Abstract: This research is dedicated to color in the religious painting of the nomadic peoples in northern China. During the Tang and Song dynasties (7th – 13th centuries) – a period known as the "golden age" of Chinese painting – nomads also created their own artistic language with a distinct arsenal of expressive means, particularly concerning color. The choice and semantics of colors were built on a combination of active borrowings from different cultures, including Han culture, and at the same time on the ethnocultural characteristics in the perception and interpretation of color and color combinations. The object of this study is seen as the evolution of artistic expressiveness in the painting of the nomadic peoples of Northern China. The subject is the influence of the artistic traditions of other peoples on the techniques of color usage in nomadic painting. Methodologically, the article relies on approaches that study various aspects of the existence of artistic traditions of nomadic peoples, their formation, and evolution. Works by Russian and Chinese researchers dedicated to the analysis and interpretation of the visual language of nomad art have been used. The study takes into account data from archaeology, anthropology, ethnography, and cultural studies. The novelty of the work lies in its proposal to establish clear guidelines that allow for the recognition of the closeness of the artistic expression means of nomad art, particularly regarding color. The article presents various aspects of the significance of color and hue in the art of northern nomadic peoples in medieval China, exemplified by fresco painting. In accordance with the premise, an analysis of the color characteristics of works by representatives of these peoples, who populated the territories of modern Xinjiang, has been conducted; borrowed and indigenous features in the choice, usage, and semantics of color in compositions have been revealed, developed by artist representatives of nomadic culture through transformations of hue in religious art; and perceptions of the creativity of nomads in China have been expanded, which in turn allows for an examination of trends in the art space of the nomads of Russia in the future.

Keywords: Chinese painting, color, nomadic culture, Northern China, nomads, nomadic peoples, Uyghurs, Han, Xinjiang, Silk Road

Abstract: The author examines the most important principles of the pictorial interpretation of the image of St. Jerome in the works of the greatest Venetian Renaissance artist Titian Vecellio (circa 1478–1576). The main attention is paid to the consideration of the iconography of the plot "St. Jerome in the Desert", to which Titian addressed at least six times during his entire career. Of particular interest is the analysis of various plot versions formed on the basis of the original iconographic scheme, and the search for the reasons why they arose. These include two engravings based on drawings by Titian, as well as paintings from the Louvre (early 1530s), the Brera Gallery (1557–1560), from the Escorial and the Thyssen-Bornemissa Museum (about 1575). Addressing this topic also required studying the background of the development of the plot "St. Jerome in the Desert" at the Venetian art school. The study of Titian's works in this article is based on the use of formal stylistic analysis techniques and the iconological method of interpretation. The main importance in the context of the topic is the analysis of the iconography of the artist's paintings. Their study from such positions opens up new ways to explore a number of features of Titian's creative method. In Titian's early paintings, the determining moment in choosing one or another iconographic solution was based usually on aesthetic considerations related to the peculiarities of the coloristic solution or the construction of a spatial composition. In his later works, Titian paid much more attention to the development of certain aspects of the semantic meaning of the plot. Of great importance in this regard is the interpretation of individual details that can emphasize one or another aspect of the pictorial content (for example, the image of an open book in "St. Jerome" from the Escorial). They deepen its semantic meaning, revealing additional facets in the author's understanding of the image of St. Jerome. A thorough iconological analysis of such details helps to establish the points of contact between the artistic idea of the painting and the main trends in the spiritual life of the Late Renaissance. Of particular interest are the references in the painting from the Escorial to the ideas of the Reformation, which have not yet been noted in the scientific literature about the Venetian artist.

