Abstract: The article is devoted to some important aspects of the development of Chinese realistic school of arts in the second half of the 20th century (until 1990s). The author of the article analyzes such terms as 'modern art', 'sixtiers', 'country-side realism', 'scar painting' and their associated realities. The synthesis of the Eastern and Russian beginnings in fien arts and cultural dialogue with all further metamorphoses played an important role in the development of Chinese modern art. Realism was quite typical for Chinese fine art in the second half of the XXth century. According to the author, the nature and peculiarities of the realistic trend was defined by Russian and Soviet realism school. The infulence of great Russian artists such as Kramskoi, Repin, Surikov and others on the fine art of Chinese artists is obvious and so is the role of Pavel Chistyakov's approach to teaching painting. The latter served as the basis for teaching fine arts in China. Maximov's school was also a great contributino to the development of Chinese realism in painting. The principles of teaching fine arts at PRC's art schools. A lot of Chinese realists studied at Maximov's studio. The end of the 1970s and beginning of the 1980s also signified the end of the 'sixtiers' age who divided into 'Westerners' and 'Pochvennists'. In 1990 Westerners celebrated their victory in Russia while Pochvenists cried about their ideals being ruined, however, none of those movements played an important role any more. It appears that the Chinese movement of 'scar painting' with its sadness about vain sacrifice and lost illusions and desire to heal these wounds as well as the 'country-side realism' in many ways resembled the dieas of the sixtiers of the 1980s - 1990s even though they had their own historical and national peculiarities. On the one hand, these movements are associated with the early stage of 'healing' of Chinese culture (M. Neglinskaya's expression) and Chinese 'thaw' in general, on the other hand, there was criticial attitude not only to the preceding 'cultural revolution' but Chinese heritage in general. Finally, the aforesaid movements are often described as sentimental and returning people to eternal values. The pain from losses was conditioned by the events of the cultural revolution and events of the XXth century experienced by Chinese people in general while there were still peasants, love for the country-side, respect for a village worker typical for many Chinese 'traditional' artists. Thus, there are all reasons to speak about the important influence of the Russian-Soviet and European art school as well as the overall cultural stituation in the world on the development of Chinese culture in general and realism in painting of the second half of the XXth century in particular. 

Keywords: artists, China, school, realistic school, realism, fine art, realistic painting, master, pictures, creative

Abstract: In her article Fetisova analyzes formal content-related and genre innovations of the 'sixties' poets through ontological prerequisites for developing the neoacmeism philosophical platform based on the example of the creative work written by a great representative of that movement, Bella Akhmadulina. The author analyzes particularities of neoacmeism with reference to traditional acmeism and differentiates between literary groups and chronological frameworks of the 'new acmeism' as well as describes ontological dominating ideas in the creative work of the 'esoteric circle' of the sixties neoacmeists. The author also gives a definition of genre innovations and traces back specific features of cross-cultural communication aspects of the traditional and 'Renaissance' acmeism. As a meaning-forming and genre element of the neoacmeism poetic system the author views not only such categories as space and time but also their unique poetic mythology which core is the creative and artistic 'transformation' of the aesthetic 'Akhmatova's myth'. In addition, the researcher also makes an attempt to carry out an integral comparative analysis of acmeism and neoacmeism to their important 'prototext', Dante's The Divine Comedy. The topicality of the present research is caused by the fact that the author applies a comprehensive approach to the analyzed poetic system. The understudied phenomenon of neoacmeism is viewed as an integral 'neoacmeistic text' characterized by the stage-by-stage accretion of genre 'valences' (L. Kikhney's term) and capable of producing identical 'extra-textual' (Yu. Lotman's term) literary artistic system that functions based on the logical of the author's message as Anna Akhmatova offered in her 'The Poem Without a Hero' ('I am writing a mirror letter...'). The integral approach to studying acmeism and neoacmeism also requires the use of all the variety of existing methodological practices as well as integration methods from two or more disciplines. The methodological novelty of the research is caused, first of all, by the fact that the author offers a concept of the integral 'neoacmeistic text' or metatext. For the first time in the academic literature neoacmeism as an art movement (polyphonic system capable of creating the space of interpretations) is being analyzed in terms of the logic of the author's integral message and internal connections between elements of the aforesaid system. The comparative method and the method of semantic reconstruction of a poetic text combined with a hermeneutical circle procedure complete one another in this research. The author makes a conclusion that it is possible to trace back not only the synthesis of literary genres such as epos, lyrics and drama but also gradual complication of cultural 'codes' and genre 'valences' (L. Kikhney's term) that have complex dialogical and mutual substitutive relations in the poetic system and dynamic structure of the integral 'neoacmeistic text'. In the 10th - 11th centuries there was a cyclic transformation of philosophical and ontological paradigms of the past into the semantic discourse of the paradigms of the present. However, neoacmeism (or 'Russian Renaissance' contains some kind of a mental code of the Russian culture in its structure, the code that connects very different poets within one literary movement. 

