Art Culture Research Articles

Художественная жизнь Северной Осетии в условиях социально-политических и экономических изменений (1991–2001 гг.)

Introduction. The reforming of the state structure in the early 90s of the XX century affected all spheres of social life in Russia, which largely determined the vector of further development of artistic culture. Artistic culture is the area that reflects and rethinks the transformational and crisis phenomena in any state. The relevance of the study is conditioned by the recognition of the state cultural policy as an integral part of the national security strategy of the Russian Federation. Undoubtedly, artistic life requires careful study in order to analyze the state cultural policy and the implementation of historical reality in the ethno-cultural component. The novelty of the study is that for the first time the problem revealing regional features of artistic culture is covered with the involvement of an array of archival documents and periodical press materials of North Ossetia. The reference to the relatively past period allows us to identify and formulate key problems, as well as tasks that are relevant in modern society for timely solution. Materials and Methods. The article, based on archival documents and periodicals, examines the artistic life of the Republic of North Ossetia-Alania from 1991 to 2001 through the prism of regional specifics of all-Russian processes. Using retrospective and historical-comparative methods, the author has identified the main directions of the artistic life in the republic, as well as the key problems that hindered its qualitative development in the region. Analysis. Historically, in different periods, state authorities have used artistic culture to form priority value and moral orientations. Cultural policy and artistic life in the USSR were characterised by the predominant influence of the public sector. With the collapse of the USSR the former mechanisms of regulation of cultural and other spheres of life were destroyed. The new Russian state faced with the task of creating and shaping renewed cultural, moral and ethical values both in the country as a whole and in multi-ethnic and multi-confessional regions. North Ossetia-Alania is a multi-ethnic republic, so the priority task in the sphere of culture was the need to preserve and develop the foundations of traditional cultural values. Artistic life as the functioning of the system of artistic culture, which includes various types of activities for the production, dissemination, assimilation of artistic values, is one of the key components in the formation of the modern Russian state and society. Results. As a result of the study, the author came to the conclusion that the development of culture in the studied period had a spontaneous and contradictory character, and the artistic life was vulnerable in the conditions of socio-economic and political changes in the country.

The Artistic Expression and Integration of Traditional Culture in Traditional Chinese Medicine Art: Innovative Paths and Practical Exploration

This article conducts an in-depth study on the artistic expression and integration of traditional culture in traditional Chinese medicine art, proposing strategies for innovative paths and practical exploration. Regarding the resonance and innovation in traditional culture, the article emphasizes the urgency of innovation in traditional Chinese medicine art through the exploration of its traditional cultural roots. It also discusses the balance between traditional culture and modern aesthetics. In the diversified exploration of artistic expression, the article pays attention to the inheritance of artistic conception of Chinese painting attempts to integrate contemporary art forms, and explores the application of multimedia technology in traditional Chinese medicine art. Furthermore, the article delves into the reconstruction of cultural symbols and their global dissemination, including the exploration of the connotations of symbols in traditional Chinese medicine culture, innovative methods for symbol reconstruction, and strategies for the international dissemination of traditional Chinese medicine art. Finally, through practical exploration and prospects, the article proposes specific development directions, such as exhibitions and promotion of traditional Chinese medicine art, innovative practices in traditional Chinese medicine art education, and the deep integration of technology with traditional Chinese medicine art. The aim of this article is to provide beneficial insights for the sustainable development of traditional Chinese medicine art, promoting the display of its unique charm on the international stage.

