Abstract: The article examines the aesthetic and symbolic aspects of ancient Chinese snowy landscapes, covering the period from the IV to the XX century. The focus of the research is Guohua painting, representing classic snowy landscapes, compositions with birds and flowers, as well as snow portraits. An in-depth analysis of the symbolism and meaning of elements such as "four seasons", "snow", "snowy mountains", "three friends of cold time" and "cold beasts" was carried out, as well as the narrative characteristics of snowy landscapes were studied. It was revealed that snow scenes reflect the vitality and stability of a person, causing reflections on life difficulties. The work highlights how snowy landscapes have become a means of expressing emotions, reflecting sadness, but also demonstrating strength, well-being, morality and the sublimity of cultural values. The study uses the methodology of symbolism and iconology analysis to study the aesthetics of ancient Chinese snowy landscapes. A comparative approach is applied to various eras and techniques, including ink painting and engraving, to assess the cultural and emotional meanings of snow in Chinese art. The research touches on a rarely covered topic in the history of art – the aesthetic and symbolic depth of ancient Chinese snowy landscapes, from the IV to the XX century. Introducing into scientific discourse a deep analysis of changes in the perception and image of snow, the work presents a comprehensive study using iconology and semiotics to uncover hidden meanings in Chinese Guohua painting. She reveals how artists have reflected the emotional and philosophical aspects of life through snowy landscapes, demonstrating their influence on cultural representations of nature, man and society. The innovation of the study lies in the fact that it connects the aesthetic elements of snow with cultural and historical changes in China, showing their importance for understanding Chinese identity and aesthetic perception. This study not only enriches the academic understanding of Chinese painting, but also highlights the layering of symbols and metaphors in traditional art, reflecting a unique combination of natural phenomena and cultural meanings.

Keywords: Snowy mountain landscapes, Scenery, Painting, Chinese snow painting, Aesthetics, Wang Wei, Huang Gongwan, Symbolism, Snowy landscapes, Guohua

Abstract: "Chinese style" is a new form of combining Chinese and Western styles, formed on the basis of Western decorative art after a large number of Chinese exported works of art were imported to Europe in the XVII–XVIII centuries. The article takes the famous British country estate of the XVIII century as a starting point, and combines the relevant elements of interior decoration to analyze the influence of Chinese design on British decorative patterns and decorative techniques. "Chinese Style" is an innovative combination of Chinese and Western art based on Western decorative techniques.The article also analyzes the influence of the Chinoiserie style as a new art form combining traditional Chinese elements with Western forms on British decorative methods, with an emphasis on a specific study of this phenomenon.The purpose of the author of this study is to study and familiarize readers and the scientific community with the development and application of the "Chinese style" in British decorative methods of interior design. To achieve this goal, the author uses comparative historical, historical and cultural methods, iconographic method of description, as well as stylistic analysis, analyzes historical sources: historical documents, images, artifacts and literature. The research methodology includes a comprehensive approach to the study of the historical context and its impact on the formation of the British interiors. An empirical generalization of the material allows us to conclude about the significance of the above research and the influence of the "Chinese style" on modern decorative methods of interior design and design in Britain. The novelty of the research lies in the application of a combination of methods, analysis of historical forms to study this topic, which has been little studied in the segment of Russian historical science, which allowed us to obtain results that can arouse increased interest in the formation of the British interior among specialists. The author emphasizes the importance of the ability of design masters and architects to combine elements of Italian and British design to create a unique interior. The author's special contribution lies in the analysis of historical materials, practical examples of the successful application of the "Chinese style" in British interiors, which makes this article a valuable study for designers and lovers of interior art.

Keywords: interior design, Chinoiserie, modern applications, furniture, furniture fittings, decorative art, Britain, Chinese style, chinese room, exotic

