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From editor

S.S. Zengin

pp. 7-14

Abstractionism in the Works of Siberian Neo-Archaic Artists: Genre Characteristics of Imagery

The article discusses the works of artists of the Siberian neo-archaic direction from the
point of view of genre-figurative characteristics. The Siberian neo-archaic direction appeared in
the cities of Siberia in the late 1990s. Between 2000 and 2013, exhibitions and cultural open-airs
were held annually, they were dedicated to the issues of comprehension of the artistic culture of
Neolith and the Bronze Age in Siberia. The author uses N. Yakovleva’s theory of genre
chronological typology, as is also P. Karmel’s postulates about thematic groups in the history of
the global abstraction. In the practice of combining N. Yakovleva’s theory and P. Karmel’s
methodology of the study of the world of non-figurativism, the author reveals the Siberian neoarchaic
direction artists’ attraction to the objectness of the image. The use of achievements of
world abstractionism is becoming a common feature of the Siberian artists’ works resulting from
the possibility of postmodern citation of the achievements of the visual culture of the past. In the
course of presenting the history of the development of the “Siberian neo-archaic” direction, the
origins of the appeal to the ancient history of Siberia were identified. The author reveals postmodern
features in the works of artists of the Siberian neo archaic direction and identifies the connection
with the trends of late Soviet art. The postmodern nature of the works manifested itself in the
rejection of the historical perception of the material of primitive culture and the focus on the
ontological, ethical and spatial awareness of the life of primitive man. Using N. Yakovleva’s
theory of genre chronological typology, the author of the article singled out genre associations,
which included works united by a close perception of the image of space and a human body.
The revealed features of the awareness of genre associations correlate with the worldview of
Siberian artists at the turn of the XX – XXI century and indicate the desire of the artistic culture
of Siberia to establish itself in its regional specifics.

Natalya S. Popova

pp. 14-22

Ritual Culture in the Fine Arts of Dagestan

The fine arts of Dagestan began to take shape in the first decades of the Soviet era, and
its genre and subject (according to the objects of the image) diversity began to manifest itself
in the post-war years. Thematic paintings by the artists of the republic are a vivid example of
cultural phenomena that reveal many historical ritual traditions of its culture. The documentary
base of our study was the paintings of the artists of Dagestan, as well as the material of
ethnographers describing the ritual culture of the peoples of Dagestan. The study of the topic is
important for studying the features of the development of professional fine arts in Soviet Dagestan.
The study of fine arts, its historical traditions of formation is one of the promising areas of
scientific research. Thematic paintings showing the features of the development of the fine arts
of Dagestan are studied by Dagestan art critics and historians. In recent years, Internet publications
have also appeared on the topic of wedding rituals in the fine arts of Russia. The relevance of
this topic is connected not only with the study of the general features of the historical development
of fine arts, but also with the tasks of identifying the traditions of the formation of one of the
interesting genres of fine art, reflecting both the specifics of folk culture and the development of
fine arts in Dagestan of the Soviet era. Attention to the creative practice of the artists of
Dagestan, who worked both in the first decades of the Soviet era and in the subsequent decades
before our time, will allow us to better understand the nature of their work, to assess the
interdisciplinary connections of their paintings with the history of the region’s ethnic culture.

Keywords: history of Dagestan, fine arts, ethnoculture, traditional rituals.

Amirbek Dj. Magomedov, Zaripat A. Akhmedova

pp. 22-30

The Specifics of Conducting a Design Project to Create a Collection of Clothes for Mothers of Wheelchair Children with Cerebral Palsy Based on Artistic and Creative Search

The basis of scientific research is the study of the specifics of clothing design for the
selected target group with the subsequent development of a collection of clothing for mothers of
children with cerebral palsy in the military style. The purpose of the study is to create a
collection of women’s clothing in accordance with the requirements, fashion trends and a particular
fashion trend for the selected group of consumers. The choice of the theme for the design is
due to the fact that when identified with the target group, it creates an image of a strong and
confident person, able to withstand adverse circumstances. This led us to design products using
the military style when communicating with consumers. Due to the variety of possibilities for
interpreting the theme and the richness of available images, the military style and specifically the
uniform of the airborne troops of the Russian Federation were chosen as the source of inspiration
for creating a collection of clothing for mothers of children with cerebral palsy. In the process
of working on the project a study of dynamic tension of fabrics was made on the basis of photo
and video footage taken at the integration center for children and youth with cerebral palsy and
their parents “Angels of Kuban”. Since the products belong to the everyday range, several groups
of criteria take the leading role. Ergonomics of products will be expressed in the maximum
possible in the chosen design conditions comfortable to wear.

