Abstract: The subject of the research is the development, creation and holding of a group immersive exhibition "Millennials", the authors and creators of which are a creative team consisting of a teacher and 15 students. The subject of the exhibition is the culture of childhood in Russia in the first decade of the 21st century. It was during these years that the childhood of the students took place, 13 of whom were born in 2002, and two in 1998 and 1999. The article presents the innovative experience of organizing and holding an immersive exhibition dedicated to the culture of childhood in Russia at the beginning of the XXI century, created by students of the final year of the bachelor's degree of A.I. Herzen Russian State Pedagogical University (direction "Cultural education", module: "Museum and theater pedagogy") in October 2023 - January 2024 under the guidance of the author of the article – M.L.Magidovich. The following approaches and methods of sociological surveys were used by the authors: case study, included observation, focused survey, anonymous questionnaire. In many ways, the study was based on the theory of cultural capital and social space of Pierre Bourdieu. The novelty of the study is determined by the artistic components of the exposition (concept, title, texts, sculptural objects, audio-visual content), the format of the exhibition (performative basis, theatricalization, interactivity), as well as the author's methodology and methodology for collecting and processing empirical data obtained during the development and holding of the exhibition. Among the main conclusions, one can note the revealed nostalgia for the own childhood of modern 20-year-olds, the dependence of generational cultural codes and the structure of everyday life in childhood on television content viewed in preschool and primary school age, problems of intergenerational communications associated with various spectator experiences in childhood. The format of the collective exhibition of students contributes not only to the growth of professional competence of future professionals, but can also become the basis for convergent research and the development of significant museum projects. The obtained research results can be used both in the artistic practice of contemporary art and in social and humanitarian studies of youth.

Keywords: childhood culture, Action research, collective performance, audiovisual installation, exhibition design, student, exhibition, art-pedagogics, art education, immersive

Abstract: The object of the study is heroization in the professional sphere, which assumes that a professional hero becomes a person who has achieved outstanding results in his professional activity and has received public recognition. The purpose of the article is to present outstanding musicians and teachers as professional heroes involved in the formation of ideological, artistic and aesthetic attitudes of society. The study analyzes the experience of pedagogical activity of outstanding teachers of the South Ural State Tchaikovsky Institute of Arts (hereinafter referred to as the Tchaikovsky Law School): G.K. Gavrilova, M.A. Sadovskaya, E.V. Mikhalchenko, V.G. Khudyakova, G.K. Kendysh, who are presented as professional heroes. As a result of the research, a cognitive model of the glorification of a professional figure was developed and criteria for the glorification of a professional in the field of music pedagogy were proposed: the presence of their own methodological teaching system, the presence of a large number of outstanding student musicians occupying a high segment of professional musical art and education, recognition of outstanding achievements by students and the pedagogical community. The methodology consists in using an integrated approach and synthesis of research methods for music pedagogy, art history, linguistics, namely, the concretization of certain provisions of heroic linguistics; observation and diagnosis; generalization and analysis of the experience of creative and pedagogical activities of outstanding professionals based on heterogeneous material (scientific and methodological literature, publications in the press, conversations with colleagues and students). The novelty of the research consists in considering the results of the professional activities of teachers and musicians of the Tchaikovsky Law School in the heroic paradigm, as a socially creative product having not only local professional and pedagogical value, but also universal socio-cultural significance, which determines their influence on the formation of axiological guidelines and artistic and aesthetic attitudes of society. The authors conclude that the proposed criteria for evaluating the activity of a musician-teacher are justified for the glorification of a professional figure in the field of music pedagogy, and each of the musicians considered in the article meets the designated criteria for the glorification of the personality of a professional figure. The reference character of the creative and pedagogical activities of professional heroes determines the possibility of their participation in the formation of ideological and artistic and aesthetic attitudes of society.

