Abstract: Throughout the 20th century, the theory and history of performing arts repeatedly attempted to systematize various phenomena in the field of interpretation of works of academic music. The number of performing styles and types in various researches has risen dramatically, until the beginning of this century when it was reduced to a single concept - to the category of an individual style. This topic was discussed mainly in research papers devoted to the theory of pianism. The results of their observations and conclusions can be applied to the performing arts in general. The article mentions the works of K.A. Martinsen, D.A. Rabinovich, V.P. Chinaeva, A.V. Malinkovskaya and others. The topic of musical perception is addressed both in musicology and in musical psychology. This research offers a new vector for studying of musical perception, linking the features of musical imagery created by the performer and the nature of perception. The following aspects are revelated: patterns that allow us to talk about the types of musical image, the principles of its construction and the types of perception. This is an affective image created on the principle of contrast. It corresponds to the psychophysical type of perception. The contextual image is guided by the principle of connections. It corresponds to the aesthetic type of perception. The integrative image is formed, focusing on the principle of the whole. It corresponds to the symbolic type of perception. A hermetic system of typology is considered to be impossible; artistic practice will largely oppose it. However, these tendencies are able to shed light on the nature of musical perception and allow to continue the scientific discussion of the current topic of musical performance.

DOI: 10.7256/2454-0757.2022.10.38998

Abstract: The subject of the study is the role of stained glass in the visual semiosis of religious buildings in Crimea. The object of the study is the stained glass decor of the sacred architecture of the Crimea. The research uses the methods of cultural (hermeneutic and semiotic) and artistic (idiographic and structural) analysis of stained glass art in the sacred space of Crimean architecture, the method of analysis of previous studies, the method of synthesis in conclusions regarding the development of stained glass in the Crimean cult architecture. In the study, the authors considered the following areas of the topic: the development of stained glass art of the Crimea in sacred architecture; the meaning of color and subject symbols in stained glass compositions of religious buildings of the Crimea. The main conclusions of the study are: 1. Stained glass art, more precisely, its subject component, is not authentic for the Crimea, it appears in the decor of residential and public buildings during the late XIX century, the beginning of the eclecticism of Art Nouveau and imitation of Gothic and Byzantine models. Colored glass in earlier periods decorated the windows of well-to-do houses of representatives of various Crimean ethnic groups, however, stained glass as a phenomenon was not characteristic of sacred structures. 2. Due to its geographical location, Crimea is a multicultural and multi-confessional territory, where various religious trends developed: ancient pantheism, Byzantine Orthodox Christianity, Catholicism and Protestantism with the colonization of Catherine's time, Islam, Ashkenazi and Sephardic Judaism. Stained glass windows in religious buildings of various faiths, in addition to decorative function, play a symbolic role, conveying through color, symbolism of abstract and object forms one or another sacred meaning. 3. A special contribution of the authors to the study of the topic is the cataloging, art history and cultural description of examples of stained glass art in the sacred architecture of the Crimea. The scientific novelty of the study is that the authors for the first time carry out an ontological analysis of stained glass art in the sacred visual semiosis of the Crimea and analyze its semiotic aspects.

DOI: 10.7256/2454-0757.2022.10.38787

Abstract: The subject of the study is the mystical experience as a kind of altered states of consciousness. The purpose of the article is to solve at the conceptual level the problem of distinguishing genuine mystical experience and various kinds of surrogate states with quasi-mystical content. The theoretical basis for solving this problem was the study of the panorama of moments of divergence and convergence of discourses of the humanities and natural sciences, as well as theology. In the course of the conducted research, the infra-personal processes going on in the vector of the dissolving and spreading "I" were revealed. They correspond to both mystical (dissolution in the Deity, in emptiness, in cosmic consciousness, etc.) and clinical states (confused or floating consciousness). The authors also consider in detail the ultrapersonal processes occurring within the framework of the dissemination of personal consciousness and which correspond to both mystical (the scattering of reality into many spirits, souls, astral projections and quasi-persona) and clinical conditions (schizophrenic type disorders). The novelty of the article lies in revealing the diverse directions of inauthentic mystical experience based on the systematic study of altered states of consciousness, as well as in determining the range in which an outlet to authentic forms of mystical experience can open. It has been established that in the spectrum of infra-personal and ultra-personal states there is such a feature of mystical and occult practices with the prefix "neo" as the achievement of mystical states according to the "accelerated course" programs. However, due to the inversion of the view characteristic of modern consciousness, in the ideology of neo-mysticism, destructive processes are often perceived as a new, higher stage in the evolution of mankind. With this interpretation, conditions arise for the perception of science as a "new religion", as well as the desire to find in scientific concepts a support for modern occultism and neo-mysticism.

