Classical Art Research Articles

«Бьюти-пространство» Боттичелли, поп-арт и гностики (к вопросу о становлении классического искусства)

<p>The article continues the series of publications by the author on the art of the Renaissance and the work of Botticelli. The author's concept of “classical art” allows us to establish closer connections with subsequent stages of artistic development, as well as with the Early Renaissance. The multi-level structure of Botticelli’s art and the “collage” nature of his works are substantiated. The “universality” of the classics correlates with the gaming strategies of Neoplatonism and Gnosticism. The features that bring the intellectual culture of the Renaissance closer to modern scientific and artistic trends are revealed. New contexts and parallels (Michael Psellus, Honore de Balzac, Arthur Schopenhauer, Alois Riegl, David Hockney, Roy Lichtenstein) allow us to re-evaluate the transformation of the Neoplatonic tradition in European culture. The author rejects rigid interpretations of Gnosticism and Neoplatonism in connection with the work of Botticelli, preferring an “aesthetic” or “poetic” reading. Within the framework of this essentially psychological approach, the author draws attention to the problem of “presence” (“life-likeness”), characteristic of both medieval and modern art. Social issues of interpretation of classical art are touched upon in the article in connection with elements of elitism in the culture of the Medici circle. The concept of “poetry”, developed by Petrarch and Boccaccio and going back to ancient prototypes, is fully consistent with this type of “court” culture, which played a decisive role in the development of classical art. The "decadence" of the late Quattrocento and the work of Botticelli as its highest expression were thus the result of very complex intellectual strategies that were continued during the High Renaissance and Mannerism. Particular attention in the article is paid to the revision of the usual views on the historiography of the Renaissance, the actualization of classical art historical concepts. The article returns to the problem of the origins of the semiotic concept of art. Pragmatism and the “irrational” concept of art (appealing to the unconscious) turn out to be quite compatible, that has particular theoretical significance for the revaluation of conventional approaches to the classical heritage.</p>

Musical Preferences among Students Aged 9–19: A Study on Musical Genres and Styles

This study aimed to explore students’ musical genre preferences, exploring variations across gender and age groups in Hungary. Additionally, we investigated the relationships among the popularity of musical genres and connections between musical programs and related activities. With the help of stratified sampling, we examined the opinions of students aged 9–19 about each genre (N = 1159) using specific musical examples. In this study, musical genres were classified into four main types based on related music videos, including classical popular music (CPM), rock music (RM), classical art music (CAM), and folk music (FM). Different types of analyses, such as t-tests, one-way and two-way ANOVAs, and correlational analyses such as correlation coefficients (r), chi-square tests, and eta squares, were employed in this study. The results showed that the popularity of the four pieces of music classified as CPM, RM, CAM, and FM had a moderately strong correlation with each other. The correlations between FM, CPM, and RM did not differ from each other, but they showed significantly weaker correlation values than the correlation between FM and CAM. Moreover, significant differences were found in the students’ perceptions of the genres based on their gender and age groups. Among the four performances, the girls had a greater preference compared to the boys for each one, except for the folk music piece. The youngest age group (9–12) showed the highest preference for the CPM, although the difference compared to the oldest age group (17–19) was not statistically significant. Therefore, this study is beneficial for music education, focusing on students’ genre preferences, including CPM, RM, CAM, and FM.

Heinrich Wölfflin’s Classic Patterns of the Renaissance

Abstract This essay examines Heinrich Wölfflin’s patterns of judgement in his pioneering art-historical study Classic Art, first published in 1899. By using the anti-historicist concept of the “classic”, he systematically withdraws the art of the High Renaissance from historical change in order to erect it as a protective shield against the transience of unclassic modernism and contemporary life. This proto-structuralist act of creating order by means of pattern comparisons in the timeless realm of beauty conceives the art historian as both an intellectual aristocrat with artistic ambitions and a conservator of the eternities of classic art.

