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From the Editor

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Chamber Spaces of the "Outgoing City" in the Works of Krasnodar Artists

The article continues the study of the problem of artistic interpretation of the image of the city in the fine arts of Kuban, previously considered by the author, using the example of the Kuban capital. The subject of art criticism and semiotic analysis of visual texts are chamber urban spaces, the figurative characteristics of which have received the most vivid expression in the genre of urban (architectural) landscape. The increased interest of artists in capturing diverse mosaic texts of the urban environment, urban interiors and their fragments is due to the loss of part of the cultural heritage of the historical city center, a change in the architectural appearance of old buildings from traditional to more «modern». The use by masters of various techniques and materials, approaches, compositional and stylistic techniques, artistic tropes in painting and graphics stimulates the process of generating visual texts that form a detailed exhibition of urban images - streets, courtyards, modest mansions, elements of architectural decor. A significant place in it is occupied by architectural artistic metal, represented by the ornamental richness of forged roof canopies, which, together with other elements of the facade decoration of buildings, gives originality and unique flavor to the historical buildings of the «vanishing city», which is increasingly losing the cultural layer of its heritage. Chamber anonymous spaces still retain the «spirit of place», that unique sense of the originality / individuality of the environment, its involvement in a person’s worldview, which so attracts masters of different creative ranges.

Keywords: fine art of Kuban, the city of Krasnodar, landscape, image of the city, chamber spaces, liminal elements of the home.

Dmitry I. Gangur

pp. 18-25

Change in the Ratio of Semantic and Sign Functions in the Culture of the European Type of the 19th – 20th Centuries

The article examines the problem of the relationship between semantic and symbolic functions in culture, starting from the times of romanticism. The question is raised that changing the forms of the phenomena of understanding can lead to changes that negatively affect the homeostasis of culture. It is known that culture, as a factor of conscious reflection of a person in his activity, begins when the utilitarian use of material begins to be combined with its sign function. In this regard, the topic of trends in culture, as well as what determines them, becomes relevant. Therefore, the main question of the article is the question of the dynamics of semantic constructs that make up the subject and intellectual areas of consciousness of a person of culture. It is said that in the second half of the 19th – 20th centuries. in a culture of the European type, processes begin and become established that lead to the destabilization of the cultural field, as a result of which the sign function of the semantic construct, as well as its utilitarian use, become distorted. And we can talk about a kind of painful factor of culture, which begins to create a disposition of distortion, introducing a factor of destruction into the semantic field. The theses presented in the article are compared with the allegorical images of the French writer of the 19th century. A. de Musset, as well as with the fine arts of the second half of the 19th – 20th centuries. represented by some of its representatives. In conclusion, it is said that the problems of the substantive side of the culture of this period are associated with changes in the forms of the phenomena of understanding, leading to a change in the ratio of semantic and sign functions.

Keywords: culturogenesis, ontogenesis, sociocultural dynamics, semantic construct, homeostasis, anomaly, idea of disease, visual art, lack of personality in art.

Sergei V. Kudryashov

pp. 25-35

Value-Semantic Transformations of the Phenomenon of Counter-Science in Modern Media Culture

This article analyzes the dynamics and reveals the features of the transformation of the phenomenon of counterscience in the media-cultural space of modern society. The purpose of this work is to show what value-semantic transformations the phenomenon of counterscience undergoes in modern media culture and to identify the problem of the destructive impact of counterscience in modern society. The scientific novelty of the research consists in updating the problem under consideration, enriching the existing scientific base with new examples on this issue and the author's conclusions on the research topic. A discourse analysis of the existing scientific literature on the subject and a narrative analysis of some counter-scientific media products have been carried out. A research idea is formulated about media culture as a special cultural form characteristic of modern society, and about the transformations that it has undergone and continues to undergo in connection with changing technological conditions and value orientations of society. The conclusion is made about the high adaptability of the phenomenon of counterscience to changing socio-political and technological conditions, about the danger of its spread in the mass media and the need to take action to stop its further expansion in media culture. As a result of the study, regularities and features of value-semantic transformations of the phenomenon of counterscience were revealed. The ways of solving the problem of the spread of counter-scientific delusions in modern media culture are outlined.

