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From the editor

Sergey S. Zengin

pp. 7-16

North Caucasus: processes and problems of interaction local, national and global intercultural communications in modern conditions

The article is a socio-culturological reflection on the paradigm transformations that have engulfed the world community in connection with the tectonic manifestations of the crisis of the world system of a geo-economic, geopolitical and geo-cultural nature, caused by the civilizational, national-cultural and military-political confrontation of the collective West at the head of the United States and the Russian Federation, a bridgehead which has now become the territory of Ukraine. The authors analyzed the processes, problems and ways to solve them in the interaction of local, national and global communications in the North Caucasus in the current conditions of challenges and threats. The study covers three main areas: the post-Soviet state of intercultural communications in the context of these spaces, which are reflected in the assessments of scientists from the North Caucasus; their interaction and mutual influence at the local, global (regional and national-state) levels in the face of real challenges; modern cultural and communicative reactions to globalization processes. At the local level, intercultural communications reflect interethnic interaction, taking into account the general and specific features of the cultural identity of the peoples of the North Caucasus. 

Keywords: intercultural communication, North Caucasus, localization, globalization, paradigm transformation, civic identity.

Nikolai G. Denisov, Aminat Kh. Bayramukova

pp. 17-23

Features of Kuban monumental painting 1920-1930-th

The relevance of the study is due to the importance of the formation and development of the Kuban school of monumental painting, which subsequently developed into a significant phenomenon in the art of the South of Russia. The article, based on the analysis of documents and surviving works, describes the main features in the formation and development of the Kuban school of monumental painting in 1920-30s. The significance of monumental painting in the history of Kuban art is determined. Kuban monumental painting, especially in its early historical development, is not yet been fully studied. The established Kuban school of fine arts shows the need for its detailed study in various aspects. A feature of its genesis was the combination of traditional techniques and performance features, and the use of new trends that were actively developing in the Soviet artistic life of those years. The emergence of new subjects, the work of Russian famous artists, understanding the development of monumental painting in combination with architecture, made it possible by the end of the 1930s is finally created a system of characteristic features for the Kuban school of monumental painting. The aim of the study was to explore the history of the development of monumental painting in civil buildings, in the first decades after the establishment of Soviet power in the Krasnodar region. 

Keywords: Kuban monumental painting, Russian painting of the first decades of the twentieth century, Sochi monumental painting, Krasnodar monumental painting

Galina N. Sologub

pp. 23-28

Drawings of Leningrad children in the 1930s - 1940s in the context of war

The aim of the article is to describe children’s drawings of Leningrad children in the 1930s - 1940s in a historical context. The article deals with collections that give a comprehensive idea of the specific features of children’s drawings, their diversity of artistic and figurative forms, shows the stages of collection formation, ways of updating children’s heritage. The theme of children’s drawings created during the Great Patriotic War has long attracted the attention of scientists from various scientific fields and is associated with various aspects of the study of besieged childhood. However, experts did not address the study of collections of children’s drawings of the 1930s-1940s, which included various artistic and figurative forms, as a separate art criticism study. However, the drawings of Leningrad children of the 1930s - 1940s. represent a whole complex: diaries, wall newspapers, books, postcards, letters, etc. The dissertation of Nekrasova-Karateeva O.L. deserves special attention within the framework of this article. “Children’s drawing: a comprehensive study of art”, which defines the own significance of children’s drawing: as a frank personal document, as an unbiased document of history, as a means of communication, as an artistic object. That gives grounds for considering children’s drawings of this period as an artistic phenomenon that has its own specifics. Today, several collections are known, the largest of which is kept in the State Museum of the History of St. Petersburg, about 700 works. 

Keywords: Children’s drawing, military childhood, art and figurative forms, collections, blockade of Leningrad.

