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From the Editor

Zengin S.S

pp. 7-14

Historical Memory: Structure and Typology

Memorial research is one of the promising areas of modern and historical science, cultural studies, sociology of museology, turning into a modern era of competitive confrontation between various civilizations into an arena of geopolitical and geocultural struggle within the framework of the global world system. The aim of the study is to determine the place and role of historical memory in social memory. The objectives of the study are the analysis of historical memory as a sociocultural phenomenon, the identification of the structure and typology of forms of social memory in modern society. The subject of research is historical memory as a form of social memory. Since the introduction of the concept of “historical memory” in the first half of the twentieth century, M. Halbwaks, who considered social memory as a conventional social construct, has published a significant number of scientific works devoted to this concept in historical, cultural, sociological, and social and psychological discourses. The authors of the presented article propose a universal classification of types of historical memory. The article made an attempt to analyze the composition and typology of historical memory substantiated the structure of historical memory, based on the differentiation of origin, distribution channels, social filters and methods of social reconstruction of the past, coverage of individuals with memorative information. As a result of the analysis, it was proposed to allocate collective historical memory, socio-group historical memory (ethnic, ethnic, religious, professional communities) and individual historical memory. And from the point of view of vertically oriented time levels, as part of the development of the historical process, it was proposed to distinguish in historical memory archaic mythologized, reconstructive legendary, reflective communicative intergenerational and relevant socio-communicative types of historical memory. Such a classification, according to the authors, allows us to rely on various methodological approaches to the study of historical memory of various eras and forms of reflection in it of events that occurred in actual reality and reconstructed on the basis of the later context of events supplemented within the framework of mixed reality, each time using different methods for highlighting historical facts and their reflection and perception and in individual and collective historical memory.

Keywords: social memory, historical memory, typology of forms of historical memory and their functions.

Kudinova A.V., Morozov S.A., Prokhoda P.V.

pp. 14-24

Transformations of a Person’s Sociocultural Identity in a Modern Communicative Environment

In the conditions of rapid development of information and communication technologies, the transformation of a person's socio-cultural identity becomes an extremely relevant topic that requires in-depth analysis. The aim of the article is to study the changes taking place in the media environment and sociocultural contexts influenced by globalisation and regionalisation, as well as to identify their impact on the formation and preservation of personal and public identity. The authors use a multidisciplinary approach, relying on theoretical concepts from sociology, culturology and media technologies. The study uses qualitative and quantitative analysis methods, including a historical overview and comparison of different cultural contexts, to reveal the dynamics of identity transformation in the digital age. Examples of the interaction of individual and collective identities with contemporary media practices are also examined. The authors conclude that the digital environment provides unique opportunities for sharing cultural values, but also threatens unique cultural identities by blurring individual and collective traits. The complexity of choice and adaptation poses internal tensions between the desire to be part of a global community and the need to preserve one's cultural identity. As a result, in practice, many people have difficulty finding harmonious existence, balancing between changes and the preservation of their “ego”. The article shows that sociocultural identity should be considered not as a static category, but as a dynamic process subject to external changes and internal transformations. The conditions of the digital communication environment significantly accelerate this process and present the possibility of new forms of cultural interaction and exchange. However, if a culture does not adapt to the new conditions, it may lead to its degradation and threaten its survivability. In conclusion, the authors emphasise the importance of finding a choice and a balance between change and preserving identity in a rapidly changing world.

Keywords: virtuality, identity, information technology, communication, cultural space, human value system, media environment, digital society.