Keywords: media culture, media space, media, information society, value-semantic transformations, counter-science, delusion

Nikolay G. Denisov, Alexandr A. Brazhnikov, Valeriya V. Valkova

pp. 35-48

Monument to the Pioneer Heroes in the Tauride Garden in Leningrad: A New Look at the Theme of the Great Patriotic War in the Era of the «Thaw»

The detailed analysis of the monument to the pioneer heroes, installed in the Tauride Garden in Leningrad in 1962, and other projects that were in charge of this work, makes it possible to see what changes occurred in Soviet monumental art in connection with indulgences in cultural policy in the second half of the 1950s, how the attitude towards the theme of the Great Patriotic War has changed. Having studied the monument to the pioneer heroes in the Tauride Garden and the history of its creation, we can draw conclusions about the changes in Soviet monumental sculpture of the late 1950s and early 1960s. First of all, there is a departure from the standard composition scheme which tends towards symmetry and statics. Authors refuse template solutions, and greater variability appears. Also, there is a tendency to synthesize the sculptural and architectural parts of the monument, which contributes to the integrity of the composition and accentuates the stability and massiveness of the work of art. Asymmetric composition made the image more dynamic, expressing the emotional state of the characters. At the same time, it cannot be said that the changes in Soviet monumental art completely contradicted the concept of «critical development of artistic heritage». In this artwork, one can see the rhythmic structure of the composition characteristic of the era of classicism and live characters reproduced from full-scale studies, like those of the realists of the second half of the XIX century, and even echoes of avant-garde pursuits of the 1920s in the play of geometric volumes in the background of the relief. At the same time, the ideological subtext is not very obvious here, rather, we can talk about the universal human idea of the artwork. This can be seen as a change in attitude towards the topic of the Great Patriotic War. It acquires a more universal meaning here – as children helping their fathers to defend the country.

Keywords: The Great Patriotic War, monuments, memorials, the Leningrad school of sculpture, Stalin's classicism, a monument to pioneer heroes.

Dmitrii N. Andreev

pp. 49-62

Cultural Heritage as the Basis for Self-Identification of Russia in the Era of Creative Industries

The article is devoted to the issues of self-identification of the Russian Federation in modern conditions of building a multipolar world as an expression of opposition to the unifying processes of globalization, which adjust modernization in the countries of the world community to Western "reference" standards. These geopolitical counter-trends take place in the context of the development of the information society and the formation of creative industries. The author of the article claims that creative industries, like globalization, contribute to the emergence of a multicultural identity that leads to the loss of the national identity, and sets out to identify the characteristic features of the Russian model of development of creative industries, the institutional design of which is currently taking place in the strategic documents of the Government of the Russian Federation. The article argues that the Western variant of creative industries, exploiting cultural heritage as a brand of cultural uniqueness, in the globalizing conditions of a unipolar world leads to the "erosion" of national identity and, ultimately, its displacement by regional identity with an undoubted cultivation of tolerance and the dominance of "minorities". Whereas in the Russian version, the model for the implementation of creative industries is aimed at preserving the national identity of the state through the preservation and promotion of the cultural heritage and traditional values of the peoples of the Russian Federation. In the current conditions, the cultural heritage of the peoples of the Russian Federation is the basis for self-identification of Russia in the era of creative industries.

Keywords: self-identification, national identification, cultural Indu-strea, creative industries, cultural policy, special military operation.

Olga A. Pavlova

pp. 63-74

The Attitude of the Adyghe Youth to the Values of Traditional Culture in Everyday Life

The focus is on the problem of the socio-cultural foundations of the all-Russian civic identity. The purpose of the study is to develop and test a survey model for diagnosing the attitude of Adyghe youth to the values of traditional culture in order to assess it as a resource for building an all-Russian civic identity. The materials of the study were ethnographic information summarized in the works of B. Kh. Bgazhnokov and R. A. Khanakh, as well as empirical data collected by the author during the survey and the regulatory framework of state policy for the preservation and strengthening of traditional Russian spiritual and moral values. The research methodology is based on a set of general scientific and special (culturological and sociological) methods. The definition and typology of the complex of traditional forms of ethnoculture, applicable for diagnosing the attitude of an ordinary person to the values of traditional culture in everyday life, required reliance on the theory of cultural universals by George Peter Murdock in its logical addition and development in the concepts of cultural genesis, cultural form, socio-cultural process of symbolizing success Russian scientists, as well as special methods of cultural typology and attribution arising from these concepts. The methodology for collecting and processing empirical data is formed on the basis of an authorized set of methods for qualitative and quantitative analysis, including content analysis. The results obtained demonstrate that the traditional values of the peoples inhabiting the Russian Federation are a significant factor and socio-cultural basis for the development of an all-Russian civic identity.