Oksana V. Khukhrina

pp. 38-46

Easel printed graphics in Stalingrad: 1943–1957

In 1943, everything connected with the artistic life of Stalingrad was destroyed or irretrievably lost. The small number of preserved sources of information about the activities of cultural institutions in the post-war period does not allow us to holistically recreate the path of the revival of fine art in Stalingrad, in particular, the formation of easel printed graphics in the region. The scientific novelty of the study lies in the fact that for the first time the circle of masters of printed graphics who worked on the territory of Stalingrad was determined. The names of the artists considered in the article have gone down in history as Soviet fine art: K.I. Finogenov, I.A. MIkhranyants, L.I. Gagarina and Volgograd Fine Arts: G.I. Pechennikov, A.P. Legenchenko. The main material for the review of easel printed graphics were the works of graphic artists made in the period 1943-1957 from the collection of the Volgograd Museum of Fine Arts named after I. Mashkov and the State Historical and Memorial Museum-Reserve “Battle of Stalingrad”, as well as information from the catalogues of exhibitions of Stalingrad artists of 1940s-1950s. 

Keywords: printed graphics, linocut, reproduction lithography, autolithography, Stalingrad, G.I. Pechennikov, A.P. Legenchenko, K.I. Finogenov, L.I. Gagarina, I.A. Mikhranyants.

Anna V. Filimonova

pp. 46-54

Hippolyte Robillard: works and creative method

A sufficient number of works by the French photographer Hippolyte Robillard have been preserved in Russian museum collections to understand his outstanding role in the photographic life of St. Petersburg in the first half of the 1860s. At the same time, so far his work has not been studied as a whole, an analysis of individual works has not been carried out. However, Robillard’s significance in photography is confirmed by the presence of his master’s works in the collection of Empress Maria Alexandrovna – one of the first significant photographic collections in Russia, which, unfortunately, has now been preserved in fragments. The main objective of this article is a meaningful and formal analysis of Robillard’s works, as well as an attempt to reconstruct the creative method of the master. The relevance of the topic is obvious and is connected with the lack of research on the work of the French photographer. The article discusses the figurative solution of Robillard’s works, the features of the organization of space and the associated composition of the image, the significance of the few accessories of the photographic studio. 

Keywords: photographer Hippolyte Robillard, early Russian photography, creative method of the photographer of the 1860s, photographic studios in St. Petersburg. 

Natalia Yu. Avetyan

pp. 54-61

Masters of the XVI century and a Russian portrait of the 1820s. Examples of borrowings

The article is devoted to the study of an important trend in portrait painting of the 1820s – the fascination with the works of old masters. Especially popular at this time are examples of classical art created by artists of the XVI century – Leonardo, Raphael, Michelangelo and Durer. The study of the past heritage was characteristic of the previous period, but it was in the 19th century that it took the form of religious worship, which was “Теория и история искусства” 6 0 “Культурная жизнь Юга России” № 3 (86), 2022 reflected in the desire to repeat the figurative solution and artistic techniques of the old masters. This phenomenon has become for artists a demonstration of their ideal, their involvement in the global art movement. The study and comprehension of the creativity of the past centuries seems logical in the context of the general desire of the epoch for “historicism”. The main objective of this article is to identify in the portrait genre of the 1820s borrowings from the arsenal of art of the old masters. The method of research is a meaningful and formal analysis of specific works of Russian portrait painting. 

Keywords: portrait genre of the 1820s in Russia, traditions and innovation in Russian art, O.A. Kiprensky, A.G. Venetsianov, V.A. Tropinin, K.P. Bryullov.

Yury. Yu. Gudymenko

pp. 61-70

Features of dramaturgy and scenography of the Chinese folk opera «The Yimenshan Mountains»

The subject of the study is the dramaturgy and scenography of the contemporary Chinese folk opera “The Yimenshan Mountains” (libretto by Wang Xiaolin and Li Wenxu, music by Luan Kai; premiered in 2018 in Jinan, Shandong Province). The opera is widely known in China and is considered one of the exemplary works of its genre in the 21st century. Its basic idea – the glorification of the feat of ordinary people during World War II – has a general humanitarian and interethnic character. The opera “The Yimenshan Mountains” has not been studied by Russian musicologists. This determines the relevance and novelty of the study. The authors of the article came to the following conclusions: 1. The dramatic design of “The Yimenshan Mountains” is well thought out: the events of the opera are spread over six scenes and develop logically; all storylines are elaborated and completed. However, the second scene is devoted to characterization, the characters’ actions lack dynamism, and the events in the fifth scene lack plausibility. 2. The characters in the opera are rich in character and multi-faceted. In the characterization of the opera “The Yimenshan Mountains” there is a tendency to transcend the stereotypes of characters found in many other Chinese folk operas. The main character, Haitang, is most fully developed. 3. One of the characteristics of this opera is the predominance of positive characters. The representatives of the “positive force” are divided into villagers and soldiers of the Eighth Route Army. The “negative force,” the Japanese army, is not personified. 4. The scenography idea of the opera is the image of the mountain in various modifications. The mountain is the background of the events and a participant in the action, as well as a spiritual symbol of the resilience and fearlessness of the Chinese people.