Voevodin A.P., Serisheva T.V.

pp. 24-33

Methodological Problems of Cultural Studies of Subjectivity in the Youth Sociocultural Space

In this article, the authors investigate the problem of methodology essential for cultural studies in relation to works devoted to the youth socio-cultural space. The relevance of the topic is seen both in the intensification of research interest in youth society, and in the insufficiency of culturological, interdisciplinary methods and methodology of these studies. If sociology has a proven methodological basis for research on the stated topic, then cultural studies does not currently have a systematic set of methods for considering the youth environment. Considering the directions of research devoted to the youth socio-cultural space, the authors have undertaken a productive experience of their systematization according to the principle of the vector of the topic and the problematic, analytically analyzing the methodological expediency of each direction. This approach has a scientific novelty primarily in that it expands the possibilities of cultural studies as a result of the methodological subjective approach to the socio-cultural space of youth proposed by the authors. Based on the subjectivity of youth society, according to the authors, it is possible to use the methodology of cultural studies most effectively. The research can be used for cultural studies devoted to the study of youth society, and be of methodological interest for branches of scientific knowledge related to cultural studies. The article is addressed to both cultural scientists and a wide range of interested researchers of the phenomenon of socio-cultural youth space.

Keywords: socio-cultural youth space, methodology, socialization, subjectivity, methodological approaches.

Naidenko E.A., Naidenko M.K., Mishina T.V.

pp. 33-39

The Formation of Youth Patriotism by Means of Social Memory Institutions

Patriotic education of youth is considered one of the key aspects of modern State policy, aimed at shaping the values and readiness to fulfill civic duties in the younger generation. In the Lugansk People's Republic, special attention is paid to the formation of patriotism of young people, using modern innovative methods. Modern patriotism plays an important role in the formation of civic identity, the unification of society and prevention of social crises, and therefore the activities of libraries and cultural institutions in these conditions are aimed at awareness and respect for the historical and cultural heritage of the region, to improve the educational level and to create conditions for the development of patriotism among the younger generation. The actual aspects of scientific research are considered, the experience of libraries of the Lugansk People's Republic, forms of work, programs are analyzed. Modern patriotism plays an important role in the formation of civic identity, community cohesion and prevention of social crises, and therefore the activities of libraries and cultural institutions in these conditions are aimed at awareness and respect for the historical and cultural heritage of the region, to increase the educational level and to create conditions for the development of patriotism among the younger generation. The study concludes that patriotic education should be based on the principles and functions interacting in an integrated way in order to achieve both personal and social goals of society. It is indicated that only the integrated work of library activity on the formation of patriotism, has a wide range of interactive opportunities within the framework of work on patriotic education.

Keywords: social memory, library, patriotism, youth, traditional values.

Bobrysheva A.V., Pustovit V.Yu.

pp. 40-50

Evolution of the Cancel Culture as a Socio-Cultural Practice: From Genesis to the Socio-Political Trends of the 20th–21st Centuries

At the beginning of the 21st century, under the influence of globalization processes and digitalization, social ties become more complex and new forms of interaction appear. In this regard, the issues of the emergence of new technologies of socio-cultural regulation, among which the most widespread is the cancel culture, are of particular relevance. The purpose of this article is to analyze the genesis and evolution of the cancel culture as a specific socio-cultural practice. The work emphasizes that the cancel culture is a tool through which the promotion of basic socio-cultural trends and the introduction of certain, mainly Western, values occur. According to the cultural-anthropological approach, the practice of “cancelling” (exclusion) as a punishment for social offenses and crimes was inherent in humanity thousands of years ago in various cultural centers of the East and West. When applying the comparative historical method to compare the social practices of expulsion, it is shown that an important stage in the evolution of the cancel culture was the complication of the procedure for eliminating a person from the social system. Also, the translation of physical removal into the symbolic plane can be observed already in Ancient Greece. In later periods, the procedures of "exclusion" were used in Christian religious traditions as punishment for heresy and apostasy, as well as in the procedure of "civil execution" in Russia. With the development of mass media, the “cancelling” of someone acquired mass and total character, which was reflected in the Western political space as the phenomenon of “new ethics”. It is characterized by a revolutionary approach to values and socio-cultural attitudes that contradict or simply do not relate to it, requiring a radical revision of old social practices (“old ethics”). The final transformation of the cancel culture is taking place at the present stage with the spread of this technology into the sphere of international relations. It is transformed from a tool of manipulation into a socio-political mechanism and is applied to entire countries and peoples. This is most clearly seen in the example of the attempt to cancel Russia, its culture and traditions from 2022. Thus, having undergone a long evolution, the cancel culture has transformed from individual socio-cultural practices of traditional societies into an actively implemented socio-political instrument.

