Abstract: The subject of this research is the traditional dwelling in the natural and cultural space of the Russian North and the Arctic. The goal of this work is to examine the peculiarities of a peasant house in Purnema settlement as a factor of formation of the cultural landscape of Onezhskoye Pomorye. The dwelling is examines not as an isolated structure, but an integral part of the North Russian cultural landscape, one of the key elements of the traditional culture of Pomorye— the Russian variant of marine culture in the Arctic. The research is based on empirical data acquired in the course of expedition in 2020 on the territory of Onezhskoye Pomorye, settlement of Purnema, Arkhangelsk Region. The article emplopys archival sources of the State Museum of Architecture named after A.V. Shchusev (Moscow), wooden architecture sites in the open-air museum “Malye Korely” (Arkhangelsk Region). Empirical data was obtained via photographic evidence of architectural sites, schematic measurements, and ethnographic questionnaire of local residents, using the method of interview. The research also leans on methodology developed by the Doctor of Culturology A. B. Permilovskaya on the architectural and ethnographic survey of the wooden architecture sites. The conclusion is made that the architectural-construct peculiarities of the dwelling and type settlement demonstrate the specific lifestyle of the Russian people in the harsh forest zone and their adjustment to the local climate. In the conditions of the North and the Arctic, a peasant house manifests as a stabilizing factor of adaptation, which ensures sustainable coexistence of population and cultural landscape formed therein; and thus, the effectiveness of ethnosocial and environmental development of the Northern and Arctic territories of the Russian Federation.

Keywords: traditional culture, vernacular architecture, cultural landscape, rural historical settlement, spatial planning, dwelling, Russian North, Arctic, Onezhskoye Pomorye, Purnema village

Abstract: This article is dedicated to examination of works of the film directors of the Leningrad popular science film studio “Lennauchfilm” in the 1970s – 1980s. Based on the archival documents presented in the Central Archive of Literature and Art of Saint Petersburg, the author analyzes the work of the film studio: carries out classification of filmography by formal-semantic criterion, as well as determines the key processes typical to this time period. The following main trends are highlighted: natural science, technical-propagandistic, historical-revolutionary, military-patriotic, social life, history of art and culture. Special attention is given to the films that cover the topics, which have not previously been included in the field of popular science cinematography. The novelty of this research lies in classification of the thematic trends of the Leningrad film studio as an integral artistic system, as well as in comparison of the plots of popular science film texts by each direction over the two decades. As a result, the author identified the main trends, which broadened the thematic field in the work of the studio, as well as fundamentally changed the representations on the goals and tasks of popular science cinematography. The key object of popular science cinematography is being shifted during the Perestroika period. Emphasis is place not on science and technological achievements, but human and society. Film directors through their works conveyed the attitude of society towards science, raising the questions of transformation of ethics and morality in the context of scientific and technological revolution. The idea of the harm of scientific achievements and responsibility of the scholars before society is being advanced. Without any doubt, the works of the Leningrad film directors broadened the ideological-artistic range by offering the own vision of specificity of the Soviet popular science cinematography.

Keywords: historical-revolutionary subject, technical propaganda, natural science subject, educational cinema, popular science cinema, popularization of science, military-patriotic subject, history of culture, social subject, science film

Abstract: In view of female portrait of the turn of the XIX – XX centuries, which stylistically belongs to “salon” painting of the Russian Art Nouveau, the authors analyzes the two works by the artists of “The World of Art” association – the portrait of Elena Olive by Konstantin Somov (1914) and the portrait of Marina Makovskaya by Alexander Golovin (1912). Both portraits are attributed to the series of female portraits created by Konstantin Somov and Alexander Golovin in the early 1910s. The general circle of  the artists’ clients, similar formats of works, compositional and stylistic techniques allow drawing parallels between the selected portraits and finding certain conceptual similarity. The determination of stylistic, formal and conceptual patterns of both works against the background of the series of similar portraits created by the artists indicates that the generally accepted criterion of “psychologism” of the images in assessing these works is inapplicable. The female portrait of the Art Nouveau appease to be representative, creating “stylish” images of the contemporaries, meeting the tastes of the clients and the moods of Belle Epoque, but virtually not oriented towards personal characteristics and psychologism of the image in traditional sense. However, in the considered portraits, the researchers reveal generalizations and characteristics that describe the psychology of the depicted models in a different way, as well as form a three-dimensional female image of the turn of centuries: the phenomenon of “hidden psychologism”, the prospects for studying which are outlined in this work.