Keywords: traditional culture, values, youth, all-Russian identity, cultural attribution, ethnoculture, Adygs.

Adam Y. Natho

pp. 75-85

A.F. Kosovskaya’s Contribution to the Development of the Museum of Local History and Histories of Mud Treatment of the City of Saki (Socio-Cultural Aspect)

In this article based on the sources introduced into scientific circulation for the first time from the funds of the Archival Department (municipal archive) of the Administration of the city of Saki, the Museum of Local Lore and History of Mud Treatment of the city of Saki, is considered the contribution of Anna Fedorovna Kosovskaya (1917–2000) to the development of the Museum of Local History and History of Mud Treatment as an institution of culture and a subject of socio-cultural activities. Although the first museum of mud therapy was founded in the Saki mud bath as early as 1909, its activities were primarily devoted to studying the medical aspects of using the unique natural resources of the city of Saki. On May 2, 1955, the official opening of the museum of the history of the city-mud bath took place. At the same time, the work of the museum from the first days of its existence was aimed not only at collecting, protecting and documenting the necessary museum exhibits, but also at ensuring an active relationship between the museum and the socio-cultural environment, the implementation of educational, communicative, aesthetic, axiological, research and other functions necessary for the development museum as the most important center of regional culture. A.F. Kosovskaya, who headed it in 1955–1993, and for many years on a voluntary basis, made a huge contribution to the formation and development of the museum. For more than 30 years, A. F. Kosovskaya also worked as a tour guide in the Crimea, developed various excursion and tourist routes, and was the chairman of the society for the protection of monuments in the city of Saki. She actively replenished the funds of the Museum of Local History and the History of Mud Therapy with unique exhibits, took part in exposition and exhibition work to popularize local history and cultural knowledge, having done a lot for patriotic education and development of love for the native land of the Crimeans. Based on archival and museum funds, the authors explore unknown pages of the biography of A.F. Kosovskaya, rediscovering forgotten names in the history of museology and culture of Crimea. The article focuses on the efforts of A. F. Kosovskaya to transform the Western Crimea (Evpatoria, Saki, Chernomorskoye) into a single cultural space, a museum cluster, in order to create a developed system of interactions and communications between various subjects of culture for the sake of effective cooperation in the matter of cultural, economic and social development of the peninsula.

Keywords: A.F. Kosovskaya, Museum of Local History and History of Mud Therapy, Saki, socio-cultural activities, museum cluster.

Valery A. Gorenkin,Vyacheslav A. Ivanov, Antonina V. Shvetsova

pp. 85-93

Silver tray salt in the collection of the Department of History of Russian Culture of the State Hermitage: returned name and circumstances of creation

In the collection of the State Hermitage Museum, a special place is occupied by dishes and salt cellars, created by local jewelers to serve bread and salt to the Russian emperors. The study of archival sources and the comparison of their information with objects from the museum's funds made it possible to identify the presentation salt cellar in the silver desk accessory in the form of the monument to Tsar Mikhail Feodorovich Romanov and peasant Ivan Susanin, which was called so in the museumˈs documents. The salt cellar appears to be a reduced copy of the monument, which was located on the central square of Kostroma until 1918. The exhibit lost its original name as well as information about the circumstances of its creation because itˈs moving between Russian museums in the second quarter of the 20th century. The history of the entry of the silver presentation salt cellar in the museum collection demonstrates the fate of most of the pre-revolutionary private collections after the October Revolution: many of them were nationalized and then partially depersonalized. Moreover, as a result of the research was found out the name of the master, who created the salt cellar, were clarified some circumstances of the presentation of this gift, and was given the history of its existence after the presentation to the emperor. The introduction into the scientific circulation of this museum exhibit, as well as the identification of the owner ofthe unknown master mark, enriches information on the history ofsilversmithing in the Russian Empire, expending ideas about the forms and artwork of the presentation items.