Keywords: ostracism, cancel culture, cancelling, society, values, socio-cultural practice, new ethics.

Kostenko O.V.

pp. 51-59

The Adyghe Wedding Ceremony as a Means of Broadcasting the Cultural Code

This article examines the problem of the implementation and transmission of the cultural code in the wedding rituals of the Adyghe. The need to study cultural codes is due to their importance in preserving ethnic and cultural identity and traditional values. The objectives of the study are to determine the structural elements of the traditional wedding ceremony of the Adyghe, which most clearly transmit the cultural code of the people, as well as to identify the vectors of the direction of the influence of the cultural code on individual subjects of the ritual action and on the formation of standards of socio-cultural interaction in the ethnic consciousness. The cultural approach is based on the method of structural and functional analysis, with the help of which the authors identify the potential for cultural coding of individual elements of the wedding ceremony. The authors find that in the system of cultural coding during the Adyghe wedding ceremony, a focus is realized on different categories of participants in the ceremony and on the desired qualities of family life and non-family relationships. This is how the ideal of a young man – strong, courageous, brave, resourceful – was fixed in the Adyghe mentality. His financial viability was also considered an important quality. The girl valued self-esteem, the ability to show patience, good health, respect for her relatives and relatives of her future husband. Family life as a form of social interaction in the traditional consciousness of the Adygs in its best manifestation was seen as a calm, rich, caring cohabitation of several generations – newlyweds, their children, parents, grandparents of her husband. The main purpose of creating a new family was the timely appearance of healthy children – the successors of the family. The importance of respect for elders was emphasized in a special way. In the wedding rite the coding of the value of collectivism - mutual help and support of fellow villagers to each other during important events, both joyful and sad, was clearly realized. Today, when a significant number of Adygs live in the city, the specific feature of family rites remains their mass, nationwide nature and the presence of young people. That is why rituals can be considered one of the most important ways of preserving and transmitting cultural codes from the older to the younger generation.

Keywords: cultural code, ritual, adygi, traditional culture, ethnos, ethnic culture, wedding ceremony.

Tril Y.N., Siyukhova A.M.

pp. 59-70

Memories of Museum Workers as a Source for Studying the History of the Museum (Based on R.M. Alexina’s Memories about the House-Museum of N.S. Leskov)

The article reveals the importance of the memoirs of museum workers as a source of personal origin. The information contained in them allows us to supplement the history of a particular museum, to identify a large number of facts that are not reflected in other types of sources, or, on the contrary, to supplement well-known information. It is especially valuable that the captured events of the past are reproduced in them by the author from memory. Having witnessed many of them, the author expresses his own opinion about what is happening, points out their advantages and disadvantages. However, the memories are not devoid of subjectivity. The subject of the study was the memories of Raisa Mitrofanovna Aleksina, in which she shares her experience of working at the State Literary Museum of I.S. Turgenev. The study used the historical and biographical method to interpret the degree of the author's participation in the popularization of the creative heritage of N.S. Leskov and the opening of memorial exhibitions to him. A systematic approach made it possible to study the personal and professional qualities of R.M. Aleksina in their interconnection, as a single whole. For the first time, comparing the information obtained from the memoirs with the official one, it was possible to determine the contribution of R.M. Aleksina to the formation of the network of literary museums in the city of Orel, including the opening of the only monographic memorial museum in Russia - the House-Museum of N.S. Leskov. R.M. Aleksina's memories convincingly prove that Soviet society was aware of the need to preserve the historical memory of the writer, including by museum means and forms. Thanks to the enthusiasm, knowledge, and hard work of Raisa Mitrofanovna and her colleagues, the museum today has become one of the scientific centers for the study of the life and creative heritage of the writer.

