Abstract: This article determines the key principles of designing fireworks and illumination compositions created in honor of the Russian State in foreign territories in the late XVII – early XVIII centuries. The analysis of themes and images contained therein in conducted in the context of the problematic of representative culture of that time. The article is first to attract the preserved graphic sources and published written archival materials discovered in recent years, including by the author of this research. Special attention is given to fireworks and illuminations on the occasion of the Treaty of Nystad, which did not receive due coverage within the scientific literature. Due to the peculiarities of “firearm art”, the research methodology relies on the scientific reconstruction with the use of art history, historical-cultural, as well as elements of iconographic and iconological analysis. It is revealed the firework festivities were one of the remarkable form of Russia’s representation abroad during the time of Peter the Great. In allegorical interpretation, they not only glorified the Russian State, but also reflected far-reaching plans of the monarch aimed at obtaining the imperial status of the country. Most of the fireworks and illumination compositions were based on the traditional for ambassadorial ceremonial culture of that time motif of the triumphal arch, and the arsenal of themes and images resembled the Russian festive complexes. The fire paintings were created in accordance with the principles similar to heraldic images: centerpoint, vertical and horizontal hierarchy, and laws of symmetry. As far back as his first trip to Europe, Peter the Great knew that fire performances is a source of creating awareness and excellent opportunity to make the country know to the world.

Keywords: fiery performance, ambassadorial ceremonial, engraving, panegyric culture, occasional art, festive decoration of the city, wine fountain, illumination, fireworks, Peter the Great

Abstract: The traditions followed by people throughout history underlie the development of the culture of monumental art, forming the continuity of generations, memory and traditions of temple architecture of the Crimea. The topic of religious monumental painting draws interest of the researchers. The object of this article is the Crimean religious monumental and decorative art; while the subject is the peculiarities of modern religious painting in Alexander Nevsky Cathedral in Simferopol and Saint Vladimir Cathedral in Chersonesos. The goal is determine the modern artistic-aesthetic form of temple painting carried out by the experts of monumental and decorative art, as well as the command of the unique languages of creative reinterpretation of wholeness. Temple religious painting is explored on the works of the modern artists of monumental religious painting, using the analysis of the academic style of painting, use of classical canons in images of the figures, artistic-stylistic, thematic, unique systems in the ornamental painting. The author determines the characteristics of the image such as material texture and plastic modeling of artistic form, which allows combining the modern wall paintings of the Crimean Orthodox churches of into a holistic system of material and spiritual values. The crucial theoretical-methodological vector of research is interweavement of the methods of culturology and art history, which reveals the techniques and peculiarities of academic painting in temple architecture.

Keywords: church, church art, Crimea, figure, modern temple painting, image, temple architecture, Russian art, religious painting, composition

Abstract: The year 2020 has become a turning point for all spheres, including culture. Due to the outbreak of coronavirus pandemic, all cultural institutions around the globe were forced to close and educational institutions transferred to distance format. However, sociocultural development did not cease to exist, but rather threw efforts of adaptation to the current conditions. This was facilitated somewhat facilitated by the expanding digitalization, which boosted the dialogue of cultures. On the one hand, the countries suffered heavy financial losses, while on the other – the creative approaches have made the image of the countries more attractive, mainly because the digital culture has vast audience and opportunities for distribution. However, the globalizing world challenges the cultural identity. This intensifies the need for finding ways to develop the world cultural space – without dominance of the stronger over the weaker, which can be promoted by culturological approach towards their comprehension and a humanistic language for describing these complex and dynamic processes. The humanistic values of coexistence and solidarity become more universal, allowing to avoid conflicts and strengthening international information and communication processes. On the other hand, these values are changing, and interethnic conflicts have aggravated during the pandemic. The object of this research is international cultural relations at the current stage of development. The subject is the peculiarities of the development of cross-cultural relations in the conditions of social transformations dictated by the pandemic. The goal is to reveal the potential of international cultural cooperation that is affected by the external and internal factors. The novelty lies in theoretical substantiation of changes and analysis of the diversity of models of cross-cultural interaction. Practical importance of this research consists in summary of the experience and opportunities for spreading the new formats of activity of cultural institutions.