Keywords: Konstantin Somov, Art Nouveau style, Art Nouveau, Russian Art Nouveau, salon painting, salon, salon portrait, portrait, Alexander Golovin, Mir iskusstva

Abstract: The object of this research is the philosophical works of the Russian religious thinker P. A. Florensky. The subject is the extensive concept of religious philosophy, which brings certain clarity to the question of separation of the unity of philosophy and religion that takes place in modern thought. Throughout centuries, the philosophy has been defined in relation to religion. Only in the Renaissance Era, scholars and philosophers came to the conclusion that these two sciences can exist separately and pursue their initial goals. Theology should be proving the existence of God and comprehensibility of God for human mind and, most importantly, for faith. The theme of philosophy is human and existence. The main conclusions of lies in the statement that philosophy and religion do not contradict each other, neither on the subject matter nor in the fundamental cognitive attitudes that develop the ideas of human in their being. In the early XX century, the following situation has formed in Russia: if the philosophy does not acknowledge the existence of God, it no longer is considered a full-fledged science and should cease to exist. Only the materialistic trend in philosophy denied the existence of God. It has been overcome by such thinkers as N. Berdyaev, S. Frank, P. Struve, S. Bulgakov, and other. The aggravation of this issue at the turn of centuries resulted in the fact that the scholars have found  the religious topic particularly painful and fatal for the individual.

Keywords: Russian philosophy, philosopher, thinker, culture, existence, dialectics, creativity, philosophy, method, revelation

Abstract: The Central Academy of Fine Arts is the only higher education institution of fine arts under the jurisdiction of the Ministry of Education of the People's Republic of China. The history of the National Art School in Beiping dates back to the establishment of the National School of Fine Arts in Beijing in 1918, which was supported by the prominent pedagogue of art and its first director Cai Yuanpei. It was the first national school in the history of China, laid the foundation for the modern Chinese education in the field of fine arts. This article is dedicated to the analysis of the key events of more than a century-long history of the school, which allows tracings the evolution of the Chinese art education, and gives a better perspective on the role of modern China in the art world. The novelty of this work lies consists in description of the process of establishment of art education in China in the XX century, classification of the national traits of this period on the example of the Central Academy of Fine Arts in Beijing, as well as analysis of the Soviet impact upon the Chinese education in the field of art history. The international cooperation with the Russian School of Painting, namely I. E. Repin Academy of Fine Arts had a beneficial impact. The study of Chinese students in the USSR allowed the following generations to implement such valuable experience. The ancient techniques and plotline received a new life in the works of modern artists, which are justifiably regarded as the achievement and progress in the national culture.

Keywords: Traditions of the Soviet school, Curriculum structure reform, Central Academy of Fine Arts, Soviet-Chinese relations, Китайское художественное образование, Art education, Chinese education, Art history school, Academy of Repin, Chinese art traditions

Abstract: This article explores the problems of the poorly studied sociocultural practices of spiritual-educational fund of ethnic cultures, among which of particular importance is the study of historical and aesthetic specificity of graphic symbolism. The author reviews the ideographic image of the family symbol of ownership “tamga” from the perspective of mutual influence of ethnocultural practices of different people that manifests through the system of symbols. Analysis is conducted on the interaction of ethnic graphic symbols in the evolutionary processes of sociocultural activity of the ethnoses. Symbolic ideographic images have always played a significant role in the evolutionary processes of sociocultural activity of the society. Symbols prompted the emergence of writing system, art, education and upbringing, and up to now are associated with the modern worldview. In the course of research, the author determines the characteristic artistic features socially meaningful forms of ethnic culture. Existing as a the visual forms of control over the processes of spiritual development, the symbolic forms infiltrate from one creative system into another, exerting a direct influence upon the artistic-aesthetic content and cultural meaning of the new image. These graphic codes, depending on the semantic generality, define cultural significance of the symbol in folk art. The relatively small number of publications dedicated to the research of graphic image of the social symbol (tamga) allows summarizing the results acquired by the Russian and foreign scholars in this field.

Keywords: abstract image, sociocultural symbol, North Caucasus, ideographic image, visual code, tamgi, Graphic sign, magical symbol, national culture, ethnicity

Abstract:   This article raises the question about the nature of technology, namely whether there is universal technology that evolves and develops in culture, or there are different technologies that are interrelated in genesis. The author examines the pros and cons, as well as other problems, the solution of which sheds light on the nature of technology. The conclusion is made that the invariant characteristics of technology (technology as an artifact; synergy of natural effects and human activity; social body of a person; conceptualization; factors of sociality) do not represent the ontology of technology, but rather the methodology. In order to solve the dilemma, the author analyzed the two current states of technology ‒ engineering and technology. Technology is defines as an activity on creating technical products and as a technical environment that is essential for human life. It is claimed that the technology is a result of the activity turn and turn, which was later associated with management, including research and rational restructuring of the activity by specialists trained for solving such tasks. Ultimately, the author inclines towards the thesis of multiple technologies. The article discussses the Internet as a new type of technology.  