A semiotic view of symbol and identity in the film Farewell My Concubine

Abstract Adapted by Li Bihua and Lu Wei and directed by Chen Kaige, Farewell My Concubine was first released in mainland China and Hong Kong in 1993. It gained strong momentum and went on to break the box office for mainland Chinese literary films in the USA. Against the background of traditional Peking Opera culture, the film spans nearly half a century and follows the love–hate relationship between Cheng Dieyi, played by Leslie Cheung, and Duan Xiaolou, played by Zhang Fengyi. It shows the changes in human nature and the rise and fall of classical art in the city of Beiping in different eras. Taking “symbols” as the entry point, this paper analyses and explores the characteristics of the cultural symbols and metaphors that accompany the main narrative line of the film so as to further trace and understand the multiple interpretations that “anti-identity construction” brings to the film, as well as the ethical implications reflected in the symbols.

From Tip of Brush to Tip of Knife: The Relationship Between Post-mastectomy Breast Reconstruction and the Classical Arts.

Breast reconstruction is highly complex, requiring navigation of not only clinical and operative realities, but of patient expectations as well. The authors sought to identify historical art pieces that exhibit breast asymmetries and deformities for comparison with photographs of breast reconstruction patients seen at the clinic of the senior author (S.O.P.) to demonstrate that achievement of perfect breast cosmesis is challenging in both breast reconstruction and in the classical arts. Open access libraries and Creative Commons images were reviewed to identify appropriate works of art from various time periods and geographic locations. Following artwork selection, photographs of breast reconstruction patients were reviewed and paired with selected artworks exhibiting cosmetically similar breasts. A total of 8 pieces of selected historic art were found to have at least 1 matching patient photograph, with 9 correlative patient photographs ultimately chosen. Common breast asymmetries and deformities identified included ptosis, asymmetric chest wall placement, asymmetric nipple placement, and absence of the nipple. This review identified diverse artworks of varying styles spanning vast expanses of both geography and time that exhibited breast deformities and asymmetries commonly encountered in patients seeking revision of breast reconstruction. This underscores that creating the cosmetically ideal breast is difficult both in the operating room and the art studio. Importantly, the authors emphasized that the arts frequently celebrate that which is considered beautiful, although to the trained eye of a plastic surgeon that which is considered beautiful is often classified as dysmorphic or asymmetric.

PERSON IN THE ARTISTIC PICTURE OF THE MODERN WORLD: ARTIST, PICTURE, VIEWER

Abstract. The relevance of the research topic is determined by the significant changes that are taking place in contemporary artistic culture. They are connected, firstly, with the rapid development of information technologies, under the influence of which the format of representation of modern culture is changing, increasingly inclined to the digital form. Secondly, the changes in the processes of development of contemporary culture are connected with the processes of globalization, with the change in the development of humanity. The current viewer has become more educated, and new approaches to him are needed, taking into account the development of his intellectual level, spiritual and cultural needs. In addition, the financial condition of the viewer plays a significant role. The results of numerous surveys conducted in the last 45 years allow us to confidently say that performative arts, such as classical music, opera, live theater and ballet - as a rule, attract educated, wealthy audience, mostly women, and fine and applied arts - wealthy men. Third, the transformations of contemporary culture are, to a large extent, due to the transformation of mass-culture1 into a cultural form. This universality is determined by the fact that any cultural figure becomes in demand, recognizable and interesting to dealers, as well as buyers, only by being presented through mechanisms capable of actively influencing mass culture - such as advertising, fashion, PR - their influence can be clearly traced in classical art. Drawing parallels between the three components of the contemporary art world and identifying changes in their behavior, the author believes that communication in the art business - between the Artist, the Viewer (client) and the Picture - is now very important. All this leads to changes in the selection criteria for buying and selling art itself - "capital" comes first, as more and more works of art are bought by businesses. This is done both to increase business assets, including goodwill by creating a certain reputation, and to facilitate IPO.

