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From the Editor

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Phenomenological Aspects of the Concepts “National Cultural Identity” and “Cultural Code of the Nation

The link between the ideas of “national cultural identity” and “cultural code of the nation”, which are situated inside the boundaries of a single conceptual field due to their distinctiveness, is examined in this article. Because they are connected to a single topic – the country – they serve as examples of how current scientific language intersects, overlaps, or replaces one idea with another. The research objectives and goals are to determine the boundaries of the conceptual field of national identity, indicate the terminological differences between “national identity” and the “cultural code of the nation”, and determine the prevailing trends in the transformation of national identities and cultural codes based on the ethnocultures of the CIS countries. Phenomenological analysis, conceptual analysis, the structural-functional analysis technique, axiological and analytical research methods, the method of categorization analysis, etc. are the primary research methodologies used in this publication. The authors conclude that throughout the study, there is a correlation and divergence between the terms “national identity” and “cultural code of the nation”. This is because national identity is understood to be how we understand our relationship to and sense of belonging to national cultural values and meanings, while the very idea of translating cultural values and meanings and how these are understood and interpreted by other ethnic groups falls under the purview of the cultural code. Furthermore, it is mentioned that the idea of “cultural stereotypes”, which is defined as “a generalized idea of the behavior and manners of a people”, and the individual’s perception and interpretation of a foreign culture and country are related. The term “cultural code” is also occasionally used interchangeably with “cultural stereotypes”. The authors conclude that national cultural codes are dynamic, capable of absorbing aspects of other cultures, integrating into other national codes, and tending toward universalization after researching national cultural codes based on the ethnocultures of the peoples of the CIS countries. When compared to a nation’s cultural code, national identity is more solid because, philosophically speaking, it is more static and pertains to existential categories, conveying the meaning of “relations between objects” and not their “processuality”.

Keywords: conceptual field, conceptual analysis, phenomenological analysis, integration of culture, universalization of culture, cultural meanings.

Radik I. Batyrshin, Lyubov S. Gurevich

pp. 18-24

The Language of Symbolic and Graphic Modeling in the Traditional Folk Works of Kabardians and Balkarians

The article examines the stylistic features of symbolic-graphic formation as a complex sign structure, which is an identifier of the language of folk art existing in the traditional culture of Kabardians and Balkars. The development of questions devoted to the ethnography of folk art required turning to the scientific works of authors who studied the history of culture, the theory and practice of traditional artistic crafts, where special attention is paid to the originality of the language that formulates national cultural codes. Methods of cultural knowledge: comparative, typological, semiotic made it possible to reveal and substantiate the specifics of graphic form formation in the traditional craft culture of Kabardians and Balkars as a system of informational and symbolic images. The analysis revealed that when posing cultural and aesthetic problems related to the expressive means of folk craft culture, one cannot do without considering the originality of the language of artistic modeling, which characterizes the symbolic-aesthetic significance of the entire layer of sociocultural experience of peoples. In the course of the study, it was established that artistic shaping in the traditional craft practices of Kabardians and Balkars demonstrates methods of graphic visualization, turning an ornamental sign into a symbolic image. From the above it follows that symbolicgraphic images transmit ethnocultural codes that allow peoples to interact using visual means of expression. The results obtained are of unconditional historical and cultural significance - they expand and clarify theoretical and practical ideas about the evolution of folk art, which makes it possible to consider the language of graphic form-building as an expressive system of traditional artistic practices, with the help of which the symbolization of images is carried out. In the future, the results of the study suggest the identification of new communication systems that transmit symbolic and graphic phenomena of different national cultures into the global civilizational space.

Keywords: traditional culture, graphic symbolism, craft practices, symbol creation, graphic image, Kabardians and Balkars, folk art, tamga-like signs.

