，對城市美學發展而言可能形成阻力。以中國的傣族和泰國的泰族而言，兩造有族源關係，具共享文化，特別是西雙版納和清邁的傣泰族群的語言、習俗與宗教相通，不僅造就兩地相似的文化意象，也影響彼此的景區建設。其中，景洪市告庄西雙景和清邁市的清邁古城，都是由舊城區改造的觀光景點，兩城區的景觀相似，有共同的造景符號。問題是：城市美學的發展強調在地特色，但告庄西雙景和清邁古城卻出現了相似的景觀，這是一種共享文化的再現，還是美學設計的問題？本文立基於此進行調查，目的在探討告庄西雙景和清邁古城的城市美學為何相似的原因。研究結果顯示，兩景區景觀之所以相似，關鍵在於美學設計的問題，而非共享文化的因素。告庄西雙景和清邁古城的文化戰略定位雖不同，但彼此的美學設計卻相似，主要是因為告庄西雙景的造景技術團隊來自泰國，以清邁的藝術技法複製於告庄西雙景，遂造就兩景區相似的外觀，文末則對此進行評述。</p> <p> </p><p>The shared culture in Southeast Asia is a kind of social phenomenon that, once encoded as symbols, could resist urban aesthetic development. The Dai people of China and the Thai people of Thailand have ethnic ties and share a common culture, especially in Xishuangbanna and Chiang Mai, where the Dai and Thai people share a common language, customs, and religion. This provides the conditions for the presence of similar cultural imagery and influences the construction of areas of aesthetic interest in both places. Among these, two key such areas in Jinghong and Chiang Mai–Gaozhuang Xishuangjing Scenic Area and Chiang Mai Old City–are both tourist attractions transformed from the old city. The landscapes of them are similar and have common landscaping symbols. Do these qualities indicate the reproduction of a shared culture? If so, is it the case that the development of the urban aesthetic in each instance emphasizes local characteristics and that this is the explanation for the similarity between the two environments? Or does this similarity result from design? On the basis of these questions, the study aims to investigate the reason of why the urban aesthetics of these two areas are similar. The research finding shows that the key to the similarity between the two urban landscapes is design and not the influence of shared culture. Although the cultural strategies of Gaozhuang Xishuangjing Scenic Area and Chiang Mai Old City differ, their design features are found to be similar, mainly because the technical team that built Gaozhuang Xishuangjing Scenic Area came from Thailand and replicated the artistic techniques of Chiang Mai Old City, resulting in two aesthetically similar areas. The article concludes with a brief comment in light of the findings.</p> <p> </p>

К проблеме сохранения традиций русского танца в сценических формах хореографического искусства

The paper examines the issue of preserving the traditions of Russian folk dance in choreographic art. It addresses the directions of choreographic art, in which Russian dance is used in various interpretations: characteristic dance, ballet, folk-stage dance, folk-modern and post-folk. Basing on historical aspects, the authors reveal the sequence of development of the emergence of various types of dances in Russia. The study analyzes Russian ballet in detail focusing on the period of the “Soviet” and then the Russian ballet, when many choreographers turned to the Russian theme, not always using the vocabulary of folk dance, but embodying the idea with the artistic techniques of classical ballet, preserved the Russian flavor and character of the images. The authors look at the historical facts of the emergence of folk stage dance and conclude that the direction was created artificially, thanks to the cultural policy of the Soviet leadership. The paper highlights the actual problem of the terminological apparatus of research in this field.