The Ancient Greek Utopia of C. A. Ehrensvärd’s Drawings of His Life

The late-eighteenth-century Swedish intellectual C. A. Ehrensvärd visualised his life and relationships in drawings that often represent their modern protagonists as ideal figures from classical art. In his literary works Ehrensvärd argued that ancient Greeks had led their lives in accordance with human nature and had thereby acquired objectively true taste as displayed in their art. In the drawings discussed in this article Ehrensvärd reveals the discrepancy between his vision of the perfect, masculine, virtuous Greeks, and the allegedly corrupt, feminised Northern Europe of his own time. This conflict is often represented humorously, making use of the abundant iconographic layers of classical art, which could load an image with misogynistic, comic, or heroic overtones. These allusions were expected to be recognised and appreciated by the drawings’ intended audience, Ehrensvärd’s friends, such as the sculptor J. T. Sergel. Ehrensvärd’s view of the empirical truth of human nature, embodied in ancient art, left little room for artistic individuality and subjective choice. Yet, by appropriating the authority of the classical nude, Ehrensvärd could portray himself as an individual in defence of real human potential, as opposed to its modern travesty.

Художні експерименти як стимули культуротвірних процесів: на перехресті "позитивної" і "негативної" психології

Background. The problem of the article is related to the beginning of the 20th century, when the concept of "artistic experiment" became a part of theoretical discourse. It was stimulated by a change of the art paradigm, caused by avant-garde. Such a transformation was based on the exhaustion of romanticism and naturalism and the powerful entry of the aesthetic and artistic principles of symbolism into the European cultural space. The gradual detachment of a part of artists from romanticism and naturalism led to the start of fundamentally new trends that formed the avant-garde movement. The article aims to apply a comparative analysis of "positive" and "negative" types of psychology to reveal the specifics of artistic experiments in the formation and development of the avant-garde movement. Methods. the article uses the potential of such methods as chronological (historicism), analytical (outlining of the components of the research process), historical retrospection (capability to operate with the concept of "negative" psychology), comparative (comparison of "positive – negative psychology"), typological (definition of psychological /mental state of the artist). Results. it is argued that the Franco-Italian-German artists who formed the core of avant-garde did not share the principles of classical arts, absolutizing both the freedom of creativity and its permissiveness. The article emphasizes that representatives of specific aesthetic and artistic trends of avant-garde – cubists, futurists, abstractionists, dadaists, surrealists – supported the spontaneity of the creative process. It was indicated that from the second half of the 19th century, the process of radical transformations can be traced both in the space of European humanities and in the literary and artistic fields. First, a kind of reorientation of the humanities takes place, it activates the interdisciplinary links and the situation of theoretical and practical parity. Second, cinematography emerges as a new kind of art that, relying on scientific and technical progress achievements, confidently "fits" into the cultural context. Third, at the turn of the 19th and 20th centuries, such new professions as film director, film producer, screenwriter, cameraman, sound engineer, etc. emerged and vastly affected a person's worldview by their work. Conclusions. In outlined conditions the role of psychology and psycho-physiology became significantly strengthened. It began to "cooperate" actively with other domains of humanities, in particular, aesthetics and art history.

BYZANTINE ILLUMINATED MANUSCRIPTS: ÉPOQUES REFLECTED IN IMAGES AND BOOK DESIGN

In the article five illuminated manuscripts created in various periods of Byzantine history are analyzed as evidences of the attitude of the society and primarily its intellectual elite towards images and book culture, as it was reflected in the subjects and style of the miniatures and generally in the design of the codices. The Vienna Dioscorides manuscript, created in 512–513 for the imperial princess Juliana Anicia in order to express the gratitude of the inhabitants of the suburb of Honoratae for the construction of the church, was endowed with miniatures painted mainly in classical artistic manner apparently harking back to ancient herbaria. The codex is a testimony of preservation of many elements of the ancient culture in the Byzantine life of that time. In the miniatures of the marginal psalters written about the mid-9th century there are a few images related to the just finished iconoclasm, e.g. those of the Patriarch Nicephorus and his opponent iconoclast John the Grammarian. At the same time, we do not find there images of Theod ore the Studite, abbot of the Studious monastery in Constantinople, active defender of sacred images. His depictions appear in the marginal psalters and liturgical roll soon after the mid-11th century when the memory of the famous abbot was re-evoked owing to the discussions of studious monks with western theologians in the time of the Great Schism. The Tetraevangelion in the Russian National Library (gr. 801) represents a real masterpiece of the book culture typical of the second half of the 11th — early 12th century. In that time a book was probably considered not only as a source of knowledge but as a work of art and a sign of prestige of its owner. The Tetraevangelion of Karahissar written and illustrated soon after the mid-12th century reflects a different situation: the purpose of its creation seems purely utilitarian — transmission of the text and its decoration mostly with concise and artistically simple images. Miniatures of the Sinai Psalter (Saint Catherine’s monastery, cod. 38), a fragment of which is preserved in the Russian National library in Saint Petersburg (gr. 269), copied in the late 13th century from those of the famous Paris manuscript (BnF, gr. 139) of the mid-10th century demonstrate an interest to the art of Antiquity refracted through the prism of another conception of an image that is conceived as ideal and absolutely immaterial. Significant interest to the classical art always marks a cultural efflorescence, and copying of the miniatures of the Paris Psalter and of some other codices of the mid-10th century in the late 13th — early 14th century characterizes such a moment in the history of Byzantine society.