Keywords: musical pedagogy, prominent figure of culture, pedagogical activity, teacher, professional, heroic paradigm, art history, glorification, hero, heroic linguistics

Abstract: Alongside with personification of Russia, there are other state personifications in Russian art, including Genius of Russia. Despite some interest to this figure (V.M. Faibisovich), its iconography has not yet been comprehensively analyzed. Appearance of “Genius of the Russian Empire” in the ballet “The New Argonauts” (1770) by Gasparo Angiolini allows us to assume that this personification became widespread in Russian art in the second half of the 18th century. In the article, this personification is examined on materials of artworks and performances of the late 18th and early 19th centuries in Western European context. Geniuses are good guardian spirits of individuals, or territories, or countries. Geniuses were represented as puttos, young men or women, typically winged, sometimes with flames on their hair. Genius of Russia could have miscellaneous attributes: a golden scepter, a coat of arms (or sometimes he could have been accompanied by an eagle – a heraldic animal), a cornucopia, a palm branch, Hercules’ club, a sword. Genius of Russia acquired great significance in the early 19th century in connection with the Patriotic War of 1812. There are two fundamental variations of his iconography: a winged (or sometimes wingless, but hovering) personification in antique dress and a half-naked, armed warrior with an ancient Russian helmet (“as Slavic vityaz”). The latter variety at the beginning of the 19th century was associated with the theme of glorification of the Russian Empire and presented in projects of medals by A.N. Olenin (1817) commemorating the Patriotic War, and existed in theatrical performances. The image of Genius of the Russian Empire “as Slavic vityaz” was most in demand at the beginning of the 19th century; subsequently, an image of Vityaz (Bogatyr) became widespread in Russian art.

Keywords: theatre, Russian art, XIXth century art, XVIIIth century art, Russian Genius, Genius of the Russian Empire, Genius of Russia, figures of geniuses of countries, figure of genius, allegory

Abstract: The article focuses on the problem of the mutual influence of traditional Chinese string music and the "cultural inoculation" of Western European strings, in particular, the violin. The historical materials related to the existence of instrumental music are studied: elite palace and folk music associated with cults and holidays. The author's attention is drawn to the problem of the absence of writing compositions in the centuries-old tradition of China, the possibility of acquiring musical and cultural monuments exclusively in oral form – from teacher to student. The ways of the influence of Western European music education on changing the current situation towards the greatest possible preservation of this heritage are reviewed. As a result of a detailed analysis of compositions for national stringed instruments, both solo and ensemble, and comparing them with the parallel developing violin art in the country, the mutual influence of the traditions of the East and the West in this highly specialized field of professional music is investigated. The historical-comparative method allows us to reconstruct the picture of the existence of instrumental ensembles and genres in previous centuries and to find differences with modern concert practice. The methods of structural, grammatical, semantic, and genre analysis help to find parallels in the development of music for national and Western European strings in modern China. A special contribution of the author is that for the first time points of contact were found, both the features and similarity of performing techniques were emphasized, the rise in popularity of violin art in the country was explained due to the similarity of many methods of violin and erhu sound production. The transformation of playing techniques on stringed instruments of the Celestial Empire and classical symphony orchestra as a result of mutual diffusion is considered; the evolution of synthetic genres based on the structural patterns of Western European forms, but enriched with Chinese methods of variation, ladoharmonic and melodic features is traced. The main result of the article is the finding of many common vectors of development both in the compositional art and in the performing methodology of erhu, banhu, sihu and other national strings and the entire family of stringed instruments of the classical symphony orchestra.