Keywords: clothing for mothers of wheelchair-bound children with cerebral palsy; design, shape, silhouette, millitarian style.

Olga A. Zimina, Svetlana Yu. Kochetkova, Irina A. Lukebanova

pp. 30-41

Manifestations of Postmodernism in the Semantics of the Sonata in the Works of Chu Wanhua, Zhang Chao and Tang Dong

The sonata, as a dramatically intense genre of musical art, has continued to excite composers
for centuries, being indicative of the spiritual formation of their work. This was the case in the
XVIII-XIX centuries. This is the same situation in contemporary musical art, ensuring the continuing
relevance of the study of the historical evolution of the sonata genre. At the same time, despite
the relevance, the study of the peculiarities of turning to the creation of sonatas in the art of
the XXI century does not always reveal results that are satisfactory for musical science. And
this problematizes the situation, turns the sonata genre into a field of intense scientific research,
with a particularly significant role for methodology, the researchers’ approach to the study of the
subject and the goals of such research. The purpose of the study in this work is to strive to
understand the fundamental spiritual foundations in continuing the composers’ appeal to work in
the sonata genre. Significant assistance in this ensures the consideration of the spiritual aura of
modern humanity, the core of which more and more affirms the spirit of postmodernism. It is
the consideration of the foundations of postmodern in the “spirit of intonations of the historical
era” (B.V. Asafiev), according to the authors of the work, that provides the most significant in
answering questions: both why composers of the 21st century continue to turn to the sonata
genre in their work, and why the sonata in their work turns out to be exactly this, and not
another. The work is based on the sonata work of contemporary Chinese composers Chu Wanhua,
Zhang Chao and Tang Dong.

Keywords: semantics of the sonata, modernism, postmodernism, the age of Enlightenment, the spirit of the historical epoch.

Boris P. Borisov, Jian Ai

pp. 41-48

Trends in Piano Style Renovation in Zhou Long’s Music

The article analyzes the formation of new stylistic trends in Chinese music of the late
twentieth – early twenty-first century in the work of a major Chinese-American composer Zhou
Long. The piano creativity of the representative of the Chinese “New Wave” reflects the idea
of creating a compositional style based on a creative rethinking of the traditions of Chinese music
in unity with modern Western writing techniques. Through a detailed study of piano works, the
author reveals the specifics of Zhou Long’s work with national material, highlights new techniques
of sound production, rhythmic features, timbre ingenuity, the use of polyladicity based on pentatonics.
It is revealed that Zhou Long’s piano works open up a new vision of the future of piano
performance, percussive use of the piano together with various sound effects, expanding the piano
repertoire beyond the traditional interests of Western musical culture. The unique national flavor
is created by the folk songs used by the composer, the diverse timbre shades recreated on the
piano, close to folk instruments (percussion and plucking); the variety of rhythm stems from the
energy of folk dances, round dances and the dynamics of performances of the Beijing opera.
This made it possible to consider the works of Zhou Long in the context of neofolclorism.
However, further creativity showed the expansion of the composer’s capabilities, bringing into his
work the features and techniques of minimalism, sonorics and other modern writing techniques,
strengthening the features of individual style.

Keywords: Chinese piano music, “new wave”, Zhou Lun, composer’s style, new techniques.

