Principles Of Art Research Articles

Enhancing Digital Drawing Proficiency: An Examination of Assignment Redesign and Instructional Approaches in Higher Education Contexts

Within digital drawing courses, students are immersed in the utilization of software tools and technological advancements to craft a diverse array of artwork, illustrations, graphics, and animations, adhering to both industry standards and artistic principles. However, tailoring the complexity of digital drawing assignments to accommodate students across a spectrum of freehand drawing skills, ranging from novice to advanced levels, poses a notable challenge. This study endeavors to investigate the efficacy of integrating a specific teaching model in the design of assignments within digital drawing classes of lower-year students in higher education and its subsequent impact on students' performance. The study adopts a three-phase data collection methodology, comprising a pre-test, intervention phase, and post-intervention assessment, supplemented by a self-reflection questionnaire to gauge students' perceptions of the learning process. By employing visual analysis in tandem with quantitative data derived from the final scores of a selected drawing exercise, a comparative analysis was conducted to elucidate the relationship between assignment design, instructional methodologies, and students' learning performance. Notably, an improvement in students' drawing proficiency was observed compared to analogous exercises conducted in previous semesters, signifying the efficacy of tailored assignment redesigns aligned with students' drawing capabilities, coupled with supporting instructional methods.

Integrating Art in Medical Visualization Techniques

The incorporation of art with medical visualisation techniques offers a significant improvement in the communication of medical information. Traditional methods of medical illustration were primarily concerned with anatomical precision, but introducing artistic aspects can expand knowledge, increase emotional resonance, and produce more effective visual storytelling. This study investigates how artistic principles such as composition, colour theory, and dynamic symmetry can enhance the clarity and effectiveness of medical images. Medical visualisation can go beyond simple representation by combining scientific rigour and artistic flair, resulting in a more profound link between the spectator and the medical facts, which improves patient understanding, physician communication, and educational outcomes. Case studies are offered to demonstrate the multidisciplinary approach’s potential, as well as the obstacles and opportunities it brings for future research. Keywords: Medical visualization, Medical illustration, Artistic integration, Data visualization, Visual communication in medicine

Unveiling the Interconnections Between Art, Politics, and Society in the Soviet System Through Art: A Case Study of the Exhibition “1972. Breaking Through the Wall”

Summary This article is dedicated to analysing the exhibition “1972. Breaking Through the Wall” from several perspectives: the curator, the viewers, and the exhibition architect tasked with creating an environment for the art exhibition in an unconventional setting. The article examines the curators’ choices, discusses the work of the exhibition architect within the context of heritage conservation requirements, and presents the results of a viewer survey. This exhibition raised the issue of the significance of alternative creativity, opposed to the official narrative, in a non-free society. It focused on Lithuanian art from the 1960s to the 1980s that countered the official Soviet cultural course. The exhibition’s prehistory includes the historical fact that in the spring of 1972, a young man self-immolated in Kaunas in protest against the lack of freedom. These events had direct and indirect reverberations in the arts, although they were not exhibited at the time due to fear of repression. This difficult experience has left its mark on Lithuanian culture and collective memory. The exhibition highlighted the role of various societal groups in opposing the ruling authorities and establishing personal and creative freedom as the highest value. The art display, composed of works from professionals (fine arts, theatre) and amateurs (rock and big beat musicians) from the 1960s to 1980s who resisted official Soviet art, clearly demonstrated how Kaunas – the capital of Lithuania from 1920 to 1940 – was influenced by the city’s prominent pre-war modernism (environment and lifestyle) and the Soviet ideology imposed on the entire country. The clash of two diametrically opposed ideological stances and artistic principles in Soviet Lithuania led to the emergence of an alternative culture. For the first time in the history of Lithuanian exhibitions, this exhibition showed how the social and the arts were affected by the pressure exerted by the official authorities. The visitor survey showed that the positive reactions to the exhibition were also due to socio-political events that have become embedded in the nation’s memory. The events stored in the collective memory of the nation correlated with specific creative artefacts and historical details, which the younger generation saw for the first time. Noteworthy was the symbiosis of emotional experiences among visitors of different ages, observing exhibits with both artistic and historical value. As indicated by the visitor survey, the exhibition facilitated the establishment of a closer connection between generations. The exhibition’s display in a cultural heritage site – the former post office building (by architect Feliksas Vizbaras, 1932) – was a complex task creatively resolved by contemporary architects.

