Abstract: The article is devoted to the phenomenon of art postcards in the Palekh lacquer craft in the 1960s - 1980s – a little-studied field of folk art of the late Soviet period. The subject of the study is the analysis of over 20 sets of Palekh art postcards that were widely popular among art connoisseurs, including works by K. S. Bokarev, B. N. Kukuliyev, A.M. Kurkin and E. I. Pashkov. The purpose of the article is to show the importance of studying this topic on a wide range of material attracted by the author for the knowledge of the history and artistic specifics of the Palekh lacquer craft in the XX century, as well as for the successful revival of these traditions in our time. Using the method of comparative analysis, as well as iconographic and historical-systematic research methods, the author emphasizes the importance of the chosen topic, pointing out that, unlike all other types of artistic products of the craft, it was the Palekh postcard, published in millions of copies, was a truly folk product, which was found in almost every house in Soviet times. The scientific novelty of the research consists in the very attempt of a comprehensive analysis of this topic; in particular, the author points out that the main genres of postcard products of the craft in the 1960s - 1980s were illustrations of Pushkin and Russian folk tales, as well as epics and ideologically significant texts. The main conclusion of the article is the justification of the importance of graphic works by Palekh miniature painters for understanding their overall creative evolution.

DOI: 10.25136/2409-8744.2022.6.37011

Abstract: The subject of the proposed research is a historical analysis of the works of the masters of the Palekh craft of the 1930s - 1970s in the field of design of theatrical productions – a little-studied phenomenon of Russian folk culture of the twentieth century. The author of the article draws the most illustrative examples, referring to the sketches created by Palekh artists for productions of the Soviet theater. Special attention in the study is paid to the largest figures of the craft who worked in the field of theatrical design: I. I. Golikov, P. D. Bazhenov, N. M. Parilov, A. A. Kotukhina. The purpose of the article is to show the importance of the creative contribution of the Palekh masters to the development of theatrical and decorative art of the Soviet era on the extensive material of numerous productions of major theaters in Moscow, Leningrad and other cities. Using the method of comparative analysis, as well as historical-systemic and iconographic research methods, the author emphasizes the importance of knowledge about the works of Palekh artists in the field of theatrical productions for a correct understanding of the general history of Palekh craft in the twentieth century. The scientific novelty of the research consists in an attempt to analyze the topic under consideration as a single complex phenomenon. The main conclusion of the article is the thesis about the inseparable connection of Paleshan's "theatrical" works with lacquer miniature: the theatrical design works of Palekh masters appear at the same time with their experiments with lacquer miniature; the largest Palekh miniaturists worked with theaters; during the entire Soviet period, Paleshan's experience in theatrical and decorative art was in demand as much as and their lacquer miniature.

DOI: 10.25136/2409-8744.2022.6.39062

Abstract: Traditional craft villages have been one of the popular socio-economic models since ancient times in many countries and regions. In Vietnam, traditional craft villages have made a very positive contribution to the overall development of the area. These successes highlighted and recognized the critically important social role of individuals and organizations in the community of craft villages. At present, in a modernizing life, traditional craft villages face great challenges in maintaining their activities in the face of changes in modern social life. Thus, this article recognizes the need to describe the changes as well as the adaptation of social roles in the economic, cultural and social life of individuals as well as organizations in the traditional craft village community today. The case study chosen in the article was the lacquer village of Tuong Binh Hiep, Binh Duong Province, Viet Nam. The main method used in this study was a survey (N = 297) of households that still produce traditional lacquerware in Tuong Binh Hiep village. Apply this method to refine observational analysis or collect available data, add useful information to help explain the factors that are changing the roles of individuals and organizations carried out nowadays in traditional craft village communities. Based on the results of the study, the author will make the most basic assessments that will serve as a prerequisite for further research to find solutions to support traditional village craft communities in Vietnam for facing the impacts of the modern life.