Keywords: semantic poetics, neoacmeism, acmeism, Russian Renaissance, Divine Comedy, genre valence, plot, Dantean numerology, lyrical heroine, literary context

Abstract: The article discusses the current situation in historiography which is characterized by the crisis of the concept of history. The author of the article has analyzed the views of Karl Popper and the concept of history as a set of rational reconstructions (interpretations). According to the author, the whole of history which allows to conceive and establish the nature includes not only interpretations of history but also a historical way of life of an individual as well as the historical mode of culture existence that undergoes several stages of development. The author has also analyzed cases involving these three historical images and describes particularities of working with historical data and historical texts based on this analysis. In his research Rozin has used the private methodology strategy including situational analysis in historiography, formulation and discussion of the problems, comparative analysis, reconstruction of the formation of the history concept, and construction of new schemes and concepts. As a result, the author was able to describe limitations of the interpretation of history only as a knowledge of the past and outline a new three-aspect understanding of history. The reality of history involves a certain historical lifestyle and in some sense it is aligned with the present; history does not only affect a person like art, it also bases on historical facts unfolding the story which has clear events, a beginning and an end, and gives us the knowledge of the past (in the form of certain versions, interpretations), as well as creates a new historical reality in culture.

Keywords: historical version, lifestyle, reconstruction, interpretation, present, past, history, scheme, concept, interpretation

Abstract: The subject of the research is the philosophical parable The Little Prince written by Antoine de Saint-Exupery interpreted from three important positions: the childhood, the glamorous social and symbolism. The aforesaid aspects have a global nature not only due to the inclusivity of phenomena but also due to transformations they undergo under the modern conditions. Using expressive means, in The Little Prince Antoine de Saint-Exupery describes the ontology of the childhood with all its purity and spontaneity shoging an active life of a child and his inclusivity as part of the existence. Through the eyes of the child, the writer demonstrates vices of the adult worl and their transformations in real life as a result of the influence of the glamorous ideology being the 'travelling oddity'. According to the researcher, it is possible to overcome the immoralism gaps in the society's intellectual development by the means of interpreting symbolic signs as the revival of the spirit and intellect. The aforesaid problem is presented in a form of a narrative description using dialectical, interpretative and phenomenological research methods and based on the principle of intentional analysis which allows to describe special feautures of this small novel that is written for children but addressed to adults. By analysing the short story of a French pilot, the researcher demonstrates Antoine de Saint-Exupery's talent who enabled the writer to carry the 'crystall of the childhood' through all his life and helped him to describe the world of the child so vividly casting light on the sins of adults and conveying symbolic messages for future generations. The provisions and conclusions of the present research can be used for further research of Antoine de Saint-Exupery's creative work and interpretation of his fiction as well as criticism of the modern socio-cultural environment subject to the influence of the glamorous ideology and analysis of the latter from the point of view of literary works.

Keywords: bean fantasy, symbol, grain, glamorous social, I-child, I-adult, the world of childhood, glamor ideology, intellectual, ethical

Abstract: The subject of the research is the synesthesia aspect of the art thinking of romantic composers. Through detailed analysis of the creative heritage of Robert Schumann, Frédéric Chopin and Johannes Brahms as well as other composers of the romantic epoch the author examined the phenomenon of synsthesia in terms of historical and cultural environment. The author also analyzed issues related to understanding the processes of developing and interpreting an artistic image which actualizes not only one's cognitive abilities but also his or her perceptive emotional experience. The researcher also examined the interrelation and interdependence of perceptive and affective evaluations of musical compositions. The research is based on the systems approach as well as the method of theoretical generalization and comparison. The author also used a specific interdisciplinary and historical approaches. In her research Zaitseva defines synesthesia grounds in the art thinking of romantic composers of the 19th century. Based on the analysis of the epistolary and critical heritage of romantic composers the author was able to define particularities of synesthesia display in their art thinking. The author also proved the importance of visual, tactile, tasteful, and kinesthetic sensations in the processes of the meaning and image creation. 