Keywords: presentation salt cellar, the State Hermitage Museum, the Winter Palace, coronation, Alexander II of Russia, monument to Tsar Mikhail Feodorovich Romanov and peasant Ivan Susanin, silversmith in Kostroma.

Aleksandra M. Lukianchikova

pp. 93-100

Areas of Professional Competence of the Training Profile of the Museum Worker at the University of Culture

The article is devoted to the problem of profile training of a modern specialist in the field of museology in the conditions of developing processes of development of cultural industries and digital transformation of modern mass culture and art. The cardinal changes taking place in modern museums, the growth of collaborative interactions in the conditions of multi-channel financing with the art business and cultural tourism, which dominates the modern tourism industry, require the development of new professional competencies, project system vision and thinking, digital culture. In recent decades, the problem of the transformation of museums into modern socio-communicative educational and leisure centers has occupied a significant place in the cultural scientific literature. At the same time, the problem of training modern specialists in the field of museum industries is becoming increasingly relevant due to the active transformation of the functions of museums in the conditions of rapid development of cultural industries. The article formulates the task of training specialists in the integrated collaborative profile of modern museum industries, focused on the manifestation of professional competencies not only in the field of museum industries, but also in the art business and cultural tourism. The article is based on the materials of the sociological study “Digital Competencies of Museum Staff”, organized and conducted by the Council for Digital Development of ICOM of Russia, the Association of Electronic Communications (RAEC), the National Research University Higher School of Economics (HSE) with the participation of Microsoft representative office in Russia. The article justifies the need to form an integrated bachelor training profile for modern museum industries – “Cultural industries in museums, art business and cultural tourism”. The training of future museum specialists in this integrated profile in the field of cultural industries would solve several significant problems. Firstly, it would allow training in areas of cultural industries of future specialists close to the content of professional competencies. Secondly, it would expand the employment opportunities of graduates. Thirdly, it would allow developing a systematic vision and a systematic project approach among graduates and comprehensively approach the development of interconnected cultural industries – museum cultural industries, art business and the cultural tourism industry.

Keywords: training of museum workers, digitalization, art business, cultural tourism.

Anna V. Kudinova, Sergey .A. Morozov

pp. 101-108

The Work of Composer Refat Ibadlaev in the Context of Style Priorities

In the panorama of modern musical art, the creativity of the Crimean Tatar composer Refat Ibadlaev stands out for its originality. The article describes for the first time the creativity of the Crimean Tatar performer (bayan) Refat Ibadlaeva, whose style palette is inextricably linked with Crimean Tatar folklore. The author pays special attention to the musical and expressive components that reveal the folklore basis of the composer's works. The article reveals the genre specificity of the composer's work. In his treatments, suites, rhapsodies, paraphrases and concert pieces, he cultivates a palette of accordion performance. The compositions of R. Ibadlaev show a deep knowledge of the instrument and the desire to reveal a variety of technical and coloristic possibilities of the accordion (accordion). On the example of such treatments of folklore material as “Chal atym”, “Kynaly parmak”, “Kjalaili kazan”, a paraphrase on the theme of folk songs “Port Arthur”, “Boyna”, «Balyklava suzmesi», the characteristic techniques of his musical vocabulary are revealed: saturation with virtuoso technique, comparison of register contrasts, variant transformation of the main thematic grain, modern harmonic thinking. The techniques typical of his compositional method are noted – variation and improvisationality, the desire for free deployment of musical material. The analytical material is accompanied by musical examples that clearly illustrate individual stylistic components. Analyzing, the author comes to the conclusion that R. Ibadlaev's style is characterized by a wide range of compositional techniques.

Keywords: accordion, folklore, style, genre, texture, timbre.