VISUAL CULTURE OF DIRECTING AN AUTHORʾS FILM

The purpose of the article is to define the director's toolkit of frame design in the visual culture of the author's film. A comprehensive approach was used in the development of the topic, methods of systematization, comparison, verification, comparative and textual analysis were used. The analytical method and the method of figurative and stylistic analysis in their unity were directed to the consideration of the art history aspect of the problem. The articles and monographs of scientists who studied the peculiarities of the visual culture of screen arts were analyzed. The articles and monographs of scientists who studied the peculiarities of the visual culture of screen arts were analyzed. It has been found that the researchers are inclined to the opinion that the directors of author's films carry out experiments in the field of pictorial form. The relationship and mutual influence of photographic and audiovisual art is considered. It was found that images in screen arts are the result of collective work and have collective authorship. The features of the visual culture of the author's film are traced on the example of the films of Yuriy Illenko. It has been proven that the visual culture of an author's film directly depends on the worldview of the director. The characteristic features of an author's film are identified, the dominance of the attention of the directors-authors to the artists' specific view of the world, the creation of their own subjective picture of the world, the search for their own visual language, and the presentation of the author's screen form is substantiated. The visual culture of the author's film is analyzed and it is shown that the image, frame design is the main carrier of cinematic expressiveness. It is clarified that the system of expressive means and methods of visual culture of the author's film consists of: compositional construction of the shot; dynamics of motion of the film camera; filming angles; assembly steps; sound, light, color solutions; subject-material environment of the frame; mise-en-scеne; frame design. The scientific novelty of the research lies in the fact that the director's creativity is investigated in the context of the visual culture of frame design and became the subject of a special study for the first time; the appropriateness of using the system method in studying the features of the author's plastic film language has been proven; a comprehensive analysis was carried out and the features of frame design in the author's film work were revealed.

Socio-cultural tendencies of the design evolution

The authors conducted a retrospective review of the design and resolved the relevant question of its socio-cultural essence within the framework of scientific and practical spheres. Research methodology is based on the use of systemic-structural, socio-cultural, synergistic, art- historical, and praxeological methods, which gives grounds for considering design at the junction of technological, intellectual, and artistic cultures. Attention is focused on the relationships of functionality, technological efficiency, and aesthetics in the process of designing various objects, regarding stylistic trends of certain periods and regional specifics, which makes it possible further didactization of the interdisciplinary design researches. During the 20th century technical aesthetics was formed as the theory and methodology of design, which includes compositional forming, ergonomics, bionics, technical standardization, projecting, and modeling. It is noted that design activity considers technological, political, socio- economic, and artistic changes in society, which significantly affect design education. Moreover, design processes are dynamic, and heterogeneous, with local and national features. The theoretical significance of this study will be relevant to the development of integrated educational and professional programs in Ukraine.

ЭСТЕТИЧЕСКАЯ КОНЦЕПЦИЯ В. В. СТАСОВА: НАЦИОНАЛЬНОЕ И ИСТОРИЧЕСКОЕ В ИСКУССТВЕ (к 200-летию со дня рождения)

The article attempts to present in a holistic form the aesthetic views of one of the central figures of Russian culture and aesthetics of the mid and second half of the 19th century – Vladimir Vasilyevich Stasov, whose views on the fundamentals of the development of art and artistic culture in general are relevant at the present time. In connection with the task, the concepts of nationality, historicism and nationality in art, which form the core and main line of development of Stasov’s aesthetic thought, come to the fore. At the same time, the unity of the theoretical attitudes of Stasov, who has enormous erudition in the field of both ancient and modern art, with his extensive practical activities as a music and art critic, responding to all significant events of cultural life, is emphasized. Based on the analysis of Stasov’s colossal critical and epistolary heritage, a general description of his aesthetic position is given, combining a democratic approach to understanding nationality, historicism as a support for the visual brightness of the national character, along with the elaboration of those shortcomings that are associated with the embodiment of these principles in art (“official” , “artificial” pseudo-nationality, stylizations - rough and refined, direct transfer of old outdated forms into modernity). The comparative historical method used in the study is represented mainly by analogies, as well as a statement of the existing differences in the cultural and aesthetic concepts of Stasov and the writer and philosopher, author of the famous «Russian Nights» V.F. Odoevsky. In this vein, the problem of Stasov’s influence on the aesthetics of the Balakirev circle in the field of music and the principles of social service, realism and nationality in the art of the «Itinerants» in painting are touched upon. The peculiarity of the article is that it is based to a large extent on rare sources – lifetime journal publications and the publication of Stasov’s collected works of the late 19th century.