DOI: 10.7256/2454-0757.2022.10.39020

Abstract: The author analyzes the theme of painting in the philosophy of Jacques Derrida, referring to one of his defining works on this subject: "Truth in Painting". Consistently considering the four-part structure of this book, the author touches on such concepts of deconstruction as "parergon", "passepartout", "cartouche" and others. Of particular interest is the problem of truth in the structure of fine art – this topic is a cross-cutting theme throughout Derrida's work. At the same time, the philosopher rejects the classical ontological-epistemological aspect of truth in the context of art history. The picture does not limit itself to the representation of an object or the truth attached to it. She crosses the line, overflowing her boundaries. That is why the logic of a work of art is inevitably the logic of a Kantian parergon. In the book "Truth in Painting" Derrida rethinks all aspects of artistic creativity. For Derrida, painting is, first of all, an action and the most correct question is: "What does this painting do?". The picture in the produced action breaks away from the conditions of the image, moves away from the discourse, setting in motion the difference. The structure of a painting work consists not of presence or representation, but of a projection of movement. The painting is silent and remains outside the language, is unrepresentable and heterogeneous, is out of line with any discourse, is irreducible to any text and is not subject to archiving despite all the efforts of museum authorities.

DOI: 10.7256/2454-0757.2022.10.38730

Abstract: In this article, Russian ballet is considered from the point of view of the peculiarities of the aesthetics of postmodernism and as one of the brightest manifestations of postmodern culture. The subject of the study is the trends of postmodernism in modern Russian ballet. The novelty of the research lies in the fact that until now, in the scientific research literature, the phenomena of modern ballet have not been subjected to scientific theoretical understanding from the point of view of trends in the aesthetics of postmodernism. It is revealed that a new stage in the development of Russian ballet is associated with the activities of S. Diaghilev's ballet troupe, characterized by a departure from traditions and the formation of a new aesthetic. The study concluded that the development of modern Russian ballet was significantly influenced by such postmodern trends as: the destructurization of the language of classical dance, the desire for syncretism of different types of art in the context of a ballet performance, the use of quotations, allusions and reminiscences that acquire conditional symbolic meaning, the desire for plastic experiments.

DOI: 10.7256/2454-0757.2022.10.39033

Abstract: The relevance of the work is due to the fact that the analysis of indicators of mental and physical health of a person and their mutual influence is little disclosed in the philosophical literature. There is a problem of studying the achievement of well-being in philosophical terms and the factors influencing it, including the connection of existential fullness (fundamental existential motivations) with various positive aspects of the functioning of the individual that make up well-being: autonomy, competence, personal growth, positive relationships, self-acceptance, life goals. In this regard, we have undertaken a study related to the study at the theoretical level of the relationship between existential fulfillment and well-being. The purpose of the study: to identify the relationship between the components of life well-being and existential fulfillment. The degree of existential fullness shows whether there is a lot of meaning in life, whether a person lives in inner harmony, whether his decisions and actions correspond to his essence. Life well-being is a subjective feeling of wholeness of satisfaction with one's being. The study revealed significant connections between the components of such personal constructs as life well-being and existential fulfillment. As a result of the theoretical study , the following conclusions were made: The first fundamental existential motivation concerning the possibility of existence in the world is largely related to self-acceptance and competence. The second fundamental existential motivation concerning the value of life is largely related to self-acceptance and positive relationships. The third fundamental existential motivation concerning self-esteem is largely related to personal growth. The fourth fundamental existential motivation, crowning all the previous ones and concerning meaning, is essentially related to life goals and autonomy.