Keywords: «The Yimenshan Mountains», Chinese folk opera, plot, dramaturgy, characters.

Guan Chengyuan

pp. 70-80

A comparative study of soviet sots art and chinese sots art

The article attempts to analyze the representative works of Soviet and Chinese Sots Art, to establish similarities and differences between them in terms of artistic language and style, visual correspondence, creative philosophy, in order to explore the causes of this type of art and reveal the aesthetic connotations of Sots Art. It is noted that Chinese Sots Art largely inherits Soviet art and develops the symbols and meanings embedded in it, but rethinks, transforms and develops them in a special way. Soviet and Chinese Sots Art are similar in their desire to overthrow traditions and criticize ideology. The works use images of leaders, workers and peasants, contrasted with commercial and consumer images. The impact on perception is formed due to the absurd comparison of the incomparable. The philosophy of Sots Art was the idea of the diversity of options for the organization of the world order, the importance of freedom in human life. It is concluded that Soviet Sots Art is a hybrid variation of Soviet culture and American pop art, a forerunner of Chinese Sots Art. Both of them were “discovered” by the Western media and galleries and successfully transported to the West. Chinese Sots Art has attracted more attention in the market because it appeared at the end of the Cold War, when China began to move towards a globalized market. At the same time, in the Soviet Union, Sots Art was not a commercial art, while in China it reached a high degree of commercialization, providing artists with financial success. Just as Soviet Sots Art quickly disappeared after the Cold War, Chinese Sots Art was soon lost in the 21st century. 

Keywords: sots art, artist, postmodern art, socialist realism, pop art, Russia, China.

Xie Jixian

pp. 80-88

Aspects of transformation of the traditional costume of the Kuban Cossack woman when creating clothing collections in ethnic styl

In our study, a number of tasks were set: analysis of the subject area of creating ethnic-style women’s clothing based on traditional costume; development of a conceptual model of the process of creative design and manufacture of modern women’s clothing based on traditional clothing of Kuban Cossacks; determination of significant characteristics of modern women’s clothing based on the study of ethnic characteristics of the regional costume of the Cossacks; formation of the concept of modern women’s clothing based on traditional motifs, elaboration of new approaches and technologies; retrospective analysis and systematization of design and artistic activities for the creation of modern women’s clothing based on the integration of historical prototypes of the traditional costume of the Kuban Cossacks. The object of research is the process of creative design and manufacture of modern clothing using the traditional women’s costume of the Kuban Cossacks as a source of creativity. The subject of the study is the historical clothing of the Kuban Cossacks, the woman’s belonging to the Cossack community, the manufacture and artistic and decorative design of products. We conducted research on the study of the female costume complex of the Kuban Cossack of the late XIX – early XX century in order to identify its characteristic features. 

Keywords: folk culture, preservation, folk masters, tradition, design, folk costume, conceptual model

Olga A. Zimina, Maya B. Pokhlebaeva, Ekaterina I. Nabokova

pp. 88-96

Artistic interpretation of the genre psalm in the «Lament Of King David» by Nikolay Sidelnikov

The purpose of the article is to identify the characteristic features of the artistic interpretation of the psalm genre in the «Lament of King David» by Nikolay Sidelnikov. The material of this article was the musical and literary text of the work in the form of 142 and 143 psalms, as well as a set of circumstances associated with its creation, features of its interpretation. Among the research methods that are used in this article, we will highlight the following: historical, which connects N. Sidelnikov’s creative searches with the processes of the evolution of musical art, reveals the continuity of his creative thinking with European and domestic traditions in the field of sacred music; stylistic, which allows you to trace the process of the composer’s use in «The Lament of King David» signs of leading musical trends of music of the second half of the twentieth century; intonational and figurativedramatic, associated with the disclosure of the musical content of the analyzed musical material;the method of holistic analysis, which focuses on the author’s findings and discoveries, allowing us to consider this work as a unique artistic integrity; interpretive, thanks to which it was possible to find out the individual traits of the composer and performers. 