Подходы к изучению текстов культуры в работах В. В. Нарциссова

The aim of the research is to identify the peculiarities of perception of cultural texts by V. V. Narcissov, a prominent art historian, staff member of the House-Museum of P. D. Korin, lecturer whose approach helped to form several generations of scholars in the field of Russian culture and medieval Christian culture. The scientific novelty of the work is derived from the analysis of relevant biographic and academic papers on art history. Biographic material helped to identify the characteristics of the culture of Moscow intelligentsia in the second half of the 20th century. Papers on art history were central in uncovering the author’s approach to monument study. Likewise, general artistic principles of fine art have been considered. As a result of the conducted research, through consideration of the available scientific papers by V. V. Narcissov on Russian art it became possible to note specific research approaches and the overall continuity in the Russian art history tradition during the 20th and 21st centuries.

Some style tendencies of Hellenism which formed the basis for the pictorial canon of Eastern church rite

The article systematically presents and substantiates the stylistic concept of some unique artistic tendencies of Hellenism, which share a common sacred nature with the pictorial canon of eastern churches. It also proposes updated retrospective artistic principles to reassess the role of these tendencies. This finding allows us to reveal additional roots of the pictorial canon and review the cause-and-effect relationship between the narrative-symbolic-decorative attributes of ancient funeral rituals and the spiritual-philosophical foundations of early Christian art. It suggests filling the gaps in art history and cultural studies within the framework of relevant themes by introducing modeled and unified conceptual-categorical constructions into scientific circulation. The purpose of the research. The main purpose of the article is to rethink and systematize some artistic and stylistic tendencies of the Hellenistic’s era in late antiquity, from which all Eastern church pictorial traditions drew their conceptual and stylistic foundations during their formation period. The methodology. A combination of specialized methods was applied: historical-comparative method for identifying key artistic tendencies; cultural-deductive method for formulating artistic categories; abstraction method for delineating key stylistic features of sacred attributes, as well as for identifying differences and similarities; expert artistic assessment method for theoretical characterization, substantiation, and expansion of conceptual-categorical components; stylistic correlation method for unifying newly discovered stylistic connections of Hellenistic artistic products and the Christian tradition. The combination of the listed methods allows us to reveal the concept of the stylistic basis for the pictorial tradition in the church paraphernalia of the Eastern rite and to systematize the existing authoritative evidence base regarding to origins of the pictorial canon of the Egyptian and Greco-Roman periods. Conclusions. Our analysis shows that in the broad context of the formation of the pictorial canon, peculiar to the churches of the Eastern rite, some artistic trends of the first centuries of the new era turned out to be an unchanging and stable conceptual basis for the pictorial canon in a complex artistic and philosophical coordinate system. Thus, the artistic canon of the Eastern churches, formed between the VI and IX centuries, is nothing more than a borrowed status-functional category for the multi-level gradation of Christian value aspects with specific techniques and means of Hellenistic fine art of the times of ancient Egyptian and Greco-Roman syncretism. Their intermedial nature and appellative character in relation to the Theogony of the ancient world limit the traditional interpretation of the Christian symbolism of the vast majority of canonical images in the artistic plane. The scientific novelty. For the first time our research analyzed the cause-and-effect relationship between canonical Christian stylistic attributes and Greco-Roman and Egyptian features as the ideological basis of the latter for the formative role of the former. It reassessed and re-evaluated some Hellenistic artistic tendencies in terms of their significance and complexity. A number of expanded cultural and art historical concepts and categories of the ancient world are proposed and substantiated.