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.

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.

THE DEPOSIT OF ETERNITY: VERMEER'S “GIRL WITH A PEARL EARRING” IN THE CONTEMPORARY CULTURE

The article considers the destiny of one of the most familiar and replicated images of world art in contemporary culture. It is proved that in the best accomplishments of today's culture this image becomes not symbolic, but constructive: it produces new forms of understanding of femininity, fragility and courage. At the same time, new media, such as auteur cinema and installation, play not only with Vermeer's world, but also with the world of contemporary perception of art: infrequency, tourist optics and the inertia of the school approach. This double play allows to emphasize the autonomy of women in the contemporary world and to expose the main aspect of Vermeer's stories, which is usually difficult to explicate when considering separate paintings: the conjunction of performability and the spirit of early capitalism. Thus, we can talk about rhizomatic double play of images as the main way to reconstruct the social contexts of Vermeer's work in contemporary art.

ИСТОРИЧЕСКИЕ АСПЕКТЫ ФОРМИРОВАНИЯ ОСОБЕННОСТЕЙ ТЕАТРАЛЬНОГО ИСКУССТВА КЫРГЫЗСТАНА

The article deals with the Kyrgyz theater art, which is an important component of modern national culture. The authors note that, like any theater, which is a synthesis of various arts, the theater of Kyrgyzstan in many ways determines the creative unity of elements of literature, music and skill of actors. At the same time, the roots of the Kyrgyz stage art are rooted in folk traditions and folklore. Therefore, the study of an issue of the stage art formation, in particular the emergence of national dramatic theaters, should begin with understanding the historical significance of their folk origins. Considering the issue of originating the Kyrgyz theatrical art, the authors state that the dramatic theater of Kyrgyzstan changed the vector of development and improved under difficult historical conditions, having experienced at least two stages in its development – the Soviet period and the time of independence, which are quite different both in the degree of their influence on society and in their role in political and socio-economic processes, which in turn have affected the consciousness and value orientations of young people in one way or another. The study of the place and role of theater art in the national culture is necessary to understand the culture of Kyrgyzstan in its historical development.

The Concept of Material Culture in Cross-cultural Communication and Its Application in Contemporary Art

Cross cultural communication is becoming increasingly common in contemporary society, and one important aspect is the exchange and influence of material culture. Material culture refers to the material products and related cultural concepts that people use in their daily lives. This study aims to analyze the concept of material culture in cross-cultural communication and its application in contemporary art. Explored the impact of cross-cultural communication on material culture, particularly the shaping and dissemination of material culture through globalization, as well as the expression of material culture in contemporary art, as well as artists’ attention and creativity towards material culture. Subsequently, the study discussed the application of material cultural concepts in contemporary art in cross-cultural communication. Finally, the study explored the material cultural innovation in cross-cultural communication, including its role, opportunities, and challenges, and provided relevant case studies.

