Abstract: The subject of the study is to identify the peculiarities in solving the plots of church painting of individual representatives of the religious-national trend of the turn of the XIX - XX centuries. The purpose is to show the development of national trends of Russian monumental church art by the founders of the religious-national trend on the examples of the work of V. M.Vasnetsov, M. V. Nesterov, M.A. Vrubel and artists M. M. Vasiliev, A. P. Blaznov, L. A. Pyanovsky, K. S. Petrov-Vodkin, F. R. Raylian, to identify similarities and differences in the manner and in the transmission of images and compositions, as well as to substantiate the significance of these differences for art history. The basis of art criticism research is the formal stylistic method of G. Velflin, the iconographic method of N. P. Kondakov, the iconological method of E. Panofsky; the method of phenomenological analysis of the aesthetic perception of the artistic work of V. V. Bychkov and G. K. Wagner. Comparative analysis of murals by artists M. M. Vasiliev, A. P. Blaznov, L. A. Pyanovsky, F. R. Raylian, K. S. Petrov-Vodkin in comparison with the work of representatives of the "Vasnetsov school" allowed us to see the development of the national style in art, from an abstract-figurative understanding to a conscious spiritual-symbolic interpretation of church painting of the Middle Ages and pre-Petrine Russia as an integral artistic phenomenon of the religious-national trend. The practical significance of the study lies in the fact that the example of the artists of the "Vasiliev circle" revealed a kind of overcoming of one of the main problems of the iconographic image, which consists in maintaining a delicate balance of life-likeness and ideality. In their works, in the context of interpretation, the measure of realism of the image is traced, in which the spiritual content can be embodied in a material form without losing its sacred content, which is a valuable example for modern artists who set themselves the task of creating images without copying, but remaining in the canon.

Keywords: epoch style, symbolism of the content, the problem of figurativeness, academic realism, temple painting, vasnetsovskaya school, national style, monumental church art, religious and national direction, symbolic realism

Abstract: The author discusses the phenomenon of plastic culture and art. An expanded understanding of body movement is proposed, including gestures, poses, facial expressions, expression, the involvement of the artist and the viewer in external social rhythms and in music, internal movements and rhythms of the soul. All these movements are organized within the framework of plastic culture, although they exist by themselves, they have different sources of formation and areas of functioning. The immersion of a person into an aesthetic, more broadly artistic culture that has permeated, since antiquity, even the ordinary life of a person, not to mention specialization in a particular kind of art, triggers the process of organizing human movements and rhythms. The author identifies two factors that significantly determine this organization: the conditions and requirements of the sphere of art and the artistic language, understood extremely broadly. He characterizes the sphere of art with the features of publicity, differences from ordinary life and work, art opens an outlet to another, usually attractive, reality (to gods, beauty, ideals, to another world), sets a special type of communication. Describing the artistic language, the author points out that meaningful constructions of this language perform a different task than ordinary signs: they do not set unambiguous denotations, but should introduce into artistic reality and help the viewer to construct events in this reality. On the basis of these provisions, an analysis of the formation of dance is proposed and a characteristic of plastic art and culture is given.

Keywords: rhythm, movement, physicality, body, culture, interpretation, music, plastic, art, reality

Abstract: The object of this research is the intangible cultural heritage of the People's Republic of China (NPC), the subject is the state policy in the field of protection of monuments of intangible cultural heritage. The article analyzes the approach of the Government of the People's Republic of China to the definition of the essence of the national intangible cultural heritage on the materials of legal documents, considers the classification developed in accordance with national, historical, cultural characteristics for the typologization of intangible cultural heritage objects. To improve the protection of intangible cultural heritage, the State Council of the People's Republic of China provides for a four-level hierarchy of monuments of the National Heritage: national, provincial, city and county, which contributes to more thorough and effective work with them. Particular attention is paid to the consideration of concepts that allowed China to fully integrate the protection of intangible cultural heritage into the modern political course of the state. The novelty and relevance lies in the study of the fundamental principles that guide the State Council of the People's Republic of China in its work on the study of intangible cultural heritage objects, the creation of their nomenclature base, the promotion of digital transformation in meeting the needs of the public in understanding the importance and uniqueness of cultural heritage. An important contribution is the analysis of approaches to ensuring the transfer of spiritual culture, the creation of favorable conditions for the support of "representative heirs" of China's spiritual culture. The main conclusion of the study is that as a result of the measures taken in China, progress has been made not only in the protection of intangible cultural heritage, but also in strengthening cultural awareness, spreading knowledge about the objects of the ICH, the development of traditional crafts, the study and popularization of traditional spiritual culture.

Keywords: representative heir, protection of the Cultural Heritage, UNESCO, cultural heritage, cultural objects, state cultural policy, cultural values, classification, non-material cultural heritage, China

Abstract: The object of the study is the movie "One Hundred Days after Childhood", one of the most famous Soviet films of the mid-1970s, dedicated to school and schoolchildren (the so-called "school cinema"). The subject of the study is the cultural meanings new to this genre, broadcast by the film, the phenomena of Soviet culture that made this broadcast possible and significant for Soviet cinema, as well as the expressive means of the film, indicating changes in Soviet culture and, in particular, in pedagogical strategies compared with the early 1960s ("thaw era"). The purpose of the study was to identify the role played by this film in the development of the theme of the school in Soviet cinema, as well as to establish those trends in Soviet culture of the 1960s and 1970s that made this development possible. As the main research method, a theoretical and cultural analysis of the most significant elements of the plot was used, representing both the key ideas of the Soviet "school cinema" and the most significant phenomena for Soviet culture of the 1960s and 1970s. As a result of the study, the role of classical Russian literature in the education of the most significant human qualities of Soviet schoolchildren for the period under consideration was established. In addition, the very fact of the appearance of this film suggests that the model of socialization peculiar to the Soviet school up to the early 1960s has lost its relevance, and the new model was still in the formative stage.

Keywords: school cinema, soviet cinema, Russian literature, soviet everyday life, children in art, soviet pedagogy, soviet school, literature in cinema, cultural studies, soviet culture

Abstract: The subject of the study is the design of the Jesuit Church of St. Paul in Macau, built in 1602-1640. The plan and design of the temple are typical of the Jesuit churches of Europe, but the decoration is distinctive, which manifested a new strategy of the Jesuits. The focus of the publication is on the decor of the preserved western facade, combining both European Christian symbols and images, as well as Chinese and Japanese. The article shows how the Jesuits introduced the Christian doctrine into the consciousness of the inhabitants through the pictorial series familiar to the local population, seeking its speedy dissemination. The project of the church belongs to European masters, and local sculptors worked on the decoration. The novelty of the research lies in considering not only the historical aspects of the expansion of the influence of the Jesuit Order in the territories of the Far East in general, in China and Macau in particular, but also the artistic aspects, which is important, since art was an important tool for the Jesuits in promoting Christianity, especially in the era of the Counter-Reformation, after the Council of Trent. The main conclusion of the study is that the facade is a retablo of the Church of St. St. Paul's in Macau is a kind of doctrinal synthesis in stone: through images and inscriptions in Chinese and Latin, knowledge about Catholic doctrine and the basics of Christian teaching is transmitted to local residents.

Keywords: Jesuit architecture, buddhist symbols, architectural decor, chinese images, christian symbols, syncretism of traditions, architecture of Macau, the art of China, missionary methods, Francis Xavier