DOI: 10.7256/2454-0757.2022.10.38979

Abstract: This work is devoted to the terracotta army of Qin Shihuang and its reflection in the works of modern Chinese masters of watercolor. The article consists of three parts. The first part analyzes the genesis and history of Qin Shihuang's clay army. In the second, the terracotta army is regarded as a cultural and artistic symbol of China, which stimulated humanitarian contacts between Russia and China and contributed to mutual understanding between the two peoples. In the third part, through the prism of the artistic experience and creative process of three watercolor artists, the current state of research of watercolor creativity on the theme of the terracotta army is analyzed. The author's special contribution to the development of the problem is to determine the connection between the ancient cultural heritage of China and the nature of its interpretation in the works of modern watercolor artists. The novelty of the study can be recognized as the introduction into the scientific circulation of Russian art history of the names of Chinese artists and their paintings dedicated to the terracotta army of Emperor Qin Shihuang. Within the framework of the work, an appeal is made to the issue of Chinese-Russian cultural cooperation, the development of which is realized through touching this most representative monument of antiquity. Through the art criticism analysis of watercolor paintings by Chinese masters — Huang Zhongyang, Lin Shaolin, Zuo Xinmin — approaches to the reflection of this historical monument in the works of modern masters are determined, the connection between ancient and modern, traditional and innovative in their paintings is established.

DOI: 10.7256/2454-0757.2022.10.39095

Abstract: The author analyzes the formation of questioning in two cultures (Ancient and Middle Ages) by the example of questions and answers in the works of Plato and St. Augustine. The author points out two reasons that triggered this process: firstly, the formation of an ancient personality, which was characterized by independent behavior and creativity, and secondly, the need not only to present new knowledge and pictures of the world to listeners, but also to convince them of the correctness of the proposed innovations. The questions and answers in Plato's dialogues are considered; in addition to the task of persuasion, they mark the stages of Plato's construction of concepts, while probably taking into account the objections of Plato's listeners, and the contradictions arising from the proposed definitions, and the understanding of various empirical cases, and the possibility of thinking them all as a whole. Questions, on the one hand, were a kind of reflection of cognition (dialectics) Plato of complex phenomena, on the other hand, helped Plato's listeners to develop a seemingly similar process of cognition. The analysis of questioning in Augustine's "Confession" allowed the author to distinguish three semantic contexts: the first one is the certification of new theoretical constructions, the second context is thinking, here the questions, on the one hand, mark the stages of creativity, representing a form of reflection, on the other hand, initiate listeners' own thinking, the third context is religious, it is both repentance and the conviction of those who waver in faith. If most questioners usually have questions that help thinking and work for persuasion, then the third context can be very different.

DOI: 10.7256/2454-0757.2022.10.39050

Abstract: The article considers the opposition of the doctrines of pluralism and monism and their related principles of proliferation and unification in the context of the development of modern cognitive sciences in three important respects for philosophy of science: theoretical, methodological, and explanatory. The article criticizes T. Kuhn’s views of theoretical monism and extends the defense of theoretical pluralism undertaken in author’s previous publications devoted to the conception of theoretical complexes, aimed at the correct description of large groups of theories in the cognitive sciences, such as connectionism, moderate embodied cognition, etc. Pluralism is also defended in methodological dimension. Theoretical pluralism and methodological pluralism are represented as an inevitable consequence of the conception of theoretical complexes and its principle of proliferation calling for the creation/improvement of scientific theories and models which are both compatible and incompatible with respect to a number of basic ontological and methodological assumptions. Theoretical pluralism and methodological pluralism should promote progress with respect to a number of the so-called epistemic qualities, both associated with the approximation of the truth (e.g. predictive success, the ability to give unexpected explanations to known facts, etc.) and not so associated (empirical fit, simplicity according to some interpretations, and the broad scope of the proposed explanations). At the same time the author claims that it is currently not possible to draw a similar conclusion in relation to the explanatory context: if the strategy of explanatory monism or explanatory pluralism will turn out be the preferred strategy for the cognitive sciences should become clear in the course of further research.