МИФОПОЭТИКА ВИНА КАК ИМАГИНАТИВНЫЙ АБСОЛЮТ ЧЕЛОВЕЧЕСКОГО БЫТИЯ

the article introduces a new concept at the intersection of philosophy, aesthetics, literary criticism, history, oenology and branding: mythopoetics. Mythopoetics of wine is understood as a special method of wine analytics that takes the perception of wine beyond the narrow classification of color, bouquet and taste with elements of terroir into the area of image formation: the harmony of historical fact, myth, terroir, poetry, symbol, which are quintessed in a certain wine brand. The article is a continuation of the efforts of José Ortega y Gasset, Massimo Dona, Eric Asimov, Rauf and Alexei Akchurinov in creating an approach to the philosophical understanding of wine. Wine is defined as an essential element of human intellectual and emotional life, firmly embedded in religious practices, secular culture and various genres of art. An important fact is the strong incorporation of wine into the economic structure, especially in the great wine regions of France, Italy, Spain, and Germany: from wine tastings and wine tours to the formation of a solid segment of the alcohol market in the wholesale and retail trade networks. Mythopoetics of wine allows creating its legendarium, project myths about life and death, beauty and ugliness, harmony and chaos onto a specific brand of wine, form the image of a particular wine producer, enhancing the tasting value of wine, increasing interest in thecourtliness of drinking wine, stimulating the tourist development of various regions, bringing the topic of wine to the level of the most pressing problems for interdisciplinary research, both in the field of fundamental knowledge and at the level of applied results.

Лингвокогнитивные основания интеграции поэтического текста в кинодискурс

The article delves into the intricacies of integrating poetic texts into the discourse of au­thorial cinema. It begins by examining the multifaceted interaction between cinema and poet­ry within contemporary artistic culture, framing author cinematography through the lens of the poetic concept. Intermediality and interdiscursivity are explored as intrinsic properties of cinema, serving as tools for shaping the unique style and aesthetics of filmmakers. Two films, “Stalker” by Andrei Tarkovsky and “Ugly Swans” by Konstantin Lopushansky, are selected as primary sources for analysis due to their continuity and innovative qualities. The research employs a comprehensive methodology, including parameterization of linguistic creativity, corpus annotation, and conceptual analysis of verbal and non-verbal elements that contribute to the films’ poetics. Data processing techniques are then applied to interpret the findings. The study uncovers both similarities and differences in the approaches of the two filmmakers to incorporating poetic material into their works. It concludes that the integration of poetic texts into films serves as a mechanism for eliciting a unique psycho-emotional response from viewers, facilitating their engagement with the filmmaker’s ideological concepts.

Audience of traditional art in Kazakh steppe

This article considers the evolution of the stage art audience formation in the traditional society of the Kazakh steppe civilization, linking it to the ancient historical, cultural, and ritual processes of our people, as well as to the very origin of the earliest form of stage art. We regard the future improvement of the artistic culture of today's spectator on the assumption that cultural and spiritual continuity between different generations of spectators of the Kazakh steppe will not be broken. Consequently, it becomes obvious that this position is a trend characteristic of the world history of art. For example, folk art activities in other countries are based on the traditional entertainment of the gathered audience. In general, the origin of art is closely intertwined with folk art. They are inextricably related and cannot develop without each other. This phenomenon is confirmed by numerous facts from the history of world theater. There is every reason to come to a scientific conclusion that this position is applicable to the formation of artistic public. We can say that various kinds of entertaining folk games and festive performances, originating in real scenes of nomadic life of the Kazakh people, developed on the basis of national customs and were the initial stage of formation of spectators and listeners of arts and crafts of the traditional Kazakh civilization. Examining the rich cultural history of the steppe, we believe that the study of the audience of the performing arts in the traditional Kazakh society is of great scientific theoretical and practical importance. This issue is still in the category of topics not considered in the framework of scientific research of the national culture philosophy. It is known from history that centuries-old cultural heritage of the steppe region and Kazakh people has a diverse and rich content, along with its own unique style. It is culture that plays a huge role in the vitality of any nation. If we consider the identification of a nation through the prism of its contribution to the development of mankind, then national art is just that distinctive feature that helps defining the nation. Thus, the spiritual contribution of the Kazakh people to world culture is determined, first of all, by its national art.