Творчество Максима Грека и проповедь Андрея Денисова: к постановке проблемы

<p>The literary school created by the Vyg Old Believers the early 18th century is a unique phenomenon of Russian culture. The Vygovtsy' desire to use the latest rhetorical strategies was organically combined with a reliance on national tradition, represented, in particular, by a system of book authorities. These included the 16th-century Greek-Russian theologian, philosopher, and philologist Maxim the Greek, deeply revered by the Old Believers. The defenders of the Old Rite not only used his writings in ecclesiastical polemics to defend their position. It was the Vyg Old Believers, led by their mentor Andrei Denisov (1676-1730), who continued the manuscript tradition of Maxim' writings, creating a new codex on the basis of his texts — the Pomorian Codex. The article emphasizes that Maxim the Greek influenced the literary work of Andrei Denisov, the leader of the Vyg Old Believers. He was not only the initiator of many years of work on the creation of the Pomorian Codex and not only one of the main compilers of the Pomorian Answers, where the arguments of Maxim the Greek were used. The name of Maxim and references to his writings can be found in Andrei Denisov's sermons, and one of Maxim the Greek's plots, borrowed from the work of Hieronymus Savonarola, formed the basis of Andrei Denisov's popular work in the Old Believer tradition — Slovo plachevno o zlostrafaniyah i skorbeh Tserkvi Christovoy [the Lamenting Tales for the afflictions and sorrows of the Church of Christ]. The author of the article makes assumptions about the influence of some artistic principles of the work of the famous Athonite on the poetics of Andrei Denisov's sermon.</p>

Varieties of pictorial vision.

Pictorial awareness is addressed through experimental phenomenology involving over 90 naïve participants. Since one can't look at the "same" picture twice the study uses one-shot trials. The participant's fascination for the duration of a session is held through the artistic principle of theme and variation. Six variations focus on the theme of pictorial geometry, both two-dimensional and three-dimensional. Major findings are: Idiosyncratic deviations from veridical are huge as compared to common textbook "effects." Observers wield arbitrary heuristics for tasks that are "formally related." The assumption of a common formal framework is apparently unsound. The notion of "inverse optics" is misleading. A fair fraction of the population appears to lack monocular stereopsis as intuitive awareness. It suggests an as-yet unrecognized, but perhaps common variety of aphantasia.

Expanding Applications and Artistic Principles of Motion Graphics in Digital Media

Motion graphics, in contrast to traditional two-dimensional media, provide the user with an experience that is more intuitive, dynamic, multi-dimensional, rhythmic and narrative. This study examines the principles and evolution of motion graphics in digital media, including television commercials, websites, applications, interactive installations, and graphic design. By analysing their dynamic, rhythmic and narrative characteristics, this paper outlines the principles of art construction from the perspectives of time, space, communication and synthesis. It also explores the artistic expression of motion graphics through three main avenues: enhancing information presentation, expanding graphic creativity, and integrating multiple forms. To illustrate how these principles enhance information presentation, expand creative boundaries and integrate multiple forms, an in-depth literature review and a series of case studies are conducted. Conclusions focus on providing guiding principles for using motion graphics in modern digital environments.

The Guiding Role of Humanistic Spirit in Sittes Urban Design Philosophy in Protecting Historical Districts A Case Study of Qingdao Guantao Road Historical and Cultural District

The basic block texture and design principles of historical preservation districts in Qingdao originate from the urban design carried out during the German colonial period in Qingdao, and the urban design during the German colonial period was mainly guided by the Sittes urban design philosophy prevalent in the West in the early 20th century. Camillo Sittes urban design philosophy, which adheres to artistic principles, criticizes pure functionality and calls for humanistic spirit, advocates for the harmony between technicality and artistry, and adopts a speculative attitude. This paper will focus on analyzing the significant importance of its humanistic spirit in urban design and its application in guiding the protection and renewal of historical districts in Qingdao.

