Abstract: The theme of the "spirit of place" has long been popular in modern architecture and environmental design, which was developed by the Norwegian architect Christian Norberg-Schultz in the 1970s and 1980s. This idea turned out to be close to Chinese designers, especially those of them who inherited the ideas of the literati (wenren), and through the prism of Western ideas they took a new look at their own tradition. The purpose of the study is to identify some characteristic features of modern Chinese design culture associated with the influence of the literati on it. We believe that this specificity is largely related to the poetics of memories, the understanding of space as a series of images transforming and flowing into each other, "metamorphoses of being." The object of research is the products of the artistic and design culture of the literati and designers rethinking their tradition. In the course of researching the traditional aesthetics of literati, we rely on the works of the Russian sinologist V. V. Malyavin, as well as on Chinese and Japanese authors. Speaking of the modern version of this aesthetic, we turn to the texts and projects of architect Wang Shu, designer Song Tao, photographer Sun Jun, etc. Initially, wenren is a man of high moral qualities, then a scientist and an official. Traditionally, the life of the literati is solitude and even hermitage, hence the theme of memories in their work. In addition, this is "amateurism", an unprofessional passion for the "elegant" – painting, music, etc. Aesthetically, it is an elegant, but unassuming beauty of the "ya". The tradition of "hidden meanings" and "pure offers" is also associated with the literati culture.
Influenced to a large extent by the culture of the literati, many Chinese designers of the twentieth century turned to the poetics of memories and even the theme of nostalgia, interpreting space as a series of transforming images where the present is intertwined with the past, and the natural with what is made by human hands. The traditional concept of a "garden house" is certainly felt today, when the interior space is likened to a relief, and the relief is thought of as a dwelling.

Abstract: This article is dedicated to the question of understanding of “melancholic” beauty in different cultures. The object of this research is the influence of the idea of melancholy upon comprehension of beauty in the Russian and Korean cultures. Having defined and compared “melancholy” and beauty in Korea and Russia, the author attempts to determine the specificity of “melancholic beauty” in both cultures, primarily, in Russian. Methodological foundation is the methods of comparison and ethnolinguistics that allow viewing culture based on “keywords”. First, the article provides definition to “melancholy”. If Russian melancholy is the feeling of “narrowness of the expanse” and “feeling abandoned by God”, the Korean Han is an “unrealized desire” that appears as a result of constraints or misery. Both, Russian melancholy and Korean Han contain the sense of hope; they are also similar in overcoming through creation. Then, the article explores the impact of the sense of “melancholy” upon the perception of beauty in both cultures. The conclusion is made that in Russian “melancholic” beauty, the “sadness of blank background” is usually balanced with the ornamental images that serve as a “pillar in the blankness”. The Korean “improper beauty” of meot – is the beauty of flow, rhythm and its disturbance (therefore, traditionally it is not associated with color). The feeling of Han in beauty of meot is balanced by joy of Jeong. Thus, the meot objects contain senses of both, irony and melancholy.

Abstract: In her research Tretyakova compares two similar yet different aesthetic categories that have got widespread use in the culture of consumption: Western brave Glamour and Japanese grotesque Kawaii. The aim of the research is to outline differences in these categories that are caused by their regional specifics. Such comparative analysis allows to define national specifics of Russian design in terms of the culture of consumption. Aesthetics of both Glamour and Kawaii have got an advertising component: glamour is a simulacrum of beauty that presents the charm of luxury, ideal appearance, and success, and contemporary Kawaii is a simulacrum of 'cuteness' that presents the charm of love and tenderness and imperfect or immature beauty. Both aesthetics have similar functions in contemporary culture of consumption as the basis of advertising myths about attractiveness. While glamourization is more typical for the West, Japan is more appealing to Kawaii. This is caused by cross-cultural differences. The research is based on the analysis of a famous essay In Praise of Shadows written by a Japanese writer Jun'ichiro Tanizaki (1886–1965) in 1934 where he called Western aesthetics as 'aesthetics of light' and Japanese aesthetics as 'aesthetics of shadow'. Using shine and brilliance as the most important expressive means, glamour presents the Western 'aesthetics of light'. Contemporary aesthetics of Kawaii relates to the traditional Japanese 'aesthetics of shadow' and, first of all, to the category of iki that unites a challenge and submission, luxury and mildness. In aesthetics of Kawaii sumbission presents child-like proportions, faintness and etc. which can verge on challenge. 

Abstract: Although there are many researches concerning the Beauty, as known in Europe as well as Russia aesthetic categories are traditionally abstract and consequently not applicable in practical use for example in design. Therefore, the author of this research offers to find concrete categories of traditional aesthetics and then incarnate it in objects. As an example of this approach, he takes a work of Japanese philosopher Shuzo Kuki (1888–1941) “The Structure of Iki [Beauty]” and basing on it, he offers concrete incarnation of such Russian aesthetics category as Toska [Melancholy]. Using interpretation of Toska by Nikolay Berdyaev (1874–1948) the author formulates “Structure of Toska” and extends Toska to arts defining melancholic beauty of Toska in ornaments and colors. The author concludes that melancholic beauty of Toska in our culture is connected not only with the visible void but also with an ornament, which expresses our spiritual aspirations and therefore becomes an essential part of the Beauty in Russia.