Sculptural Works Research Articles

Pictorial as readable: ekphrasis in a literary work and reader’s p

The interaction of arts which poets, writers, artists, scholars and philosophers have always paid considerable attention, has gained popularity recently and it has been given serious consideration in art history, literary and cultural studies, and aesthetics. Some researchers explain a growing interest in the phenomenon of increasing significance of visuality in modern culture. The aim of the article is to clarify the status quo in the study of ekphrasis in literary and cultural studies. To achieve the aim pursued, the following research methods have been used: cultural-aesthetic, comparative and hermeneutic. The paper focuses on the concept of ekphrasis and its use in literary works and studies the current trends in the study of ekphrasis, regarding its definition, typology, functions, ekphrastic genre invariants, and reader’s perception of ekphrasis. Some exemplary instances of ekphrasis description in English ekphrastic poetry and emotive prose have been considered, and the verbal means of ekphrasis generation have been analysed. The analysis of the most popular works of domestic and foreign scholars such as: N.S. Bochkareva, L. Geller, N.N. Yefimova, A.Yu. Krivoruchko, V. Cunningham, J. Hollander, L. Spitzer and many others, has allowed to make the conclusion that most scholars use the definition of ekphrasis as a “poetic description of a pictorial or sculptural work of art” suggested by Leo Spitzer, although, the definition of ekphrasis as a “verbal representation of visual representation” of James Hefferman, which is a broader concept is also popular. Different classifications of ekphrasis have been suggested by the researchers. N. Braginskaya, for instance, distinguishes the dialogical and monological ekphrasis on the basis of the internal structure of the text, the main difference being the manner of presenting information to the reader. The typology of ekphrasis and its main functions are mainly given on the basis of creative works of a particular writer or poet and many researchers pay attention to sense general features of ekphrasis as the process which combines iconic and sign images in verbal discourse. Ekphrasis, being the representation of other arts in literature, expands considerably the narrative space. The origin of ekphrasis goes back to the ancient times where it is seen as a rhetorical device. In classical rhetoric, ekphrasis could refer virtually to any extended description of art objects. Ekphrasis, an ancient rhetorical term, has been now revived in academic circles, in the studies of art and literature. After languishing in obscurity until 1967, when Murray Krieger published a notable essay on it, ekphrasis is commanding major attention, “ploughing the inexhaustibly fertile ground where literature meets visual arts”. There are various approaches to the study of the ekphrastic tradition, and the historical approach being one of them, can be seen in many works. Ekphrasi in modern research is a multifaceted and polyfunctional phenomenon. The typology of ekphrasis and its main functions are mainly given on the basis of the particular poet`s or writer`s creative works, paying attention to some general features of ekphrasis which combines iconic and sign images in verbal discourse. The phenomenon of ekphrasis merits further consideration, especially, due to the availability of Liliane Louvel’s The Pictorial Third: An Essay into Intermedial Criticism, which provides the author’s innovative approach to the understanding of the relationships between the literary text and image.

Monument Public Address System AR

Monument Public Address System AR is an interactive augmented reality (AR) documentary revolving around an expanding collection of audio interviews about the past, present, and future of confederate and colonial monuments across the United States. The interviewees include activists, scholars, students, planners, community organizers, and other artists. Some have discussed feelings of exclusion when they see confederate and colonial imagery. Others have evaluated the symbolic violence of the monuments in relation to ongoing racist systems. And others have described potential liberatory sculptural works as replacements. The main goal of the project is to engender thoughtful individual and collective experiences and to support critical and ongoing engagement with public memory and the political, social, and cultural processes responsible for public spaces. As Ana Lucia Araujo, historian and professor at Howard University, writes, “All monuments emerge and disappear because of political battles that take place in the public arena. Likewise, public memory is always political” (Lucia Araujo, 2020). In terms of a participant’s experience of the AR media, once they download and open Monument Public Address System AR on their mobile devices, they will discover 3D virtual objects and animations superimposed on the world around them. When they interact with these objects, short sections of the audio interviews are triggered and play. As they listen to the interviewee’s narratives, participants can explore the virtual animations in relation to the surrounding physical space. It is important to the author-artist that the app is accessible to as many people as possible. While the augmentations are geo-located, and the intention is for participants to circumnavigate confederate and colonial monuments – and the empty spaces where they once stood – while experiencing the AR, the app can be opened anywhere. Moreover, the app is mobile AR, released on both Google Play and the Apple App Store, so that it can be used on a large variety of hand-held devices. It is not dependent on expensive technology. As a cis-gendered middle-class white woman from the southeast of the United States, the author-artist recognizes that her perspective regarding the racist history carried by these monuments is limited. She has initiated the project as a way of discovering, and undoing, her blindspots. The author-artist sets out to support critical thinking about the future of public monuments and spark conversations on the history of slavery and racism in the United States. Monument Public Address System AR is offered as a platform for visual and aural expressions of frustration, anger, sadness, fear, and confusion regarding the racist, unjust and violent narratives that have shaped, and continue to shape, our present and future. It is also built for the enunciation of anti-racist hopes, activities and initiatives.

