Abstract: The object of the study is culture in terms of its aesthetic component (art and design). The subject of the study is design as a cultural phenomenon. The author suggests that design from a philosophical point of view contains meanings that are not described by the traditional number of aesthetic categories. The author demarcates the categories "design" with the categories "art" and "aesthetic", consistently identifying differences in the following parameters: 1. functional difference; 2. difference of origin; 3. semiotic difference. Having distinguished the design category from the art category, the author reveals the specific semiurgical essence of the design category. Semiurgic design is associated with projective activity, that is, the activity of creating new signs. Design is associated with the design of secondary reality and the gradual doubling of the world. The main conclusion of the study is an attempt to derive the formula of the philosophical content of the category "design". The philosophical category "design" is associated with the aesthetic organization of secondary reality and is characterized by projectivity (orientation to innovation), transitivity (orientation to real application), functionality (orientation to optimal application), immanence (lack of connections with the transcendent) and semiurgicity – the function of creating new signs. The semiurgic nature of design lies in the constant reproduction of itself, since the discourse of design "new" becomes synonymous with design and loses the meaning of the dialectical negation of "old". The design is associated with the symbolic doubling of the world. Moreover, this doubling does not increase the meaning and value of being, but, on the contrary, enhances the illusory nature of being, since design, unlike art, is not associated with pointing to a transcendent reality.

Keywords: symbolic doubling, transcendent, semiurgy, semiotics, categories of aesthetics, aesthetic, art, Design, modernism, postmodern

Abstract: The article contains materials about the work of St. Petersburg artist Yulia Vasilievna Gusarova, a master who creates works in different materials and techniques and has her own theme, manner and style. The purpose of the article is to determine the foundations and nature of creativity, to track the dynamics of the personal development of a hereditary artist. She is multi-faceted and is successfully realized in the art of painting, in mosaics, in ceramics, in textiles, in scientific and pedagogical activities. The main themes of her work: stories from the history of culture and art, travel impressions, the world of the sea and marine life, the fantastic world of the medieval "bestiary" and modern technology. The article presents examples of her works, describes their semantic content and artistic merits, notes theoretical and methodological-pedagogical aspects of the problems of art and art education. The materials of the article have novelty, because they are offered for publication for the first time. There was no scientific study of Y. Gusarova's creativity in domestic and foreign art criticism. The results and research methods in this article can be useful in art criticism for use in writing monographic works about the work of other artists, as well as for creating a complete picture of the features of the work of domestic ceramic artists of the XX - XXI centuries.

Keywords: technology, composition, art painting, sculpture, mosaic, textiles, ceramics, art education, painting, decorative art

Abstract: During the last decade scientific interest of the Soviet period consumer goods has been increasing in the context of global political processes, on the one hand, and from the point of view of the organization of the living environment, on the other. The post-war and the late Soviet period consumer goods are interesting for analysis, since they are connected with the state policy of the everyday life of a Soviet citizen. Since the late 1940s, the formation of the consumer goods has been taking place on three levels of everyday culture: the space of the body, the space of the house, the space of the city. The article examines the problem of transition from an environment filled with private objects (1950s) to a single concept of the organization of the environment – design (1960s), using the example of the products of Leningrad art industry enterprises and archival materials (enterprise reports). The study of the material filling of the everyday space of the Soviet are citizen within the framework of the culturological approach assumed the use of a structural and functional method. As part of archival research, a source–based assessment of materials was carried out – annual reports of enterprises. When analyzing the works – products of the art industry enterprises, a set of art criticism methods was used. The materials of the Leningrad Enamel artel/plant are presented for the first time, some samples of the company's products are selected and analyzed in the context of changing stylistic coordinates and the formation of technical aesthetics. Based on the analysis of the degree of study of the porcelain and textile industry of Leningrad in the post-war and late Soviet periods, the conclusion is made about the importance of studying the problem of transition from a stylistic marker of the subject component of the living environment to a design one. This transition is demonstrated by the example of the history and some works from the assortment of the Leningrad Enamel company. Archival materials made it possible to expand the understanding of the history of the enterprise, the circumstances of the transfer of the artel to state administration and the making of products in accordance with the requirements of decorative minimalism. The analysis of artistically designed household goods (cigarette cases, compact boxes) confirms the theses not only about the formal change of artistic language, but also about the formation of ideas about a new living environment.