Keywords: Liu Tyanhua, Ma Sicong, China, composition, synthetic genres, playing methods, chines traditional strings, arhu, violin, Silk bamboo

Abstract: The image of the hero is formed in Chinese culture within the framework of early mythology. Confucianism changes it in the context of the doctrine of the ideal person. Confucianism has played a key role in cultivating the character and spirit of the Chinese nation, forming the image of the hero. Taking the image of Chinese heroes under the influence of Confucian culture as the object of study, this article analyses the main characteristics of the Confucian ideal of personality. Based on the spiritual connotation of Confucian culture and the characteristics of the hero image under its influence, it is argued that after the emergence of Confucian culture, the hero image has acquired the standard of ideal personality, which serves as a target behavioural model for people. The article examines the demythologisation of the hero image, the emergence of new features of the heroic and the concept of the golden mean under the influence of Confucianism using comparative, descriptive, semiotic and cultural analyses. This paper draws the following conclusions: firstly, the hero image under the influence of Confucian culture is formed on the basis of three virtues – “ren”, “zhi” and “yong”, these three virtues create the theoretical basis of the hero image and the choice of historical and literary representations of the hero. Second, the hero image under the influence of Confucian culture is characterised by four traits: the harmonious unity of “ren”, “zhi” and “yong”, unwavering aspiration, knowledge and talent, respect and adherence to Confucian social norms. Finally, since the emergence of Confucian culture, the image of the hero has lost its original mythological colours and shifted towards secularisation, which is more acceptable to people; Confucianism's idea of the golden mean makes the image of the hero more rational and capable of making the right decisions.

Keywords: transformation, mythology, ideal personality, golden mean, yong, zhi, ren, demythologisation, Confucian culture, Hero image

Abstract: The article examines the figure of the «architectural critic» as a phenomenon of post-Soviet media culture, the main period of which falls on the 1990s-2000s. Against the backdrop of an extensive cultural background of significant transformations in the architectural sphere in the early post-Soviet period, the crisis of expertise of the discourse of Soviet architecture and at the same time architecture gaining widespread public interest, a new space of architectural criticism is being formed, which for the first time in a long time appeared on the pages of mass periodicals. The new critic is a kind of cultural observer, and his representation (including self–presentation) as an «architectural critic» is not just a designation of a type of professional activity, but an element of constructing his own expert position. Based on the study of an array of publications on architectural and critical topics in mass media, the main features of the figure of the «architectural critic» as a cultural phenomenon are demonstrated. With the help of a discourse analysis of articles of an architectural-critical orientation, which were published in mass media of the 1990s-2000s, it is revealed how the identity of an architectural critic is constructed: from what position he speaks, in what environment his figure is formed and to whom it is addressed. Research on the features of post-Soviet architectural discourse and its place in the media space undergoing significant transformations is currently significantly limited by institutional architectural optics, which assumes a linear view of the development of architectural criticism as a theoretical discipline and expert knowledge produced by architectural professionals. The dynamics of cultural forms in the 1990s-2000s shows us significant shifts in the field of expert knowledge production, giving rise to new critical practices and new identities that are associated with them, one of which is the «architectural critic». The study reveals the specifics of the critic's new status as a «public intellectual» actively involved in the processes of cultural consumption, and various practices of the struggle for expert hegemony are also revealed – from attempts at sole monopolization of discourse to «self-exclusion» within the framework of the establishment of expert totality.

Keywords: mass media, media criticism, cultural intermediaries, mediaculture, discourse studies, mass culture, cultural journalism, architectural criticism, soviet architecture, modern russian architecture

Abstract: The object of the study is the exchanges and cooperation between China and the Soviet Union in the field of creative activity, art pedagogy in the 1950s and 1960s. The subject of the study is the forms of interaction between the artistic worlds of the two countries during the period of the most productive interaction in the field of fine arts and art education. The purpose of the study is to systematize and summarize the accumulated material regarding the study of the ways of influence of the Russian–Soviet art school on Chinese art during the period of active cooperation between the two countries. As the analysis of scientific and specialized literature related to the topic of the dissertation showed, this work is the first serious scientific study devoted to the problem of studying the unique phenomenon of the representation of Russian art abroad and its influence on Chinese art.  The methodology is based on techniques aimed at studying various aspects of the phenomenon of the influence of the Russian-Soviet art school on the art of China in the middle of the twentieth century. The analysis of various scientific and documentary sources is used, as well as a comparative study of the artistic material of exhibitions and the work of individual authors, especially art criticism and historical and cultural analysis of forms of interaction. The novelty of the research lies in the fact that it summarizes and systematizes the existing scientific literature, including Russian-language, material related to the study of cultural exchanges between Russia and China in the middle of the last century. The article discusses in detail several areas of development of such contacts, in particular exhibition projects. Special attention is paid to exhibitions of oil paintings and their reception by art circles in Soviet Russia and China. On the other side of the phenomenon, China sees the sending of art students to study fine arts, especially oil painting, to the Soviet Union, as well as the influence of invited specialists on teaching methods in China. Special attention is paid to the introduction of a system of teaching drawing and oil painting courses.

