Abstract: The object of the study is modern design as a cultural phenomenon. The subject of the study is design as a metalanguage of the modern information space – hyperreality. The relevance of the research is determined by the globalization of communication, characteristic of the modern socio–cultural situation: today communication takes place in hyperreality, which makes national languages a special case of communication - the whole world begins to communicate in a metalanguage understandable anywhere in the world, and today design becomes such a universal language. The novelty of the research is due to the very formulation of the question: until now, design has not been considered as a metalanguage of hyperreality. In addition, the study reveals the problems of modern design associated with the modern stage of its functioning in hyperreality.The purpose of the study is to show that in the conditions of globalized hyperreality, design becomes a metalanguage, a semiotic system built on top of the semiotic system, which is the modern information and communication space. The main method of research is the semiotic analysis of the design environment. The research is mainly based on the material of modern flat design, which is the most representative form of the existence of design at the present time. The main conclusions of the study: the socio-cultural environment of modern man is hyperreality. Hyperreality is a metalanguage in relation to primary reality. But hyperreality itself uses a metalanguage as the main language, this metalanguage is design. Design builds a system of images and connotations over the world of things, thus creating a metalanguage, or semiotic system of design. Modern design uses simulacra signs as the main sign form, since hyperreality in its development tends to distance itself from the primary reality, and develops its syntactic and paradigmatic structure, which is fundamentally different from the primary reality. The uniqueness of design as a metalanguage lies in the use of simulacra, signs that are fundamentally not expressive, not adapted for adequate transmission of information.

Keywords: modernism, navigation, language, communication, semiotic system, simulacrum, metalanguage, design, hyperreality, information space

Abstract: The topic of Soviet everyday life is quite popular in the scientific community. The children's publications themselves are still outside the scope of research practices in the field of studying the culture of everyday life. The article analyzes the subject world in the domestic book illustration of the late 1940s-1960s. The aim is to identify markers of the everyday culture of the Soviet city, in particular Leningrad. The boundaries of the study are publications issued during the specified time period and addressed to children and adolescents. The attention was given to books about the life of a Soviet child of the Leningrad branch of Detgiz publishing house. It is established that in the children's illustrated book of the 1940s-1960s, large objects that visually defined the boundaries of everyday life, as well as elementary things for the organization of everyday life, became objects of everyday culture more often. Small interior items that have a decorative function will appear to a greater extent by the 1960s, that is, the conditions and priorities in the formation of the life of a Soviet citizen will change, and a tendency to detail the world of everyday life is formed in the book illustration. In the course of the study, a group of artists was identified who paid great attention to the depiction of everyday objects, but the illustrators did not separately show the belonging of the plot and the created space to a certain locality. They created a collective image of the everyday life of the Soviet country. Therefore, in the book illustration of the late 1940s-1960s in the subject world of Leningrad, it is not yet possible to clearly distinguish the features of the «Leningrad style», but it is possible to reconstruct the daily life of a Soviet citizen

Keywords: Leningrad style, illustration, soviet everyday life, publishing house Children's literature, Detgiz, children's book, book art, everyday life, soviet everyday culture, illustrated book

Abstract: The subject of the study is the peculiarities of carving of the iconostasis wooden sculpture of the XVIII century, made by the masters of Veliky Ustyug, as well as local artisans under their influence. The purpose of the work is to attribute and introduce into scientific circulation - iconostasis wooden sculpture, four figures of angels from the collection of the Slobodsky Museum and Exhibition Center. The paper makes an assumption about the source of receipt and origin of the sculpture, as well as a comparative analysis with Velikoustyuzhsky and Perm iconostasis carvings and wooden plastics. The wooden iconostasis sculpture, while preserving the traditions of Russian Orthodox art, absorbs the features of European art, while at the same time it corresponds to folk art and reflects the features of the Baroque style in local variants. The methodology of the work is based on the principle of stylistic and technological analysis in art history, as well as the principle of historicism in the study of wooden plastics in the context of the development of art in the Russian North. The scientific novelty of the research lies in the fact that four monuments of wooden plastics of the XVIII century from the collection of the Slobodsky Museum are introduced into scientific circulation, their detailed description and stylistic analysis are made. Two paired figures of angels were in the iconostasis and held a frame with a Crucifix, were made by Ustyug craftsmen in the first half of the XVIII century. Two other figures of angels in prayer were made by local craftsmen at the end of the XVIII century, under the influence of Ustyug masters. Further study of the collection of church art of the Slobodsky Museum will allow make reconstructions of the interiors of temples for the museum exposition.