BİTHYNİA KENTİ KLAUDİOPOLİS’TEN (BOLU) BİR HEYKEL BAŞI

This article considers the head of a marble painted statue which was found during construction work in the city center of Bolu and delivered to the Bolu Archeological Museum. This study aims to clarify the identity and dating of the head. The statue head has been examined in terms of craftsmanship techniques, and a stylistic-typological analysis has been carried out with respect to the facial features, facial expression, head posture, hairstyle and headband. Combining the findings from this analysis with information about the context around the find-spot and data concerning administrative and religious personalities in the history of the city, an attempt has been made to draw some conclusions about the statue head. The facial features of the Bolu head reflect primarily the idealism and linear style of the Classical Period. On the other hand, its facial expression and head posture can also be seen in sculptures of the Hellenistic Period. No other similar sculpture has been encountered previously. In view of this, we would appear to be faced with an eclectic and unique work, probably a local production, indicating that the head is not a copy of a particular work. The stylistic and typological features of the Claudiopolis (Bolu) head can also be seen on sculptures from the Hellenistic Period up until the time of Hadrian, making it quite difficult to date this head. However, the polishing technique applied to the surface of the statue head where bare skin is visible may point to a date in the Hadrianic period, an important phase in the history of Claudiopolis. This dating may be supported by the fact that right next to the head structural foundations and a structural element are said to have been unearthed, and these have been dated to the Hadrianic period due to the inscription on this structural element. There is no definite attribute indicating who the head is depicting. The only accessory on the statue head is a circular cross section headband. Because of this, only the hairstyle and the type of headband can provide clues as to the statue's identity. The head does not possess the usual hairstyle of the Roman imperial period. Divided into two from the bun, the hair is combed from back to front and cut short around the face from the forehead to behind the ear. This style and model of haircut is also manifested in representations of Artemis and Apollo from the Classical Period, although the treatment of the bun differs. In addition, such short hair is a rarity in female statues, and researchers concur that it is exceptional for women to be depicted with short haircuts, unlike in the case of men. Furthermore, a circular cross-section headband is understood in most cases to be an indication of a male hero or god. One of the twelve phyla of Claudiopolis is named after the god Apollo. Based on the ancient history of the city and the typological comparison of this head with other sculptural works, it can be suggested that the statue head under discussion depicts Apollo and can be dated back to the Hadrianic Period.

Al-Qatt Al-Asiri Art as an Experimental approach to produce a contemporary sculpture works based on the light art: فن القَطْ العسيري كمدخل تجريبي لإنتاج أعمال نحتية معاصرة قائمة على فن الضوء

The study aimed to identify the art of Al-Qatt Al-Asiri, identify the concept of contemporary sculpture, and clarify the art of light, in addition to employing the art of Al-Qatt Al-Asiri as an experimental approach to the production of contemporary sculptural works based on the art of light. To achieve this, the descriptive analytical method was used, by addressing the art of Al-Qatt Al-Asiri, contemporary sculpture, and the art of light. And also, the use of the experimental method in the study through the researcher’s implementation of a number of contemporary sculptural works inspired by the structural basics of Al-Qatt Al-Asiri art using the light technology in its various forms, which helps to verify the hypothesis of the research. The study reached many results, namely that the structural factors of Al-Qatt Al-Asiri’s art showed flexibility in adapting its vocabulary by creating light sculptural models in a way that matches the data of the times. The majority of Al-Qatt Al-Asiri’s sculptural designs relied on abstraction as an essential element to show the contemporary aesthetic side. The field of contemporary sculptural works preserves the creative content of the artwork in the diversity of its plastic formulations, without adhering to the traditional concept of sculpture. And also, to identify the characteristics of the art of light and its concept as one of the contemporary artistic trends related to technology. As light has an important role in emphasizing the importance of the technological techniques used in the production of sculptural works and making formal changes to them. In addition to the possibility of employing Al-Qatt Al-Asiri art as an experimental approach to the production of contemporary sculptural works based on the art of light. The study reached several recommendations, represented in conducting more studies on the art of Al-Qatt Al-Asiri. To show its aesthetics and preserve it from extinction. Interest in studying contemporary artistic trends, and raising awareness of them. And also, the establishment of a virtual museum to document the contemporary Saudi heritage and the possibility of reaching the largest possible number of audiences and disseminating it around the world.