Keywords: visuality, art thinking, aesthetic perception, romantic composers, art, synesthesia, tactility, kineticism, Schumann, Chopin

Abstract: In this research Feschenko pays special attention to specific features of icon-painting images as part of researching spiritual and creative transformations in the history of icon-paining and deviations from the canonical painting tradition. Based on the objectives of the research, the author presents a thesis that all changes in the ideological structure of art in a sacral space of a temple inevitably leads to the general decline. According to the author, the integrity of the temple organisation as it was formed in Byzantine Empire and oriented at the unity of all its elements including architecture, painting, decorations and the liturgical process started to fail by the second half of the 19th century. Successive integration of the secular into the religious art distorted the essential mission of the church which made paintings be more illustrative and eclectical and weakened religious spirits in the society.

Keywords: technique of integral perception of sacred image, transformed matter, the theory of reflection, symbolism of content of an image, aesthetics of light, specificity of icon-painting images, Old Russian religious art, the Byzantian heritage, synergetic interaction, the living tradition of the Church

Abstract: The subject of the research is the contribution mad by Alexandre Benois to the development of the hsitory of Spanish art in Russia. The object of the research is the descriptions of Spanish artwork and generally Spanish art given by Alexandre Benois in his 'The Hermitage Picture Gallery Guide' (1911) and 'The History of Painting of All Times and Peoples' (1914). In her research Morozova also uses Alexandre Benois' personal impressions of his trip to Spain. The researcher focuses on how Benois perceived and interpreted 'the old Spanish art', most of all, Spanish painting of the 16th - 17th centuries. THe author of the article compares the level that had been achieved in studying the history of Spanish art by the 19th - 20th centuries and Alexandre Benois' researches which allows to better describe the role of Alexandre Benois in studying the history of Spanish art in Russia prior to 1917. Never before the role of Alexandre Benois as an expert in the history of Spanish art has been discussed in the academic literature. The author of the article demonstrates how important Alexandre Benois' contribution to the history of art was. Benois' researches of Spanish art became the basis for the development of the history of Spanish art in the 20th century in general. Alexanre Benois' researches allowed to overcome the dichotomy between academic interest in painting techniques used by Spanish artists and unvervaluation of their graphic structure as well as between Russian society's interest towards Spanish culture in general and misunderstanding of many Spanish cultural phenomena. 

Keywords: El Greco, José de Ribera, Zurbarán, Murillo, Diego Velázquez, graphic structure, stylistics, Spanish art, Andrey Somov, Alexandre Benois

Abstract: The present article is devoted to defining and describing the modelling method used by Leonardo da Vinci in his painting. The author's detailed analysis of a number of Leonardo da Vinci's paintings has allowed to define this unique method which key feature is the horizontal or inclined position of a model. Being typical only for da Vinci's creative work, this method was the basis for creating complex contrappostos and light-and-shade effects as well as reflections of the artist's emotions and mood which were so typical for his creative work. The topic of innovations and singularities of Leonardo da Vinci's artistic language is very well studied and presented in both Russian and foreign researches on art history. As it seems, his individual style based on applying new painting and compositional techniques should have made his paintings quite recognizable. However, the question about attributions of his paintings still remains unresolved in Russian art history. Despite availability of modern expertise methods, experts still cannot define which paintings were actually created by Leonardo except for very few paintings kept mostly in the the Louvre. Considering the fact that it is still a rather debatable question in most cases, the purpose of the present research was to discover additional, never before discovered singularities of the artist's individual style which may help to solve the above mentioned problem. The object of the research is Leonardo da Vinci's paintings Gioconda and St. John the Baptist, the copy of his painting Leda and the Swan made by an uknown artist and kept in the Galleria Borghese and Francesco Melzi's painting Colombina. The subject of the research is contrappostos in these paintings. The main method of the research is a detailed analysis of paintings. To prove the thesis about the horizontal posing, the author of the article has carried out a testing experiment based on drawing from nature. Taking into account that the main feature of the modelling method (horizontal posing) is directly related to the research of Gioconda's smile, the author of the article provides a brief analysis of art history theories and hypotheses the explain the phenomenon of that mysterious smile from different points of view. Special attention is paid to analyzing historical sources containing information about Gioconda painting. As a result of the research, for the first time in the academic literature the author defines a unique painting method typical for Leonardo da Vinci's creative work as well as describes his methods of painting from nature as the basis of the aforesaid method. The theoretical importance of teh research is caused by the fact that the author offers totally new concepts and interpretations of The St. John the Baptist and Gioconda as paintings. The detailed analysis of Colombina has also allowed to conclude that that painting initially had another painting plot which was not completed by the artist. Based on that, the author makes a hypothesis that the true portrait of Mona Liza is kept in the State Hermitage. The research results can be used to make an attribution of the artist's paintings. The horizontal posing can be used as an essential feature of Leonardo da Vinci's unique style when attributing and analyzing his paintings. 