Keywords: velikoustyuzhskaya wooden sculpture, perm wooden sculpture, Baroque, wood carving, wooden sculpture, iconostasis, church art, primitive, folk art, churches of Sloboda county

Abstract: In this article, the author analyzes the Portuguese colonial architecture in the countries of South Asia in the period from the XVI to XVIII centuries. The author examines the military, civil and religious architecture built by the Portuguese during their presence in the South Asian colonies. Special attention is paid to the Portuguese colonial architecture of India (especially Goa) and Macau. Buildings in Singapore, Thailand, Malaysia and other former Portuguese colonies in South Asia are also considered. The author studies the process of formation and features of a special Portuguese colonial style in military (fortification), civil and religious (cult) architecture. The features in the design, decoration, as well as building materials of buildings are revealed. The novelty of the study lies in the fact that for the first time the samples of Portuguese colonial architecture in South Asia and their architectural features were comprehensively considered. The main conclusions of this study are the following. Firstly, on the one hand, the European architectural tradition has enriched the culture of the South Asian region. At the same time, different types of buildings show different degrees of influence. Secondly, on the other hand, Portuguese colonial architecture in South Asia itself has undergone significant changes under the influence of local cultural and climatic factors. Many of the changes made to classical European building designs were dictated by the weather and climatic features of the area. The choice of material was dictated by climatic and geological features. The culture of local civilizations also influenced the decoration and decoration of Portuguese buildings.

Keywords: China, Portugal, Thailand, Macau, Malaysia, India, mannerism, Portuguese colonial style, Jesuit baroque, colonial architecture

Abstract: The object of research is the transformation of the social representations of the subject in the digital communication environment, the transformation of social representations in economic digital ecosystems is highlighted as the subject. The relevance of the topic is due to the growing convergence of digital, cognitive and social technologies in the emerging digital society, and, as a consequence, the inclusion of information and digital technologies in the system of social interactions. The study is aimed at identifying the ways and mechanisms of influence of economic digital ecosystems on the social perceptions and values of the subject. Accordingly, the article examines the features and goals of economic digital ecosystems emerging in the process of development of the digital economy. Particular attention is paid to the analysis of the features of digital communication in economic ecosystems, which create new opportunities and ways of influencing ecosystems on the formation and dissemination of social ideas. The methodological basis of the study is made up of structural-functional and systemic-communicative approaches to the study of the processes of transformation of social ideas and values of the subject. The main conclusion of the study is the following: in the information society, the influence of digital economic ecosystems, aimed at constructing the digital environment of society, on the formation and transmission of social ideas, is increasing. The growth in influence is largely due to the high adaptability of ecosystems to the individuality of the consumer and the digital capabilities of personalizing consumption. The novelty lies in the introduction of the concept of “collective digital transpersonal community,” which characterizes the features of the method of forming social ideas and values in the digital environment.