ОБРАЗ ДЕТСТВА В РАССКАЗЕ Ю. П. КАЗАКОВА «ВО СНЕ ТЫ ГОРЬКО ПЛАКАЛ»: ЧЕХОВСКИЕ ТРАДИЦИИ

The article examines the image of childhood in Yu.P. Kazakov's story “In a dream you cried bitterly” in line with the Chekhov tradition, analyzes the deep connections of the artistic principles of the two writers. The research highlights Yu. P. Kazakov’s interest in Chekhov's work and similarity of the genre systems of two authors. There have been established the origins of this community, which is determined by the attraction of both A.P. Chekhov and Yu.P. Kazakov to lyrical prose. The author analyzes the features of the Chekhov’s type of narrative with its inherent frivolity and an open ending in the story of Yu.P. Kazakov “In a dream you cried bitterly”. It is proved that Chekhov's traditions played a significant role in the formation of the topos of childhood in the lyrical prose of Yu.P. Kazakov.

MULTIMEDIA FRAMING OF BRECHTIAN CHIMERISM

Brecht's epic theater in its artistic diversity includes works that, having received multimedia interpretation, not only do not lose their artistic and aesthetic significance but also enhance it. This refers to B. Brecht's use of photo-epigrams from "Kriegsfibel", which became emblems of war. "Kriegsfibel" is the title of the second part of the great oratorio "Deutsches Miserere", which emerged as a result of Bertolt Brecht's creative collaboration with the composer Paul Dessau. Twenty-nine photo-epigrams formed the basis of the concert, which Brecht called "Deutsches Miserere" – "the great repentance of the German people". In this article, we examine the basic principles of the construction of "Deutsches Miserere", focusing on the functional features of the alienation effect in the work through multimedia and intermedia means. The focus lies on the interconnection and combination of different types of art: fiction, photography, cinematography, and music aimed at creating an original author's language. The article claims that the unifying principle that connects them is chimerism, which contributes to the effect of alienation and serves to provocatively and paradoxically comprehend and embody a certain theme or idea. In the triad of "principle – technique – medium", the leading artistic principle is the effect of alienation, one of the techniques of artistic transformation of reality is chimerism, and the medium is multimedia. The introduction of multimedia amplifies the alienation effect, and this allows us to consider the interaction of chimerism with intermedial means of expression, namely, it makes intramediality the sphere of existence of chimerism.

ARTISTIC PRINCIPLES OF EXPRESSING NAVOI'S SPIRITUAL WORLD IN UZBEK DRAMAS

The article examines aspects specific to the artistic interpretations of Alisher Navoi's character created in Uzbek dramaturgy. Dramas of authors such as Uygun and Izzat Sultan, Muhammad Ali, Amon Mukhtar, Iqbal Mirza, Abdulla Azam were analyzed based on the artistic principles of expressing the Navoi spiritual world.

The magical paradigm in the V. Pelevin`s late novels

The issue of attribution of the creative method of V. Pelevin, implemented in later works, clarification of the author's artistic principles is acute for modern literary criticism. The article attempts to determine the specifics of the implementation of magical motif in Pelevin's works as artistic tool that allows to reflect reality in a work of art. The subject of the research is magical motif in artistic structure of late novel prose, namely in the novel «Secret Views of Mount Fuji» (2018). Such works as: «The Holy Book of the Werewolf» (2004), «Empire V» (2006), «Love for Three Zuckerbrins» (2014), «Invincible Sun» (2020) and «KGBT +» (2022) are also mentioned. The article is notable for its scientific novelty: for the first time magical elements are revealed in late novels of the author, specificity of the acting hero is indicated. The features of the embodiment of the magical in works at the level of the plot, the chronotopic organization of the text, in speech and the system of characters are presented. We additionally seek to answer the research question: is it right to consider V. Pelevin in the context of magical realism as a special type of thinking? It is noted that the author includes mythological and folklore reminiscences in the narrative: V. Pelevin refers to recognizable mythologemes, transfers well-known literary, mythological, folklore characters and typical magical creatures to a different chronotopic pattern, while maintaining their recognizability, which, together with the comparison by combining the components of magical prose with structural, plot and other elements of Pelevin's novels, allows us to answer the question in the affirmative. Structural and cultural-historical methods were used.