Cultural and National Elements in the Works of Contemporary South Korean Artists

The subject of this study is current projects (installations, paintings, sculptures, performances) by contemporary South Korean artists that contain symbols, elements or cultural artifacts related to the local identity of the country. The article attempts to identify the main themes, motifs and techniques that are used in Korean contemporary art to emphasize the issues of the nation's self-identification within the global themes and problems of the modern world. To achieve this goal, the main South Korean artists recognized by the world art community (Kimsuja, So Do Ho, Lee Soo Kyung, Kwang Yong Chan, Pak Chang Kyung, Ham Kyuna, Yoon Seongnam) are singled out, whose work is directly related to the traditional cultural elements of their country. Their projects, themes and techniques are explored from the point of view of the interaction of global and local processes in modern society. The relevance of the work lies in an attempt to identify the unique processes taking place in contemporary South Korean art. Point studies of Asian artistic culture often include either the study of the creative path of individual artists, or the consideration of the main trends and trends. In this paper, an attempt is made to look at South Korean art from the point of view of topics and technologies that are inherent only in local Korean culture, and to identify points of contact with global issues and problems. This is the scientific novelty of the study. A number of contemporary South Korean artists create works of art based on their life experiences, directly related to the traditions of their country. Themes related to the search and reflection of cultural identity and self-identification arise in their works. The work uses both general scientific research methods: analytical and comparative, and a special method of art history: structural-functional.

ВИЗУАЛЬНЫЕ МЕТАМОРФОЗЫ: КУЛЬТУРОЛОГИЧЕСКИЙ АНАЛИЗ ЦИФРОВОЙ КИБЕРЭСТЕТИКИ

This article focuses on the emerging styles of visual digital aesthetics that have become relevant in light of technological advancements and the introduction of innovative tools for creating and processing digital images. The analysis is based on a cultural approach and aims to identify the influence of contemporary digital technologies on the shaping of cultural benchmarks and aesthetic preferences in art and design. The primary focus is on scrutinizing the defining attributes of modern styles that have taken shape within the digital sphere at the onset of the 21st century (such as vaporwave, seapunk, webpunk, psychedelia, pixel art, voxel art, and others) and delving into their artistic autonomy and cultural nuances. Style is defined here as both a guiding principle of artistic thought and a distinctive mode of communication among cultural agents. An integral component of this study involves comprehending how digital technologies impact the interpretation of contemporary culture and society at large. The study aims to uncover the peculiarities of modern transnational culture, as a mode of consciousness and worldview, through the lens of the artistic culture of the early 21st century. The research identifies overarching tendencies characteristic of contemporary network art, outlining the interrelations and differentiations among new digital styles. It meticulously examines distinct style clusters based on various criteria. The classification of contemporary visual styles is predicated on methods and techniques of creation and imitation, usage contexts, presentation specifics, and design elements. The results of the study can enrich the exploration of contemporary culture and visual phenomena, aiding in forecasting future trajectories within the realm of innovative visual expressions.

Vsevolod Meyerhold: avant-garde and reformer of theatrical culture

The object of the research in this article is the work of an outstanding figure of Russian theatrical culture Vsevolod Emilevich Meyerhold, whose 150th birthday is celebrated in 2024. An actor and director, teacher and theorist, he left an indelible mark on the history of theatrical art of the XX century, the search and discovery of which became the property of not only Russian, but also world artistic culture. Considering the problems of the evolution of Meyerhold’s work (from the aesthetics of symbolism to the theater of the social mask and synthetic theater), the author focuses on those phenomena of his artistic heritage, some of which remained experiments, while others served as the basis for the development of a new theatrical system.

ЯЗЫК ПОЭЗИИ ВАДИМА РАБИНОВИЧА: ФЕНОМЕН ВСЕМИРНОЙ ОТЗЫВЧИВОСТИ

The object of the study is the phenomenon of global responsiveness, manifested in Russian artistic culture. The subject of the scientific work is the figurative realizations of this phenomenon in modern poetry. The material for the article is the poetry of cultural scientist, philosopher and poet Vadim Lvovich Rabinovich, namely his poetry selection from the literary and socio-political magazine "Friendship of Peoples". The hermeneutic analysis focuses on the figurative realizations of the phenomenon of global responsiveness in the poet's poetry selection, which manifests Eastern European and Russian cultural traditions associated with the eidology of love and death, knowledge of the Other. We turn to Pushkin's text at the typological level, views on the art of artists of the modernist era. We consider in detail the concept of "entelechy", without which it is impossible to make a methodological breakthrough in terms of understanding the phenomenon of global responsiveness. The results of the study consist in identifying the cultural and philosophical potential of modern poetry for further study of the problem of global responsiveness in Russian artistic culture and its national existence. The results of the work may be of interest to literary scholars who include literature in the space of a large dialogue of cultures, and can also be used in teaching courses on cultural studies and philosophy.