Song Jian

pp. 48-56

Interaction of Chinese and European Traditions in Huang Tzi’s Oratorio “The Evelasting Remorse”

This article is focused on Huang Tzi’s oratorio for chorus, soloists and orchestra «The evelasting remorse», which one is the first composition of its genre in Chinese academic music. The theme of the oratorio is based on a poem of the same name by the famous poet Bai Juyi of the Tang Dynasty. The composition tells the love story of Emperor Tang Xuanzong and Yang Guifei, known as one of the Four Beauties of ancient China. Originally, the oratorio was planned to have 10 movements, but Huang Tzi has only finished writing 7 of them. The article proves that they represent a logical and complete composition of the concentric type. Oratorio is analyzed in terms of the musical relationship between China and Europe with a new perspective. The theme of the oratorio covers Chinese history and culture, but is represented figuratively through European compositional techniques. The various characters in the composition serve as carriers of the national culture, and their characteristics are reflected through the use of European musical forms, Romantic harmonies and vocal polyphony elements. Huang Tzi consciously set himself goals before composing music in the Chinese classical style. First of all he has combined European type melodies with Chinese language’s rhythms in the large choral composition.In the eighth movement of the oratorio, Huang Tzi experimented with the ancient Chinese tune «Qing Ping Tune» as the base musical material and succeeded. In the course of the study, Huang Tzi‘s careful attitude to the ancient melody was revealed, using its modal structure to the harmonic vertical. This method of composition served as a model for the work of other Chinese composers – students and followers of Huang Tzi. Ma Te, Marina G. Dolgushina

pp. 56-63

Yuri Mishin’s Endless Road in the Context of the Style of Choral Writing

The article examines the work of the famous musical figure, teacher, talented composer Yuri
Mishin. His significant contribution to the development of the musical culture of the Belgorod
region is evaluated. Yuri Mishin is the author of works for symphony orchestra and orchestra of
folk instruments, chamber and instrumental compositions, vocal, piano and choral music. The
author of music for twenty performances of the Belgorod Puppet Theater. The article is devoted
to the analysis of the cycle of choral miniatures “The Road” based on the poems of Sergei
Yesenin. The purpose of the work is to analyze the choral cycle, to give a generalized description
of its parts, to identify the stylistic features of the composer’s writing, the dramatic line and the
structural integrity of the composition. Determine the role of each performer (soloist, choir, piano)
in creating an artistic image of the work. Having consistently analyzed each of the seven
miniatures of the cycle, the authors identified the basis of the artistic concept of the work. From
the poems of the poet written at different times, the composer built a coherent storyline - the
endless road of life with its sadness and joy, reflection on the destiny of man.

Keywords: Yuri Leonidovich Mishin, cycle, Sergey Alexandrovich Yesenin, road, choral miniature.

Sergei A. Bykanov, Alexander V. Golovin

pp. 63-73

The embodiment of national traditions in the piano sonatas of Gabriel Vdovin

The work of the outstanding composer Gavriil Grigoryevich Vdovin, who stood at the origins
of the national school, is an integral part of the Mordovian national culture. In his work, the main
trends and directions in the development of professional musical art of the republic, including
piano music, were outlined. The article discusses the piano sonatas and sonatins of G.G. Vdovin.
Despite the abundance of works devoted to the work of G.G. Vdovin, there are still topics that
are currently insufficiently developed. The topic of this article also applies to them. There are a
number of works in which sonatas and sonatinas are mentioned and considered in the context
of the composer’s entire work, without attempting to make them holistic, systematic understanding.
The purpose of this work is to present the holistic image of the sonata creativity of the Mordovian
composer G.G. Vdovin and to identify the specific features of these compositions by concrete
examples. The main research method used in this article is the method of musicological analysis,
which includes theoretical and stylistic principles. In addition, analyzing the processes of shaping
in the writings of a large form of G.G. Vdovin, the author of the article is based on the classical
theoretical basis and the achievements of modern science.

Keywords: musical art of the Republic of Mordovia, Gavriil Grigoryevich Vdovin, sonata form, author’s thematic, national character, development techniques, polyphony.