Keywords: digital rationality, digital values, social representations, values, social interaction, collective subject, subject, digital eco-systems, complex systems, information society

Abstract: Author consider a number of works that have been identified by various researchers as portraits of D. A. Golitsyn, a prominent statesman of the Russian Empire in the second half of the 18th century. The Prince's interest in art determined his special role in the artistic world of Europe, as well as in the formation of the Hermitage collection and in attracting foreign artists to the country. The subject of research is the connection of existing portrait images with the milestones of the fate of Golitsyn and in the context of interaction with the artistic world of the 18th century. Despite the prince’s close contacts with painters, sculptors, and graphic artists, few portraits of him are currently known. Research method used in the article is the iconographic elucidation of the main features of Prince Golitsyn's appearance, which allow to identify his images. The scientific novelty of the study consists in the systematization of the iconographic series of images of D. A. Golitsyn available today, as a result of which his well-known silhouette portrait turned out to be created by a modern graphic artist I. V. Golitsyn based on an engraving depicting the son of the prince, a priest of the Catholic Church D. D. Golitsyn. The attribution of one of D. A. Golitsyn's portraits from the collection of his daughter's heirs, the German aristocrats Salm-Salm, is recognized as erroneous, since it is a copy of the work of the French painter of the first half of the 18th century from the Coypel family and depicts another person. The circle of absolutely indisputable images of Prince has been determined. Golitsyn, which include sculptural portraits by French artist Marie-Anne Collot, one of which is now in a private collection in Moscow, as well as a profile drawing by her husband Pierre-Etienne Falconet.

Keywords: drawing, engraving, silhouette, sculptural bust, Pierre-Etienne Falconet, Marie-Anne Collot, iconography, portrait, Catherine the Second, Dmitry A. Golitsyn

Abstract: The object of the research is the works of Soviet composers for the non-register bayan (non-register accordion). The subject of the research is the sonorous technique. The aim of the study is to examine the specific application of sonorism in the works of Soviet composers for the non-register bayan. The author identifies the types of sonorous soundings and the ways they are formed; considering their textural, dramatic, and depictive significance. The materials of the article can be used for the professional activities of bayanists and composers, and can be included in the courses. The methodological basis of the research includes a comprehensive approach, which incorporates scientific methods of induction and deduction, typology, comparative, structural, systemic, and historical approaches. The scientific novelty of the research lies in the fact that the sonorism in compositions for the non-register bayan is specifically explored for the first time. As a result of analyzing works of Soviet composers for the non-register bayan (original compositions, arrangements of folk melodies, adaptations), the author of the article concludes that sonorous technique is not frequently used in them, and the sonorous soundings employed (lines, spots, and stripes) are generally consist of a small number of sounds and brief. Nevertheless, by selecting the representative examples from the works of the renowned Soviet composers to illustrate, the author of the article demonstrates that sonorous soundings are employed in crucial dramatic moments, serve various depictive functions, and provide a background for the melodically leading voices. Identified applications of sonorous technique in works of Soviet composers for the non-register bayan represent a preparatory evolutionary stage leading to the "flourishing" of sonorism in music for the cassotto-ñonverter instrument in the second half of the 20th century and the first half of the 21st century.

Keywords: musical depictiveness, evolution of bayan sonorika, cluster, sonor functions, Soviet composers, sonorism, sonorant texture, music for bayan, cassotto-converter bayan, non-register bayan

Abstract: Forms of tourism associated with risk and danger are now dynamically developing cultural industries all over the world. The article is devoted to the development of tourism in the Republic of Sakha (Yakutia), first of all, to the problems of attracting foreign fans of extreme and adventure tourism, mainly from Southeast Asian countries. As drivers of the tourist flow, it is proposed to pay attention to tourists from the People's Republic of China. In order to implement a competent marketing policy to attract Chinese tourists, it is proposed to take into account the peculiarities of traditional and modern spiritual culture of China in the aspect of tourist motivation. To attract tourists from China, it is considered necessary to develop and offer short-term winter tours with extreme elements in central Yakutia. To study the tourist value and semantic orientations of tourists from Southeast Asia, using the example of Chinese citizens, the works of Chinese researchers in English were used. The author believes that in order to offer a competitive product in the market of extreme tourism, it is necessary to take into account the influence of cultural values and traditions on motivational attitudes, basic requirements and expectations from extreme tours, depending on region or country. Due to the change in the foreign policy situation in the 20s of the XXI century, as well as the increased flow of Chinese tourists on the international market, the policy of attracting tourists from Southeast Asia is becoming the main and decisive for the development of international tourism in the republic. For the development of mass tourism with extreme elements, it is proposed to use the tourist resources of central Yakutia, where winter, short-term tours can be offered that can meet the needs of foreign, primarily Chinese tourists.