Keywords: manierism, humanism, style, iconography, Saint Jerome, Titian, painting, Venice, Renaissance art, Reformation

Abstract: This article examines the development of Chinese figurative Zhen-wu painting in the 20th century, its transformation under the influence of both external factors and internal cultural and political changes. The object of the study is the painting of the Zhen-wu of the 20th century. Zhen-wu is one of the oldest genres of Chinese painting, which has undergone significant changes due to the reforms, cultural movements and political events of the 20th century. The subject of the study is the evolutionary processes that took place with Zhen-wu painting in China in the twentieth century. This study identifies three stages: from 1900 to 1949, from 1949 to 1978, and from 1978 to 2000. The revolution in the country and art led to the fact that the Zhen-wu genre expanded its visual and content framework, integrating elements of Western realism and modernism. Since the beginning of the century, artists have explored new forms and methods, combining Western styles and techniques with Chinese traditions, which allowed the genre to gain a unique identity connecting the past and the present. In the second half of the century, figurative painting in China acquired a social orientation, especially within the framework of socialist realism, when workers and peasants became the main characters of the works. Realism also began to play an important role in the depiction of human figures. At the end of the 20th century, thanks to the policy of reforms, the genre of Zhen-wu again became more diverse and free from ideological restrictions. As a result, Zhen-wu was enriched with elements of Western painting, such as chiaroscuro, volume, linear composition, realism and became more pronounced in terms of psychologism. Thus, the study of the Zhen-wu genre century allows a deeper understanding of how China's cultural heritage.

Keywords: Fang Zengxiang, Lin Fengmian, Xu Beihong, modernism, Socialist realism, Guohua, He Jiaying, Chinese painting, Zhen-wu, Shi Golyan

Abstract: The object of the study is the Russian fine art of the XIX century. The subject of the research is the history of the interaction of Russian artists with Chinese culture, history and art, their perception and interpretation, as well as the features of the artistic embodiment of images and motifs. Iconographic, as well as stylistic and compositional analysis help to identify the content of the artists' works, their language and individual techniques. Comparing the works created both during their stay in China and after the completion of the mission allows us to show how Russian authors developed their impressions, contributing to the creation of a certain image of China in the eyes of Russians. The research methodology is based on a combination of techniques aimed at studying various aspects of the phenomenon of representation of Chinese art and culture in Russia. The methodology is based on a comprehensive study and comparison of various types of sources, research of artistic material, namely: works by Russian artists who participated in the activities of the mission, reflecting images and motives, techniques in their work. The interaction of Chinese and Russian art is an urgent topic of research in the art history of both countries. Against the background of the appeal to the assessment of the current situation and the history of such contacts, it is necessary to analyze the processes that influenced their formation. Russian Russian Orthodox Mission in the XIX century. The main, and sometimes almost the only means of maintaining communication between the two states was the activity of the Russian Orthodox Mission, which included painters associated with the Imperial Academy of Arts and, thus, the best traditions of the Russian art school. The stay of Russian artists in China left a certain imprint on their own creative manner, the choice of subjects, the specifics of the composition and the symbols used in conditions of maintaining adherence to academicism and realism.

Keywords: Russian-Chinese relations, cultural contacts, household genre, portrait, A. M. Legashev, Chinese culture, academic painting, Russian school, The Russian Orthodox Mission, Imperial Academy of Arts

Abstract: The article is devoted to the reflection of local and ethnic specifics (mainly Yunnan Province and the Tibetan borderland) in the works of Chinese artists of the Reform and Opening Up period – Jin Shangyi, Wang Yidong, Zhang Jian Jun, Yuan Yunsheng, Ai Xuan, Zeng Xiaofeng, Ma Yun, Mao Xuhui, Zhang Xiaogang, Liao Xinxue and Liu Ziming. Various cultural codes within which ethnic and local culture is interpreted in the paintings of visiting and local artists are identified. These differences in the perception and display of ethno-local specifics are especially evident when artists paint the same ethno-local object – for example, the life of Tibetan ethnic minorities. The glamorous characters of the Tibetan cycle of Zhang Jian Jun and Ai Xuan are strikingly different from the stern Tibetan women in the paintings of Zhang Xiaogang. The main conclusion of the study is that artists of various trends have their own ideological and aesthetic intentions, so they select individual figurative dominants from the whole variety of phenomena of tradition and everyday life of the ethnic group and build them into a new cultural code. It can be argued that the exotic cultural code (the view from the outside, characteristic mainly of visiting artists) presupposes “estrangement” and the dominance of aesthetic form to the detriment of ethno-cultural specifics, while the archaic code (the view from the inside) complements modern ethno-local elements with historical-cultural (folklore) examples. Artists of the esoteric type of coding possess “double vision”: they accurately reproduce the cultural landscape of Yunnan and the “life world” of ethnic minorities, but interpret it through individual optics, using world artistic experience.