Abstract: The subject of the study is technology in military sports suits of Russian military personnel. The object of the study is the progress in the production technologies of military sports suits. The author examines in detail the history of the use of various materials and fabrics for the production of military sports suits, from the end of the 19th century to the beginning of the 21st century. Special attention is paid to the analysis of the properties of various materials. The author shows that fabrics with high strength, wear resistance and good breathability are most suitable for military sports suits of Russian servicemen. The fabrics used for the production of military uniforms must meet a number of requirements. At the same time, such properties of fabrics as crease, drapery, hydroscopicity, dust capacity, heat-shielding properties, shrinkage, thread shedding, thread expansion in seams, sliding should be taken into account. The main research methods were theoretical methods – the method of analysis, generalization, systematization, classification of literary sources on the research topic. The novelty of the research consists in a comprehensive analysis of the basic properties, characteristics and requirements for fabrics used for the manufacture of military suits. A retrospective analysis and comparison of costumes from different eras were carried out. The main conclusion of the study is that from the end of the 19th century to the 21st century, the use of fabrics for military clothing has undergone significant changes. It is shown that at the end of the 19th century, military clothing was mainly made from natural fabrics such as cotton, wool and linen. With the advent of synthetic fibers in the 20th century, fabrics became more durable, lightweight, quick-drying and resistant to external factors. In the 21st century, with the development of fabric production technologies for military clothing, special mixtures of natural and synthetic fibers, as well as membrane materials, began to be used to provide high protection, comfort and functionality for military personnel. The author's special contribution to the study is the generalization of the results of various studies, the comparison of the main characteristics of fabrics used in various historical times with modern fabrics and materials.

Keywords: cotton, wool, linen, silk, wear resistance, breathability, strength, types of fabrics, fabrics, military sports suits

Abstract: The subject of the study is a set of innovative solutions for easel painting by artists of the Creative Painting Workshop of the Russian Academy of Arts under the leadership of H. A. Yakupov in Kazan from 1977 to 2008. Easel painting by artists-trainees of the Creative Painting Workshop of the Russian Academy of Arts in Kazan was chosen as the object of research. The review of the activities of the Russian Academy of Arts in the XX-XXI centuries is given, from the point of view of supporting the Russian traditions of easel painting in Russia and abroad. The characteristic of the Creative Painting Workshop of the Russian Academy of Arts under the leadership of H. A. Yakupov in Kazan as an object of research in the context of painting of the Republic of Tatarstan and Russia is given. The methodology of the analysis includes the following concepts: genre, plot, composition, color, format, and their implementation in the works of trainee artists. Comparative methods of compositional and coloristic analysis are applied, compositional solutions are considered as innovations in the composition of easel painting of a subject-themed painting. The research materials confirm the high results of the creative work of the trainee artists in creating new compositional and coloristic solutions in easel painting in the laboratory of the Creative Workshop using a combination of innovations. Сonclusions are formulated about the need to popularize the work of artists-trainees of the Creative Painting Workshop of the Russian Academy of Arts under the leadership of H. A. Yakupov in Kazan. Russian realism traditions have been preserved, and the easel painting of the trainee artists is based on the artistic experience of Russian realistic art, using a combination of innovations in author's solutions.

Keywords: Russian academy of arts, Creative painting workshop, innovations, format, coloring, genre, composition, thematic easel painting, realism, easel painting

Abstract: The subject of the study is the phenomenon of public sculpture. This topic is very relevant, as public sculpture causes extensive controversy, which involves sculptors, architects, urbanists, representatives of public organizations. The purpose of the study is to substantiate the place of public sculpture in the contours of the artistic and associative landscape of a modern city. The research methodology includes historical, cultural and cross-cultural analysis, a dialectical approach to assessing the trajectories of the aesthetics of public sculpture, as well as a conceptual analysis of the phenomenon of public sculpture in modern public, including urban, spaces. As a result of the research, the historical genesis of the phenomenon of public sculpture was presented, the place of public sculpture in the postmodern paradigm was characterized, attention was paid to the problems of low performance quality, inappropriate installation sites in public urban space and the creation of visual noise. Refined scientific definitions of the concepts of social and public sculpture are proposed. I'd like to emphasize the importance of researching and defining the concepts of public and urban sculpture, as well as the need to develop methodological approaches for the management and evaluation of public sculpture. This article proposes an adaptation of the concept of an artistic and associative city landscape, which allows public sculpture to harmoniously fit into the urban environment. The use of a methodological approach will allow us to manage creative activity in this area and make the right decisions regarding the ordering, financing and placement of public sculpture in public spaces of cities.