Keywords: extreme leisure, winter tourism, tourism in China, tourism in Yakutia, tourists from Asia-Pacific, marketing in tourism, Chinese culture, adventure tourism, extreme tourism, motivation in tourism

Abstract: The purpose of the article is to reveal the cultural meanings that for the poet were associated with the concept of "will". To achieve this goal, we trace the evolution of the poet's work, in which the cultural meaning of the concept of "will" is revealed through a chain of interrelated and complementary meanings: the boundless desire of the symbolist poet, a rush into the distance and upward, gaining freedom, admiration for the free world and the discovery of the supreme Divine - creative principle in nature. It is shown that the concept of "will" embodies in Balmont's poetry the essence of God's world, turns to the foundations of the Russian cultural mentality, reveals the convergence of Divine and human, free and creative principles as the dominant cultural worldview of the poet of the Silver Age. It is necessary to reveal the many cultural meanings that for the poet were associated with the concept of "will". The methodology of the research is based on synchronic, structural-functional, biographical, historical and cultural methods. Thus, the concept of "will" in Balmont's poetry combines the aspiration to space, breadth and height – to infinity, freedom, the poet's kinship with the Divinely free and eternally changeable elements of God's world and the creative principle as comprehension of the soul of the world and his own "free-spirited" soul. The cultural meaning of the concept "will" embodies the essence of God's world and the poet's soul. The concept of "will" in its versatility is one of the key ones in Balmont's poetry and turns to the basics of the Russian mentality, as well as reveals the convergence of the Divine and human, free and creative principles as the dominant worldview of the poet of the Silver Age. The thirst for will and freedom is inseparable from the formation of the Balmont symbolist with his aspiration from external reality to internal realities and is also connected with the rush into the distance "thirst for will and space".

Keywords: The Silver Age, Konstantin Dmitrievich Balmont, The eternal will, The creative will, The free world, Our spirit is free, space, freedom, Volition, conceptual sphere

Abstract: The article is devoted to the embodiment of the image of the Yakut opera singer, People's Artist of the USSR Anegina Ilyina in the Yakuts visual arts and literature. For the first time, this article discusses issues related to the disclosure of the theme of an outstanding contemporary woman - famous figure of musical art as a carrier of creativity. The subject of the study is the image of a talented Yakut vocalist captured in the best works of fine art (L.M. Neofitoff, V.R. Vasilyeff, A.N. Ossipoff, L.D. Sleptsova) and literature (Semen Daniloff, E. Neimokhoff, I. Gogoleff, L. Popoff P. Kharitonoff). The object of the study is the work of Yakut artists and writers of the second half of the 20 - 21 centuries. For the first time, the article explores a previously unexplored aspect of their work.  The descriptive, comparative, iconographic, historical-biographical methods are applied, which allow us to reveal the topic most effectively. This image presents the ideas of female beauty and natural talent inherent in the national consciousness of the people, which indicates that in the 1960-1980 in the perception of the Yakut society traditional ideas based on the mythology and folklore of Sakha were quite strong and stable. Thanks to her natural talent, studying in the class of the People's Artist of the USSR, professor of the Moscow State Tchaikovsky Conservatory N.L Dorliak A.E. Ilyina was able to take place as an outstanding master of Russian academic vocal performance and herself as a creative personality had a great influence on the creative inspiration of many writers, artists and the development of Yakut art in the Sakha Republic (Yakutia) in the second half of 20 centuries. This article is the first experience in studying of this scientific problem.