Keywords: modelling method, horizontal posing, painting from nature, contrapposto, perspective, sfumato, aerial perspective , mystery of a smile, Gioconda , attribution

Abstract: The subject of the research of this article is the place of amateur theatre in the spiritual world of Leo Tolstoy. The object of the research is the spiritual world of Leo Tolstoy, and ethical reference points of the writer. The author of the article examines such aspects of the topic as Tolstoy's views on the nature and objectives of art in general and theatre in particular. The aim of the article is to identify the fundamental differences of amateur and professional theatre in the mind of Tolstoy. The author sets the task to analyze the theoretical ideas of Leo Tolstoy about art, theatre, and compare them with the practical theatre work of Leo Tolstoy as an example of amateur stagings of his family.The research is carried out using the literary-historical method by examining the documentary evidence of contemporaries of Leo Tolstoy, analysis of his theoretical articles on art, extracts from his writings that reflect the views of Tolstoy on the nature of the theatre. In addition, the article is an attempt to Yasnaya Polyana partial reconstruction of stagings of "Nihilist" (1866) and "The Fruits of Enlightenment" (1899). The main conclusions of the research is the idea that Tolstoy shared concepts of professional and amateur theatre; accusations towards the contemporary theatre made by the writer in his theoretical work did not always relate to the domestic amateur performances. More than that, for Tolstoy the domestic amateur plays were is an original way to communicate with loved ones, an opportunity for a dialogue, and an attempt to overcome misunderstandings and resolve urgent problems. The theme of "Leo Tolstoy and the theatre" was studied in the Soviet theatre criticism from various points of view. The book of E.I. Polyakova "Tolstoy’s Theatre" is analyzed in terms of the dramatic composition of the writer, in the analysis of B.F. Sushkova in "The Lessons of Tolstoy’s Theatre" the author pays more attention to the theatrical realization of the plays and their moral lessons. The author of this article is primarily interested in the relationship of the individual - Leo Tolstoy – with the theatre as an institution. Never before in theatre criticism similar question has not been seriously investigated. The novelty of the research is caused by the fact that the author raises this problem. The results of the research can be used in lectures on the history of theatre, based on them new trips to the Museum-Estate of Leo Tolstoy "Yasnaya Polyana" and the State Museum of Lev Tolstoy in Khamovniki can be established.

Keywords: theatre searches of Tolstoy, Tolstoy and theatre, Yasnaya Polyana theatre, Tolstoy's drama works, Nihilist, The Fruits of Enlightenment, Tolstoy's theory of art, home theatre, amateur theatre, Lev Tolstoy

Abstract: The present article is devoted to Yasmina Reza, a modern French playwright. Her plays are successfully staged on different venues all over the world. She is a winner of various prestigious theatrical awards such as Grand Prix du Théâtre de l’Académie Française (2000), Molière Award for Best Author, Best Play and Best Production (1994) Laurence Olivier Award for Best Comedy (1998, 2009), Tony for Best Play (1998, 2009). Yasmina’s great knowledge and wide creativity let her become Nicolas Sarkozi’s personal biographer during his pre- election campaign as well as to write the book ‘Morning, evening or night’ (2007) about this period of time. The plays of this author are of the primary concern of the theatre critics and cause many disputes about what theatrical currents they belong to. In her plays Reza uses the methods of ‘literary theatre’, but also pays attention to the ‘boulevard theatre’, selecting and combining its best merits. At the same time in her works it can be noted the traces of theatrical avant-garde and elements of postmodernism, among which there are mixing of genres ,aesthetic and literary eclecticism, the author’s irony and intellectual flirtation with a spectator. There is a detailed analysis of one of the Jasmina Reza’s play ‘The Unexpected Man’ in this article in order to detect the stylistic peculiarities and author’s methods in working out of the plot and structure of her work. It is noted here the topicality of the problems described in Jasmina Reza’s plays and it is especially underlined the constituents of the commercial success of her plays. Individual approaches, which Resa employs in her work with the text, methods and measures of introducing of her plays into the world stage deserve a certain attention of the theatrical people .