Keywords: urbanistics, artistic and associative landscape, visual noise, metamodern, urban sculpture, urban spaces, public art, public sculpture, modern city, megapolis

Abstract: Personifications of territories are a part of rich allegorical language of the Baroque, which entered Russian art in the XVIII century. The personification of Russia attracted attention of researchers, but personifications of the territories of the Russian Empire has been so far largely ignored. In the paper allegorical figures of the territories of the Russian Empire are examined on the material of various kinds of art and with the use of information from printed publications (Honoré Lacombe de Prézel’s "Dictionnaire iconologique, ou introduction à la connoissance des peintures, sculptures, médailles, estampes...", descriptions of court celebrations). Personifications embody both administrative units (cities, fortresses, and viceroyalties) and historical ones, namely the Kazan, Astrakhan, Siberian, and Moscow kingdoms. The latter had the highest status and were of the greatest importance. The article offers analysis of iconography of the personifications of the territories of the Russian Empire, which in most of the cases was a variation of the iconography of the personification of Russia. The main distinguishing feature of such figures was their coat of arms. Unlike personification of the Russian Empire, which always appeared in chaste attire, personifications of territories could be represented semi-naked. Attributes of power, i.e. crowns and royal robes, belonged only to the most significant of them, namely personifications of kingdoms or viceroyalties. Personifications of the kingdoms appeared in works in honour of the events that were paramount for the Russian Empire. Other personifications of territories (historical regions, cities, fortresses) usually appeared in art on the occasion of an addition of territory or in utilitarian objects (maps).

Keywords: Russian art, The Siberian Kingdom, The Astrakhan Kingdom, The Kazan Kingdom, personification of the Russian Empire, territories of the Russian Empire, personification, allegory, the art of the eighteenth century, personifications of territories

Abstract: The object of the study is the work of the Japanese animator, director Hayao Miyazaki. The subject of the research is the relationship between parents and children in Japanese society on the material of the animated fantasy film, written and directed by Hayao Miyazaki. The empirical material of the article is not only the film itself, but also interviews of the director, participants of the film creation process, journalists, viewers, and posts in social networks. The research focuses on the images of the parents of the main character Chihiro and her parents from the point of view of Japanese viewers. The goals of Miyazaki in creating the image of «inadequate parents» are defined and analyzed. Particular attention is paid to the description of the beliefs associated with spiriting away (hidden by kami) in Japan. The authors describe cases of missing children in medieval Japan, including such phenomenon as 間引き mabiki – «getting rid of children». The basis of the research methodology is an interdisciplinary socio-cultural approach, methods of cultural and phonological interpretation and linguocultural commentary. The relevance of the research topic is determined by the expanding space and forms of intercultural communication, the popularity of Hayao Miyazaki's works all over the world, the humanistic nature of his works, the increased interest of researchers in the subculture of anime, which transfers cultural values and behavior models and serves as a tool of youth socialization. Scientific novelty of the study is determined by the fact that for the first time the film «Spirited Away» is analysed in terms of the relationship between parents and children, taking into account the broad context of national and cultural attitudes. Original materials in Japanese and their interpretation are introduced into the scientific turnover. In the course of the research, the authors conclude that the main task that the director was to help unleash the inner life force of the main character Chihiro, and for this purpose he sent the girl on a journey full of trials.

Keywords: mabiki, children, Spirited Away, beliefs, Japanese viewers, Chihiro, inadequate parents, Hayao Miyazaki, director, anime

Abstract: The object of this study is the phenomenon of post-truth in the representation of the documentary image of the past in the assessment of Russian history on the example of two post-Soviet documentary films – S. S. Govorukhin «Russia that We Lost» (1992) and Yu. A. Dud' «Kolyma – Birthplace of Our Fear» (2019). On the example of each documentary, the author seeks to analyze the process of formation of assessment in the representation of the past through authtor's prism of historical events and their interpretation for the viewer. Attention is paid to a detailed analysis of what of the chosen theme is based on history changes depending on the actual socio-cultural context of the time and the dominant political conjuncture. Within this study hermeneutic and dialectical methods were used to analyze and understand the form of representation of the image of Russian history in post-Soviet documentary films, and the theory of cultural hegemony by A. Gramsci is also used to study the reasons for the interpretation and positioning of the past by the authors of documentary filmmaking. The novelty of the study lies in the comprehensive consideration and analysis of the phenomenon of post-truth as part of the processes in domestic documentary cinema, within the established socio-cultural context in which they were and are located. The positioning of history is studied on the example of the «Russia that We Lost» (1992), which is based on the arrangement of accents, in the case of representation and opposition of images of pre-revolutionary and Soviet Russia. The process of interpretation of the Soviet Union is analyzed, in the case of «Kolyma – Birthplace of Our Fear» (2019), which is based on the general assessment of historical events at the expense of individual private cases.