Abstraction of Dog Movement in the Creation of Sculpture

Dogs are social animals, but the personality and behavior of dogs can vary depending on the breed. In addition, the dog's personality depends on the treatment it receives from the dog and the people who interact with it frequently. From the dog's personality, it is interesting to be appointed as the object of internship at CV. Richstone. The author realizes the work of sculpture by observing the dog's movements by abstracting the dog's movements from various points of view by using line and plane composition to achieve visualization of the work. The process of making the work uses a cast iron frame first using cast concrete, followed by the addition technique in which the cast frame of the statue is wrapped with burlap sacks on the entire frame of the statue. In visualization the work displays two dog figure movements which are abstracted by the presentation not directly, but using non-representational forms or more depicting the shape of the objects depicted which are often difficult to grasp for meaning by ordinary observers/art connoisseurs, the first work with dynamic dog movements running and the second work with the movements of a frightened dog.

Stanley Février: Performing the Invisible

This article examines how the Québécois artist Stanley Février approached the absence of BIPOC artists exhibited and collected at the Montreal Museum of Contemporary Art (MAC) with three performative projects that successfully forced the institution to revisit its collecting and exhibiting practices. In An Invisible Minority (2018), the artist infiltrated the MAC as a security guard after assessing that this was the only culturally diverse body of employees in the museum. Février then showed an installation at ARTEXTE composed of statistics, comparative charts, and other quantitative data points that highlighted the lack of representation in Montreal galleries and museums. It’s Happening Now (2019) was a guerrilla action organized with other collaborators where performers clad in black skinsuits dragged fifty years of annual reports by the MAC tied to their ankles before shredding them in the museum’s main lobby. In conjunction with these project, MAC-I was created as an alternate, unsanctioned portal to the MAC official website to promote the practices of non-white Québécois and Canadian artists. While Février’s figurative sculptural work has garnered attention, with recent acquisitions by the Montreal Museum of Fine Arts and the Musée national des beaux-arts du Québec, his more immaterial, institutionally critical, performative works remain undervalued and framed as ‘activism’ rather than their own aesthetic events.

Theocentrism is not Anthropocentric: An Enlightened Environmentalist Reading of the Holy Qur'an

Humans should come down from their destructive arrogance stool to take the best cognizance of the fact that nature is a sculptural work of God. Their failure to realise this fact has been responsible for their formulation of the secular environmental theories which include; anthropocentrism, zoocentrism, biocentrism, ecocentrism, and the hybrid eco-feminism. Romanced with these theories the Holy Scriptures are also implicated by reading them in the light of one of these theories and considered anthropocentric. As a matter of fact, the best of these secular theories should never be taken to be representing theocentric view of the environment.

Doran H. Ross: His Fabulous Fowler Years

Doran H. Ross: His Fabulous Fowler Years

Application and Development of Digital Enhancement of Traditional Sculpture Art

Sculpture art, as an important carrier of spiritual civilization, also portrays a prosperous scene as an industry with urban and cultural development. Three-dimensional technology offers a new platform for sculpture creation, allowing for the digitization of sculpture works via electronic information technology, and the display of sculpture works in front of people via displays, facilitating the exchange and dissemination of information and promoting the growth and progress of the entire sculpture creation industry. We plan to use digital enhancement technology to conduct small-scale creation experiments on traditional sculpture works, discuss the method of GA (Genetic Algorithm) in image restoration processing, investigate the method of image segmentation processing based on the genetic algorithm, and propose the method of image segmentation processing based on the fuzzy membership surface genetic algorithm, in order to verify and solve the creation difficulties of traditional sculpture works.