О ВОЗМОЖНЫХ ИСТОКАХ ОБРАЗА ДРАКОНА В ИКОНОГРАФИИ МЕДНОГО ЗМИЯ ЭПОХИ ВЫСОКОГО СРЕДНЕВЕКОВЬЯ

The article considers the issue of possible Jewish influence on the formation of the image of the Copper Serpent in the artistic culture of Western Europe in the 11th – 12th centuries. For many centuries, textual mention and pictorial image of the scene of the exaltation of the Copper Serpent was tacitly taboo due to the difficulty of explaining the creation of the statue by Moses after receiving a ban from the Lord on the creation of idols. Active reference to the subject became possible only during the Crusades in the context of Christian typological exegesis, where the Copper Serpent is understood as a prototype of the Crucifixion. The development of the iconography of Num. 21:6–9 on the western and eastern banks of the Rhine occurred independently of each other, resulting in the formation of two distinct pictorial types. Herewith, on the west bank, especially in the territories of northern France and modern Belgium, the image of a winged dragon sitting on a column became widespread. According to the author, such a type attempts to ontologize the complicated image of the divine messenger, through whom the people of Israel were granted salvation from death. In that iconography the serpent itself is understood as Christ, which makes it impossible to depict him in the form of an ordinary snake, which in most cases is a symbol of sin and death. Most probably, the authors of the first iconographic programs of the type turn to the Jewish original source in search of possible ways of depiction, supported by Middle Eastern and directly Jewish art. Following such hypothesis, the dragon in the image of the Copper Serpent is Saraf or Seraphim, i.e. the embodiment of the angelic rank visible to humans.

Образ России в письмах Э. Грига к А. Зилоти

The focus of this article is on letters from the Norwegian composer, pianist and public figure Edward Hagerup Grieg (1843–1907) addressed to Russian musician Alexander Ilyich Ziloti (1863–1945). After their acquaintance in Leipzig in 1888, ieloti invites Grieg to come to St. Petersburg. The letters introduce us to Grieg’s creative ideas, characterize his attitude to Ziloti as a musician and a person, show the diverse musical life of St. Petersburg at the beginning of the twentieth century, its scope and great artistic significance. The letters help to recreate the image of Grieg not only as a wonderful composer, but also as a noble man, a true humanist, they show the composer’s deep interest in performing his works in Russia. Research objectives: to analyze Grieg’s letters addressed to Ziloti, through them to reveal the individuality of the composer; to show the historical significance of A. I. Ziloti's cultural activity in Russian artistic culture. The anniversaries of both musicians, which took place in 2023 – 180 years since the birth of E. Grieg and 160 years since the birth of A. Ziloti, are another wonderful reason to turn to their creative biography and correspondence.

Семантика иконографии Спаса Нерукотворного в памятниках древнерусской художественной культуры

A synthesis of the main iconographic connotations of the Savior Not man-made is presented. Due to its antiquity and the status of the first icon, the relic of Saint Ubrus becomes the source of many semantics, which find their embodiment in various monuments of ancient Russian artistic culture. The author made an analysis of specific examples, which are considered frescoes and icons from the 12th to 16th centuries. The article formulates interconnection of means of artistic expressiveness peculiar to ancient Russian culture and realization of semantic accents and interpretations. The variability of the interpretation of the image and semantics of Mandilion in the chronological and territorial perspective is considered.