Anna N. Kornilenko

pp. 74-81

Political Song in the Socio-Cultural Space of China: History, Genre and Stylistic Features

The article is devoted to the analysis of one of the most widespread song genres in China –
political songs, also called “red songs”. They have a unique social function, occupy an important
place in the formation of the musical culture of China. The classification of “red songs” is
proposed, based on the chronological principle and correlated with events in the history of the
country: the first Chinese revolution, the anti-Japanese wars, the liberation war, the construction
of socialism, the period of reform and openness. Such typical features of the “red songs” as the
relationship of the content with historical and cultural processes, orientation to political propaganda,
nationality and wide audience coverage based on different social groups are noted. The texts,
features of the composition and musical language of songs of this genre are analyzed. It is
proved that the melodies of the “red songs” are based on three intonational sources: folk ditties
from different regions, melodies of Chinese school and foreign revolutionary songs. Some of the
early examples of “red songs” were composed by the people, and their creation is closely
connected with local traditions. As conclusions , it is emphasized: 1) “red songs” have various
characteristics: artistic, ideological, political, cultural, which makes them a means of moral, ideological
and aesthetic education in China; 2) over time, “red songs” have undergone significant changes
in terms of musical language, composition and have become a factor that led to changes in the
socio-cultural order caused by the development of mass communication media and processes in
music education; 3) similar trends have emerged in the existence of political songs in the sociocultural
processes of China and Russia, which is determined by the general orientation of the
content to reflect the historical processes of the country.

Keywords: red songs, political songs, genre, sociocultural processes, anti-Japanese war, reform and openness.

Lin Zhefu

pp. 82-90

Projects in the Field of Studying and Popularizing the Estate Heritage of the Kuban

The subject of the study in this work is research projects in the field of studying and
popularizing the estate heritage of the Kuban from 2015 to the present. Among them: a research
project of young scientists of the Krasnodar State Institute of Culture “Noble and merchant estate
in the socio-cultural landscape of the region (second half of the 19th – early 20th century)”, the
monograph “Merchant’s estate in the socio-cultural landscape of the region (on the example of
Kuban)”; a series of book-albums “Manor heritage of the Kuban”; virtual book exhibition “Estates
against the backdrop of history”; audio program “Noble Nests of Kuban”, virtual tour
“Foma Nikolenko’s estate”, final qualifying work “Estate tourism as a factor in preserving the
cultural heritage of the Krasnodar Territory”. For the first time, their theoretical and practical
significance, demand in the cultural and educational environment is indicated. The analysis of the
designated projects made it possible to see their industry diversity, the polyvariance of the forms
of implementation and the ways of interacting with the target audience. It is concluded that the
basic project, on the basis of which new projects dedicated to estate heritage of the Kuban, was
the research project of the Krasnodar State Institute of Culture “Manor Heritage of the Kuban”,
which received in 2022 the prestigious national award of the Russian Geographical Society
“Crystal Compass” for outstanding achievements and unique modern projects aimed at preserving
the natural, historical and cultural heritage.

Keywords: Estate heritage of Kuban, research projects, projects of young scientists, Krasnodar State Institute of Culture.

Lyudmila A. Zhdanova

pp. 90-97

The Practice of Commemoration in the Monumental Art of Russia and China

The article is devoted to the consideration of the problem of commemoration in the monumental
art of China and Russia in the aspect of the current military-patriotic theme. The subject of the
study is the monumental art of Russia and China in the period of the mid-twentieth century from
the late 1940s to the 1950s. This period is associated with the active development of Soviet-
Chinese friendship. The historical paths of both countries during the Second World War and in
the post-war years had common features, which manifested itself in the similarity of the thematic
focus, genre and stylistic solutions in sculpture. The novelty of the study lies in the fact that the
publication highlights such important concepts for modern monumental art as “commemoration”
and “places of memory”. The material of the article is the monumental art of Russia and China
as an example of the embodiment of the implementation of monumental commemorative practices.
The methodology of the presented research is based on a set of scientific approaches necessary
to disclose the problems of the article. An integrated approach is taken as a basis, including the
principle of comparative analysis.

Keywords: monumental art, commemoration, places of memory, military-patriotic education, memorial, memorial complex.