The sculpture of the Christ of the blood: Structural mechanical analysis based on 3D models and video techniques for the study of recurrent pathologies

The Christ of the Blood is an emblematic work of Spanish baroque sculpture. A sculptural heritage from the 17th century, unique for its symbolism and turbulent history. It was badly damaged during the Spanish Civil War and was divided into thirty fragments, which were recomposed by important local sculptors of the time through complex interventions. As is tradition, after the war, the sculpture has continued to be paraded in a procession every year on the occasion of Holy Week. The movements derived from this parade affect the integrity of the sculpture, although in a particular and critical way on the right foot, which requires recurrent interventions from the 1940s to the present day. There is a dilemma between tradition and preservation, between devotion and integrity. The studies and tests carried out so far are limited to the evaluation of the state of the structure, the materials and the application of new conservation treatments, but they do not contribute decisively to the prevention of its degradation. The research presented here aims to develop a dynamic structural study of the forces and stresses to which the sculpture is subjected during its annual parade. To do this, computer simulation by finite elements is chosen, which requires a three-dimensional model which is available as a result of previous research. At the same time, advanced video measurement techniques are used to obtain initial data for the simulation process, such as maximum acceleration. Finally, possible solutions are provided that allow the repair, prevention and conservation of this invaluable heritage asset, as well as a technical assessment and economic investment of the application of each of them.

Politicised Parables: A Reassessment of Bonnie Ntshalintshali’s Early Ceramic Sculptures

As ceramics by Black South African artists garner increased academic interest, the work of early Ardmore Design artists, exemplified by Bonnie Ntshalintshali, remain on the periphery of scholarly investigation. This article seeks to reacquaint the art historical community with Ntshalintshali’s sculptural works, demonstrating the cultural and historical relevance of her ceramics as potent expressions of her unique perspective and artistic voice. With a focus on early artworks inspired by Christian parables, this exploration of specific sculptures elucidates Ntshalintshali’s relationship with Christianity, fused with her Zulu heritage and Black South African identity. By examining these works as interconnected, as opposed to singular masterpieces, common themes and repeated motifs become evident. Ultimately, this article provides a more nuanced and extensive assessment of a selection of Ntshalintshali’s sculptural forms, illustrating their complexity, their thoughtful and potent imagery, and their embodiment of complex personal narratives.

The origins and artistic features of Dashi Namdakov’s works of sculpture (2000s)

The origins and artistic features of Dashi Namdakov’s works of sculpture (2000s)

Human Soul Sculptor

The article is written in connection with the comprehensive exhibition project “Blagovestnov. Prophecies of the Present” (April 28 – October 2, 2022). In a carefully thought-out author`s space exposition works by Alexey Blagovestnov, corresponding member of the Russian Academy of Arts, from Pereslavl Museum-Reserve and private collections were combined with the works of Russian wooden sculpture of XVIII-XIX centuries from the collection of Rostov Kremlin, selected by the artist and first shown to the public. The article included direct quotations from an interview conducted by the author of the article in Blagovestnov's Moscow studio.

Sino-Tibetan Style of Buddhist Sculpture: Articulation of the Attribution Problem

This article is devoted to the concept of “style” and the possibility of its application in the attribution of works of Buddhist metal sculpture. This aspect, which, as a rule, is peripheral for classical Oriental studies, Buddhology, and history, where it is interpreted quite freely, is one of the key ones for art history and museum attribution activities. The author notes the terminological and factual diversity of the designation of the “Sino-Tibetan style” in the circle of researchers of the art of Buddhism. The author poses the question of what exactly the concept of “Sino-Tibetan style” means and whether it is an indication of the body of technical and plastic features of sculptures, or just a designation of the geography of the origin of Buddhist sculptures of the eighteenth and nineteenth centuries made in the western provinces of China. The author refers to three sculptures which are the most controversial ones from the point of view of attribution (Maitreya Buddha from the private collection of A. V. Glazyrin (Ekaterinburg), Shakyamuni Buddha, and Begtse from the collection of the Sverdlovsk Regional Museum of Local Lore), which have several similar stylistic features, and which could presumably be attributed to the “Sino-Tibetan style” of the eighteenth century. Also, the article presents the results of the study of the metal composition of these sculptures using an X-ray fluorescence analyser (spectrometer). Based on the data obtained on the content of substances in the alloy and considering the general artistic and stylistic features of metal images, the author makes a conclusion as to when the attribution designation “Tibeto-Chinese style” is the most accurate one and when it can be applied to Buddhist gilded sculptures created on the territory of China (Manchu Qin dynasty) between the eighteenth and nineteenth centuries.