Naila V. Galimova

pp. 24-30

The Barbarization of the Image of Russia in the German Russophobic Discourse of the Late 18th–19th Centuries

Russophobic ideology has deep roots. The concepts used in relation to Russia reflect the “civilization–barbarism” dichotomy. The purpose of the work is to identify the peculiarities of the interpretation of Russia as a barbarian in the works of German intellectuals of the 18th–19th centuries: J.M. du Pan, G.F. Rebman, J. von Herres, E.M. Arndt, R.E. Martin, K. Marx, F. Engels and others. The objectives of the study reflect the logic of the analysis of the problem based on the works of German publicists, as well as domestic researchers dealing with this issue. The novelty of the research lies in the identification and understanding of the concept of “barbarian” in the German Russophobic discourse of the designated period. The methodological basis of the research is based on the elements of historical and cultural analysis, as well as the works of modern researchers of the phenomenon of Russophobia. German Russophobia, which originated later than in other European countries, actively perceives the concept of “barbarian” from them. The barbarization of the image of Russia is based on the peculiarities of its historical development, the specifics of natural and climatic conditions and the Eastern version of Christianity. Russian Russian threat concept is also interpreted through the concept of the barbarian, expressing the aggressive character of the Russian people. Russophobic ideas, formulated in the works of German philosophers and publicists, formed the basis of Nazi ideology.

Keywords: barbarization, Russia, Europe, Russophobia, civilization, culture, history, dichotomy.

Natalia P. Monina

pp. 30-39

Cultural Philosophical Identity of the Romantic Myth

The article examines the issues of the identity of the romantic myth as an autonomous ideological system that requires the close attention of researchers of cultural history. The phenomena of the romantic myth are characterized according to cultural and philosophical criteria, which makes it possible to determine their differences from the phenomena of other cultural movements of the European type. It is among these trends, associated with them within the framework of sociocultural determination, that this article examines the romantic myth. It is concluded that it not only takes its place among the phenomenal periods of European culture, but still remains relevant, manifesting itself in modern phenomena. Analysis of the romantic myth according to cultural and philosophical criteria, especially in comparison with other cultural movements, allows us to determine the origins of romantic mythology in their original meaning, which becomes extremely important both for research in the field of cultural history and for the analysis of modern cultural trends. The article gives a brief description of cultural philosophy: both the term and the field of cultural philosophy, which appeared precisely in the depths of the romantic movement in the 19th century. It is concluded that the origins of this phenomenon were the German historical school represented by one of its founders, Adam Heinrich Mьller. Next, an analysis is made of the development of cultural philosophy in the philosophical and historical perspective of the 19th – 20th centuries. The names of the researchers and a brief assessment of their concepts are given. Among the researchers are Friedrich Schleiermacher, Otto Liebmann, Ernest Cassirer, Friedrich Nietzsche, Oswald Spengler, Johann Huizinga, Wilhelm Dilthey, Martin Heidegger, Hans-Georg Gadamer and others.

Keywords: romantic myth, cultural philosophy, ontology, philosophy of culture, intellectual reflection, sociocultural determination, cultural analysis, cultural dynamics.

Sergei V. Kudryashov

pp. 39-47

Musical System and Images of the World Order

In the history of musical art of European tradition, the most significant place is occupied by two sound systems. It is a Pythagorean (or natural) system that prevailed in musical art from Antiquity to the Renaissance and an equally tempered system that formed the basis of modern music. The purpose of the article is to identify the worldview grounds for the organization of sounds within the framework of these structures, comparing them with ideas about the structure of the universe, which prevailed in the public consciousness at the appropriate stages of history. The Pythagorean (or natural) system was formed by moving along perfect fifths from any original tone of the scale, and therefore did not have the quality of unity. It was a collection of independent sound series built from different pitches. Therefore, the distinctive quality of the Pythagorean (natural) system should be considered its multilevel or multi-composition. The process of becoming new - a uniformly tempered system coincided with a period when the picture of a multi-level world gave way to new ideas: the space of the universe acquired the qualities of unity, homogeneity, boundlessness. The creation of a new musical system also involved the formation of a single homogeneous sound space. As a result of lengthy acoustic experiments, the perfect consonance of the fifth lost its acoustic purity and numerical perfection. But equal temperament provided the sound space with the quality of unity, homogeneity and potential boundlessness. Thus, the leading function of the musical system is to transform the natural chaos of sounds into an organized sound Space. At the same time, the structure of the sound system meets those ideas about the world order that prevail in the public consciousness of the corresponding historical era.