Liu Yujie

pp. 97-105

From Conservation to the Continuation of Life: a Study of the Potential of a Museum Exhibition in the Context of the Architectural and Industrial Heritage of Russia and China

This article is devoted to the study of the potential of the museum exposition in the context
of the architectural and industrial heritage of Russia and China. By referring to the research of
such authors as L. Boyin, M.A. Ganstrom, A.A. Glumov, B. Dubin, etc. the paper examines the
importance of preserving architectural and industrial monuments in both countries and touches
upon the peculiarities of their use in cultural life through museum expositions. The possibilities of
expanding the potential of the museum’s exposition of architectural and industrial heritage are
emphasized - not only the use of buildings that have lost their industrial significance, but also the
exposition of samples of products produced in them. Thus, it is possible to transition from
conservation to the continuation of life of both buildings and the artifacts preserved in them, new
forms of unity of material and spiritual culture. The article analyzes approaches to the organization
of museum expositions of industrial architecture and describes the specific conditions for the
introduction of new forms of reactivation of industrial and architectural heritage in each of the
countries. The research conducted in the article is based on the most important regulatory
documents that coordinate the work of museums and regulate the processes for the protection
of cultural heritage in the PRC and the Russian Federation.

Keywords: industrial architecture, industry, museum exposition, museization, urbanization, potential.

Mao Xiang

pp. 106-112

Beauty as a Philosophical and Aesthetic Request on Socio-Cultural Transformations in Russia (18th – Early 20th Centuries)

This article is devoted to the study of the potential of the museum exposition in the context
of the architectural and industrial heritage of Russia and China. By referring to the research of
such authors as L. Boyin, M.A. Ganstrom, A.A. Glumov, B. Dubin, etc. the paper examines the
importance of preserving architectural and industrial monuments in both countries and touches
upon the peculiarities of their use in cultural life through museum expositions. The possibilities of
expanding the potential of the museum’s exposition of architectural and industrial heritage are
emphasized - not only the use of buildings that have lost their industrial significance, but also the
exposition of samples of products produced in them. Thus, it is possible to transition from
conservation to the continuation of life of both buildings and the artifacts preserved in them, new
forms of unity of material and spiritual culture. The article analyzes approaches to the organization
of museum expositions of industrial architecture and describes the specific conditions for the
introduction of new forms of reactivation of industrial and architectural heritage in each of the
countries. The research conducted in the article is based on the most important regulatory
documents that coordinate the work of museums and regulate the processes for the protection
of cultural heritage in the PRC and the Russian Federation.

Keywords: new world, transformations, Russia, culture, art, aesthetic education, art education, continuity.

Nikolai G. Denisov, Sergey V. Kilin

pp. 113-118

Features of landscape gardening art in Russia in the Petrine Era

The article is devoted to the study of the process of origin and development of the “Russian-European” tradition of landscape art in Russia in the era of Peter the Great. worldview borrowings. The apogee of the development of garden and park art in Russia turned out to be the 18th century, thanks to the reform activities of Peter I. The scientific relevance of the problematics under study lies in understanding the phenomenon of the Petrine garden and park tradition in the philosophical and cultural aspect, as a manifestation of the power of the Russian spirit in overcoming the archaic and moving into the historical Future. The novelty of the results obtained in the scientific study is determined by the fact that through the analysis of the logic of the Peter the Great paradigm of European-rationalist garden and park art, the image of a universal, reasonable and free Russia, the image of “paradise on Earth” is revealed and concretized in it. Sculptures of ancient gods and heroes were embodied in the images of the Petrovsky garden and park. This meant that the universal forces of all epochs and peoples inspire and patronize Russia in its historical development, serve its well-being and glory. Monuments of prominent figures of Russian culture and Russian history symbolized the well-being and stoutness of the Russian land, its fertile grace, and the monuments were designed to glorify Russian secular culture, broadcast the ideals of civicism and morality, and also educate patriotism through illustrative examples. The integration of sculptures and monuments of the time of Peter the Great, traditional and modern symbols of Russian garden and park art into the symbolic field of the garden as a “paradise on earth”, formed a conceptual field, and also expanded the symbolic space of the location, including it at the conceptual level in the paradigm space of world history. The opening of the Petrovsky Garden revealed the logic of an intellectual, rational and free Russia, the idea of a symbolic Russian-European space, made it possible to correlate this symbolic idea with the spirit of Russian history, and also emphasized the importance of Russian military and cultural glory in the history of world progress.