Disrupted and Unsettled: An Introduction to Monuments, Memorials, and Italian Migrations

Disrupted and Unsettled: An Introduction to Monuments, Memorials, and Italian Migrations

Numismatics of the Roman Era and the Place of Some Sculptural Works in Antiquity

One of the great innovations of Roman monetary art was the introduction of the idea of “landscape”, of rendering buildings, public spaces or even complex scenes unfolded in a more or less elaborate setting. This innovation made some of the monetary issues of the Roman era veritable postcards of antiquity. Greco-Roman statues, lingeringly admired now in museum halls, were originally made to be placed in buildings and public spaces, as their integral parts. But rarely have ancient statues been discovered on their originally intended place (in situ). This short presentation aims to discuss the relationship between numismatics and the possibility of establishing the initial or conjunctural historical location of some sculptural works of antiquity.

ДАШИ НАМДАКОВ. ТРАНСФОРМАЦИЯ. ЧТО ХОТЕЛ СКАЗАТЬ АВТОР?

The article considers the peculiarities of the viewer's perception of a work of fine art with two different approaches to its content. The first approach is based on the viewer's desire to get an answer to the question: «What did the author want to say?». The second approach keeps the focus of the viewer's communication with the work of art on the question: «What is this work about?». In the first case, the artistic idea of the work is comprehended on a personal level, based on the individual author's interpretation of the image. In the second case, a richer assimilation by the viewer of the artistic idea of the work is possible at the personal, actual-historical and universal levels. The specificity of each approach is considered on the example of the sculptural work "Transformation" by Dashi Namdakov, located on the campus of the Siberian Federal University (Krasnoyarsk). Based on the methodology of the modern theory of fine arts by V.I. Zhukovsky and N.P. Koptseva convincingly proves that both approaches require significant efforts from the viewer to prepare for interaction with a work of fine art. Otherwise, the content of the work will be reduced to the viewer's fantasies about the author and his life or about the theme of the work. 
 Only conscious viewing, perceived as a skill that needs to be specially trained and constantly trained, can guarantee a deep meaningful interaction of the viewer with a work of fine art at its different content levels.

Wiatr z Północy. Dyskursywne konstruowanie Heimat na przykładzie gmachu dawnej Królewskiej Szkoły Rzemiosł Budowlanych w Katowicach i jego wystroju

Wind from the North: The Discursive Construction of Heimat Exemplified by the Edifice of the Former Royal School of Building Crafts (Königliche Baugerwerkschule) in Katowice and its Decoration The paper examines the edifice of the former school of building crafts (Baugewerkschule) in Katowice, Upper Silesia, which opened in 1901, and its decoration. The works of architecture, painting and sculpture were interpreted as carriers of a discourse calculated to construct Heimat, located within the borders of the Prussian Silesian Province. The building’s forms, reminiscent of the brick Gothic of northern Germany, were characteristic of the milieu of the Technische Hochschule in Hannover, where the designers of the edifice were educated. The city’s coat of arms was depicted on the facade, the vaulted ceiling of the auditorium was decorated with dragon and gryphon motifs of Scandinavian origin, and its walls painted with images of St. Hedwig ‒ the patron saint of Silesia, viewed here as a deconfessionalized personification of the land ‒ the Prussian eagle, and four iconic monuments of historic Silesian architecture. Thus, references were made to various levels of identity ‒ local, regional, national, and the mythologised Germanic North. The narrative constructed in this way fits into the cultural nationalism of the educated German bourgeoisie (Bildungsbürgertum), which grows out of the Romantic tradition. At the same time, the emphasis on the opposition of the North and South can be seen as a strategy for overcoming the peripheral status of Silesia in a world organised by the West-East axis. The school’s building in Katowice exemplifies how the elites of the German Empire used visual means to construct modern imagined communities.

Hvem var Olaf Malm? Er det levende modeller bak denne figuren i romanen Fra Piazza del Popolo av Vilhelm Bergsøe?

Based on the Nordic sculptor community in Rome around 1860, the article discusses candidatesthat served as inspiration for the fictional Olaf Malm from Telemark, the protagonist in thechapter “Malms historie” in Vilhelm Bergsøe’s key novel Fra Piazza del Popolo (1866). Some ofthe clues in the text are Malm’s sculptural works. A study of different sources and earlier researchtogether with the candidates’ personality, biography, and travel patterns point in a new directionand strengthen the probability of the Norwegian sculptor Hans Johnsen Budal as being the mainmodel, whereas some traits hint at the Danish sculptor Herman W. Bissen. The candidacy ofthe sculptor Olaf Glosimodt, which is established in Norway, however, is no longer credible.