Keywords: Pythagorean natural tuning, 12-tone Equal temperament, sound space, structure, images of world order.

Galina V. Rybintseva

pp. 48-57

The Study of Daguerreotype Passports as an Attribution Method (Using the Example of the Work of J. Veninger)

The article is devoted to the problem of attribution of works of early Russian photography. The daguerreotypes of the Austrian photographer J. Weninger (1802 – after 1854) were used as a base for the study. A individual style found expression in the corporate design of the works. This makes it possible to use different variations of Passepartout to determine the author’s name. The author identifies and describes the main types of the master’s mounts, attempts to arrange them in chronological order; along the way, topical attribution issues are raised. Attention is focused on the contradictions that arise when trying to study daguerreotypes and on the problems associated with trying to reconstruct lost mounts. Daguerreotypes of J. Weninger’s works, created during his professional activity in Russia in 1843-1854, are marked by a bright personality, which is reflected in the style of the mounts, which allows them to be considered as an additional evidence base for attribution of his works. The daguerreotypes created by him during his professional activity in Russia in 1843– 1854 are marked by a bright personality, which is reflected in the style of the frames, which allows them to be considered as an additional evidence base for attribution of his works. In relation to other photographers who have worked in this technique, the effectiveness of this research method will be confirmed as new facts of their biographies are known and new works are revealed. Currently, the legacy of the Russian Daguerreotypists is in quantitative terms, excluding J.Weninger and S.L. Levitsky, it is not enough for the attribution method based on the type of mounts to be considered as preferential. The lack of research devoted to the study of daguerreotype mounts makes this article extremely relevant.

Keywords: daguerreotype, Russian photography, J. Weninger, attribution of photographs, daguerreotype mounts.

Natalia Y. Avetyan

pp. 57-70

Role of A.M. Gorshkov (1924–2004) in Development Museum-Reserve “Sudak Fortress”: Unity of Life and Creativity

In the article, on the basis of unique unpublished documents from the archival department (municipal archive) of the city of Sudak, personal fund, periodical materials and extensive local history literature, dedicated to Crimea, the city of Sudak and its residents, the features of the life and work of Alexei Matveevich Gorshkov, participant, participant, are considered Great Patriotic War, prominent public figure, researcher, and later-head of the MuseumReserve “Sudak Fortress”. Working as a researcher, and later-the director of the MuseumReserve “Sudak Fortress”, A.M. Gorshkov conducted various, including scientific research on the object, which made a significant contribution to the domestic museumvalism and monumental studies. In addition, in the late 1960s, A.M. Gorshkov was one of those who saved the city from the capital development, which would turn the Sudaki bay into the port, which inevitably threatened the destruction of zander as a unique historical and cultural center. Of particular interest is the artistic work of A.M. Gorshkov. Being a self-taught artist, prompted by an inexhaustible interest in Russian culture and nature, he achieved significant success, creating landscape painting and paintings on historical themes-his many works are stored both in private collections and in museums of Moscow, Kiev, Simferopol, Feodosia, etc.

Keywords: A.M. Gorshkov, Cultural Heritage, Museum-Reserve “Sudak Fortress”, artistic creation, scientific research, social activity.