DOI: 10.7256/2454-0757.2022.10.38977

Abstract: The appearance of the screen as a social and cultural phenomenon is closely related to the idea of the daily life of the Chinese, which includes folklore, as well as cultural and folk traditions. The paintings, the plot of which is a screen, reflect a unique Chinese aesthetic concept and the author's view of life and values. In addition, the properties of the screen can be studied from different angles: from a practical piece of furniture to an abstract art form. The focus of this article is the images of the screen in the pictorial art of China. The purpose of the study is to identify the cultural and philosophical meanings behind these images. The novelty of the research is connected with the chosen perspective: such a complex phenomenon of Chinese culture as a screen is viewed through the prism and in close connection with the traditions of Chinese pictorial art. In the course of the study, a conclusion was made about the manifestation of religious-philosophical, ideological, moral and aesthetic ideas of the Chinese in the images of the screen. In addition, the educational role of these images, which carry an educational function, is determined. A special contribution of the author can be called the identification of Confucian and Taoist ideas symbolically embodied in the images of the screen in Chinese painting. In general, the screen in this work is considered as a key to understanding of the deep meanings of traditional painting.

DOI: 10.7256/2454-0757.2022.10.38818

Abstract: The article analyzes the ideological foundations of the emergence and evolution of landscape in Chinese painting as an independent genre from the III to the XVIII century, before the rapid integration of Western European artistic traditions. Landscape painting is considered as an expression of the state of mind of Chinese artists, the prevailing philosophical ideas, in particular Taoism, the embodiment of literary images associated with the natural origin. Despite the attention of the scientific community to the development of images of nature in the art of ancient and modern China, there are few studies devoted to the causes and justification of certain processes that influenced the formation of the genre. The purpose of the study is to analyze the reasons for the appearance of images and motifs in the landscapes of Chinese artists in connection with the philosophical ideas of that time, cultural connotations in poetry and the principles of landscape art. The tasks include determining the most typical range of scenes and images in landscapes created from the III to XVIII centuries. The material is the work of Chinese artists who lived since the reign of the Wei Dynasty, during the heyday of landscapes in the era of the Tang Dynasty and up to the XVIII century. Of interest is the study of the mechanism of influence on the formation of figurative systems in Chinese landscape painting that developed in parallel poetry and landscape art.

DOI: 10.7256/2454-0757.2022.10.38978

Abstract: The history of art in Russia and China is closely intertwined in the XX century, including thanks to the creative and pedagogical activities of Russian artists who found themselves in exile. Largely thanks to them, Harbin and Shanghai became major art centers in the 1920s–1930s. This period is characterized by fruitful processes in the country's art and culture, but also political upheavals at the same time. The problem of the study is to determine the peculiarities of the perception and interpretation by the emigrant masters of events from the life of the Chinese people, the atmosphere that prevailed in China. Thus, the subject of the study is the paintings and graphics of the largest emigrant artists of the specified period, and the object is the images of China of those years, conveyed in their works, and the means of implementing the idea. The main purpose of this article is to determine the range of themes and subjects that Russian emigrant artists addressed when creating images of contemporary China, as well as the specifics of their artistic embodiment. It is achieved by analyzing the historiography of this issue in Russian art criticism, as well as analyzing the creative works of such prominent representatives of the artistic intelligentsia in exile as M.A. Kichigin and his daughters, V.S. Podgursky, Ya.L. Likhonos, V.A. Asypkin. The study of the thematic component of their works shows that the masters were attracted by events from the life of ordinary people, as well as psychological portraits of residents of Chinese cities. Artistically, the artists remained committed to the Russian school, but allowed the influence of expressive features of Chinese painting.