Keywords: design, living environment, everyday culture, decorative minimalism, technical aesthetics, Leningrad Enamel, Leningrad enterprises, mass-produced porcelain, art industry, soviet culture

Abstract: Ship models are the part of a significant number of collections of domestic and foreign museums. Such objects are the primary sources of knowledge and emotions, true monuments of history and culture, but often belong to the group of reproductions of museum objects, that is, reduced copies of original objects. The article analyzes the questions of the definition of ship models, correlates the definitions of these items in different sources. The author considers the model of the ship from the point of view of the functions and properties of a museum object, asserts their value as originals of significant historical and cultural significance, monuments of science and technology, objects of arts and crafts, ethnographic sources. The novelty of the research lies in the study by the author of the ship model from the point of view of the theory of the museum object. This allows us to consider ship models from other, not generally accepted positions, and consider them full-fledged museum objects, which, along with originals, have the same set of properties, qualities and features. The main conclusions of the study are, firstly, that the models of ships and vessels in the collections of museums are not secondary in relation to other material sources, and secondly, that such objects fully correspond to the concept of "cultural values", are source of knowledge and emotion.

Keywords: objects of arts and crafts, properties of a museum object, technical monuments, ship model, museum object, cultural values, museum collection, museum, copy, maquette

Abstract: The aim of the work was to identify the role of holidays of the Sherpa ethnic group in the preservation and continuity of their traditions. The tasks were to analyze the characteristics of traditional holidays, such as the Sherpa New Year, religious holidays and agricultural holidays, and to find out their role in modern Tibet. The author comes to the conclusion that, despite the strong influence of external cultural factors, a significant layer of the traditional local holiday culture of Sherpas remains. Using comparative historical and typological approaches and the method of system analysis based on a large amount of information, the characteristics of Sherpa holidays are systematized. The novelty lies in the vastness of the collected information and its analysis and generalization, previously such research results have not been published. The author comes to the conclusion that, despite the strong influence of external cultural factors, a significant layer of the traditional local holiday culture of Sherpas remains. Thus, the study of the holidays and the festive culture of the Sherpas showed that, along with the influence of external cultural factors, the Sherpas still retain a significant traditional layer of their local culture. Thus, the New Year is more influenced by external factors and changes in time and customs, while agricultural and religious holidays preserve traditional customs. Among the agricultural and religious festivals, one can see the manifestation of the traditional folk beliefs of the Sherpas. Chinese Sherpas, being a very small ethnic group, are becoming an important subject of study, as is the protection of their cultural heritage, and holidays and festivals, as vivid indicators of their traditional culture, are even more valuable for research.

Keywords: New Year, agricultural holidays, religious holidays, Sherpa people, unrecognized nationality, holiday, broadcast, traditional culture, Tibet Xizang, China

Abstract: The paper discusses an alternative: comprehension of the inner form of a musical work or the constitution of a new melos by means of musical movement. We are talking about a special genre of art, free dance, called "musical movement", and in its two important contexts - staging performances and teaching. The concept of internal form and the appeal to it by the teacher and the director of performances Aida Aylamazyan is analyzed. The author offers a different understanding of the inner form than Aylamazyan. The musical movement formally consists of two different beginnings of the perception of serious music and organized movement in a broad sense (poses, tensions, emotions, coordination of movements with other dancers); the first beginning was formed in recording and listening to music, the second is mastered in the classroom. Entry into a musical movement occurs if these two beginnings merge into one. The movements of the dancers should not contradict the music, not destroy its perception. In addition, they should set a new organization of music, namely one that meets the idea of the organizer of the dance. As a result, a new objectivity is formed - a musical intonation organized by the musical movement. The article offers a new look at the concept of the inner form of a musical work, as well as an understanding of the musical movement itself. The formulated alternative is allowed if we distinguish between two different types of work: teaching musical movement and staging new performances. As part of the training, an adequate understanding of music is important. An important role here is played by the interpretation of a piece of music, which is created on the basis of semiotic schemes. Equally important is the training of dancers of the musical movement, during which they form a new hearing and understanding of music. As a teacher, Aylamazyan relies on the concept of inner form, as a director, she must discover a new content of a musical work that can be revealed in a concert with the help of musical movement.

Keywords: director, teacher, intonation, composition, melos, interpretation, dance, musical movement, shape, content