Keywords: culturalogical approach, intercultural dialogue, COVID-19, humanism, globalization, public diplomacy, international cultural cooperation, socio-cultural changes, soft power, cultural environment

Abstract: The object of this research is the cultural dialogue between the East and the West. The subject of this research is the methods and forms of conducting such dialogue in the works of the prominent figure, the founder of one of the modern yoga schools Bellur Krishnamachar Sundararaja Iyengar. The goal of this article lies in examination of the various aspects of interaction between B. K. S. Iyengar  and the representatives of Western culture at certain stages of his life. For achieving the set goal, the author establishes the conditions for conducting this dialogue, principles of effective interaction, and method for overcoming miscommunication of the parties. Hermeneutic analysis is carried out on the works of the world famous yoga teacher. The traditional text analysis, content analysis and comparative analysis are used for collecting the information on the topic. B. K. S. Iyengar is known first and foremost as the founder of one the yoga schools and popularizer of Hatha yoga. However, his social role is poorly studies, although deserves deliberate attention, considering the world trends for healthy life style, the integral part of which is yoga. The author aims to fill this gap and prove the uniqueness of Iyengar’s activity in the context of dialogue between the East and the West, as it encompasses all stages corresponding to different approaches towards conducing the cultural dialogue. The study reveals the contradictions in Iyengar's position on the relationship between the Western and Indian cultures, and indicates his contribution to the revival of the traditions of Ancient India.

Keywords: orientocentrism, yoga, comparative studies, East and West, dialogue between cultures, Iyengar, indian philosophy, system of values, synthesis of cultures, Upanishad

Abstract: The object of this research is the graphic design in the style of deconstructivism. The subject is the impact of deconstructivism upon font graphics of the XXI century. The goal lies in determination of the impact of deconstructivism upon font graphics of the XXI century. The article examines the concept of deconstructivism and the impact of this phenomenon upon graphic design and typography. The ideas of deconstructivism initially obtained their material form in architecture; thus analysis is conducted on the structures, the authors of which were inspired by the new philosophical ideas and brought them to life them in their projects. After familiarization with the architectural monuments, the article lists the key characteristics of the architecture of deconstructivism, which in turn, affected various types of design. Having analyzed the project situation in the area of visual communications, the author reveals the distinctive features of the objects of graphic design that were inspired by deconstructivism. The scientific novelty consists in comprehensive analysis of the impact of deconstructivism upon font graphics. The main stylistic peculiarities of modern font graphics created under the influence of deconstructivism are described. The acquired materials and results are translated into the sphere of graphic design and can be used in preparation of graphic design specialists, professional and creative activity of graphic designers and typographers, which defines the practical importance of this research.

Keywords: visual communication, graphic design, design, deconstructivism, deconstruction, typography, type graphics, font, style features, modern tendencies

Abstract: The subject of this research is the theme of violence in Colombia in the works of the Colombian artist Fernando Botero, mainly of the XX century. Attention is given to determination of the prerequisites for the emergence of the theme of violence in his painting. For this purpose, analysis is conducted on the indirect presence of this theme in Botero’s works since the very beginning of his career to paintings of mature and later periods. It is demonstrated that the artist approached the reflection of the theme of violence from different perspectives, depicting massacres, tortures, death, and involuntary relocation. The article employs the method based on iconographic analysis of the artist’s works, as well as artistic and stylistic analysis. The scientific novelty lies in examination of the topic relevant to the culture and history of the Latin American country, revealed in the works of Fernando Botero, who distanced himself from comprehension of art as resistance throughout his entire career. The author concludes that the Botero’s paintings may be called a form of depicting the slaughterous history of the country, without adherence of the painter to any political or party ideology. The manner used by Botero in the series “Violence in Colombia” is identical the artist resorts to throughout his career, which leads to distortion and caricaturing of the artistic form, in combination with the tragedy of storylines, which aggravates the dramatic character of the chosen themes. The works of Botero of the late XX century are of invaluable cultural value for Colombia.

Keywords: Goya, history of Colombia, Fernando Botero, theme of violence, avant-garde art, art of Latin America, art of Colombia, Picasso, tragic in art, artistic tradition