Keywords: sacred music, hymnal, psalm, lamentation, interpretation, N. Sidelnikov, musical art. 

Vitaliya B. Khoroshavina

pp. 96-104

Contrasts and unifying ideas in the musical content of Z.L. Companeits’ choral cycles

The publication examines for the first time the choral work of the Russian composer of the twentieth century Z.L. Compeneits. The subject of the study is the identification of contrasts in his cyclic choral compositions – the suite “Four Sisters” to the verses of M.R. Sadovsky, Four choirs to verses by F. Tyutchev and Six choirs to verses by A.S. Pushkin. The purpose of the study is to evaluate, on the basis of a generalization of the results of the analysis, the skill and subtle artistic flair of the composer in creating vivid landscape sketches, lyrical and dramatic images through the skillful use of choral colors and other means of musical expression. The objectives of the study are aimed at studying the scientific and methodological literature, comprehensive analysis of scores and synthesizing the data obtained to formulate summary results. The research methodology is based, on the one hand, on the correlation of literary and musicological analysis, on the other hand, on the synthesis of the results of the analysis of the compositional structure, sound structure, expressive and visual functions of musical content. As a result of the study, we come to the conclusion that the choral works of Z.L.

Keywords: Z.L. Companeits, choir a cappella, choral cycle, contrast, seasons, musical content.

Lyudmila V. Malatsay

pp. 105-113

The hero’s way from formation and flowering to degradation and decay in the cinematography of Alexey Balabanov

The purpose of this work was to reveal the image of the protagonist on the material of the films of Alexey Balabanov. As the material of the study, the author selected those films of the named director, which found the greatest success with the audience, and began to be considered cult films. Among them are the dilogy “Brother” and “Brother 2”, “War”, “Blind Man’s Buff”, “It Doesn’t Hurt Me”, “Cargo 200”, “I Want Too”. The study is based on an integrated approach, including methods of comparison and analysis, as well as synthesis. The scientific narrative is built in accordance with the chronology of the release of films on the screens, which makes it possible to trace the evolution of the protagonist more clearly, who transforms from picture to picture. This evolution illustrates the changing own director’s views, who initially brought to the arena a hero-defender who has a system of values, respects his family, and is ready to sacrifice himself for the Motherland. After the release of the film “War”, a turning point in the work of A. Balabanov is planned, which relates to the events of the author’s personal life. “Blind Man’s Buff” no longer shows the viewer that Danila Bagrov - a charming, intelligent, and determined hero-hero. 

Keywords: Russian cinema, author’s cinema, Aleksey Balabanov, director’s strategy, cinematic plot.

Aleksandr A. Boldyrev

pp. 114-121

The sound image of bayan and accordion in foreign cinema: functioning principles

The article is devoted to revealing the peculiarities of functioning of the sound image of bayan and accordion in the historical dynamics of foreign cinema. Based on the analysis of the music of films directed by M. Brest, J.-P. Genet, E. Kusturica, J. Lanthimos, M. Rosa, V. Herzog and composers V. Aralitsa, S. Gubaidulina, “Dr. Nelle” Karailich, T. Newman, D. Sparavalo, S. Terrell, J. Tiersen, historical-chronological, figurative-poetic, musical and psychological principles of functional interpretation of music for accordion and accordion in foreign cinema are proved. The stylistic origins of film music for these instruments are determined as a reflection of the trends of modern culture. The author considers a feature film as a genre of screen culture and notes that the content, the manner of narration and the system of expressiveness in it are determined by the dramatic and compositional functions of the visual, verbal and musical components. The role of music represented by individualized musical themes is great. In the system of means of expression forming a musical theme (melody, harmony, rhythm, texture, timbre, sonor), the individualization of timbre occurs in interaction with the “primary” means of musical expression. The relevance of the theme-timbres in film music is due to the development of sound engineers, the reorientation in the system of means of musical expression from primary to secondary, the synthetics of the media text as a whole, which leads to the visualization of the timbre with its individual flavor. 