Keywords: ethnic specifics, cultural landscape, artists, oil painting, visual art, painting, art school, Yunnan style, natural landscape, Yunnan

Abstract: The purpose of the study is to identify the main forms of presentation and positioning of Russian fine art, in particular the St. Petersburg art school, in the cultural space of modern Shanghai. The research material is the works of fine art by artists from Russia, which were presented during this period at exhibitions and other cultural and educational events in Shanghai. Tasks: to determine the range of events in Shanghai in which the works of Russian artists participated in the 2010-2020s.; to characterize the works of Russian authors presented at exhibitions, including through the artistic analysis of the latter; to identify the authors, themes, genres and images of Russian painting, and historical periods that are in demand by residents of the Chinese city. The theoretical and methodological basis of this research is the works on the history and theory of Soviet and modern Russian art, the art market, philosophy and aesthetics, as well as factual materials related to the artistic life of modern Shanghai, especially those presented in announcements and descriptions of exhibition projects and other events in Shanghai with the participation of Russian painting. The novelty of the study is due to the fact that it highlights the current situation in the field of presentation of Russian art by Chinese institutions on the example of Shanghai, a city that is traditionally famous for its ties with the culture of its northern neighbor, especially with St. Petersburg – the cradle of the artistic traditions of Russian art. By referring to the material of art exhibitions of the 2010-2020s, which took place in different spaces of Shanghai, the author analyzes which approaches the curators of such projects prefer in the presentation of Russian painting, both modern and Soviet period. An artistic analysis of the pictorial material of the exhibitions is carried out. The main function of these events is determined by the comparison of Russian and Chinese painting, which is important for new generations of masters.

Keywords: Sino-Russian relations, cultural space, exhibition activities, presentation of art objects, St. Petersburg Art School, positioning forms, St. Petersburg, Shanghai, China, Russian fine art

Abstract: The subject of the study of the proposed article is the early plein-air works of the German expressionist artist Gabriele Munter, later a member of the Blue Horseman art association, a student and friend of Vasily Kandinsky. The authors of the article aim to review and introduce into scientific circulation a number of Munter's sketches created by her during summer trips to the plein air in 1902-1903 to the Alpine towns of Kochel and Kalmunz with the Munich art school "Phalanx", headed by Kandinsky. The article also examines the picturesque plein-air works by Kandinsky, created by him in the same years there, in Bavaria - mainly landscapes and sketches of figures in the landscape. The authors of the study see as their task to trace the influence of Kandinsky's artistic manner and his role as a teacher on the formation of a Munter painter.  The research methodology includes formal stylistic, comparative methods of art criticism analysis, as well as a comprehensive historical and biographical approach. The relevance of the study is due to its scientific novelty: the authors of the article for the first time in Russian-language art history literature describe the pre-expressionist works of Munter during the period of joint plein-airs with Kandinsky, trace the formation of her artistic vision and picturesque manner, the influence of Kandinsky on her formation. The development of the impressionistic technique common to Munter and Kandinsky in the early 1900s, according to the authors of the article, is combined with individual searches for expressiveness of form and color. The first experiments of plein-air oil painting in a special "spatula technique" under the guidance of Kandinsky were accompanied by the successful search for Munter in the field of graphics, mastering the technique of printing color woodcuts. The authors of the article come to the conclusion that the formation of the original manner of Munter was equally influenced by both pictorial emancipation through sketching practice in oil, as well as their own experiences in drawing and engraving.