Keywords: personal sources, memories of museum workers, State Literary Museum of I.S. Turgenev, House-Museum of N.S. Leskov, R.M. Aleksina.

Stepanova E.Yu.

pp. 70-79

The Practice of Preserving and Studying the Historical and Cultural Heritage of Dagestan (On the Issue of Creating a Museum of the Artist Khalil-bek Musayev)

The purpose of this article is a socio-cultural analysis of the work carried out in the field of preservation of historical and cultural heritage in the Republic of Dagestan. The relevance of the research is caused by the lack of works on a given topic and the urgent question of preserving the creative heritage of Dagestan's first professional artist Khalil-bek Musayev. In the Republic of Dagestan, there are successes in preserving cultural heritage, which is explained by the respectful attitude of residents to the historical past, to the memory of their ancestors, the merits of employees of cultural and scientific institutions, and the support of the Ministry of Culture of the Republic of Dagestan. The article uses documents from the Ministry of Culture of the Republic of Dagestan: State reports on the main activities of the Ministry of Culture of the Republic of Dagestan, orders of the Ministry of Culture, information on achievements in the field of culture and art for 2021-2023 in the Republic of Dagestan. The principles of objectivity, historicism, analytical method, as well as comparative and structural-functional cultural approach were used in the work. The author notes that the question of the need to establish a museum of Dagestan's first professional artist Khalil-bek Musayev, who spent most of his creative life in Germany and the USA, remains open. His paintings, documents, letters and personal belongings, donated by the artist's widow from the United States more than 25 years ago, are at the disposal of the Foundation named after him. Over the years, neither the Foundation nor the officials have been able to agree on the opening of the museum. The return of the creative heritage of emigrant artists to their homeland is of great importance for the preservation of the cultural heritage of the country. This helps to restore historical memory, to return important works of art that were created by representatives of national culture abroad. Such works often reflect the unique views and experiences of artists who lived far from their homeland, but at the same time maintain a connection with it. Perhaps, with the advent of the Khalil-bek Musayev Museum, our contemporaries will have a new creative and aesthetic reference point. And the master's paintings will rightfully take their place in the artist's homeland and become available to viewers and researchers. The task of the museum, scientific and cultural community is to actively assist in the creation of a museum in the artist's homeland, seriously study creativity and popularize the legacy of the first professional artist of Dagestan.

Keywords: historical and cultural heritage, Republic of Dagestan, museum, works of Khalil-Bek Musayev, emigrant artists.

Semenova O.V.

pp. 80-88

Modern Chinese Music: Synthesis of Tradition and Innovation

This article examines contemporary Chinese music and interaction with Western traditions. The aim of the study is to identify key trends in the development of 21st century Chinese music that combines national identity and global influences. The methodology includes analysis of scientific literature, musical works, and cultural trends. The research considers the works of contemporary Chinese composers, particularly Sheng Zonglian, as an example of synthesizing traditions and innovations. The study reveals the following trends: emergence of hybrid genres combining elements of Chinese and Western music; active use of digital technologies in music creation and performance; reinterpretation of traditional musical forms and instruments. The article concludes that a unique musical language of contemporary Chinese music is being formed, organically combining national traditions and global trends. The important role of the music education system in preserving and developing Chinese musical traditions is emphasized. The research analyzes the processes of transformation of Chinese music under the influence of globalization and technological progress. It examines the creative approaches of key figures in contemporary Chinese academic music, such as Sheng Zonglian, whose works demonstrate successful integration of Chinese musical heritage and Western compositional techniques. The novelty of the study lies in its comprehensive examination of the synthesis of traditions and innovations in 21st century Chinese music. The article provides new insights into the challenges of preserving national musical identity in the context of global cultural integration. The findings contribute to a deeper understanding of the current state and future prospects of Chinese music in the global cultural landscape. The research highlights the importance of purposeful cultural policies and educational strategies in maintaining the balance between preserving traditions and embracing innovations in Chinese music.