Великий – значительный – снова великий: как в советской культуре 1920–1960-х годов искали место В. В. Верещагину

Vasily Vereshchagin’s cultural reputation has been popularly viewed and scholarly treated as a narrow space between two dominant genres in his artistry – battle scenes and ethnographical (or even Orientalist) paint-ings. Since the 1950s, the former has prevailed, so the narrative formula khudozhnik-batalist (“the battle paint-er”) has become an obvious cliché to characterize Vereshchagin’s role in art history, especially within the con-text of 19th-century Russian realistic painting. Based on both archival and published sources, the article traces the academic, ideological and personal circumstances that led to the development of this discursive concept from the 1920s to the 1960s. It also shows how controversial the final evolution of this concept was when it became a stereotype during the years of late Stalinism. But making Vereshchagin “one of the greatest battle painters in the world art history” (as art historian Andrey K. Lebedev proclaimed in his fundamental monograph published in 1958) has also led to his recognition as one of the greatest Russian classic painters, which was rather more dis-putable. In the Soviet hierarchy of classic artists, Vereshchagin did not achieve high status until the late 1930s, due to his bourgeois background and colonialist implications of his work, found and then castigated by some Marxist critics. Nevertheless, he was perceived as close (sometimes confusingly) to the circle of Peredvizhniks, and was considered to share a common ideological and aesthetic program with them. Such ambivalence can be seen as a sign of Vereshchagin’s artistic marginality. However, we can argue that, due to the relation to the Peredvizhniki movement and his ideological and stylistic unity with it (as was scholarly established by A. K. Lebedev’s studies in the 1930s – the 1960s), Vereshchagin’s personality and heritage were given a long-awaited permission to claim a distinct place in Soviet culture.

Combining the basic principles of the classical art school with the unique national consciousness of the mongolians

Combining the basic principles of the classical art school with the unique national consciousness of the mongolians

Христианские символы в росписи склепов Херсонеса

The wall-paintings of 11 burial vaults of Chersonese, including mostly floral and vegetal designs, images of birds and imitation of marble wall-facing, correspond to the iconography of the early Christian funerary painting in the Late Roman Empire dating from the last quarter of the fourth to the early fifth century. Most likely, the outside painters of the Chersonesan vaults followed already established and well-known decorative and symbolic system by making a certain set of scenes. There is an image of undoubtedly Christian symbol, namely the Christogram, surviving on the vaulting of two structures only (uncovered in 1853/1905 and 2003/2006). There are four burial vaults more, featuring by the remains of paintings, possibly also of the Christogram. The line-drawing of the surviving images of Chersonesan Christogram meets with almost exact analogies, for example, in the tombs of Sophia, Thessalonike, and Sardis. For the first time, this article suggests that, apart from the Christogram, there was another Christian symbol used in the early Christian funerary painting of Chersonese, namely the four-petalled rosette, known from the walls of two burial vaults (the first located on N. I. Tur’s land, and the second uncovered in 2003/2006). The images of similar rosettes appeared on the pieces of art and in the funerary painting from the Hellenistic Period on. This extremely popular design of Classical art was primarily a decorative element and attribute of the garden of paradise. However, the Christians, especially in the age when the cult of the cross developed, most likely viewed the cruciform as a symbol. This observation concerns primarily the paintings with four-petal rosettes occupying an accentuated position in their decorative programme, actually replacing the image of the cross. A very vivid example of such use of the cross-shaped flower is the painting of tomb no. 37 in Thessalonike. In Chersonese, a case of the kind is the painting of the back wall of the burial vault located on N. I. Tur’s land. From the symmetrical location of three identical cross-shaped rosettes accompanied with two peacocks, with the middle rosette in the very centre of the composition, framed by a semi-circular fluffy garland, there are reasons to interpret them as cross-shaped symbols rather than simple plant designs.