DOI: 10.25136/2409-8744.2022.6.29097

Abstract: The heyday of the creative life of Uzbekistan, which fell on the 1920s - 1930s, was due not only to the lively activity of art groups, exhibitions and creative assignments, but also to the active work of artists in periodicals of various kinds. The graphic cycles published on the pages of newspapers and magazines significantly expand the established ideas about themes, plots and images in the work of the masters of Soviet Uzbekistan. Sometimes these publications remain the only documentary evidence of the existence of works that are now lost. This article is devoted to little-known graphics by A.V. Nikolaev, who worked under the name of Usto Mumin, its classification, description and establishment of links between the easel painting of the artist and graphic sheets, which he performed for such publications as “Maşala” (“Mash'ala”), “Muştum” (“Mushtum”) and “Pravda East". In the 1930s, the poetic contemplation inherent in the early painting of Usto Mumin gave way to the construction of a new social myth. At this stage, a significant role in the transformation of the artistic manner of the master was played by his departure in 1929 to Leningrad, where he devoted himself to work on book and magazine illustration. At the same time, the artist managed to find that delicate balance, which allowed, with a clear ideological component, to maintain the high artistic quality of the drawing. He filled the his works with images borrowed from earlier works. However, extracted from the mythologized context, they, as a rule, lost their semantic ambiguity, acquiring a mundane character. At the same time, the ruthless appeal of the master to such emblematic symbols for his painting of the 1920s as a rose and a quail suggests that the changes that took place in his work in the 1930s were not only external in nature, but were due to deeper reasons.

DOI: 10.25136/2409-8744.2022.6.39447

Abstract: The article presents the preliminary results of the architectural and ethnographic survey of the Varzuga settlement. The subject of the study is the traditional complex-houses in the cultural landscape of the rural historical settlements of the Terskoye Pomorye. The purpose is to determine the place and role of the house in the space of a modern Pomorye settlement; to identify the architectural and structural features, layout and decor of the dwelling as an ethnomarker of Russians in the North and the Arctic. The research is based on empirical material obtained during expedition survey in 2022 in the Tersky district of the Murmansk region. Also, it is based on the application of the author's methodology of the Doctor of Sciences (Culturology) A.B. Permilovskaya on architectural and ethnographic survey of wooden architecture objects. The author concludes that the Varzuga dwelling is a more compact version of the “brus” (beam), which is found in the settlements of the southern coast of the White Sea. The main constructive difference is that the “back” hut here is adjacent not to a cold barn, but to a significantly reduced utility yard, and has its own “main” facade overlooking the back of the house. However, in general, even a significantly rebuilt house retains its place as a factor in the formation of the cultural landscape of the settlement, bears the features of the continuity of ancient carpentry traditions, and in its laconic decor contains cultural meanings that reflect the mentality of the local Pomors population.

DOI: 10.25136/2409-8744.2022.6.39467

Abstract: Covering one sixth of the planet's surface and experiencing global climate change, the Arctic is a place where indigenous peoples' lifestyles, eco-spiritual values and unique flora and fauna species are reproduced. Planetary humanitarian thought centres around the Arctic Ocean, metaphorically referred to as the modern Mediterranean. The challenge is to recognise the spiritual and intellectual heritage of Arctic indigenous peoples in the modern development of Arctic resources and to introduce their eco-spiritual values into the educational process. Ecospiritual values are based on a worldview that recognises the spiritual interconnectedness of man and nature, and promotes the sustainability of the ecosystem in all its diversity of natural and human spheres. The aim of our study is to identify and reveal the axiological foundations of the ecospiritual values of the indigenous peoples of the Arctic that are significant for intercultural and intercountry communication in the northern circumpolar zone of the planet. The work uses Indigenous Methodology, the method of system analysis and synthesis, and empirical research in the Khatango-Anabar region was carried out using a combination of quantitative and qualitative sociological methods (standardised questionnaire survey, non-formalised interview, psycholinguistic experiment). Ecospiritual values have been identified, based on the ethno-cultural model of the relationship with Mother Earth, co-synchrony with natural and climatic features and co-spatiality of ecospiritual connections in the habitat, geopsychic and spiritual connections with sacred places, where there is inter-conjunction of cosmic, earthly and natural phenomena with ecospiritual values of man.