Keywords: Chinese Music, Globalization, Musical Traditions, Cultural Synthesis, Sheng Zonglian, Digital Technology, Music Education, Hybrid Genres, National Identity, Global Music Culture.

Wu Xiaoli, Borisov B.P.

pp. 88-97

Collage of Musical Quotes in the Animated Series “Well, Wait!”

Based on the analysis of the animated series “Well, wait!” (1969–1993, issues 1–18, directed by V. Kotenochkin, V. Tarasov, Soyuzmultfilm studio), the basic principle of introducing musical quotations into the media text through the collage technique is highlighted. The collage principle manifests itself in a combination of musical themes of various styles and genres, which allows you to create a multi-layered perception of what is happening on the screen. The collage citation method was used to create a unique identity of the series, which makes it a significant phenomenon in the world of animation. The animated series “Well, wait!” demonstrates how musical quotes, using collage techniques, create a multifaceted perception of storylines. The fusion of various styles – from classical music to jazz – allows the viewer to immerse themselves deeper into the atmosphere of the era, conveying the characters of the characters and the dynamics of what is happening. Music becomes not just a background, but an active participant in the narrative, linking visual elements, acting as a kind of commentary on what is happening, adding meaning and emphasizing the comic beginning of the series. The method of classification of musical material proposed by the author of the article opens up new possibilities for the analysis of compositions. Clearly drawn boundaries between instrumental and vocal works allow us to explore their influence on the structuring of the plot. The arranged quotes provide an opportunity to consider how changing well-known melodies creates new semantic contexts, which is important for understanding the author's idea. Thus, the principle of collage becomes key to the formation of a unique identity of the series. This is not just a technique, but a whole methodological approach that contributes to the richness of expressive means. Such research opens up horizons for future analyses in the field of animation and music.

Keywords: “Well, wait!”, animation; quote; collage, film music; classification; functions.

Tolpeeva N.I.

pp. 98-106

Chinese National Academic Singing: The Phenomenon of the Jin Tielin School

Chinese music and singing art is now attracting more and more attention of art critics not only in the country itself, but also far beyond its borders, including Russia: many competitions are organized, articles and dissertations are written, reports are made at scientific conferences. But not everything has been studied yet. Among the urgent problems that require the solution of modern approaches, the development of a special conceptual series, and new practices is Chinese national academic singing. In particular, it is not fully clarified what role Jin Tielin (1940–2002) played in the establishment of this type of singing. This explains the relevance of this article. The main thing that is revealed in it is that since the end of the XX century, the system of teaching folk vocal music of the professor of the Beijing Conservatory Jin Tielin (school of folk vocal music) has made itself known. The main conclusion: the school was a new step, almost the main one for the entire century. The integrated type of singing acquired a specific appearance and characteristic features. As the analysis of Jin Tielin's works has shown, he developed and theoretically and comprehensively tested in practice six principles (an extremely correct scientific approach to vocals; clear and accurate pronunciation; impeccable command of Chinese traditional vocals; good physical training and choreographic skills; the ability to express certain feelings of vocal works; awareness of culture, artistic training and musicality). Art historians named the special “signs” of the school (consistency, authority, all-Chinese recognition), pointed to the phenomenon: the synthesis of the spirit of the most important techniques, the “Sinicization of bel canto”, the creation of a new type of singing.

Keywords: art of vocal, Jin Tielin School, principles of training at school, folk vocals, academization, Chinese national Academic Singing.