Keywords: academic drawing, art education, pedagogy of art, artistic communication, The Soviet Union, China, cultural exchange, visual art, realism, art school

Abstract: The article shows how the attitude of Chinese artists towards the ideological content and methods of artistic presentation of the image of the people's leader has changed in the context of changes in approaches to realism. Two genres were chosen as the reference material: portrait and story painting, in which this image developed continuously and consistently throughout the time period under consideration. The study showed that the image of the leader in Chinese painting is closely related to realism, as it assumes a fairly accurate depiction of a person. The changes in the image of the leader were the results of the transformation of the attitude of artists towards approaches and methods of artistic expression. Using the example of the work of Chinese masters, continuous and deep reflections on the relationship between art, people and society are traced. The research is based on elements of a cultural approach and hermeneutical method combined with descriptive and comparative methods used to analyze the ideological content of works and elements of the figurative system of Chinese realistic painting. Interdisciplinary, historical, cultural and sociocultural approaches were used, as well as special methods of art criticism, in particular the principles of iconographic and iconological analysis. The object of research is Chinese portrait and subject painting of the XX – early XXI century. The subject of the study is the process of forming and changing the ways of presentation and ideological content of the image of the leader in Chinese painting of the specified period, its elements and structure. The purpose of the study is to determine through the transformations that took place in the system of realistic painting in China their influence on the ways of artistic interpretation and depiction of the image of the leader in a portrait and thematic painting, including in the historical genre. This makes it possible to find out the influence of the power and positions of the authors on the artistic process, as well as to determine the interaction of the masters with the society that focuses on such images and forms a request for them, which makes it possible to make a balanced assessment of the art of this period.

Keywords: ideological content, artistic presentation, contemporary art, Chinese art, story painting, realism, portrait, the image of a leader, social reality, globalization

Abstract: The subject of the study is the flower still life of the Middelburg masters in the first half of the 17th century. The object of the study is the art of still life in the context of the Zeeland's capital economic and geograpical development. The author examines the geographical features of the city of Middelburg and introduces the reader to the environment in which the still lifes were created. Particular attention is paid to the influence of Flemish immigrants who raised the city's economy to a new level. Artists from the Spanish Netherlands significantly enriched the artistic environment of the city. The author focuses on the flower still life – a type that was prominent in Middelburg. The article examines the works of as Ambrosius Bosschaert and Balthasar van der Ast. The methodology is based on biographical and historical methods – emphasis is placed on the geographical features of the city, which invariably became factors that shaped the features of art. The article also uses the formal-stylistic method for analyzing still lifes. The author takes into consideration the regional school of flower still life in the 17th century. In Middelburg, the development of this type is associated with a love of gardening, the emergence of widespread public interest in natural science phenomena and a passion for collecting. The artists reflect the incredible attachment of the inhabitants of Middelburg to their city and the sea. This true love is reflected not only in poetry, but also in works of art. In the still lifes of Middelburg artists Bosschaert the Elder and van der Ast, fidelity to the sea and the elements is expressed in the image of sea shells in flower still lifes. This motif appears as a result of numerous creative and geographical processes on the territory of the city.

Keywords: gardening, collecting, Zeeland, Balthasar vander Ast, Ambrosius Bosschaert, shells, sea, Middelburg, Dutch art, flower still life