Keywords: embodiment, image, graphics, poetry, painting, opera singer, fine arts, Yakut literature, Yakut art, Anegina Ilyina

Abstract: This paper takes the intangible cultural heritage of Chinese handicrafts as the object of study, aiming to deeply explore the mechanism of its inheritance and protection. The intangible cultural heritage of handicrafts refers to traditional artefacts and handicraft products created through craftsmanship, as well as the knowledge, skills and cultural expressions associated with them. Such heritage is not only a collection of tangible products, but also intangible cultural expressions rich in history, culture, skills and philosophy. They often represent the history, tradition and identity of a culture. Chinese handicrafts have a rich history and contain many cultural connotations and historical values. Each craft holds deep cultural traditions and unique regional characteristics. The innovation of the article is that it proposes a diversified protection framework, stresses the synergy of government, market and society, and analyses the lessons learned in combination with specific cases. It is found that although China's intangible cultural heritage of handicrafts faces many challenges, such as the impact of industrialization, the transformation of the market economy, and the loss of talents in traditional skills, its inheritance and preservation can be effectively promoted through measures such as improving laws and regulations, strengthening public education, and promoting social participation. The article ultimately calls for the construction of an inclusive protection mechanism to achieve the sustainable development of China's handicraft-based intangible cultural heritage. (This article is the result of the project "Mutual learning of strategies for preservation and transmission of intangible cultural heritage of Russia and China in the field of handicrafts".)

Keywords: social participation, skill inheritors, tradition and modernity, cultural diversity, cultural protection mechanisms, protection, heritage, handicrafts, China, Intangible Cultural Heritage

Abstract: Using the example of the domestic film adaptation of Leo Tolstoy's epic novel "War and Peace", the features of the sound component of the film are investigated. A comparative analysis of the author's text of the writer and his cinematic interpretation is carried out. A significant part of the article is devoted to the issues of sound engineering, the organization of the acoustic (noise) environment of the film. The problems of modern reconstruction of film classics, the difficulties of "translating" the original into a new digital format are also touched upon. The issues of preservation and popularization of the cinematic heritage of Russia are raised. The role of the regional film distribution system in promoting the national film classics, educating the younger generation of moviegoers is noted. The field of application of the research results is cultural studies, theory and practice of film studies, art criticism. The scientific novelty of the research consists in the analysis of the musical and sound continuum of Sergei Bondarchuk's film epic. For the first time, an attempt was made to study the features of not only the musical context of the film, but also the noise environment, the acoustic originality of colloquial speech. A detailed analysis of off-screen monologues, which play an important dramatic role in the film narrative, is carried out. Special attention is paid to the history of the national digital reconstruction of the epic "War and Peace", undertaken in the 1990s. The role of modern technologies, which allowed to preserve the musical and acoustic environment of the film, is noted. The question is also raised about the need to popularize a new digital version of the film adaptation of Leo Tolstoy's epic novel. The prospect of introducing a special course on the history of Russian cinema into the Russian education system is considered.

Keywords: cultural property, speech expressiveness, off-screen monologue, acoustic environment, sound engineering, music, sound-visual complex, film adaptation, cinema, education