LETTER FROM THE EDITOR

Dear readers, We are pleased to present to you Issue 5, 2021, of the scientific and analytical journal Burganov House. The Space of Culture. Upon the recommendation of the Expert Council of the Higher Attestation Commission, the journal is included in the List of Leading Peer-reviewed Scientific Journals and Publications in which the main scientific results of theses for the academic degrees of doctor and candidate of science must be published. The journal publishes scientific articles by leading specialists in various humanitarian fields, doctoral students, and graduate students. Research areas concern topical problems in multiple areas of culture, art, philology, and linguistics. This versatility of the review reveals the main specificity of the journal, which represents the current state of the cultural space. The journal traditionally opens with the Academic Interview rubric. In this issue, we present an interview with Alexander Burganov, Academician of the Russian Academy of Arts, an outstanding Russian sculptor, National Artist of Russia, Doctor of Art History, Professor, Director of the Burganov House Moscow State Museum, interviewed by Irina Sedova, the Head of the 20th Century Sculpture Department of the State Tretyakov Gallery. This dialogue became part of the sculptor’s creative evening at the State Tretyakov Gallery, which included a personal exhibition, donation of the sculptural work Letter, screening of a special film and a dialogue with the audience in the format of an interactive interview. In the article “The Apocalypse Icon from the Kremlin’s Assumption Cathedral. Dating and Historical Context”, T. Samoilova points out the similarities between some motifs of the Apocalypse iconography and the motifs of Botticelli’s illustrations to the Divine Comedy, as well as the role of a line in both artworks which testifies to the influence of the Renaissance art on icon painting of the late 15th — early 16th centuries. Studying palaeography and stylistic features of the icon, the author clarifies the dates and believes that the icon was most likely painted after 1500, in the first decade of the 16th century. P. Tsvetkova researches the features of the development of the Palladian architectural system in Italy, in the homeland of Andrea Palladio. On the examples of specific monuments, drawings and projects created during two and a half centuries, the author analyses the peculiarities of the style transformation in the work of Palladio’s followers, the continuity of tradition, deviations from canonical rules. In the article “Artistic Features of the Northern White Night Motif in the Landscapes of Alexander Borisov and Louis Apol”, I. Yenina conducts art analysis and compares the works of the Russian “artist of eternal ice”, A. Borisov, and the Dutch “winter artist”, L. Apol. They were the first to depict such a phenomenon as a white night in the Far North. V. Slepukhin studies the artworks of the first decades of the Soviet era in the article “Formation of the Image of a New Hero in Russian Art of 1920- 1930”. The author concludes that the New Hero in the plastic arts of the 1920s–1930s was formed as a reflection of social ideals. The avant-garde artists searched for the Hero’s originality in the images of aviators, peasants, women. The artists of socialist realism began to form the images of the “typical” heroes of the time — warriors, athletes, rural workers, scientists, as new “people of the Renaissance”. In the article “Dialogues of the Avant-garde”, A. N. Lavrentyev presents a comparative analysis of spatial constructions created by the Russian Avant-Garde Artist Alexander Rodchenko and the famous kinetic European and American artist Alexander Calder in the first half of the 20th century. Wei Xiao continues his analysis of contemporary art in the article “Chinese Sculpture in the New Era”. The author notes that the art of sculpture is in many ways a reflection of social change, both in terms of cultural content and practice. The author emphasises the need for cultural identity to preserve national traditions and spirituality. Xu Yanping’s article “The Dynamics of the Choral Culture Development in China in the 1930s on the Example of Huang Tzi’s Oratorio Eternal Regret” is a scientific study of a particular phase of the active entry of Chinese choral music into the sphere of the oratorio genre, directly related to the name of the great Chinese composer, Huang Tzi. It also highlights the issues of the country’s political life in the 1930s, which actively influenced the creation of nationwide singing movements and new choral works in the country. The author believes that the oratorio Eternal Regret presented in the article is a unique creation that organically combines ethnic musical material and Western composition techniques. The publication is addressed to professionals specialising in the theory and practice of the fine arts and philology and all those interested in the arts and culture.