The Influence of the Bertolt Brecht System on Traditional Chinese Theater

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

Viewing the Characteristics of Chinese Landscape Painting from Guo Xi’s “San Yuan Method”

The Song and Yuan Dynasties are considered a period when art theory and practice reached a very high level. Among them, painting, as an important category, has great potential. Guo Xi, a painter and theorist of the Song Dynasty, proposed “The San Yuan Method” (means three artistic principles: high, far-reaching and flat), which was compiled into a collection by his son and included in Lin Quan Gao Zhi (the elegance of the bamboo and spring), becoming an important theoretical work in the history of Chinese painting. This article will start from the theoretical foundations of "high", "far-reaching", and "flat" and use specific text analysis and theoretical exposition methods to analyze the painting characteristics of Chinese landscape painting influenced by the " San Yuan Method". The aim is to analyze the creative purpose of landscape painting and appreciate Lin Quan’s heart (Lin Quan's heart is the view put forward by Guoxi, a landscape painter in the Song Dynasty; that is, landscape painters should have an aesthetic mind when observing and painting).

Georgy Kryzhitsky as Co-founder and Theorist of the FEKS (on the Centenary of the Creative Association)

The article raises the question of the role of George Kryzhitsky in the formation of the theoretical platform and the creation of the theater workshop of FEKS (“Factory of the Eccentric Actor”). For the first time in scientific practice, a comparative analysis of Kryzhitsky’s publications of 1921–1922 is undertaken: “The Theater of the Spirit of the Flesh”, “Philosophical Farce”, “Philosophical Farce. Theater on the contrary”, “Excitement” in the collection “Eccentricity — as a single corpus of theoretical texts. The basic aesthetic categories based on the principles of ancient philosophy and theater, and the dynamics of his concept of a new theater are revealed; the significance of the theoretical constructions of Kryzhitsky in the formation of the ideological and artistic principles of the eccentric theater, stated in the “Manifesto of the Eccentric Theater” (1921) and in the collection “Eccentricity” (1922). Based on the analysis of texts and historical and biographical information, the hypothesis of the influence of Kryzhitsky as the “only adult” of the FEKS on the creative worldview of his young associates (G. Kozintsev, L. Trauberg, S. Yutkevich) in the southern period of their acquaintance (1918–1920), as well as about the key role of Kryzhitsky in the Petrograd process of formation of the creative collective in late 1921 — early 1922. The split of the original core of the FEKS and further history of the relationship between Kryzhitsky and Kozintsev, Trauberg and Yutkevich, who pursued movie making, are also considered through the prism of theory — as a result of the revealed differences in the assessment of the communicative side of the creative process. The article claims that Kryzhitsky remained faithful to a “live” stage performance with a real audience, which embodies a “unified sense of theater”, and his former associates chose a virtual screen action for self-expression, that is a fundamentally different medium.

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.