Keywords: Peter’s paradigm of landscape gardening art, the park as an image of a reasonable and free Russia, the park and the symbolic Russian-European space.

Huang Keyun

pp. 119-126

Centralization of Metaphysical Narrative in Chinese Traditional Architecture

This article is devoted to the study of the phenomenon of centralization of the metaphysical narrative of traditional Chinese architecture. Based on the analysis, it was concluded that during the early Middle Ages, the concept of a “triad of teachings” began to appear in Buddhist, Taoist and Confucian texts, which indicates that Chinese thinkers realized the fact that, mutually influencing each other, these currents formed a single a metaphysical narrative that defines the cultural code of both traditional Chinese architecture and Chinese culture in general. The scientific relevance of the problem under study lies in the need for explication and conceptualization of the phenomenon of centralization of the metaphysical and cultural narrative of the language of traditional Chinese architecture. The novelty of the results obtained in the scientific study is determined by the conceptual position that the metatextual narrative, which was formed as a synthesis of Taoist, Buddhist and Confucian discourses, acted as an integrative idea and a universal semantic code for the entire Chinese culture. The metatextual narrative, formed in the intersection and overlapping of discourses within the same tradition, actually turned out to be a hypertextual paradigm for the entire Chinese civilization. The key principle of this paradigm is the doctrine that man belongs to nature and its life cycles. But, at the same time, the universal spiritual principle in a person is capable of not only endowing him with metaphysical, intellectual immortality. The absolute nature of thinking is determined by a clear, enlightened consciousness, when a person acquires the highest freedom of being in truth. 

Keywords: metaphysics, centralization, narrative, Buddhism, Taoism, Confucianism, cultural code of Chinese traditional architecture, Chinese culture.

Li Jianfu

pp. 126-133

Author’s Methods of the Initial Period of Piano Playing in the Russian School of the 20th Century

The main subject of the research is the development and formation of the author’s methods of the initial period of learning to play the piano in the XX century. The relevance of the research is due to the reform of the education system, within which the focus is on using, first of all, their own pedagogical experience. The innovative teachers in the field of piano teaching are N.L. Grodzenskaya, G.G. Neuhaus, S.I. Savshinsky, S.E. Feinberg, A.P. Shchapov. The study of the problem of the author’s methods of the initial period of piano training in the XX century was carried out by O.I. Perederiy, Yan Kai, O.S. Rutkovskaya, M.V. Vorotnoy, E.V. Grebenyuk, A.A. Rashkovsky. With the help of such theoretical research methods as analysis, synthesis and generalization, the author tried to identify the most significant author’s methods of the XX century in the Russian piano school. The novelty of the research lies in the fact that the expediency of studying this issue is reasoned due to the possibility of introducing professional experience into modern pedagogical realities. The analysis of the author’s methods of teachers-innovators allowed us to draw the following conclusion. The methodology of V.N. Shatskaya allows you to combine theory and practice into a single whole. Thus, the student learns to analyze and put into practice the learned theory. The technique of N.L. Grodzenskaya allows combining the study of various types of musical activity with the successful assimilation of the means of musical expression. M.A. Rumer’s methodology offers a system of music education, taking into account the points of view of music science, psychology and general didactics. The methodology of O.A. Apraksina makes it possible to correlate education and training in the process of musical education. Methodology of S.I. Savshinsky suggests the development of an active and creative attitude to the performed work. The method of G.G. Neuhaus allows the development of students musically, intellectually, artistically, and collectively, in the pianistic plan. Feinberg’s methodology offers the study of material from simple to complex. As a result of the theoretical research, it was concluded that all the author’s methods, except for the methods of A.P. Shchapov, can be introduced into the modern pedagogical system. The method of A.P. Shchapov is the most difficult for children’s perception and has lost its relevance in the conditions of modern pedagogy of teaching at the initial stage of piano playing. 

Keywords: music, piano, initial period, education, author’s methods. 

Bai Fangkun

pp. 134-135

Information About the Authors in Russian