Abstract: The object of this research is the Russian visual art of the turn of the XIX – XX centuries. The subject of this research is the Crimean theme in visual art of that period. The goal consist in determination of artistic and stylistic uniqueness of the Crimean motifs in paintings and graphics of the late XIX – early XX centuries. Research methodology is comprised of the cultural and historical method, which allow analyzing the evolution of artistic and stylistic systems in the national landscape genre, as well as the development of Crimean theme in art. Based on the synthesis of culturological and art methods, the author reviews cultural and stylistic distinctness of the Crimean motifs of the late XIX – early XX centuries. The novelty of this work lies in the statement that Crimean motifs that enjoyed wide popularity in the artworks of this period are considered one of the style-forming and meaning-forming factors in development of the art and style modes of landscape genre in Crimea. Specificity of the image of nature is defined by the art and style modes that substantiate the authorial concept and system of pictorial means. It is established that the uniqueness of Crimean motifs in painting and graphic art at the turn of the XIX – XX centuries lies in application of vibrating color, fusion with rough strokes of colored shadows, rhythmic principle of creating gradation of colors, soft airy and lighting environment of Crimean landscapes.

Keywords: motive, landscape, nature, culture, art and style modus, art style, fine arts, plein air, Crimea, Crimean school of painting

Abstract: The subject of this article is the artistic culture of Yakutsk. Among a wide variety of regional, historical, sociological and economic research dedicated to the history of Yakutsk, very few works of culturological nature. In the early XXI century, one of the relevant methods of historical culturology becomes the architectonic method developed by I. V. Kondakov (1998). Proposed by the author architectonics of the Russian culture consists of the two-stage mechanism of cycles: 1) cumulation/divergence; 2) selection/convergence, which is of universal nature. The relevance of this research is substantiate by insufficient examination of artistic culture of Yakutia as a whole. The purpose of the article is to use the architectonic method of studying the culture of Yakutia, using the example of the city of Yakutsk. The novelty of the research shows the effectiveness of using the architectonic method in studying the culture of Yakutia. At the cumulative stage of the XVII – XIX centuries, the architectonics of culture of Yakutsk represents a semantic core of cultural integrity. At the divergent stage (late XIX – early XX centuries) this core is being divided, gradually losing its integrity. The beginning of the XX century marks the synthesizing level, stage of enlightenment of the Yakut culture, concentrated in Yakutsk. The selective level (1920s – middle of 1980s) is oriented towards achieving cultural integrity and civilizational identity through coercion and selection around the values of the Soviet culture. The convergent level suggests conditional synthesis (1990s – 2020), one of its components in “reinterpretation and modernization of the archaic”, taking conventional and game character.

Keywords: mass culture, art culture, art, images of the city, cycles, Yakutsk, civilization, architectonics, methods, modernity

Abstract: The subject of this research is rhythm as the cultural and fundamental philosophical principle of time organization of systems of various rank. The goal consists in the analysis of possibilities of creating the general theory of rhythm. The author set the following tasks: analyze ethnocultural traditions, which in the cognitive aspect lean on the maturity of rhythm-sensible  way of thinking; analyze the reflections of Ancient Greek natural philosophers on the meaning of rhythm; trace the theme of rhythm in art, science and practices of the XIX – XXI centuries.; problematize the question on the meaning of rhythmology in interpretation of the new vectors of cognitive evolution at the present time. Articulation of the problem of rhythm as the universal requires consideration of cosmic-nature, planetary, social, cultural, and personal realities (worlds). In examination of historical artifacts and ethnographic material, the author takes into account the principles of evolutionary epistemology. The analysis of natural philosophical and ancient Greek worldview is completed with analysis of the language. The novelty consists in articulation and analysis of the problem of rhythm as a cultural universality as the ultimate basis, covering natural, sociocultural and creatively-personal rhythms. The transformations of mentality and way of thinking in cognitive evolution stemmed from matured sensibility in the archaic towards the development of intellect. Rhythmically sensible way of thinking that empathically connects human with nature was developed until the Early Middle Ages. Culture and natural philosophical reflections on the concept of harmony are of essential for comprehension of sensible worldview. Beauty as a formative principle of the universe was conveyed through the set of concepts adopted in the language of modern science. Rhythm as an aesthetic category in natural sciences attracts the attention of researchers dealing with correlations of biosphere, social and cosmic processes. Reflections on the universality of rhythm in the complex evolutionary systems allow reassessing the discord of rhythms (desynchronosis) of the modern global crisis.

Keywords: harmony, Plato, the science, art, ethnic practices, rhythm-sensing thinking, rhythm, cognitive evolution, cosmic rhythms, rhythms of consciousness

Abstract: The subject of this research is ten Russian science-fiction films released over the period from 2013 to 2020. The goal of this article consists in examination of scenarios of seeing the future presented in the Russian modern cinematography. An overview of approaches towards studying visual images is provided, based on which the author offers a new strategy for studying film images of the future that demarcates three groups of elements in the film – cognitive, visual, and emotional-modal, and four thematic components that correspond to the spheres of social life. As a result of implementation of the aforementioned method, the author determines four underlying themes in cinematographic representation of the future – space, armed conflicts, entertainment industry and drastic changes of human personality. It is established that the visual representation of the future is resembled in the four groups of images – universal images, images of the present, images of the past, and images unfamiliar to the audience that imply something unprecedented that makes the future attractive. It is acknowledged that in most films the future is presented as unfair, wrong, which causes moral discord. It is not the world we would like to live in. Most of the Russian films are dedicated to the local future for approximately 50 years from now. This approach engages the audience in the events, and conveys an pessimistic spirit about tomorrow, which is traced not only in the plot, but also in visual imagery of most films. Holistic mages of the future, functioning in a certain culture, can be determined based on the comparison of various sources, where cinematography is just one of such sources. Therefore, the conclusions on perception of the future by our contemporaries should not be made based on this alone. However, films are a valuable source of information on visualization of the future and transmission of general moods associated with it.