Keywords: anaphora, cultural phenomenon, flirtation with a spectator, eclecticism, self-irony of the author, dialogue of monologues, theatrical currents, postmodernism, author’s approaches, commercial success

Abstract: The article is devoted to the research of a nettlesome problem which is still on the fringes of the interest of Russian and foreign scientists. The problem is related to the idea of the genesis and development strategy of Romanticism aesthetics in the sphere of violin performance. The topic under research is assonant not only to the current research trends but also creative searches of composers and performances who address to romantic tendencies in art. Virtuoso violinsts is one of a typical type of an artist of Romanticism whose creative work was fully actualized through that musical instrument. In this regard, the author of the present article sets a task to define particularities of their style of performance and composing which were predermined by their instrumentalism. The object of the research is the creative work of leading European virtuoso violinists of the 19th century such as Niccolò Paganini, Henri Vieuxtemps, Henryk Wieniawski, Pablo de Sarasate and Heinrich Wilhelm Ernst. The author's analysis of specialized literature has shown that such literature does not provide full but often contradictory information about the leading European violin musicians and composers of the 19th century as well as the main development trends. As a result of her theoretical research, the author defines innovatory particularities of virtuoso violinists' performance and composing. Those particularities were actively spread in the art of violin playing and musical art in general. The author also discovers some unknown facts from the history of violin playing that allow to see the role of violin plyaing in the global musical process in a different light as well as to create a better and more evidential picture of the European violin art of the 19th century.  

Keywords: Heinrich Wilhelm Ernst , Pablo de Sarasate, Henryk Wieniawski, Henri Vieuxtemps, Niccolò Paganini, virtuoso violinist, aesthetics of romanticism, composer creative work, violin performance, virtuosic art

Abstract: The subject of the research is the role of Russian performers on the musical stage in developing and popularization of the song in the 1920s - 1930s. The rationale fo the research is caused by the need to rehabilitate Russian cultural identity that has somehow lost its entirety over the last decades of drastic social and economic as well as cultural shifts in the society. In his research Burmatov tries to trace back performance traditions of those times (folk song, urban folklore, mass song) and define the role of famous performers in developing the art of singing. The author underlines that the musical and poetical signs of the song are very easy to understand which made the song be so popular with the population masses. The author also describes particularities of the genre of the musical stage song and patterns of its functioning in terms of the Russian musical culture of the 1920s - 1930s. Based on the diachronic method of the cultural history analysis, the author pays attention to studying the experience of the choral performance (musical groups headed by M. Pyatnistky, P. Yarkov, M. Myakushin, K. Massalitinov, A. Sveshnikov, A. Alexandrov and others). Using the diachronic research method and based on the example of famous musical stage performers (such as O. Kovaleva, L. Ruslanova, I. Yauzen, A. Dolivo, A. Zagorskaya, V. Panina, A. Vyaltseva, T. Tsereteli, L, Utesov, K. Shulzhenko, M. Bernes, N. Obukhova, M. Maksakov, S. Lemeshov and others) the author studies the images of the song and defines features of their style and genre. The author describes how these performers presented their messages, what individual features they had that had a trace on the development of Russian musical vocal art. Using broad material, the author illustrates the growth of their professionalism during the first decades of the Soviet culture and art development (broad repertory, performance skills, creative individuality, etc.) which contributed to the development and popularization of Russian singing. The author states that the high level of performance that had been achieved by Soviet artists of those times encourged further development of the Soviet (and Russian) and foreign musical stage art. 

Keywords: culture and art, soviet culture, choral performance, vocal art, musical stage, mass song, soviet song, art history, urban folklore, folk song