New communication strategies of modern classical artists

Relevance of the study: Along with the crisis of the "aging audience" of classical music in concert halls, which is noted by researchers and performers, in the last two years there has been a tendency to increase listening to classical music on digital platforms. The fact that, on the one hand, we are talking about the crisis of classical music audience reduction and, on the other hand, there are opposite trends indicating an increase in its popularity, actualizes the study of the communication mechanisms of classical music performers with the audience through digital tools.
 Main objective of the study: To identify the trends, principles and mechanisms that have led to the recent increase in the popularity of classical music, particularly through digital tools on social media platforms such as YouTube and Instagram.
 Methodology: Using the concept of "communication strategy" from the field of strategic management, we analyze the trends observed in the process of transformation of the way classical music performers communicate with the audience in the context of the evolution of media technologies. The study also used empirical (data collection, observation), general scientific (analysis) and theoretical (generalization, systematization) methods.
 Results and conclusions. Modern media platforms have become a great resource for the promotion of a cultural product. They offer opportunities to reach a multi-billion audience composed of different segments, analytical tools and feedback. The mediatization of cultural space and changes in the psychology of perception of cultural products among new generations require new strategies of communication of classical music performers with the audience. The answer lies in the tendency to create audiovisual content that can be broadly divided into those in which classical music is the central object and those in which it is the background. Reels and Shorts, short videos that use classical music as a background, have become a means of expanding audiences by attracting listeners who were not previously interested in classical music. Audiovisual content featuring classical music is evolving from the traditional concert video to the visualization of music through electronic means, plastic arts (photography, painting) and the creation of videos with a storyline (cinematography). An important trend contributing to the growth of classical music audiences is the combination of classical repertoire with more popular film or cartoon music.
 The study of communication channels and methods of modern classical music performers with the audience is important in connection with the development of the classical music industry in Ukraine and the development of a strategy for the promotion of Ukrainian classical music products in the world market of music production.

THE AESTHETIC REGIME IN THE MODERN ERA: ART AND DISCOURSE ON ART

The article traces the changes in the aesthetic conventions of Modern art in accordance with the dynamics of literary development in Great Britain. The study focuses on three key areas: the impact of “the ancients and moderns” quarrel on European philosophical and literary thought; the nuances of critical and literary discourse in Enlightenment-era Great Britain; and the reception of the Enlightenment aesthetic values and novelties in Victorian criticism, linking them to the emergence of twentieth-century modernism. The subject involves the evolution of Enlightenment aesthetics and poetics in Great Britain, particularly the departure from classical art and literature models, and the emergence of concepts like imagination, novelty, and the reader’s subjective experience of art. Seminal literary-critical essays of the eighteenth century, including works by Joseph Addison, Henry Home, Richard Hurd, and Leslie Stephen’s monograph ‘History of English Thought in the Eighteenth Century”, are analyzed. The paper also examines philosophical texts by Michel de Montaigne, Francis Bacon, René Descartes, and Marquis de Condorcet to understand the oscillatory nature of philosophical thought before and during the Age of Enlightenment. The study contextualizes “the ancients and moderns” debate on models for literary excellence and accentuates its role in shaping the discourse of aesthetics and artistic creativity. Contributions by Enlightenment figures such as Addison, Home, and Hurd are explored, emphasizing how they reshaped the discourse of aesthetics by redefining the nature of beauty, the sublime, and the principles of artistic criticism, thereby influencing the literary and artistic productions of their time and beyond. Particular attention is paid to the critical views of Stephen who wrote about the “fluctuating mode” of the literature of the second half of the eighteenth century, illustrating his peculiar subjectivism as an exponent of the Victorian worldview (Stephen saw Sterne’s novels as a serious moral threat), and simultaneously reflecting the normative aesthetic views of the second half of the nineteenth century. The paper also demonstrates how the antinomianism in aesthetic thinking, which challenged traditional norms and values as seen in “the ancients and moderns” quarrel, was further evolved in the works of Friedrich Schiller and Friedrich Schlegel, the latter articulating the antinomy of “classic versus romantic”. This tradition of antinomian thinking, coupled with the rejection of the idea of linear progression in cultural evolution, a call for a reassessment of values amidst a paradigm shift in culture and the breakdown of traditional ethic and aesthetic systems, finds a notable and unique expression in Friedrich Nietzsche’s works, that significantly influenced the transition from Modernity to Postmodernity. In summary, it is argued that the Modern Age was the time of the emergence of a new aesthetic sensibility, and its aesthetic pluralism and anti-classical literary ideas were pivotal in redefining concepts of progress, novelty, and human consciousness in art and literature. This laid the groundwork for modernist art and literature, characterized by a departure from tradition and a quest for new artistic expressions of human experience.