Dance Postures: Expressions of the Body

In his speech at the opening ceremony of the Tenth National Congress of the Chinese Literary and Art Circles, General Secretary Xi Jinping emphasized that literature and art have been bestowed with abundant nourishment and boundless imaginative space by history. However, writers and artists should not indulge in unfounded imagination when depicting history, nor should they render history void. While it may not be possible to fully recreate the true essence of history, writers and artists have the responsibility to reveal the real historical facts and convey the most valuable elements of history... Only by establishing a correct view of history, respecting history, and presenting historical events in accordance with artistic principles can we stand the test of history, be recognized in the contemporary era, and be passed on to future generations. In comparison, dance, as an integral part of the arts, distinguishes itself from other art forms through its unique aesthetics of the body and body expression. Within this, the aesthetic value and expressive communication are dynamically linked between dance postures. Thus, dance postures play a vital role as carriers in dance. Based on this, the thesis re-examines the etymology and definitions of dance and posture and traces their origins. Drawing upon the research theory of semiotics in dance, it aims to elucidate that dance postures represent the simultaneous expression of body and mind, uniting them through bodily warmth and ethereal force. Similarly, dance postures serve as the dynamic connection between ecology and mentality under their physical manifestation. They should be placed within the two major systems of dance historical and cultural morphology and dance artistic creative morphology, exploring them in-depth, in detail, mutually supporting each other, and facilitating development. This construction establishes two intersecting and parallel axes, thereby respecting the laws of historical and artistic development, promoting culture, distinguishing aesthetics, and passing them on to future generations.

СВІТЛО-ПРОСТОРОВА КОМПОЗИЦІЯ САКРАЛЬНИХ БУДІВЕЛЬ ЛЕ КОРБЮЗЬЄ

The article discusses the ways, methods and means used by architect Le Corbusier to organize the light environment in his sacred buildings: the chapel of Notre Dame du Haut in Roncham; the church of the Dominican monastery complex Notre Dame de la Tourette; the Catholic church of Saint-Pierre-de-Firmin. The churches were built in France in the 50s and 70s of the last century, with the exception of the church in Firmin, which was completed in 2006. In these sacred buildings, built in the modernist style, the architect abandons the traditional architectonics of sacred buildings of the past and declares the renewal of artistic principles, the novelty of architectural forms and structures. The architecture of the churches, which speaks the language of pure form, found in precise proportions, reveals Le Corbusier's characteristic fusion of architecture and the plastic arts, their interdependence and mutual enrichment. By shaping the light-spatial composition of the interior of these churches, the architect tried to achieve an atmosphere of concentration and "silence" so necessary for contemplation, reflection, and common prayer. To create this atmosphere, Le Corbusier chose the twilight that prevailed in the interior of his churches, the austere and dry aesthetics of the wall surfaces, which compared to churches built in the Romanesque period. It was important for him to have a very refined, dosed natural light entering the sacred space of the buildings. He achieves this effect using different methods in each of his sacred projects. By controlling the amount of light, through a combination of direct, reflected and diffused natural light entering through skylights, the architect creates a changing light-spatial composition that differs from the light environment of traditional churches. According to the architect, the skylights, selectively and carefully placed in the spatial structure of the churches, should create an atmosphere of mysticism and focus the attention of the parishioners on prayer. The requirements of religion had little influence on the architect's plan. The shape of the temples and the light and space composition of the interior space were a response to the psychophysiology of the senses. The choice of an ascetic interior for his buildings, without any decoration, leaves room for the changing natural light that illuminates the magical, mystical, indescribable space, and is perhaps the only symbol of its sacredness.

The Dialogue of the Russian Realistic Tradition and Avant-Garde Trends in Painting in the “Studio of Konstantin Yuon”

The article examines the period of training of young Russian artists in the Moscow “Studio of Konstantin Yuon” in 1900–1917, who later became bright representatives of avant-garde trends in painting from the point of view of the mutual infl uence of the teacher’s creative manner and the artistic pursuits of novice painters who gravitated to the study of current trends in the European artistic process. The purpose of the study is to determine the nature of the relationship between the artistic principles of the Russian realist school and the creative attitudes of the representatives of future avant-garde trends in painting during their training in the studio of K. Yuon in the early 20th century. The results of the work show that despite the fact that K. Yuon was a representative of the Russian realist tradition, in his work of that period, as well as in the works of the students of his studio, there is not so much opposition between the aesthetic and artistic methods of Russian realism and the emerging avant-garde movements, but rather a dialog and mutual enrichment of plastic methods, which had a signifi cant infl uence on the formation of the creative manner of the artists.