Abstract: As the title implies, the article provides a general overview of the Kaluga iconography as a unique regional iconographic tradition that formed in the 2nd half of the 18th century. The primary parameters of this phenomenon are identified, including technological, iconographic, and stylistic factors. Based of archival data and historical evidence, Kaluga’ icons are defined a number of monuments executed in the technique of tempera painting in a specific stylistic manner, for the most part inheriting of artistic direction named “zhivopodobie”. The main iconographic features of the products of the Kaluga icon painters are revealed, in particular, the iconographic renderings of Christ the Almighty and the Mother of God "The Life-Giving Spring" common in Kaluga. It also provides a classification of the main stylistic lines in the Kaluga icon painting, which took shape at the end of the 18th century. The question of the chronological boundaries of the phenomenon is considered. Based on the analysis undertaken, Kaluga iconography is determined to be a full-fledged center of regional icon painting that forms part of a broader context of late iconography. On the one hand, Kaluga's iconography aligns with general trends, with its unique writing style appearing in the last quarter of the eighteenth century, overtly influenced by significant European styles, and experiencing artistic decline in the second half of the nineteenth century. On the other hand, the Kaluga iconography distinguishes itself through its singular stylistic and iconographic peculiarities, sufficient to demarcate it as a distinct artistic center.

Keywords: icon painting of the 19th century, iconographic program, Old Believers, regional icon painting centers, icon painting of modern era, Kaluga province, history of Kaluga, Kaluga icon painting, identity strategies, Vetka and Starodubye

Abstract: The object of the research is Internet memes as a product of modern mass culture and art. The subject of the study is the iconological interpretation of an Internet meme as an art object. Internet memes dedicated to the lockdown and the COVID-19 pandemic - "quarantine" from the collection of social cartoons of the Center for Socio-Political History of the State Public Historical Library, which was collected during the lockdown of 2020, and also relevant Internet materials were selected for interpretation. The purpose of the article is to conduct an iconological interpretation of selected Internet memes from the collection of social cartoons of the Center for Socio–Political History of the State Public Historical Library. The novelty of the research lies in the fact that for the first time an Internet meme was considered as an art object, and the possibilities of iconological interpretation of this phenomenon of modern culture and art were investigated using the example of several "quarantine" sites. The article shows that the construction of "quarantines" went both along the path of creating new memes and by transforming old memes based on recontextualization – using well-known plots, images, heroes to discuss new realities. The iconological interpretation of the "quarantines" made it possible to identify the features of the reflection of the pandemic in the public consciousness (the feeling of the "inversion" of the world, the catastrophic nature of changes, new security conditions) and to deepen knowledge about the nature of artistic self-help of society in conditions of social extremum (the use of the healing effects of the tragicomic).

Keywords: recontextualization, interpretation, digital folklore, popular culture, pandemic, quarantine, web culture, iconology, Internet meme, social caricature

Abstract: The purpose of the article is a historical and anthropological reconstruction of the traditional economic practices of the Yakuts, in which the most important place was occupied by the exploitation of cryogenic resources (cold, snow, ice, "permafrost"). The work is based mainly on the analysis of observations by researchers of the second half of the XIX – first half of the XX centuries, who recorded in the course of their expedition surveys a number of stories concerning the practices of the use of cryogenic resources by the Yakuts in economic activities. Methodologically, the article is based on the principles of cryosophy, involving the study of the cold matter of the Earth through the prism of their role as an active element of the universe, a source of benefits and opportunities for humanity, as well as a historical and anthropological approach. The article for the first time shows a number of examples of successful and active exploitation of cold, snow, ice and "permafrost" in the traditional economic activities of the Yakuts within the framework of such a plan: cattle breeding and horse breeding, fishing and hunting, as well as in the organization of salt production. Based on accumulated materials, including documents from the Archives of the Russian Academy of Sciences and its St. Petersburg branch, the State Archive of the Irkutsk Region, the Scientific Archive of the Siberian Branch of the Russian Academy of Sciences, the Scientific Archive of the Russian Geographical Society and the Manuscript Fund of the Archive of the Yakut Scientific Center SB RAS, the authors conclude that cryogenic resources were one of the important adaptation mechanisms Yakuts to the natural and geographical realities of Yakutia.