Exploring the Foothold of Kunqu in Modern Society Through a Comparative Study of Different Versions of The Peony Pavilion

After the publication of the youth version of The Peony Pavilion in 2004, Kunqu, a classical Chinese theatre, experienced a significant resurgence in both popularity and esteem. This renewal instigated a stronger emphasis on inventive and contemporary adaptations of the traditional repertoire. As culture evolves and advances, there is no doubt that classical theatre must also adapt to keep up with the times. The primary aim of this essay is to examine a contemporary phenomenon through a research methodology that compares and contrasts traditional and modern theatre styles. Specifically, this research focuses on the modern rendition of The Peony Pavilion, a renowned Kunqu opera that illustrates how traditional Chinese theatre can be adjusted to modern contexts while preserving its allure and importance. Additionally, this research project investigates the qualities and mechanisms of modernization in classical Chinese theatre. By concentrating on The Peony Pavilion, this study seeks to disclose how Kunqu integrates and embraces change while retaining its fundamental aspects. As a result, the research aids in crafting efficient techniques for modifying classical art forms to contemporary settings, guaranteeing that these traditional art forms remain significant and appealing over time. This will meet the increasing demand for contemporary performances while ensuring the longevity and preservation of classical arts in the ever-evolving 21st century.

The Inheritance and Development of Traditional Chinese Flower Arrangement Art

Influenced by the world's modern art trends, especially abstract paintings and abstract sculptures, the style and techniques of modern flower arrangement have made major breakthroughs, and a hundred flowers are blooming. Free style, abstract style, avant-garde style and various large-scale floral arrangements express the aesthetic taste and ideas of contemporary people. Flower arrangement is developing towards floral content, commercialization and practicality. "From classical to modern" and "from tradition to innovation" are the slogans of today's flower arrangement circle. Modern floral art can reinterpret traditional classical art with novel techniques and concepts, which is the development trend of flower arrangement art education. The value and significance of traditional Chinese flower arrangement art in the new era, the inheritance and development of traditional Chinese flower arrangement art, etc. are explored and explored, and thoughts are put forward on the intangible inheritance, development and promotion of traditional Chinese flower arrangement art.

The Art of Classic Design: What classic art can teach us about products that enchant, transform, and endure

This paper explores how classic art objects engage emotional responses, evolve over time, and are thus sustained over long periods. Then, the paper applies this learning to products to examine how classic product designs (CPDs) can likewise enchant, transform, and endure. Through a qualitative empirical analysis, this paper illustrates a framework for classifying classic products: CPDs achieve longevity when they disembed from their original meaning, transcend their organizational context, and become cultural icons as they are appropriated by users over time and across space. The paper concludes with recommendations for product design and management.