Servet Y. Mambetov

pp. 108-115

Programming in Piano Tales by N.K. Medtner

The article is devoted to programming in piano fairy tales by N.K. Metner. Analyzing the musical text of fairy tales, the author revealed a number of patterns that allow you to divide all fairy tales into groups. Depending on the musical expressive means used by the composer, as well as titles, epigraphs and remarks, groups of plays were identified: fairy tales-portraits, fairy tales with literary epigraphs, fairy tales, the programmability of which is determined by the genre, folklore, sound-making fairy tales and ballads. The first group includes the fairy tales “Song of Ophelia” f-moll op. 14 № 1, “Leshiy (but kind, plaintive)” a-moll op. 34 № 3, “The Tale of the Elves” g-moll op. 48 № 2, “Magic Violin” h-moll op. 34 № 1, “Campanella” h-moll op. 20 № 2, “Beggar” and “Sharmanshchik” from the cycle “Romantic Sketches for Youth” op. 54. Among these musical “portraits” you can find both real characters and fantastic ones. Tales written under the impression of literary works and preceded by epigraphs include the pieces e-moll op. 34 No. 2 “When we called us our forever left us” (F.I. Tyutchev), op. 34 No. 4 “The poor knight lived in the world” (A.S. Pushkin), op. 35 No. 4 “Blow, Wind, were angry until the cheeks burst” (King Lear in the Field, W. Shakespeare). The main feature characteristic of all these pieces is the “following” of the musical text for the literary. A large group of fairy tales are pieces, the programmability of which is determined by song or dance genres. Unlike the pieces of the previous group, in fairy tales assigned to this group, programming is generalized. Among them is “Dance-Fairy Tale” C-dur op. 48 № 1, “Paladin March” e-moll op. 14 № 2, “Tale-Scherzo” e-moll op. 54, C-dur and G-dur op. 9 № 2, 3, gis-moll op. 31 № 3, G-dur op. 35 № 2, Es-dur op. 26 №№ 1, 2. The composer did not give all these pieces the titles, however, the remarks that the author chose, for example, alla serenata, capriccioso, allow us to attribute fairy tales to this group. Folklore tales include pieces by op. 26 No. 4 fis-moll, in which the prerequisites of later works are heard, “Russian Fairy Tale” op. 42 № 1, “Phrygian key” op. 42 № 2 and Six Tales op. 51, dedicated to Cinderella and Ivanushka the Fool. The group of sound-making fairy tales in its pure form includes only the “Tale of Birds” from the series “Romantic Sketches for Youth” op. 54. However, the fairy tales “The Magic Violin and” Campanella have features of sound imagery, so they are adjacent not only to fairy tales-portraits, but also to this group. In a number of “folklore” fairy tales, there are also moments of sound reproduction – imitation of the harmonics in the fairy tale op. 51 № 1 and “Fairy Tale Dance”. Ballads include tales op. 20 № 1, op. 26 № 3, op. 35 № 3, op. 42 №3. All these plays are characterized by the leisurely development of thematism by type of deployment. In three of the five tales, the author uses the narrante remark (telling), which allows them to be attributed to this group. This division of fairy tales into groups helps to systematize the images that appear in these piecs and to compare the musical and expressive means that the composer uses to sound his ideas.

Keywords: programmability, genre, piano fairy tale, N.K. Medtner, author's remark. 

Sofya N. Gerasimova

pp. 116-125

Development of Improvisation in the Context of the Evolution of Jazz Styles

The article is devoted to the consideration of improvisation as the main constant of modern jazz art. Despite the changing functions and views associated with the phenomenon of improvisation, it is identified in almost every jazz composition, acting as a core element of the individual performing style of musicians. The key idea is the need to study the phenomenon of improvisation in the historical dynamics of the development of jazz styles. Special consideration is given to the actual works of domestic and foreign researchers, revealing the content specifics and structural features of both the basic and advanced functionality of the construction of an improvisational utterance. According to the author, improvisation is one of the foundations of jazz performance, the analysis of which provides opportunities for detailed disclosure of individual styles of jazz musicians. Artistic transformations affecting the semantics and structurality of improvisation are dictated by the general evolution of jazz styles and trends. The changes in the functions of thematic and improvisational material traced in jazz performance in the second half of the XX – beginning of the XXI centuries indicate the process of evolution of views and artistic representations of the professional jazz environment. The comparative element of the article is based on the study of interpretations of J. Gershwin's theme «Summertime», diverse in their aesthetic meaning, made by performers belonging to significant periods of jazz history. The analysis of these interpretations also confirms the important influence of improvisation on the evolution of jazz composition.