Abstract: The article examines the symbolism of "snow painting" in the context of the development of a range of motifs and means of artistic expression, techniques of execution, which artists have chosen since the inception of this type of landscape genre to the modern situation. This analysis is implemented in the context of changes in the reception and reflection of elements of winter species caused by transformations in the worldview of people of a particular era occurring in the socio-cultural sphere. The object of research is the winter landscape in Chinese painting of the III – late XX century. The subject of the study is the symbolic system in the construction of artistic space in the winter landscape in Chinese painting of the specified period. The purpose of the study is to determine the features of spatial worldview in the "snow painting" of China in the context of national aesthetic and philosophical ideas.  The research methodology is interdisciplinary and includes the study of the organization of space and the interpretation of its symbolic content in the paintings of Chinese landscape painters who turned to the image of winter and the motif of snow at different historical stages. When considering and analyzing works of Chinese painting, the iconographic method and stylistic analysis are used. The novelty of the study lies in the fact that it clarifies the concept of "snow painting" in the context of the development of Chinese fine art, identifies the circle of authors who addressed it, establishes a certain continuity in the artistic, stylistic and compositional techniques used by them, as well as the philosophical and aesthetic concepts behind them. The latter are directly related to the specifics of creating such works, as well as the means of modeling space by artists, which is revealed in the conclusions of the study. Within the framework of the analysis, the range of frequently used motifs and images is determined, their interpretation of the symbolic meanings associated with them are proposed. Snow in such painting is considered as a symbol of beauty, loyalty, nobility, as well as part of the "emptiness" in the artistic space of the painting.

Keywords: landscape painting, snow, the image of winter, snowy landscape, snow painting, Chinese painting, Chinese art, religious and philosophical ideas, aesthetics, reception and reflection

Abstract: The subject of the research is the formation of the theological theory of the image in the church-artistic tradition of Christian art. The aim is to identify the main aspects of the formation of the theory of the image in the pre-Iconoclastic period based on the works of representatives of the Cappadocian school, Pseudo-Dionysius the Areopagite, Maxim the Confessor, John of Damascus, as well as after the approval of icon veneration, reflected in the works of Patriarch Gregory of Constantinople, Theodore the Studite, Simeon the New Theologian, Gregory Palamas and Patriarch Nikephoros. To trace how the influence of theological thought was reflected in Byzantine church art. To determine the specific features of the phenomenon of the iconographic image and to highlight the significance of its dogmatic foundations in religious art. In the study of the works of Byzantine theologians, historical and cultural analysis was used, which allowed a more holistic view of the worldview of the era in which they created, and the ideas they defended. The study allows us to conclude that for the defenders of icon worship, the "soil" was prepared by the great theologians of the Cappadocian school, who in turn converted and reinterpreted the Neoplatonic teachings of Plotinus, Pseudo-Dionysius the Areopagite, who transformed their ideas into a christocentric doctrine of salvation. The dogmatic ideas of the theologians influenced the change of the ancient art form, giving it a new content, which, in turn, can become an important criterion that helps to identify and evaluate genuine spirituality in the works of church art. The study of the theological theory of the image is an important element in determining the fidelity of the artistic transmission of the essence of the creed and understanding of the sacred content of medieval temple painting, as well as a necessary reference point for modern icon painters, allowing them to choose in their work a system of expressive means corresponding to theological dogmas.

Keywords: iconoclastic disputes, iconographic canon, transformed matter, aesthetics of light, the problem of figurativeness, theological dogma, temple painting, image theory, symbolic realism, the spiritualistic content of the image

Abstract: Philipp Otto Runge and Caspar David Friedrich, well known Romantic painters, were not only notable masters of the brush but also theorticians of art. The present essay is devoted to an analysis of their theories. Its novelty consists in the fact that it analyzes for the first time the theoretical views that are expressed in the texts of both artists. Runge’s charactertistic feature is a pantheistic experience of God. According to him, it must be expressed in art. He proposes his own dialectic of being, which essentially consists of development, struggle, and mutual annihilation of opposite elements at the moment of achieving perfection. It is precisely this dialectic that, according to him, forms the foundation of art, where he sees an opposition between feeling and reason. Runge pays special attention to the notion of the “spirit of art,” which appears on the basis of the feeling of mutual connection between the human being and the universe, as well as of the artist’s foresentiment of God. In its foundation, art is symbolic and therefore close to religion. The spirit of art manifests itself in what one can call the music, poetry, or symbolism of a work of art. In art, Friedrich sees the spiritual foundation of the world. He distinguishes between skill and “spirituality” in it. According to him, one can master the skill, but one inherits spirituality from birth, and few artists possess it. As a Romantic landscape artist, he opposed illusionism in painting. He considered the creative element in art, which is born in the artist’s inner world, as pivotal. Feeling plays the principal role in art. For this reason Friedrich foregrounds the uncon-scious, although he is convinced that reason and skill must actively participate in the creative process as well. Friedrich preferred winter, foggy, and crepuscular landscapes, which expressed Romantic moods well.