Keywords: contemporary Russian cinema, the future of Russia, methodology of research, visual images, representation of the future, social expectations, image of the future, film fantasy, pessimism, fear of the future

Abstract: The object of this research is the methods used in design practices of post-Soviet time to give historical appearance to landscapes of former estates of Moscow region, which faded away, i.e. the methods of historicization. The landscapes under review are being protected by the government as the objects of Moscow cultural heritage, and designated as museums (reserve museums) and public parks. The subject of this research is disclosure of the essence of these methods and their assessment from the perspective of alignment with historical primary sources, implementation, proliferation, and attractiveness. The author conducts systematization of methods in accordance to the degree of conformance to the historical realities, and divides them into the following groups: 1) that provide accurate reproduction of historical forms, 2) that create similarities, 3) that create new forms. Each group is divided into subgroups. By frequency of application, the leading place belongs to the methods of first group, which are aimed at reproduction of the shapes of buildings and structures. The rest two methods focus on reviving the memory of the past. The application is attributed to new construction, which can be assessed as landscape evolution and a modern artistic phenomenon. The methods of second group lead to landscape development in spirit of historicism, while the methods of third group – to the development of territory based on modern vision of the past. The conducted analysis is valued for the general outlook upon the process of preservation of one of the most complex types of cultural heritage of Moscow.

Keywords: pastiche, reestablishment, preservation, restoration, giving a historical appearance, post-Soviet Moscow, landscapes of historical estates, the persistence of memory, development of the historical landscape, systematization of methods

Abstract: This article analyzes female principle reflected in the images of goddesses of Japanese and Chinese mythology associated with the solar cult and light symbolism. An attempt is made to trace the role of female principle in the mythological phenomenon of Sky and its connection with Earth. The subject of this research is the Japanese and Chinese myths and legends, iconographic images of goddesses and their resemblance in foxes (Kitsune) in the religious painting of the XIII – early XX centuries. In the course of this work, the author applies comparative-historical and iconographic methods of research that lean on scientific materials dedicated to philosophy, culturology and art history. The relevance of the selected topic is substantiated by the fact that in globalizing world, the countries of the Far East are more capable of retaining ideological paradigms and preserving their national cultural identity due to traditionalism and spiritual consciousness. The novelty of this work consists in examination based on the iconographic material and mythological themes of solar manifestations of goddesses as demonstration of the energy of female principle and its reflection in the phenomenon of Sky – Earth connection. The conclusion is made that for assessing Japanese and Chinese art, it is essential to consider multicultural interaction of these countries founded on the the harmony of existence of human nature. The goddesses of Sun, Moon and Earth seek to communicate with the Sky, as in particular the autochthonous deity Inari through their intermediaries, the foxes. The sun and moon goddesses and Earth goddesses seek communication with the Sky, as the autochthonous deity Inari through their mediators – foxes. The female principle, resembled in femininity of divine foxes, is described as the endless struggle for immortality and opportunity to be in Heaven surrounded by the steam light and reason. The light saturation of female images contributes to their spirituality.

Keywords: mythology, nature, Heaven, feminine, light symbolism, taoism, shintoism, buddhism, spirituality, kitsune

Abstract: This article analyzes the examples of formal compliance with global trends in Russian print design of the XX – early XXI centuries. The subject of this research is the comparative characteristics of Russian and world practice in the area of contemporary graphic art. In this context, the author highlights the stylistic characteristics of expressionism (1910 – 1920) and neo-expressionism (1960s – 1980s).  Comparative analysis allows determining the points of intersection of Russian examples to Western analogues, as well as their originalities outlying the formal criteria. Emphasis is placed on the sources of determination of the uniqueness of graphics as a form of art within the history of Russian art studies. In the course of this research, the author brings the examples of “expressive” graphics in the works of N. N. Kupreyanov and A. I. Kravchenko in relation to printmaking of German expressionism, and some recent examples of Russian graphics (Saint Petersburg artists P. S. Bely, P. M. Shvetsov) in comparison to the graphic experiments of A. Kiefer. The conclusions lie in determination of the unique tradition of Russian realism (V. A. Vetrogonsky and V. I. Shistko), which in the author’s opinion, should be considered the crucial actor in the identity of Russian graphics against the trends leveling national cultural differences of international contemporary art.

Keywords: St. Petersburg art, Russian graphics, contemporary Russian art, Realism, Neo-Expressionism, Expressionism, printed graphics, history of graphics, interpretation, identity

Abstract: This article reviews the transformation of book culture in the context of activity of modern libraries, as well as the impact of government cultural policy upon this phenomenon. Special attention is given to the changes in the activity of libraries within the framework of national project “Culture” and model standard of the activity of public libraries. In The author underlines the transformation of the phenomenon of library, and the result of these processes reflected in blurring the distinctions between the upmarket and mass, and turning the audience into mass “consumer”. In the course of this research, the author applies functional analysis, dialectical method, and comparative analysis for consideration of the functions of modern library in relation to the historically first forms of their activity. The novelty consists in systemic and nonlinear analysis of the process of transformation of libraries, taking into account incoherence of this process. Emphasis is placed on the transformation of library as a cultural phenomenon, its essence, which leads to the vague understanding of the concept of library, and thus, result, loss of its uniqueness and dysfunction as a sociocultural institution.

Keywords: transformation, modernization, reading, art, massization, culture, book, library, model standard, project