Keywords: environment, development, evolution, culture, technology, engineering, technique, activity, nature, man

Abstract: This article is dedicated to the relevant problem of art history, and determines the degree of impact of the traditions of the Soviet Academy of Art History upon the art education of the People's Republic of China. The fundamental role in this process is assigned to the Chinese students who studied in I. E. Repin Leningrad State Institute of Painting, Sculpture and Architecture of the USSR Academy of Arts during the 1950s – 1960s, as well as their pedagogues and academic advisors. The article analyzes the stenographic materials of state attestation of the four Chinese students of the faculty of Theory and History of Art, who defended their theses in 1959 and 1960. The novelty of this research lies in the fact that the the materials of the Scientific Archive of the Russian Academy of Arts that were not previously used in scientific discourse, namely work with the stenographic materials of state attestation of the selected students, reveal certain peculiarities of art history and art education of the People's Republic of China, description of the tradition of the Soviet Academy of Art History and its impact upon the Chinese education at the turn of the 1950s – 1960s. The Chinese graduates of I. E. Repin Leningrad State Institute of Painting, Sculpture and Architecture have later continued the traditions of the Soviet Academy of Art History, and laid the foundation for education of the future generations of specialists in the field of art. The conducted research determines several relevant trends of the Soviet School that influenced the development of Chinese art history.

Keywords: Art history Traditions, Academic school Traditions, Soviet school Traditions, Soviet art school, Soviet-Chinese relations, Chinese art education, Art education, Chinese education, Academy of Arts, Leningrad Academy

Abstract: After the defeat in the Opium War of 1840, the Chinese Qing Government realized the advanced nature of Western technologies and culture and proceeded with comprehensive examination of the Western experience. The study of the Western painting by the Chinese artists became an important part of this process. The period from 1900 to 1949 was a pivotal stage in the history of development of the Chinese painting associated with the advent of the Chinese oil painting. This article analyzes the development trends in Chinese painting by means of comparison the corresponding historical documents that resemble the five cultural phenomena emerged in this period; as well as generalizes the stages of studying the Western painting in China during this historical period. The author also analyzes the contribution and impact of the Chinese students upon the development of Chinese oil painting, changes in the painting styles, as well as integration of the Chinese artistic experience in the Western oil painting. The peculiarities of the major associations of Chinese artists of this period are reviewed. The development trends of Chinese oil painting include five aspects. The study of Western painting in China was not an approval of the Western oil painting tradition, but rather a way to improve the outdated Chinese tradition as well as build up its international status. This is precisely why the Chinese government set an implicit goal to popularize the Western art of painting in China. The political reforms that took place in China of that time were an important factor, which contributed to cultural changes. The development of painting became one of the key factors in the development of Chinese culture and art.

Keywords: painting, traditional painting, Foreign painting, Chinese artists, Modern Chinese painting, Chinese culture, Chinese art, avant-garde art, style, oil painting

Abstract: This article is discusses the works of the graphic designer Alex Steinweiss (1917 – 2011), who was involved in music industry of the United States. The author examines the causes and effects of the emergence of a new trend in graphic design, associated with the design of music album covers, as well as analyzed some of the covers invented by Steinweiss in the 1940s. A brief overview is given to the evolution of sound recording media and their packaging. The subject of this research is the art of Alex Steinweiss, while the object is the envelopes for LP vinyl records, invented by the designer during his work for the Columbia Record Label (1930s – 1940s). The relevance of this article is substantiate by the new wave of interest in vinyl records, and thus graphic design in the context of music industry, as well as by the demand to prepare specialists for working in modern music industry. The novelty lies in examination of causal link of the emergence of new trend graphic design on inventing music album covers. The conducted research indicates the influence of a number of socioeconomic factors and activity of Alex Steinweiss upon the emergence of a new trend in graphic design. The author concludes on the relevance of studying the creative path of Alex Steinweiss for the students and representatives of art professions.

Keywords: record sleeve, cover design, vinyl record, Alex Steinweiss, music album, music production, graphic design, music, media packaging, designer