Keywords: symbolism in art, spirituality, spirit of art, landscape, painting, Romantic aesthetics, Romanticism, Friedrich, Runge, allegorism

Abstract: The article examines two studies of the early period of Mstislav Dobuzhinsky's work, relating to the time of his life and studies in Germany (Munich): "A Street in Munich" (circa 1899-1901) and "Workshop of the Anton Ashbe School" (1899). The author of the article, based on the artistic and critical literature devoted to Dobuzhinsky's work, as well as correspondence and memoirs of the artist and his contemporaries, examines the urban pastel landscape and interior sketch of the late 90s. In the context of the tasks that the artist set himself during his studies abroad at the schools of Anton Ashbe and Shimon Holloshi, as well as in line with the conceptual searches of the artist both in the early and mature periods of creativity. In the analysis of the works under consideration, the author of the article uses formal stylistic, descriptive methods, the study of the features of artistic manner, the nature of the figurative and plastic language of the works, emotional and aesthetic assessment. The author of the article discovers an unconditional coincidence of artistic images, mood and texture of the early sketches of the artist's Munich period with verbal descriptions of the atmosphere of Munich in the late 1890s and the school of Anton Ashbe and his method, left by the artist and his contemporaries in letters, memoirs, art-critical and historical notes. Summing up the analysis of the "Streets of Munich" and the "Workshop of the Anton Ashbe School" by Mstislav Dobuzhinsky, the author of the article concludes that the special, subtle poetic mood of the two works under consideration, a gloomy autumn landscape and a bright sunny interior sketch, representing the early stage of the evolution of the artistic manner of the master, thoughtfully and figuratively reflect the concept "quiet poetry", characteristic of the artist's mature graphics and paintings, consistently developed by him in his further work.

Keywords: World of Art artists, painting study, Mstislav Dobuzhinsky, Russian Munich, Mir iskusstva, symbolism, painting, graphics, study, landscape

Abstract: The object of the study is the cap of the Chinese Orochon tradition. The subject of the study is the head decoration of Chinese orochons made of goat skin. The article discusses the main types of caps and their structural features and production technology. Orochons make a special headdress from the head skin of a roe deer, which demonstrates the gender and status of the person wearing this decoration. The Orochon hat belongs to traditional Chinese clothing and serves as one of the indicators of this nation. Against the background of globalization, the culture and aesthetic thinking of Orochon art provide rich ideological sources and practical directions for the development of aesthetics and art of the world. The purpose of the study is the characteristics of traditional Orochon headdresses, the symbolic meaning of headdresses and the importance of animal skin headdresses. This article uses such research methods as the method of literature analysis, the method of investigation and research documentary interview and examines the art of Orochon head ornaments. Thus, we can lead to the following conclusion: the traditional Orochon head decoration is an important component of the Chinese and world culture of the art of head jewelry. Orochon head jewelry in its long history of development has acquired an elegant and attractive appearance and exquisite workmanship. Chinese researchers pay more attention to the aesthetic and ethnological studies of these products, which has created great theoretical value for us and provides a strong reference basis. The novelty of the article lies in the distribution of symbolic meanings and artistic features of Orochon head ornaments, in particular, their hats. The history of their development and cultural connotation are systematically analyzed, the description and communication of artistic features and symbolic meanings are carried out.

Keywords: pattern, costume, art, orochon, manufacturing technology, orochon headdresses, roe deer scalp, Chinese Orochons, national minorities of China, Traditional culture