DOI: 10.7256/2454-0757.2021.10.36786

Abstract: The subject of this research is the period of Russian symphonic music of the 1960s. A new generation of composers – the “Sixtiers” – introduced a fresh modern musical language and remarkable artistic achievements. In first part of the article, the author dwell on several fundamental symphonic works by R. Shchedrin, S. Slonimsky, E. Denisov, Y. Falik, N. Karetnikov, as well gives general characteristics to this period. The second part of the article examines the compositions by A. Schnittke and L. Prigozhin. Special attention is turned to the Symphony No.3 by Boris Tishchenko, who opens new stylistic horizons and encompasses the key trends of modern music, including the avant-garde, into his stylistic orbit. This article is first to consider B. Tishchenko's outstanding Symphony No.3 in the context of stylistic and linguistic innovations of the 1960s, which defines the scientific novelty. Analysis is conducted on the role and place of the youngest composer of the “Sixtiers” B. Tishchenko in the struggle for the “new music”. The conclusion is made that Tishchenko was one of the leaders in revival of the Russian music of the late XX century, and his Symphony No.3 reflects the pursuits of the postwar generation of Soviet composers to the fullest.

DOI: 10.7256/2454-0757.2021.10.36882

Abstract: Lotus is one of the traditional Chinese patterns that runs deep in the history of China. During the rule of Wei and Jin dynasties, as well as Northern and Southern dynasties (222 – 589 AD), Buddhism teaching has become widespread in China. Buddhism affected the traditional Chinese lotus patterns in terms of the used artistic means and methods of expression. Analysis is conducted on manifestation and evolution of the artistic form of the lotus pattern in Chinese culture, as well as the changes in its artistic means of expression and graphics based on the information described in the scientific literature dedicated to artefacts. The conclusion is made that the development and evolution of decorative patterns is often a result of interaction of different cultures and forms of art, rather than continuation of one or another single line. The author summarizes the common artistic form of lotus patterns of this period, as well as the basis of the visual language of lotus patterns and its development. The artistic style of this period under review remains in a relatively stable transitional stage from the perspective of formal expression.

DOI: 10.7256/2454-0757.2021.10.36875

Abstract: The subject of this research is the works of Kazimir Malevich of the period 1913–1914. Despite numerous scientific works and articles dedicated to the works of K. Malevich, the period of his becoming requires clarification. The object of this research is the Russian avant-garde art of 1913 – 1914. The author dwells on the compositional principles in the painter’s works of this period. Special attention is given to the colorful shapes and geometric elements underlying the compositions of his paintings. Analysis is conducted on the the path of Kazimir Severinovich, the transition from Futurism and Cubo-Futurism through Fevralism to the original style – suprematism. The philosophical and art history analysis in combination with the general scientific methods of research allowed developing a representation on the transformation the artistic pursuits of Kazimir Malevich towards the dominant of the black geometric colorful shape, which subsequently led to the creation of the “Black Square” and the formation of suprematism. The article examines and compares the paintings of the period 1913–1914, when Malevich had moved from being a mentee to creating his own artistic language. The study of the paintings by Kazimir Malevich and determination of large group of works similar in the techniques and colors used allows broadening and complementing the knowledge on the period prior to suprematism.

DOI: 10.7256/2454-0757.2021.10.36860

Abstract: This article discusses the conditions for delimitation of modernity and futureculture, as well as the concept of modernity. Vadim Belyaev claims that what the author refers to as futureculture, in fact does not go beyond the boundaries of modernity; these are rather the processes of promodernity and countermodernity. Vyacheslav Maracha polemicizes with Belyaev’s statements. Belyaev substantiates his critical rhetoric, gives characteristics to his interpretation of modernity, and claims that the author did not explain the thesis on the completion of modernity and the establishment of futureculture. The author partially agrees with the criticism and provides additional arguments: characterizes the definition of modernity used by him; distinguishes between the new worldview, semantic reality of culture, and projects of modernity, realization of these projects and objective reality results from implementation of the projects of modernity and responses to new challenges of the time, as well as construction of the social institutions of modernity. The latter statement is illustrated on the example of the formation of state institution, the study by Martin van Creveld “The Rise and Fall of the State”. The conclusion is made that all plans and fundamental structures of modernity (worldview, semantic reality of culture, projects of modernity, social institutions) can no longer ensure normal flow of modern life, but rather generate problems and social destructions. Objectively, modernity has been reborn and is nearing completion. The author formulates certain ideas and meaning that reveal the formation of the future culture.

DOI: 10.7256/2454-0757.2021.10.36566

Abstract: This article draws parallels between the representations of the classics of Eurasianism and their contemporaries, namely N. K. Roerich, H. I. Roerich and Y. N. Roerich, on the peculiar mid-world that is formed by Russia within and around it. It is indicated that the concept of interrelation of biogeosystems with peoples and civilizations inhabiting them, defined by the Eurasian term “developmental site”, is familiar from natural-philosophic concepts of the earlier period. In the era of the development of the ideas of noospherism, it obtained natural-scientific substantiation and new interpretation not only in L. N. Gumilyov original theory of ethnogenesis, but also in representations of the Russian cosmism, which can be correlated with the scientific-philosophical, literary-artistic heritage of the Roerichs. Unlike geosophy of the Eurasians, the holistic views of Roerichs imparted a rather synthetic character to the historical science. At the same time, Y. N.Roerich distinguished geopsychology as a research instrument for cross-civilizational dialogue. One of the most remarkable episodes in implementation of the Eurasian vision by the Roerichs was their Central Asian expedition and peacekeeping activity, associated with unification of the peoples of Eurasia on the basis of broad cooperation. The article demonstrates the possibility of synthesizing Eurasian theories, spiritual-ethical teachings, and natural scientific research within the framework of integral philosophy for elaboration on the concept of sustainable development. Besides the need for international cooperation, the cultural-philosophical heritage of the Roerichs, which includes “Living Ethics or the Teaching of Life”, infeasibility of evolution of mankind detached from the planet and Cosmos also received its ontological substantiation. Such an in-depth consideration of the fate of Eurasia by the Roerichs, associated with the civilizational foundations of the crossing “Russia — Mongolia — China — India” and the leading role of Siberia in the future, allows filling the gaps in the construction of the classics of Eurasianism and utilize sociocultural potential of Eurasia to the fullest.