Keywords: study, impressionism, expressionism, landscape, The Blue Rider, woodblock print, graphics, painting, Wassily Kandinsky, Gabriele Münter

Abstract: The subject of the study is one of the features of the iconography of the artists of the Viennese Secession, namely the mixing in one work of elements belonging to different cultural traditions, and the use of the Nietzschean concept of decadence (primarily presented by the philosopher in his work "Casus Wagner") to understand the reasons for such a misplacement of boundaries. The author pays special attention to the combination of elements of Christian cult and ancient Greek and Roman mythology in one work (as in the cases of the "Beethoven Frieze" by G. Klimt or such works by M. Klinger as the sculpture of Beethoven for the 1902 Secession exhibition and the monumental canvas "Christ on Olympus"). Another aspect of the above-mentioned cultural mixing was the blurring of the boundary between the fantastic and the real, which is especially evident in such a work as "Self-Portrait with a Mermaid" by K. Moser.  The main method of this work is the iconographic analysis of works of art in the collections of museums in Vienna. The conclusion of the article is that the artists of the Vienna Secession, who worked in the last years of the existence of the Austro-Hungarian Empire, which was disintegrating due to many factors, despite their desire to create a new artistic language capable of uniting the peoples of the collapsing country, reflected the destruction of the social order surrounding them in their works. Decadence, which F. Nietzsche associates with the disintegration of a single whole and the loss of hierarchical relationships in favor of individual individuals, released the creative energy of an entire generation of Austrian artists who created their works, ignoring the boundaries that existed before between secular and religious and, as a result, between Christian and pagan, real and imaginary. The novelty of this study lies in the use of special optics, the core of which is the phenomenon of decadence. Through this prism, it is possible to consider the legacy of the Vienna Secession not as a regional vesrion of European art nouveau or the forerunner of twentieth-century modernism, but as part of a different stream of cultural phenomena permeating the culture of Europe of the XIX-XX centuries, not bound by strict stylistic (art nouveau) or iconographic (symbolism) restrictions.

Keywords: myphological imageries, religious art, painting, Koloman Moser, Gustav Klimt, Austro-Hungary, symbolism, art nouveau, decadence, Vienna

Abstract: Purpose of this article is analysis of painting by P. I. Sokolov (1753-1791) «Mercury and Argus» (1776) in context preferences of era. Objectives of study: analyze preparatory drawings and picture; study archival sources, artist reports; reveal process of painting; represent aesthetic ideals of epoch and perception of personality. Our focus will be on artistic process of creation historical picture in second half of XVIII century on example of work by P. I. Sokolov «Mercury and Argus». Research subject is role of sketches from nature, sketch composition in work of P. I. Sokolov on picture «Mercury and Argus». Author considers of visual technique, graphic-plastic composition, preparatory graphic, identifying process of working on picture based on academic education system. Citing quotes from letters, reports and writings of second half of XVIII century author analyses what was typical for art of period under study, what tasks artist set for himself, what conditions were necessary for expressiveness of visual image and idea of picture as well as her positive evaluation by her contemporaries. During study were applied: formal, formal-stylistic, art criticism analysis. Author comes to conclusion that work on historical painting in second half of XVIII century included a large systematic creative process dictated by academic education system at Imperial Academy of Arts. Analysis showed that execution of sketches and drawings from nature became basis for subsequent search for better image. Historical painting of second half of XVIII century reflected aesthetic views and ideals of era, being an artistic embodiment of ideas of theoretical treatises aimed at improving visual image. Novelty of research lies in considering painting not only as part of artistic heritage, but also as a reflection of academic education system at Imperial Academy of Arts in second half of XVIII century and aesthetics of educational classicism.