Keywords: jazz improvisation, jazz composition, interpretation, jazz styles.

Elena V. Lubyanaya

pp. 125-132

The Art of Arrangement in Practice Activities of Pop-Jazz Vocal Groups a Cappella

The demand for original pop-jazz arrangements, which make it possible to present the individuality of the creative team, the vocal capabilities and technical skills of the singers, the unusual harmonic design, voice special effects, original author's versions of jazz standards and popular songs, led to the search for educational and methodological literature for them. creation. The absence of such has marked the main problem of the study, which is to find ways to create pop-jazz a cappella arrangements for vocal ensembles. Considering a cappella vocal ensembles in a historical retrospective, the features of the scores of English-speaking and domestic groups were indicated. An analysis of the domestic educational and methodological literature on the creation of polyphonic arrangements for academic choirs and ensembles made it possible to generalize the classical arrangement techniques. Works by Yu. G. Kinus and G. A. Garanyan became the basis for identifying the principles of jazz arrangement for instrumental and vocal-instrumental compositions. Summarizing the practical experience of B. McFerrin and J. B. Craipeau, demonstrated in the recording in the form of electronic resources on the Internet, made it possible to present recommendations regarding the teaching of collective improvisation. The summarizing results lead to the fact that the basis of the creators of the arrangements is a strong academic school. Creating a part-tour for a pop-jazz vocal ensemble a cappella requires the arranger to know the voices of a “living unique instrument” – an active vocal group, and to realize the possibilities of its voices. It is also necessary to know the features of the ensemble texture, to be able to distribute vocal parts in convenient registration areas of the score and to navigate in the style directions of pop-jazz music. Of no small importance is the accumulation of experience in the field of listening to recordings of recognized domestic and foreign jazz vocal ensembles. When solving creative problems, the arranger must have certain composing skills.

Keywords: arrangement, vocal group, ensemble, pop-jazz music, jazz performers, collective improvisation.

Vera N. Demina, Lyudmila V. Malatsay

pp. 132-142

"The Savage Land" by Jin Xiang: Modern Opera in National Style

Jin Xiang's organic combination of the national musical drama features, folk Chinese music and composition techniques, genre and style elements of the West verist and modernist operas made it one of the peaks in the history of the development of the genre not only in China, but in the world. With the obvious artistic and aesthetic value of Jin Xiang's work in the context of the problem of the national style of modern Chinese opera, it remains poorly studied in Russian science, which determines the relevance of the work. The purpose of the work is to analyze the plot, dramatic development of images and musical language of Jin Xiang's opera «The Savage Land» in the context of the problem of developing the traditions of national musical drama in the context of modern compositional methods. The tasks of the work are as follows: identifying the opera thinking principles of the composer, determining the specifics of modern Chinese opera, differentiating the traditional and innovative features of Jin Xiang's opera. The subject of the study was Jin Xiang's opera “The Savage Land”, which reflected the genre and stylistic searches of the Chinese composer. The work is considered in the article from the point of view of style features, means of expressiveness, imaginative and semantic content, dramatic development. The composer enriched traditional Chinese music with the achievements of Western artistic culture and united the traditions of the West and the East in the opera genre, where they formed a qualitatively new whole. Jin Xiang managed to create an independent modern Chinese opera language. Thus, he achieved the goal of preserving Chinese music its identity and at the same time its integration into world culture at a new level of development. Being an opera in the Western European style in Chinese, «The Savage Land» differs from traditional Chinese musical dramas in the ratio of all genre components, the method of writing, the concept of the work, but has a national sounding color and features of traditional Chinese music.

Keywords: Jin Xiang, “The Savage Land”, Chinese opera, national style, synthesis of Chinese and European traditions.