Yang Teng

pp. 106-114

Ways of Developing a Domestic Concert Symphony: On the Issue of Genre Modifications

The article is devoted to the historical retrospective of the concert symphony in Russian musical culture from the origins to the twentieth century. The subject of this research is the multiplicity of genre modifications as a consequence of aesthetic paradigms in the Russian musical and artistic culture, starting from the 18th century. An early example of the genre in the work of D.S. Bortnyansky, reflecting the trends of Italian culture, gave impetus to the emergence and rooting of the genre on domestic soil. Both the genre itself and its distinctive features evolved. Thus, the principles of sound color, virtuosity and timbre dramaturgy laid down by M.I. Glinka made an invaluable contribution to the development of both classical and concert symphonies. They received their highest embodiment in the work of P.I. Tchaikovsky. In the 20th century, the vector of development of the concert symphony changed towards new genre syntheses in the context of the ideas of modernism, and in the second half of the 20th century it fell under the influence of postmodernist trends. The conceptual solutions of this period turn out to be directed into the sphere of cosmogony, sacredness, and the transitivity of the worlds. The developing multidirectional tendencies towards chamberization and enlargement of the genre deepen and expand the figurative sphere of the concert symphony, contributing to the most varied existence of the genre. Among the composers whose works are in the focus of consideration are V.G. Kikta, T.G. Smirnova, Y.M. Butsko, S.S. Berinsky, S.M. Slonimsky, M.S. Weinberg, A.G. Schnittke, V.V. Silvestrov. As a result of the study, it is shown that the concert symphony throughout the whimsical line of historical development turned out to be a hybrid with a stable set of parameters that allow it to be given a reasonable definition. A concert symphony is a concert and symphonic work in a cyclic form, in which the dramaturgy of the game and the dramaturgy of the goal is built on the virtuoso development of the personified instrumental timbre (timbres), being the main way of embodying the concept of Man in the aesthetic and stylistic context of his Time.

Keywords: concert symphony, symphony-concert, concert-symphony, music for..., concert music, instrumental genres, concept, folk music, postmodernism.

Shmakova O.V., Mishenkova O.V.

pp. 114-123

“Orfeo” by E.I. Fomin and European Operatic Traditions

The melodrama “Orfeo” by E.I. Fomin is one of the key works for the history of the Russian opera theater. At the same time, it has not been studied enough, and many facts of its creation and first productions still remain unknown due to the lack of direct documentary sources. However, even in their absence, it is possible to study this work from a different perspective: considering it in the context of the development of European operatic traditions. It allows us to understand exactly what and how influenced the emergence of this work, and what trends turned out to be important and in demand on the Russian musical and theatrical scene. Being a graduate of the Bologna Philharmonic Academy, who has studied Italian theatrical and church traditions well, Fomin demonstrates in “Orfeo” not just a superficial connection with them, but the deep rootedness of his musical thinking in Italian opera and vocal music in general. In the process of studying the score of “Orfeo”, direct connections are found with the opera aria, its types, with the theatrical stile ombra, as well as with the church music of J.B. Pergolesi. Another source of influence on Fomin's “Orfeo” turned out to be the Russian drama theater, its ideas, famous actors, especially the first performer of the role of Orpheus I.A. Dmitrievsky. All this makes it possible to see Fomin's melodrama not only as a unique example for Russia of a serious musical and stage work, a synthesis of opera and drama, but also as part of the pan-European process of moving towards serious musical drama, taking place in the works of many European authors in connection with the revolutionary upheaval in France and other historical events.

Keywords: E.I. Fomin, Russian serious opera, Italian opera, melodrama, theatrical style.