Keywords: ice, snow, Cryoanthropology, cryogenic resources, Yakuts, permafrost, Indigenous Peoples, Yakutia, Arctic, traditional economy

Abstract: In the study the personal history of the repressed intelligentsia of Yakutia, the name of the outstanding scientist and socio-political figure Gavriil Vasilyevich Ksenofontov (1888-1938) occupies a special place not only because of the tragedy of his personal fate, but also the actualization and significance at the present stage of his most conceptual ideas, which, like their author, have their own scientific destiny. For the first time, research of this type became possible thanks, on the one hand, to the invaluable layer of archival sources identified in the handwritten heritage of G. V. Ksenofontov, on the other hand, to the methodology of a comprehensive study of the biographical narrative in the intellectual tradition of the first Yakut humanities scholars within the framework of modern approaches to intellectual history. For the first time in the unpublished manuscript legacy of G. V. Ksenofontov, a special circle of ideas is highlighted, the most indicative in the aspect of the formation of his integral intellectual program. In his scientific notes of 1934-1937, G. V. Ksenofontov increasingly refers to the multidimensional concept of «culture», perceived as a whole as a complex mechanism of a complex producing principle associated with ethnic identity and national identity. In this regard, in the statements and research of the scientist of recent years, there is a steady interest in methodological research and the conceptual basis of related humanities disciplines. We will focus on their review and justification in the broad context of G. V. Ksenofontov's ideas about «culture», the reasons for their appearance in his scientific tools in this paper, which determined the subject and purpose of the study.

Keywords: national institute, dialogue of cultures, language and culture, intellectual tradition, historical memory, poetic function, oral culture, nomadic culture, intellectual-reformer, eurasianism

Abstract: Matisse, an iconic artist of the Zverev school, was a pioneering European modernist artist. He showed great interest in Oriental painting and drew inspiration from it, introducing flatness, ornamentation and bright forms of color into his paintings, which were valued in Oriental painting. His unique approach to space in composition is similar to the "white space" method in Chinese painting, which cancels the traditional European rules of perspective, and his minimalist approach to painting and images led to the formation of a pronounced Oriental style of painting. His "accuracy is not reality" is similar to the Chinese concept of "likeness and impropriety", and his understanding of the relationship between the outside world and himself is similar to the Chinese concept. At the same time, Matisse's concept of subjective expression, which focuses on the expression of subjective feelings rather than the reproduction of objective nature, is also very similar to the desire to express subjective ideas inherent in traditional Chinese ink painting. Matisse's approach to oriental art was not a copy or a simple addition to his own painting. He absorbed Oriental art creatively, extracted elements that were close to his heart, internalized them and made his works similar in internal structure or common views with Oriental painting in terms of spirit, concept and art form.

Keywords: art, traditional culture, integration of the object, modelling, imagery, similarity, non-similarity, chinese painting, Matisse, culture

Abstract: This article presents the experience of studying the unique nakosnik of Moksha puloker women, which existed from the VIII to the XVIII centuries in a traditional women's costume as an ethnic symbol of the people. The most important aspects of the characteristics of the hairpiece associated with determining the cause of the appearance of this artifact, revealing the general attitude to hair in traditional culture, in particular in the heroic epic of the Mordovian people "Mastorava", which reflects the events of the medieval history of the ethnos; the nature of the era that caused the appearance of new elements in the folk costume. Both general scientific methods and systematic, comparative-historical and structural-semiotic approaches were used in the study. The role of the crisis factor in the culture of the Mordovian tribes of the second half of the I millennium A.D. was revealed, manifested in the activation of human activity aimed at adaptation in conditions of rapid changes and intercultural contacts. It is established that the result of the creative work of women, forcibly limited by the space of the family and home (possibly due to the appearance of a small family), was the development of socio-economic and cultural processes related to the ritual sphere, which required the segregation of the married woman's social group and a new element of the headdress, which emphasized the status of the hostess of the house. The novelty of the research is determined by the conclusions about the values of culture embodied in the materialization of the goals of collective activity in the form of an artificially created form of decoration, as well as in the justification of the significant influence of the Turkic peoples on the development of culture in the period under consideration.

Keywords: nakosnyk, creative activity, traditional women's costume, the value of hair, Turkic peoples, mordvins-moksha, mordovian culture, Middle Ages, intercultural communication, The nature of the era

Abstract: The subject of the article is a film of a Bashkir film director -"Glass Passenger" by Bulat Yusupov. The author of the article carries out an archetypal, semiotic and hermeneutic analysis of the cinematographic text. The first one is the study of mythological elements within the film. It will show us the presence in the work of elements of the national myth and their connection with the literary archetypes of Jung. The second, semiotic, takes place under the conditions of isolating signs from relationships within the whole structure that defines a film work as a kind of a media text. And the third, hermeneutic, is based on the traditions of cinema interpretation in the intertextual interaction of all literary texts. The scientific novelty of the research lies in the systematic, comprehensive study of the Bashkir cinema, in comparison with the samples of the world artistic culture; in identifying the key features of an individual film that has not previously been subjected to detailed scientific study. The film refers the viewer to the images of Bashkir mythology. The analysis carried out reveals in the media text the trends in the creation of feature films in Bashkortostan.