DOI: 10.25136/2409-8744.2022.6.39496

Abstract: The subject of research in this article is a description of a number of creative formalist approaches to modern landscape painting, which are born under the influence of rethinking the leading stylistic trends of the 20th century by artists. Approaches in the landscape genre are analyzed, which are based on the study of world experience and the artistic heritage of different countries, as well as the principles of academicism. Particular attention is paid to analyzing specific examples of modern landscape practice. Also, it is extremely important to characterize the plots and images of paintings, variations of the artistic language that are used in visualization. The main conclusions of the study of the topic is a detailed disclosure of the concept of "image" of landscape painting. There is also a distinction between the concept of style in art into a stylistic direction, considered in a narrow sense, and a historical style, considered more broadly. The author's special contribution to the study of the topic is that in modern landscape painting the formalistic approach can become one of the structural components of a new style in art, if this is accompanied by appropriate factors. The form in this perspective is precisely the link that the creator lacks to create a full-fledged creative image that has developed in his imagination.

DOI: 10.25136/2409-8744.2022.6.39159

Abstract: In a variety of cultural contexts, primitive ideas invariably corresponded to the socio-cultural background of the era, as a result of which many legends and religious rituals associated with jade were formed. The subjects of the Chinese art of jade carving are the fruit of centuries–old cultural and historical experience. They are an expression of the spirit of national culture in the form. Thus, the subject of this study is the Chinese carved jade from the collection of the Museum of Anthropology and Ethnography Peter the Great (Kunstkamera) of the Russian Academy of Sciences (hereinafter - the Kunstkamera). The subject of the study are objects of Chinese jade carving art, which are in the collection of the Kunstkamera. The main conclusion of this study is that the subjects made in jade carving were associated with mythology and religion, and their artistic expression reflected the jade culture of different historical periods and representations of different social strata. The novelty of the research lies in the fact that the article focuses on determining the age of jade products by analyzing their plots, and also confirms that ancient artists, through geometric shapes and dynamism of the pine tree image as one of the central images of plant plots, enhanced the transmission of spatial perspective in the art of jade carving. This may be of interest to researchers in related scientific fields.

DOI: 10.25136/2409-8744.2022.6.39435

Abstract: The name of N. A. Porpora has entered the history of music, first of all, as a brilliant Neapolitan composer. At the same time, he was one of the greatest vocal teachers of his time, who brought up a galaxy of famous singers. School Porpora was significantly different from the others. According to contemporaries, his students sang in a different way, and the pedagogical method was unheard of at that time. The proposed article is devoted to topical issues of the vocal school of the outstanding singing teacher of the XVIII century N. A. Porpora. The article is based on general scientific and special musicological approaches aimed at studying the phenomenon under consideration. The methodological basis is the principle of historicism. Cultural-historical and comparative methods of analysis were used. With the help of the cultural-historical method, the dynamics in the formation of singing schools in the Baroque era is traced. The comparative method makes it possible to detect and describe the features of the vocal method of the great teacher Porpora, as well as to identify its difference from other pedagogical attitudes that existed in that historical period. For the first time, an attempt was made to reconstruct the pedagogical method of the great Porpora. The analysis of his unique system of famous exercises, according to which the maestro taught his talented pupil Caffarelli for six years, who later became a singer of world importance.

DOI: 10.25136/2409-8744.2022.6.38505

Abstract: The article is devoted to the study of the role of cartographic culture in the development of cognitive, scientific, communicative and creative human activity. Geographical maps are considered as a phenomenon of world culture and their significant role in many spheres of human life and activity is highlighted. The concept of cartographic culture is revealed. The research is based on literary, cartographic sources, materials of museum expositions and modern cartographic exhibitions, a collection of maps of the authors' personal archive, significant experience in teaching cartographic and geographical disciplines at university and school. The methods of visual and system-structural analysis, comparison, historical and logical are used in the research. The scientific novelty of the research consists in the systematization and generalization of multiple diverse information characterizing the manifestations of cartographic culture, the conditions of its formation, the components of this culture, in proving by examples the importance of cartographic culture in the life of a modern person. The main conclusions of the study: cartographic culture encompasses the ability of a person to understand, know, read maps; have a developed cartographic thinking and a formed cartographic worldview; an idea of the richness and diversity of cartographic works; the ability to create at least at an elementary level thematic cartographic schemes, perceive and recreate cartographic images. The main component of cartographic culture is mastering the language of geographical maps as one of the most important means of communication, having great cognitive, ideological, ideological significance, having visibility, accessibility, information capacity, understandable at the international level.