Jia Jinyu

pp. 124-132

Polyactivity as a Component of the Creative Activity of a Crossover Musician

Modern musicians-performers face new challenges of the time, the essence of which is in the combination of various stylistic models in one musical composition, the so-called classical crossover. The article provides examples of such works for various instruments. Artists working in this direction can be attributed to a separate group of crossover musicians, who are characterized by features that distinguish them from classical or jazz musicians. Among these qualities, the ability to polyactivity, as a combination of various professional skills in one musician, is of particular interest. The term “polyactivity” is borrowed from psychological science, the activity approach of the outstanding Soviet psychologist A. N. Leontiev. In the scientific works of Kondratiev M. Yu. and Sapozhnikova L. D., studies of mono- and polyactivity in the context of a group of people and one person, respectively, are presented. Polystructured activity is characterized by parallel equally significant activity of individuals in a group, as well as giftedness in an individual, in contrast to monostructured. In the article, the authors draw a parallel with these studies and project their results onto the polyactivity of a musician. Group polystructure (work in an ensemble) is designated as horizontal, and individual as vertical. Based on a comprehensive methodology and, above all, the principle of historicism, a connection is established between two phenomena - classical crossover and polyactivity of a musician working at the junction of different musical eras. Such composers as I. Brahms, M. Reger, D. Gershwin, A. Piazzolla synthesized the traditions of many musical trends in their work, realizing themselves not only as composers, but also conductors, instrumentalists, and teachers. Examples of modern concert crossover performers are given, possessing the skills of performing classical music, jazz, improvisation, and mastering many musical instruments. As a current example of horizontal polyactivity, collaborations of representatives of various types of art are given, who create new modern concert genres, such as immersive concerts, color music shows, theatrical concerts, etc.

Keywords: crossover musician, poly-activity, self-realization, mono-activity, synthesis of arts, multi-instrumentalism, improvisation, third current, classical crossover.

Dyma I.A., Pchelintsev A.V.

pp. 132-140

Gold in the Jewelry Industries of Dagestan (late 19th – early 21st centuries)

The article is devoted to the formation and development of a new trend in the jewelry crafts of Dagestan in the late 19th – early 21st centuries. The topic has been little studied in the literature. The present topic is investigated on the basis of historical, literary and field materials of the authors. The study traces the development of historical traditions of the use of gold in the crafts of Dagestan on the example of such famous folk art centers as Kubachi and Harbuk. Retrospective, problem-chronological, comparative historical and other methods important for historical and art studies are used. In the Middle Ages, Dagestani craftsmen used to make jewelry except silver and gold. High-grade gold was used for notching iron rims of weapons and other products (typesetting belts, powder flasks, gaskets, women's jewelry, etc.). High-grade gold was also used for decoration with a notch of ivory or walrus bone. Scabbards, dagger handles, sabers or checkers were lined with decorated bone details. Another area of use of high-grade gold was the manufacture of gold mercury amalgam for gilding engraved surfaces and contours of compositions in weapons and other products. Gilding made it possible to increase the decorative effects in the works, the expressiveness of the compositions, gave artistic effects when combined with black patterns, overlays of openwork bone, enamel, inserts of gems on products. Since the middle of the nineteenth century, the time has come when the craftsmen of Dagestan got acquainted with the factory gold jewelry of Russia and the concept of gold samples. Some of them began to use for work, in addition to silver, also trial gold obtained from scrap gold products. In Soviet times, jewelry workers from Dagestan widely used trial gold, being in the process of earning money in the republics of Central Asia and the Caucasus. At that time, trial gold was also used to produce bimetals, when thin gold plates were soldered onto the silver base of the product. The bimetal plate was then decorated with a sawn-out jigsaw pattern, finished with bar engraving. Thus, with the formation of the traditions of factory production in Russia, Dagestan's jewelry crafts using gold received a new impetus for development. Gold processing technologies for the manufacture and decoration of jewelry, as well as electroplating, were widely used in Dagestan jewelry industries in the post-Soviet period. Today Dagestan Gold is a well-known brand of Russian trade.

Keywords: jewelry crafts of Dagestan, historical traditions of the use of gold in jewelry, factory gold jewelry of Russian companies of the early twentieth century, gold crafts of Dagestan of the post-Soviet period, “Dagestan gold” as a brand.