Keywords: bashkir culture, folklore, Bashkortostan, cinema, archetypal analysis, semiotic analysis, hermeneutical analysis, history of cinema, Bashkir cinema, film studio

Abstract: In this article, the author attempts to analyze the interdependence of myth and ideology in the context of globalization and the emergence of new cultural trends that form the main ideological representations of the people as a means of public administration. The main problem of the conjugation of myth with ideology is due to the insignificant depth of research on this issue in the context of historical phenomena. In the course of his work, the author came to the conclusion that ideology forms a mythological prototype of the universe, and historical figures and events are endowed with a mythological meaning, the indisputability and naturalness of their perception develops. Consequently, mythology acts as a mechanism of ideology, which is a tool for building culture and influencing society. Therefore, a certain category of people constructs an ideal society for the implementation of specific tasks, guidelines are created for building an ideal culture, educating an ideal personality, real historical events are filled with fantasy meaning.

Keywords: society, politics, globalization, worldview, state, ideology, mythological system, myth, community, traditions

Abstract: The object of the study is the recollections of Solovyov's game practices, depicted in the memoirs of A. Bely and M. A. Beketova. The subject is those mental ideas of the Younger generation of Russian Symbolists about philosophical ideas of V. Solovyov and positivist method, which served as a structure-forming element of such practices. The article constructs a general abstract model of Solovyov's slapsticks. It is revealed that it contains many signs, the signifieds of which are connected with the Young Symbolists' reflection on the ideas of V.S. Solovyov and positivism. By means of the structural-semiotic method the semantic fields and relations of these signs within the game structure are revealed. It is established that the semantic content of such signs in Solovyov's slapsticks is revealed as two different types of epistemology. The conclusion is made that in the worldview of Young Symbolists such types of cognition are opposed to each other. It is concluded that their opposition is the subject pivot of these game practices. The novelty of the research is connected with the fact that the attempt to describe the Young Symbolists' reflection on different types of cognition is carried out not on the material of the artistic and theoretical texts of S. Solovyov, A. Bely and A. Blok, but on the material of their everyday life. This position makes it possible not to dwell only on those layers of reflection which the poets themselves realized and expressed verbally, but also to bring into the research field their ideas which are not were not fully verbalized. The results of this study can then be used to reconstruct more comprehensively the worldview paradigm of the Younger generation of Russian Symbolists.

Keywords: Sophia, ideas of Solovyov, gnoseology, worldview paradigm of symbolism, daily occurrence, games of Solovyov, gaming practices of the symbolists, symbolism, positivism, memoirs of Bely

Abstract: The article is dedicated to the problem of church patronage of fine arts in the 18th-century Paris. The predominance of secular art at the time did not lead to withdrawal between the Church and the artists who kept interacting with each other in the area of patronage, mainly of fine arts. In tracing documents and sources for this research the author deals with many academic aims, as follows: to classify church orders for the painters, to define its peculiarities, to value the meaning of church patronage for a painter at that time, to find a point of intersection of secular and religious artistic orders in the circumstances of a perpetual stream of luxurious secular orders. Meanwhile the author aims to distinguish different kinds of church assignments, such as small works for poor congregations, great altarpieces for Parisian cathedrals, paintings for monasteries usually based on sophisticated inventions (programs) understandable only by the ‘devoted’, and portraits of church leaders. Academic novelty of the article is determined by the exiguity of publications on the topic written by recent Russian researchers. In the meantime, French art historians are continually working with these problems and offer some of its solutions well-known to article’s author. The total investigation progress in this area is exemplified in the text by typical but semantically complicated works of art. The author of the article is led to a conclusion that church patronage took a considerable part of a Parisian artist’s carrier though church orders were not the main mover of artistic life of the time. Nevertheless religious painting was still an integral part of French fine art. During the 18th century the Church had been remaining to be a perpetual customer and a partner of painters settled in Paris who could fulfil a request for all kinds of high quality artistic production.

Keywords: painter’s career, artist and customer (patron), portrait painting, genre painting, historical painting, religious painting, French art, the 18th-century art, artistic activities in Paris, The Church and art

Abstract: The subject of the research is web design in the professional activity of graphic designers, a comprehensive analysis of this branch of design, its features, problems and specifics. The process of designing a website is analyzed from the point of view of its stages. The phenomenon of web design is considered through the prism of the professional activity of the designer as a specialist in the artistic design of the appearance of various elements of the environment. The features of teaching the discipline ”Web design" in the field of higher education are revealed. In the course of the study, general logical methods were used (analysis and synthesis, deduction and induction). Methods of systematization of scientific knowledge – typology and classification were also involved. The scientific novelty of the research consists in an attempt to develop the basic principles of the web design concept that would take into account both the creative and technical components of the design sphere under discussion. As a result of the research, specific characteristics of web design were identified, the pool of artistic skills and technologies that a web designer needs to master, the process of designing a website were considered. The educational aspect of training web designers was also analyzed, which reveals the possibility of combining cultural, artistic and technical training in the process of training a graphic designer, allowing in further professional activity to navigate constantly changing design trends and be savvy in terms of modern information technologies.

Keywords: designing, web animation, web technologies, infografics, visual culture, information technologies, interface design, design, web design, graphic design