Zheng Xue Chen, Elena V. Smagina

pp. 143-149

On the Specifics of the Axiological Approach to the Process of Forming a Professional Worldview of Future Concert Performers

The article is devoted to the problem of forming a value paradigm that determines the professional worldview of future concert performers. Within the framework of modern music education, the axiological aspect is directly related to the development of artistic culture and the development of spiritual values as an integral quality of future professional activity. It becomes the foundation for creating an educational space, the center of which is the personal-value basis of the worldview position regarding the art of interpreting a musical work. The ability to create your own stylistically justified, figuratively expressive and constructively conscious interpretation of a musical work on the basis of a well-structured value space becomes a criterion for the formation of a professional worldview of a concert performer. The semiotics of musical art has its own archetypes, including genre, programming, form, style. These archetypes set limitations in the manifestation of independence of a concert performer and help to reveal his individuality in the search for interpretive means. As a result of professional training, the future concert performer develops a sense of form, style and figurative-associative thinking. An axiological approach to the search for mobile means of interpreting a composer’s text based on the formed value paradigm contributes to the manifestation of the creative individuality of a concert performer.

Keywords:professional outlook, future concert performer, value paradigm, axiological constant, performance interpretation, value-archetypal thinking, ethical and aesthetic space, Flute Sonata «Undine» by Carl Reinecke.

Vladimir I. Stachinsky, Irina V. Stachinskaya

pp. 149-157

Images of Members of the Imperial Family in the Works of A.M. Leontovsky

Based on the analysis of archival documents and preserved works, the article examines the work of the artist А.М. Leontovsky, who was practically forgotten at the present time, who worked and died in Taganrog at the beginning of the twentieth century. Portraits of his brush from this period, which depict members of the Russian Imperial family, have been selected from the collections of various Russian museums. The creative heritage of the regional masters of the early twentieth century is one of the gaps in the history of art. The scientific novelty of this study consists in the introduction into circulation of factual data about the biography of the artist, collected on the basis of documentary materials, as well as in the generalization and analysis of part of his pictorial heritage, allowing to highlight the characteristic features and features. The subject was the stylistic and plastic characteristics of the canvases. Accordingly, the research methods include an integrated approach that combines historical facts, as well as iconographic and systematic analysis of the master's works. The analysis of the works of А.М. Leontovsky that have come down to our time, depicting members of the imperial family, showed that, despite the widespread use of photography and filming at the beginning of the twentieth century, they, due to their traditional upbringing, continued to order representative portraits, and not only to masters currently known to a wide circle, but also to less famous ones. The artist, having moved to Taganrog and opened a drawing school there, continues to fulfill orders from members of the Imperial family in the capital. А.М. Leontovsky masterfully mastered realistic painting and drawing, good knowledge of plastic anatomy allowed him to accurately convey the appearance of the portrayed, their individual traits, and a subtle understanding of human nature – the emotional and psychological state of the models. Among the studied portraits of members of the Imperial family, there are not only official half-parades made by А.М. Leontovsky in the style of classical realism, but also chamber, where he used an individual style of painting.

 Keywords: art of the early twentieth century, representative portrait, semi-parade portrait, chamber portrait, creativity of A.M. Leontovsky, Taganrog artist, members of the Imperial family.

Nadezhda V. Makhno

pp. 158-163

Хilanкapu is a Colorful Silk Chinese Tujia Brocade

The subject of analysis in the article is the production of Silan Capu silk brocade. The author relies on museum materials and uses the cultural method of analyzing and interpreting empirical material. The interpretation of the brocade phenomenon is carried out on the basis of the study of the Tujia way of life and craft, the study of aesthetic tastes and traditions of this people. The Tujia people are indigenous to Hunan, Hubei, Guizhou and Chongqing provinces. The outstanding anthropological qualities of the Tujia people were formed under the influence of the difficult natural and climatic conditions of life. The Tujia people are characterized by a powerful spirit of cooperation. The Tujia practice the moral of mutual aid, helping other families in need. Tujia District has always placed more emphasis on education and respected teachers. Whether the old private schools, academies or new style schools were opened, and more developed, scholar-literates appeared one after another. In daily interactions, the Tujia are sincere, treat each other with trust, and generally believe promises made, including when borrowing money. Peasant labor has shaped their simple and pragmatic national character: in daily life, they live a simple life and dress simply. Silan Capu brocade is an expression of the craft skills of the people and a reflection of their aesthetic tastes. It is characterized by high quality, the use of bright natural dyes, a special combination of colors and patterns, high wear resistance and, in general, elegance, beauty and durability.

Keywords: Tujia, lifestyle, culture, brocade production.

Shi Qiong

pp. 164-165

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