Magomedov A.Dzh., Yusupov Kh.A.

pp. 141-155

The “Triumphs of Love” by Petrarch and by Apollonio di Giovanni in the Context of the Early Italian Renaissance

Renaissance interpretations of the theme of the Triumph of Love by the poet Petrarch and the painter Apollonio di Giovanni in their comparison have not yet been studied in Russian literature with the help of new approaches. The main material is Petrarch's poem «Triumphs» (1340s-1374) and the board ‘Triumph of Love’ by the artist of the mid-15th century. Main conclusions. Petrarch's poem and its visual embodiment by Apollonio di Giovanni testify (according to R. Chlodowski) to the active formation of a new cultural landscape. This landscape is in many ways a new picture of the world, value and aesthetic orientations, new ideas about man, born of the epoch, which came to be defined as the Early Modern Age. The verbal as well as visual series of the studied works reveals new Renaissance artistic practices. In our case, if we look back at the contexts and hermeneutic meanings, the artist's focus is not the mythological Cupid, nor heroic warriors or emperors of the past, but contemporary Florentines, with their understanding of love that does not exclude laughter (Aristotle's story) and citizenship (Dalila); iconographically, there are also many innovations: Cupid is not connected to the image of the triumphant and Rome, the artistic space of the event unfolds towards Florence and distant Cyprus. For the poet, the aesthetic formula “beauty pierced through my heart“ allows him to artistically represent the immensity of bright emotions and the depth of suffering of his characters, love as a living timeless feeling that does not leave a person even in the world of shadows, which no one is destined to resist. The study makes it possible to supplement the “triumphal” typology of images by including a mixed variant (contemporaries, gods, heroes of myths, historical figures); triumphs with philosophical and ideological names also require a special place in the typology. “Triumphs of Love” by Petrarch and the early Renaissance painter do not coincide in everything, emphasise different subjects, represent different levels of art, but they are similar in secular language, attitude to the past as the actual present, defending the dignity of the individual; the height of Petrarch's poetic text is replaced by an aesthetically vivid artistic narrative created in the space of the Renaissance artistic style.

Keywords: early Italian Renaissance, anthropocentrism, iconography of triumphs, “The Triumph of Love” by Petrarch and Apollonio di Giovanni (a gift board for women in labour), applied art of 15th-century Florence.

Devyataykina N.I.

pp. 155-169

А Flourishing Сross in a Byzantine Miniature Book and in the Decoration of the Sarcophagus of Yaroslav the Wise: The Dialogue is Figurative and Geometric

The image of the Flourishing Cross is one of the most expressive, well–known and symbolically filled images of Christian culture. The purpose of the study is an attempt to analyze the image of the Flourishing Cross, taking into account not only its symbolic and artistic features, but also the dogmatic and mathematical principles that could be embedded in its iconographic program. The architectonics of the miniatures depicting the Flourishing Cross in the Byzantine handwritten Gospels of the X-XI centuries suggests that their composition is based on the strict application of mathematical (geometric) methods: the use of a Golden and Regular triangle, spiral of the Golden Section, quadrature of a circle, etc. The figurative, artistic image of the Cross is superimposed on a geometric “frame”.  The lines and details of the drawing reveal and suggest the presence of geometric constructions. Such an assumption allows us to consider from a new perspective the most famous image of the Flourishing Cross in Ancient Russian culture – on the sarcophagus of Yaroslav the Wise. A Flourishing Cross on the western end of the sarcophagus is taken for analysis. As a result of the analysis of this monument, the hypothesis is confirmed that the Byzantine masters use a strict and well-developed geometric system, which becomes the basis for constructing the composition. The height of the sarcophagus, the level of the junction line of the box and lid, the size of the acroteria and their angle of inclination, the size of the Cross and the location of decorative motifs are not arbitrary, but are subject to geometric principles. It is revealed that the composition of the Flourishing Cross of the sarcophagus of Yaroslav the Wise contains the solution of three famous ancient problems for construction: problems of angle trisection, circle quadrature and doubling of the cube. At the same time, geometric constructions are not an end in themselves, but can carry symbolic and theological meaning.

Keywords: Flourishing Cross, Byzantine miniature, sarcophagus of Yaroslav the Wise, mathematical methods in art, Golden section, quadrature of a circle.

Suslova R.A.