DOI: 10.25136/2409-8744.2022.6.37220

Abstract: The subject of the study is the history of the cultural landscape of the Southern coast of the Crimea of the XIX - beginning. XX century. and new methods of its study. This topic has been on the periphery of Russian historiography for a long time, but in recent years it has attracted the attention of both professional historians and local historians. Their joint efforts are aimed at localizing former estates and resorts, establishing the names of their owners and guests, reconstructing the visual appearance of cities and towns, studying the history of everyday life, identifying socio-economic, socio-cultural factors that influenced the course of the resort development of the YBK in the "imperial" era. This should serve to establish a more fair idea of the value of historical and cultural monuments, often "invisible" among modern buildings, to spread historical knowledge, to educate residents of the Crimea and its guests. The novelty of the undertaken research lies in its historiographical and methodological perspective. The review of the authors' actual achievements in the reconstruction of the history of the cultural landscape of the Southern Coast of Crimea, in particular, the Magarach locality (starting from the turn of the 1830s, when a colony of enlightened noble winemakers was established there by decree of M.S.Vorontsov, and up to 1920), is accompanied by an analysis of the source and methodological arsenal, which made it possible to achieve success in liquidation "white spots". These are, first of all, methods of complex source studies that significantly increase the informational impact of sources of various types (written, visual, material) and types, as well as the armament with modern methods of historical research – digital cartography, work with GIS systems, databases of digitized visual data.

DOI: 10.25136/2409-8744.2022.6.37021

Abstract: The article deals with the problem of cyber escapism and the dangers posed by escaping from reality into virtual space. While the desire for escapism in itself does not pose a significant danger to the escapist, specific ways of escaping to the "otherworld" can cause harm. The Internet allows you to find the fastest and most cost-effective way of such escape, but it can also cause the loss of one's own identity and the loss of the user's connection with reality. The formulation of the problem is based on the work of the culturologist E. N. Shapinskaya, who drew attention to the negative consequences of escapist experience in the cyber environment. The problem is especially relevant nowadays, given the almost ubiquitous transition of social and professional life to "online". The author comes to the conclusion that as a solution to the problem, it is possible to consider the use of augmented reality technology, in which a person does not completely immerse himself in the virtual world, but integrates virtual images into the environment. Thus, the space is transformed and satisfies the need for "escape", a change of environment and activity. However, reality is not replaced by an artificial one, which avoids the problems associated with excessive use of cyberspace. Studies in which augmented reality would act as a method of solving the problem of cyber escapism have not been conducted before.

DOI: 10.25136/2409-8744.2022.6.37364

Abstract: The author of the work raises the question of whether the term "interactivity" is applicable exclusively to works with the presence of a mechanism for selecting storylines, or it is permissible to assert that any work open to a variety of interpretations and containing some interactive potential can also be recognized as interactive. The author argues that the prerequisites for the appearance of such works should be sought in the works of avant-gardists of the 1960s, such as Paul Sharitz, and the cinema of postmodernism. The object of the study is the film "The Inner Empire" by David Lynch, which the author defines as a work with interactive potential. The subject of the study is hyper-narrative constructions and methods of their construction. The purpose of the work is to answer the question of how screen works become interactive, despite the lack of mechanisms for choosing storylines in them, how the Internet is connected with this, and why all this actualizes the method of exclusion described by Viktor Shklovsky back in 1916. The novelty of the research lies in the author's proposal of the concept that a screen work without mechanisms of direct choice of plot moves can be attributed to the interactive group due to the presence of a certain "interactive potential" in it. As an answer to the question under what conditions such an interactive potential can be detected in a work, the author puts forward the hypothesis that its appearance is preceded by hyper-narrative constructions and the use of the technique of exclusion in the text.