Vyacheslav A. Ivanov, Elena V. Katunina, Antonina V. Shvetsova

pp. 71-80

Filigree in Traditional Jewelry Art of the North Caucasus

Filigree refers to the phenomena of jewelry and folk crafts of the North Caucasus. Today, its historical traditions have been little studied. In this article, based on field research, observations, and other researchers, the task is to deepen the understanding of the historical and new traditions of this decorative technique. At the end of the 19th – 20th centuries. It became widespread in the regions of the North Caucasus, where at that time many workers from Dagestan worked. An analysis of the literature and sources shows that by the collective term “filigree” the authors of the research understand: a) a type of jewelry, b) decorative technique, c) ornamental decor, widely used not only in the art of filigree work, but also in the art of enamel, jewelry using inserts of ornamental and precious stones. Filigree in the form of folk jewelry is found in all parts of the world, and researchers see it as one of the original decorative techniques inherent in human culture. This is also confirmed by the fact that products with decorative elements made of wire and grain have been found since ancient times. They are well known from archaeological materials. The art of filigree began to develop actively in the Middle Ages. The heyday of filigree technique and art stands out in the second half of the nineteenth and early twentieth centuries. Filigree was also used in the practice of enterprises of folk art crafts of the Soviet era. Due to the prospects of its use as a methodological technique since the end of the twentieth century. It has become widely used in the educational practices of art schools and universities. The definition of filigree as a decorative technology using scans and grains is widely known. It is also called translated in the languages of Dagestan. This technology was widely used not only as an independent jewelry technique, but also in work with enamel, in the manufacture of jewelry with inserts of gems. In the era of globalization and the spread of new techniques and materials, individual techniques for making filigree began to change. Today, it is increasingly possible to find products with cast filigree, which is difficult to distinguish from handmade (made by hand). Today, the task is to study all varieties of filigree jewelry schools of the peoples of the North Caucasus, which existed from the second half of the nineteenth and twentieth centuries. Despite a certain fading of interest in this historical jewelry technology of the peoples of the North Caucasus, prospects for its revival remain in our time. It has acquired particular importance in recent decades as a method of educational practices for teaching younger generations jewelry making.

Keywords: traditional arts and crafts of Dagestan, jewelry, filigree technique, types of filigree.

Amirbek Dzh. Magomedov

pp. 80-87

Directing and Dramaturgical Techniques of Historical and Archival (Editing) Films

The article analyzes the dramatic and directorial techniques of historical and archival (editing) film. The definition of the direction and the concept of the chronicle are clarified, ways of connecting and comparing fragments of the chronicle to create a complete soundvisual image are revealed. Practical ways to overcome the problem of working with a chronicle format that is irrelevant for a modern monitor are explored. The degree of scientific elaboration of the problem is low – there is still no list of practical techniques that could be used to create a montage movie. At the same time, the relevance of the study of this topic is obvious: the chronicle is a huge cultural and historical layer of collective heritage that can be rethought in the context of modernity. Another reason why it is necessary to explore the practical possibilities of editing a film is the crisis of direction that we are currently witnessing. So, in 2023, in the competition of the most prestigious documentary film festivals – “Russia”, “Message to Man” there was not a single historical and archival film, nor was there a single installation picture presented for the national award in the field of documentary cinema “Golden Candle”. At the same time, the best films of the Soviet period – “The Defeat of the German troops near Moscow” (directed by L. Varlamov and I. Kapalin, 1942), “Ordinary Fascism” (directed by M. Romm, 1965), “The Unknown War” (directed by R. Carmen, 1979) were made using the editing method cinema, which indicates the great potential of stylistics. We attribute this to the lack of a theoretical and practical base that would allow us to develop the direction. The purpose of this study is to clarify the parameters of the historical and archival film model and identify specific practical techniques characteristic of montage cinema. The subject of the research is the means of creating an image in a historical and archival film. The author comes to the conclusion that the aesthetics of the historicalarchival (montage) film makes it possible not only to form a historically reliable chronotope, but also to use the chronicle as an expressive image.

Keywords: chronicle, chronotope, historical and archival film, montage cinema, frame format, sound visual image.

Elizaveta S. Trusevich

pp. 88-98

The Aesthetic Paradigm of “Dance Education” in the Discourse of the Axiology of Traditional Choreographic Culture

The conceptual discourse of the article lies in the field of explication of the aesthetic paradigm of “education by dance”, based on a high dance and performance culture designed to ennoble and aestheticize a person, to form the concept of “beauty” and attitude to the “beautiful”, centering the sphere of art. Russian choreography is being updated against the general background of the tasks facing it today, its educational function, largely related to the training of young specialists in Russian folk dance and its adequate representation in society, is being updated. In this problematic field, the contradiction lying in the field of axiological boundaries of the interpretation and understanding of folk dance in terms of its modern modifications is revealed; it is explained that in many ways it is associated with negative trends that follow the modern stylizations of “folk dance” under “folk-scenic”. In this regard, a kind of “safety mechanism” is justified, designed to counteract the practices of incorrect interpretation of the dance folklore original, which take place during the frivolous processing of the folklore primary source. It is proved that these trends are an unacceptable distortion of the deep philosophy of folk-dance art and its basic value components. They are equally detrimental to the formation of an integral cultural, historical and aesthetic consciousness of Russian youth. At the same time, the key role of the teacher-mentor (Teacher) is clarified, designed to reveal to students the “pattern” of dance, in the whole palette of its uniqueness and originality, to motivate them to comprehend the semantic meanings and interpretations genetically inherent in dance. Russian Russian folk-dance art and the understanding of Russian folklore as the “plastic soul of the people” expressed in dance are to be instilled in love and respect for the Russian folk-dance art.