Keywords: Dialectic, Hermeneutics, Cultural hegemony, Gramsci, Post-truth, Documentary image, Representation, Documentary film, Kolyma, Govorukhin

Abstract: This article is devoted to the study of the manifestations of the artistic language of archaic art in such a direction of modern art as land art. The purpose of the article is to identify some of the prerequisites and goals of the appeal of land art artists to the discourse of archaic art through the visual language of archaic art and to reveal the features, motives and mechanisms of this language on the basis of cultural and art criticism analysis of land art art projects. The subject of the research is the artistic language of archaic art; the object is the artistic works and land art projects of British and American artists: A. Goldsworthy, R. Long, R. Smithson. The scientific novelty is due to the lack of research on land art as an example of the manifestations of the actualization of the archaic discourse in the modern world. As a result of the research, the prerequisites for the relevance of archaic artistic forms in land art are determined in the form of a general actualization of the archaic discourse in culture and the need to develop a new artistic language of interaction between man and nature. Using the example of land art projects, archaic forms are considered as a tool for constructing an artistic space that allows expanding the viewer's emotional interaction with nature. Examples of the use of characteristic archaic archetypal signs and symbols by land art artists in order to create an intuitively readable image of a mythological space are analyzed. The absence of a context of direct appeal to real archaic beliefs and sacred practices is revealed. A parallel is drawn between the method of direct interaction with nature when creating works of art by British land art authors with a minimal presence of a transformative aspect in economic activity in the archaic.

Keywords: nature, sacred, myth, sign, megalithic monuments, symbol, archaic, contemporary art, archaic art, land art

Abstract: The subject of this research is decorative and applied art of the Orochon people living in the Northeast of China and the issues of its study in Chinese academic studies. Currently, the humanities in China are moving to a fundamentally new level in the study of ethnic traditions and cultures, which is associated not only with a relatively new policy of "reform and openness", but also with a deep understanding of the humanities and social studies about the value of local cultures. The birch bark art of the Orochon national minority in China is an important part of creativity, broadcasting the traditional culture and aesthetics of this people. In this work, an attempt is made to study and systematize information about the research of Chinese scientists on this art, as well as about the origin and naming of the Orochon ethnic group, its language, traditional culture and the dynamics of its changes. The number of studies that have been studying the Orochon people, their culture and art, since the 1980s, has become noticeably larger, and their overall level has increased significantly. This work examines scientific papers and articles collected on four aspects – history, culture, art and birch bark art of the Orochon people since the 1980s. The authors of the article conclude that the state of research on Orochon birch bark art is unbalanced, however, there are already prerequisites for a deeper study of it within the framework of art criticism in the areas of form, color and aesthetics, as well as cultural codes and connotations of works of art, allowing to clarify the features of the traditional culture of ethnic minorities of Northeast China and the changes taking place in it. With the constant attention of Chinese scientific and public circles to the Orochon people, combined with relevant ideological and cultural opportunities such as the revival of national rural areas and the construction of the "One Belt, One Road", the study of Orochon folk art will certainly deepen. The interaction and joint research of scientists from China and Russia in the direction of studying the cultures and art of ethnic minorities in the Far East, as well as the correlation of conclusions about the art of ethnic minorities in a previously unified territory, are also necessary and expected.

Keywords: Chinese folk crafts, Northeast of China, artistic birch bark, craft, traditional culture, decorative and applied arts, the art of birch bark, folk art, the ethnic minority of Orochon, the art of ethnic minorities

Abstract: Chinese military music plays a significant role in cultural and historical traditions, serving not only as a means of communication during war but also as a vital component of national identity. Studying military music reflects the changes in China's political structures, technological advancements, and international influences, providing deep insights into the socio-political history of China. By analyzing military music, we can trace the impact of cultural exchanges and interactions with other nations and cultures on Chinese musical traditions. This research explores the origins and early development of martial music in ancient China and how these bands reflected and influenced China's cultural traditions and socio-political history, revealing the evolution of martial music through various historical periods. It examines how these changes interacted with political structures, technological progress, and international influences. Employing historical documentary analysis and musicological research, the study investigates the multiple roles of military music in state ceremonies, public celebrations, and on the battlefield. The scientific novelty of this study lies in its systematic integration of musicology, history, and cultural studies to comprehensively understand the origins and early development of wind music in ancient China. It analyzes the evolution of national wind music and its roles in society from a multidimensional perspective, demonstrating how marching band music reflects and influences philosophical, religious, and cultural concepts throughout Chinese history. This approach not only deepens our understanding of specific aspects of Chinese musical culture but also contributes to a broader comprehension of music's influence on social processes and identity.

Keywords: Historical Documentary Analysis, Silk Road, Cultural Exchange, Ritual Functions, Evolution of Music, Confucian Thought, Socio-Political History, Cultural Traditions, Military Music, Musicological Analysis