Analysis of the value preferences of university students in the framework of their axiological education

Introduction. The axiological education of university students (including technical ones) is becoming relevant in the modern world. There is a need to educate an independent and responsible person who is aware of his hierarchy of values and correlates it with the values of modern society. The purpose of the study was to analyze the value preferences of students of a technical university based on the results of participation in the «Pushkin Card» program. Materials and methods. The materials for the study were the works of scientists, student`s reviews, who took part in the project "Pushkin Card – Culture Education (Axiological Aspect)" (154 people) and the results of a survey in which 126 students from the MIREA – Russian Technological University took part. Theoretical (analysis of research literature, analysis of student feedback after attending cultural events and their speeches at summarizing online seminars) and experimental (questionnaire) research methods were used. Methods of personal interest of students, a personal approach were used (students independently chose an event that can be paid for by the "Pushkin Card"), an activity approach (students were required to attend the event they chose), the method of axiological analysis (students in their reviews evaluated the event in terms of the values formed by it). Research results. The result of the study is the conclusion that, in general, students of the MIREA – Russian Technological University actively use the "Pushkin Card" program, are aimed at axiological education and are able to independently analyze the value characteristics of the cultural events they choose. 30% of students chose contemporary art to visit, 20% – classical art, historical museums were chosen by 17.5% of students, natural science museums – 12.3%. In terms of attendance, museums and exhibitions ranked first, cinemas ranked second, theaters ranked third, and folk music concerts ranked last. In the first place for students were cognitive and aesthetic values. 1/3 of the respondents attend cultural events 1-2 times every six months and 1/3 of the students – 1-2 times a year. Conclusion. The initial finding of young people in a situation of value pluralism and their ability to think critically allows us to make an assumption that it is possible for them to create a harmonious value worldview, which will be a synthesis of the positive features of different axiological discourses of modern culture.

Primitive art in the Archipelago: Meaning and Continuity in the History of Indonesian Fine Art

The discussion about Indonesian art in this paper is deliberately limited to modern art. It seems appropriate that the name Nusantara is more popular with art in Indonesia which is still in the categories of primitive, classical and traditional art. A little bit about primitive art, which is easy to understand, is that works of art which, in terms of technique, materials and symbolic meaning, are still categorized as simple in nature. Usually primitive art is identified during the prehistoric period and relates to the early period of human culture, but if all artifacts are from the mesolithic or middle rock period or neolithic or new rock. Then, with regard to classical art, it could be said that the rise of this type of art occurred after entering the historical period or when life had settled down and there was already a regulated community through the institutions it created. Judging from the word classic etymologically means it has received a Nobel title. Such a non-lexical meaning is conventional, usually classical art is a work of art that has experienced its peak of beauty. So what can be said is that classical art is also a paradigmatic system of values that is widely adhered to by its supporters, so that works of art are usually always produced in palaces and are constantly celebrated, especially in terms of their perfection.

Andre Wainen's Rhapsody for Alto Saxophone and Orchestra or Piano in the Representation of the "New Academicism" of Post-Avant-Garde Art

The purpose of the research is to understand the stylistic quality of A. Waingnein's Rhapsody in the direction of the musical-instrumental specificity of the post-post-avant-garde stage of music, which we call "new academicism" within the post-avant-garde stratum of creativity. As a methodological basis, we put forward the intonation approach of the B. Asafiev school in Ukraine, as it developed in the works of D. Androsova, O. Markova, O. Muravska, with an emphasis on hermeneutic and stylistic-comparative analysis, as well as relying on the developments of the post-post-avant-garde in works Drozdovskyi, I. Navoieva, and others. Scientific novelty is determined, firstly, by the primacy in Ukrainian and Chinese musicology of the analysis of the named work by A. Waingnein, and secondly, by the originality of theoretical conclusions regarding the "new academicism" within the framework of post-avant-garde stylistics. Conclusions. The post-post-avant-garde stage of the development of art from the 2000s to the 2010s emphasises, despite the playful stylistic eclecticism of post-avant-garde creativity, the revival of the pathos beginning indicative of classical art, which tends to put forward the popular layer as a pathos-accentuation of expression in the work. Waingnein's academic approach unfolds the traditionalist stylistic dimensions inherited from the last century, emphasising as culminating "surges" (the absence of dramatic antitheticity in the composition "relieves" the tension of the dramaturgically essential) genre fragments of the work's thematics, which have been tested by the popular musical layer.
 Keywords: musical genre, style in music, rhapsody, post-avant-garde, "new academicism", musical instrumentalism.