Keywords: folk dance, folklore, aesthetic paradigm, Russian tradition, education, axiology, choreography, culture, art, stylization, transformation.

Andrei Y. Tatarintcev, Galina N. Kalinina

pp. 99-105

Method of Organizing Musical Intonation in Art of the 20th–21st Centuries

In the musicology of the 20th–21st centuries, there is a discrepancy between the practice of art, focused on the purpose of activating the listening response and the ability of the theory of a musical organization to adequately describe such a quality of art. If in the 18th–19th centuries the theory of harmonic-functional “major-minor” (in orientation to the overtone nature of sound and the affectivity of the basic modes of “major” and “minor”) still realized the support for the expressive quality of music, then the musical and theoretical systems of the twentieth century this support is already actually losing. The theory left reliance on “major minor”. From the former syncretism, mainly only the “technological and structural construct” remained. There were many theories of the organization of musical intonation, but their common property was discovered: isolation from the main task of art to express and evoke emotions, and indirectly by emotions – to influence the deep foundations of mental consciousness of the person. A problematic situation arose in the form of an openly visible contradiction between the wealth of expressiveness of musical art and only a one-sided technological reflection of the musical theory of the truly integral specifics of the latter. The core of the problematic situation was the question of the possibility of overcoming this situation. The author of the article sees the hypothetical possibility of this overcoming in justifying the theory of the accent-psychedelic style of music.

Keywords: accent-psychedelic organization of music, musical art, musical construction, musical aesthetics, music theory.

Boris P. Borisov

pp. 105-113

The Artistic Concept of the Oratorio “Song of Eternal Regret”: On the Question of the Synthesis of Words and Music

The article is devoted to the study of certain aspects of the artistic concept of the oratorio “Song of Eternal Regret”, the first in the history of choral music in China, created by composer Huang Tzu based on the poems of poet Wei Hanzhang based on the poem “Eternal Sorrow” by the classic of national poetry Bo-Juyi in 1932. In the ideological and philosophical concept of the oratorio, the author notes the role of the national patriotic idea caused by the events of the Sino-Japanese conflict in the early 1930s. In the musical drama of the oratorio, there are many aspects, vivid contrasts, the presence of dramatic, lyrical, and everyday spheres; the importance of landscape origin, picturesqueness. The original interpretation of the synthesis of music and poetic words, reflecting the peculiarities of national cultural traditions, is particularly emphasized symbolism, landscape, Shanhe phenomenon. The oratorio is interpreted as an example of a chamber, lyrical and dramatic track of the genre, devoid of its characteristic epicness and monumentality, which is due to the predominance in its plot of the love line of the main characters, genuine historical characters – Emperor Li Longzi and his beloved, the beautiful Yang Guifei. In embodying the idea of synthesizing poetic words and music, the author considers two approaches – generalized and concretized - using techniques of musical graphics, symbolism, sound and visual art. In the style of the work, an organic combination of expressive means of the European romantic style (romance, colorful harmonic language, tonal plan) and national music (pentatonicity, connection with folklore) is noted.

Keywords: Chinese musical culture, oratorio, “Song of Eternal Regret”, Huang Tzu, Wei Hanzhang, Bo Juyi, synthesis of poetry and music.