Keywords: film music, media text, bayan, accordion, timbre, borrowed music, style, sound image, thematism, genre.

Dmitry A. Skudnev

pp. 122-129

Synthesis of national traditions and modern techniques in the music of Chinese composers for flute

The article characterizes the main problem of modern music in China - the combination of diverse material of traditional culture (melodics, textures, instrumentation) with a variety of modern composing writing techniques. A review of the literature on this problem in Chinese is made – characteristic articles are given on national specifics, which are very important at that time for Chinese science. Authors: Fan Zuyin (1987), Liang Maochun (1991, 2004), Qihong Ju (2005), abstracts of dissertations and articles of recent years in Russian by Chinese graduate students studying in Russia are reflected. In particular, the thesis of Zhao Ming (2020), which formulates the main causes of the crisis in modern Chinese musical culture, is studied. The article highlights extremely typical examples of composer’s work: arrangement for flute of the lute piece “Sunset Xiao drum” by the famous Chinese flutist and teacher Tang Mizi (1980), “Sunlight shines over the mountain” by Huang Huwei (1963), the piece “Slow flow of a small river” composer Huang Peiqing for two flutes (with piccolo flute). Attention is paid to the author of extremely popular works for the flute, the famous composer of the older generation Zhang Xiaoping, the famous performer and teacher, the author of many courses and textbooks for the flute. To analyze music from the point of view of the problem of synthesis of Western and East Asian cultures, the main principles are outlined - the use of a variety of techniques based on European models of genres. The musical means that are combined in different ways in specific compositions are characterized: folklore or its imitation melody, European tonal system, chord texture, European timbre coloring.

Keywords: Chinese flute music, musical technique of Chinese composers, synthesis of national and modern musical means, foreign influences in Chinese music, traditional structures of Chinese music, transcriptions of European pieces in Chinese flute music. 

Wang Pei

pp. 130-136

V. Shukshin on the cultural «map» of Altai

The article deals with the issue of the essence of symbolic capital in the modern information society on the example of V. Shukshin’s film-making. As a methodological principle of the study of the symbolic capital of the region, we used a communicative paradigm in which socio-cultural experience can be represented as a set of communicative processes, and culture as a chain of communications. The novelty of the work consists in theoretical and methodological approaches to the study of the symbolic capital of Altai. The use of cultural-historical and geopoetic analysis opens up great prospects in the study of the director’s films. The basic tool is the concept of film text in its relation to geopoetics. Within the framework of the work, a model for describing geopoetic images is proposed, which can be used to study various texts created by the authors during the creative process. The relevance of the topic is due to the increased scientific interest in culture as a resource for the development of territories. Various cultural practices are considered as one of the sources of symbolic capital formation. The article substantiates the conclusion that in response to globalization, Altai consciously and carefully treat the maintenance of regional culture, the preservation of its identity.

Keywords: geopoetics, cultural practices, symbolic capital, film text.

Irina V. Shestakova

pp. 136-143

Transformation of the concept of Olympism: cultural aspect

The study continues and complements the previously undertaken work on the study and deepening of methods of scientific understanding of the phenomenon of sports in its cultural dimension. Turning to the actual problems of using the concept of Olympism in modern humanitarian scientific knowledge, the author examines the substantive components of this concept and their transformation both in the historical and socio-cultural process of globalist changes in modern society. This approach determines the relevance of the work for cultural, philosophical, sociological, and political science attempts to comprehend the phenomenon of sports in the modern world. It is in this author’s approach and the comparative analysis carried out that the scientific novelty of both the study itself and the practical conclusions consists. Analyzing the problem stated in the topic of the work, based on the materials of domestic and foreign sources, the author examines the causes of discrepancies “Теория и история культуры” 142 “Культурная жизнь Юга России” № 3 (86), 2022 in relation to the concept of Olympism and offers a reasonable solution to eliminate such contradictions, consisting in the axiological dimension of Olympism in comparison with the modern realities of its existence in the postmodern era. 

Elizaveta A. Naidenko

pp. 144-144

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