Wang Qiang, Elena V. Smagina

pp. 114-120

Striving after an Unattainable Ideal in Symbolist Tones: The Image of the Distant Beloved in S. Rachmaninoff’s Romances, Op. 38

The article examines the image of the Beautiful Lady in the romances of Sergei Rachmaninov op. 38 on poems by symbolist poets. It is noted that the Russian artistic culture of the Silver Age offered society a specific and multidimensional model of courtly love. The philosophical and religious doctrine of “Eternal Femininity” by Vladimir Solovyov gave a new twist to the idea of medieval courtliness. According to this doctrine, ritual courtly play was replaced by “burning to heaven”. Having analyzed the musical text of the romances “To Her” (words by Andrei Bely) and “Aw!” (words by Konstantin Balmont), the author found in them images-signs of courtly thinking, the markers of which were the fusion of the sublime purity of the feminine with religious veneration of the Distant Beloved. The search for his beloved takes the hero into the unknown depths of the invisible world, which in the musical language of romances appear as chromatic wanderings of echoes against an ostinato background of sustained pedals, as a subtle coloristic play of consonant and dissonant chord verticals, as a colorful polymodal combination of voices in piano accompaniment and vocal part. The purposeful movement upward towards the “imperishable body” gave birth to a new type of love poetry, combining sublimely spiritual and religious-mystical principles. The dramaturgy of the romances is subordinated to the idea of the “spiritual guidance” of the beloved. It is concluded that, in accordance with the concept of “Eternal Femininity”, the romances maintain a harmonious balance between the ideal between the Aphrodisian and Marinist cults, between the Distant Beloved and the Virgin Mary.

Keywords: courtly love, Eternal Femininity, A. Bely, K. Balmont, S. Rachmaninoff, symbolism, romances op. 38.

Shen Tong

pp. 120-131

“Mourning for the Departed” by Shi Guangnan: The Artistic Concept of Opera in the Context of National and European Cultural Traditions

The article is devoted to the analysis of the artistic originality of the opera “Mourning for the Departed” by the outstanding Chinese composer Shi Guangnan. Composed in 1981 based on the short story of the same name by the classic of Chinese literature of the XX century Lu Xin, it became the first example of the genre of lyrical and psychological opera in modern Chinese musical theater. The idea of the opera is considered in the context of the spiritual paradigm of the turn of the 1910s – 1920s, associated with the powerful rise of national consciousness in China caused by the “May Fourth movement” of 1919. The presence of two levels in the drama of the opera has been revealed. The plot reveals the dramatic love story of the main characters of the opera – Juan-shen and Tzu-jun. The plot reflects the theme of the aspirations of Chinese youth for freedom as the core of the spiritual quest of the time, awakened by this powerful social movement. In this regard, the novelty of the images of the main characters of the opera is emphasized, combining their lyrical concept and rebellious motives. For the first time in Russian-language scientific literature, the author examines in detail the features of the genre-style and musical-dramatic specifics of the opera: the end-to-end development of the conflict, the unifying role of the theme “Touch of Sunset” (“Wisteria Flowers”), the importance of the romance complex, the fusion of romance, ariosity and declamation in the opera’s thematism, the leading importance of scenes of a through structure. In the concept of the work, along with the implementation of Chinese cultural traditions (the implementation of the idea of the unity of man and the Universe), the influence of European (Italian) and Russian lyric opera (Verdi, Puccini, Tchaikovsky) is revealed.

Keywords: Shi Guangnan, Lu Xin, “Mourning for the Departed”, Chinese lyrical opera, synthesis of cultural traditions.

Zhang Chen, Elena V. Smagina

pp. 131-140

Сhoral Poems by T.N. Khrenikov “Before the Rain”, “Unreaped Field”: Musicogical Aspect

The article is devoted to the analysis of two choral poems by T. Khrennikov to the poems of N. Nekrasov – “Before the Rain” and “Unreaped Field”, included in the op. 20. The relevance of turning to the choral works of the Russian classical composer is due to the lack of musicological studies examining this area of the composer’s heritage. In the course of studying selected works, the authors turn to the poetic basis of the works. The compositional features of N. Nekrasov’s poems are noted, and a generalized description of their content is given. In the process of analyzing the poems, along with the specifics of the musical form, the relationship between the figurative content of the works and musical expressive means is revealed, and the features of the mode-harmonic language of the compositions are characterized. The essential role of sound-representational techniques is revealed: the howling of the wind in the poem “Before the Rain”, the intonation of moaning, crying in the poem “Unreaped Field”. Consideration of the poetic source and its musical interpretation allows us to discover some features of the latter. Thus, in the poem “Before the Rain”, due to the reprisal repetition of the stanza of the text, a shift in the semantic accents originally laid down in the poem is noted. The analysis performed allows us to characterize the individual features of the interpretation of the genre of the poem: deep ideological content, compactness of form combined with the emotional richness of the statement.

Keywords: T.N. Khrennikov, choral miniature, poem, N.A. Nekrasov, artistic image.

Elena V. Babenko, Anna E. Kovaleva

pp. 141-152

The Aesthetic Paradigm of “Qiyunshengdong” in Patterned Fabric Symbolism of Blue Chant in Traditional and Modern Chinese Culture

The field of problematic tension of the article is devoted to the consideration of the aesthetic paradigm of “qiyunshengdong”, which is used in traditional and modern Chinese patterned fabric symbols, being present and enriching the fields of fashion design and fashion industry with its unique pattern. In many ways, this is determined by the root foundations of ancient Chinese culture and the specifics of the national tradition in the field of early artistic practices that developed in its bosom, in the discourse of which the basic principles of not only cognitive rational perception of the world by Chinese people, but also its irrationally sensual reflection in art were born, formed and developed subsequently. It was art as a cultural and aesthetic phenomenon and a sign-symbolic system of the space-time continuum that gave the primary samples and rational-irrational models of visual reflection of the picture of the world in the human soul. All subsequent cultural dynamics further shaped and consolidated the ideological and stylistic paradigmatics of Chinese artistic culture and its spiritual mainstream, reflecting the specifics of the subject-object presence of man in culture, the different angles of his “life worlds” and their aesthetics. In addition, from the point of view of the philosophy of Chinese art and its ideological and stylistic paradigms, ancient patterned fabric samples, made in the “spirit” of traditional aesthetics, seemed to “scan” the Chinese picture of the world, based on the special principles of its mental understanding. In this worldview system, the central place belonged to the cultural dominant of “respect for antiquity”, that is, to tradition, understood in the actual Chinese mental context, characteristic at all times of the ancient history of the “Celestial Empire”. In general, the reflection we have undertaken in the thematic field of the article on the features of the aesthetic paradigm “qiunshendong” in patterned fabric symbolism reflects the philosophical meanings, cultural contexts, art historical characteristics, ethnic parameters and mental specificity, imprinted in traditional and modern Chinese culture and its basic identifiers.

Keywords: qiyunshengdong, Chinese culture, aesthetic paradigm, blue calico, pattern, artistic characteristics, clothing culture, tradition, modernity.

Yang Pengtao

pp. 152-160

National Dress in the System of Traditional Culture of the She People: The History of Development

The article is devoted to the problem of studying the traditional national dress of the She people, as well as the factors that contributed to its change. Traditional Chinese culture is the embodiment of the spirit of the customs of all peoples and the fundamental driving force of the unity of the Chinese nation in overcoming all difficulties. National dress in China is an integral part of Chinese culture. She continues to play an important role in preserving and transmitting the traditions and identity of the Chinese people. The national dress of she reflects the national character, regional peculiarities, customs, art and culture accumulated by the people over a long history. She is a large ethnic minority in southeastern China. Although the She people have their own language, they do not have their own writing system, and there are not enough reliable written sources to study the origin of the She people. Currently, the academic community has not yet come to a unified understanding of the origin of the She people, which can be reduced to the following theories: indigenous theory, migration theory and theory of multiple sources. The natural and geographical environment determines the living conditions of a nation in a certain region and is an external factor shaping the style of national dress. The cultural and historical environment generates unique traditions of national clothing and forms aesthetic taste. National dress may reflect religious or cultural beliefs, social status, or ethnicity of a particular group. It helps to preserve and pass on traditions and values from one generation to another, and also contributes to the preservation of the diversity and uniqueness of cultural heritage.

Keywords: traditional clothing style, China, ethnic group, She people, the indigenous theory, the migration theory, the multi-source theory.

Xin Yufeng

pp. 161-162

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