Keywords: painting, life drawing, classicism, preparatory drawing, The Imperial Academy of arts, academician of historical painting, Petr Ivanovich Sokolov, art of XVIII century, historical painting, graphics

Abstract: This paper examines the impact of Russian realism on Chinese visual art, focusing on how Chinese artists have adapted and reinterpreted Russian aesthetic concepts. The study highlights the role of cross-cultural exchanges in enriching both traditional Chinese art and the broader understanding of realism. Through a detailed analysis, the author explores the reflection of Russian realism's social criticism and humanistic ideals in Chinese artistic practices, and how these influences have fostered new artistic forms and themes within China.The research employs comparative analysis of artworks and artistic traditions alongside historical and cultural contexts of both Russia and China. This approach underscores the importance of international artistic exchanges in creating a more diverse and multicultural art world. The study's novelty lies in uncovering the mechanisms of cultural integration and innovation through artistic exchanges between the two countries, detailing how Russian realism has not only shaped Chinese art but also spurred the creation of unique forms that reflect contemporary societal and cultural demands.Significantly, the fusion of Russian realism and traditional Chinese aesthetics has led to a new artistic direction in China that melds global artistic trends with local cultural values. This synthesis has facilitated deeper cultural dialogues and mutual understanding, enriching the artistic traditions of both Russia and China. Artists have been provided with new opportunities to explore innovative ideas and forms, thus strengthening cross-cultural ties and expanding the boundaries of artistic interaction. The paper emphasizes the transformative power of this artistic merger in enriching the global art space and fostering a more inclusive and varied artistic milieu.

Keywords: Artistic traditions, Intercultural interaction, Innovation, Adaptation, Humanistic ideals, Social criticism, Cultural exchange, Chinese visual art, Russian realism, Cultural integration

Abstract: Author consider a number of works that have been identified by various researchers as portraits of D. A. Golitsyn, a prominent statesman of the Russian Empire in the second half of the 18th century. The Prince's interest in art determined his special role in the artistic world of Europe, as well as in the formation of the Hermitage collection and in attracting foreign artists to the country. The subject of research is the connection of existing portrait images with the milestones of the fate of Golitsyn and in the context of interaction with the artistic world of the 18th century. Despite the prince’s close contacts with painters, sculptors, and graphic artists, few portraits of him are currently known. Research method used in the article is the iconographic elucidation of the main features of Prince Golitsyn's appearance, which allow to identify his images. The scientific novelty of the study consists in the systematization of the iconographic series of images of D. A. Golitsyn available today, as a result of which his well-known silhouette portrait turned out to be created by a modern graphic artist I. V. Golitsyn based on an engraving depicting the son of the prince, a priest of the Catholic Church D. D. Golitsyn. The attribution of one of D. A. Golitsyn's portraits from the collection of his daughter's heirs, the German aristocrats Salm-Salm, is recognized as erroneous, since it is a copy of the work of the French painter of the first half of the 18th century from the Coypel family and depicts another person. The circle of absolutely indisputable images of Prince has been determined. Golitsyn, which include sculptural portraits by French artist Marie-Anne Collot, one of which is now in a private collection in Moscow, as well as a profile drawing by her husband Pierre-Etienne Falconet.

Keywords: drawing, engraving, silhouette, sculptural bust, Pierre-Etienne Falconet, Marie-Anne Collot, iconography, portrait, Catherine the Second, Dmitry A. Golitsyn

Abstract: The article examines two studies of the early period of Mstislav Dobuzhinsky's work, relating to the time of his life and studies in Germany (Munich): "A Street in Munich" (circa 1899-1901) and "Workshop of the Anton Ashbe School" (1899). The author of the article, based on the artistic and critical literature devoted to Dobuzhinsky's work, as well as correspondence and memoirs of the artist and his contemporaries, examines the urban pastel landscape and interior sketch of the late 90s. In the context of the tasks that the artist set himself during his studies abroad at the schools of Anton Ashbe and Shimon Holloshi, as well as in line with the conceptual searches of the artist both in the early and mature periods of creativity. In the analysis of the works under consideration, the author of the article uses formal stylistic, descriptive methods, the study of the features of artistic manner, the nature of the figurative and plastic language of the works, emotional and aesthetic assessment. The author of the article discovers an unconditional coincidence of artistic images, mood and texture of the early sketches of the artist's Munich period with verbal descriptions of the atmosphere of Munich in the late 1890s and the school of Anton Ashbe and his method, left by the artist and his contemporaries in letters, memoirs, art-critical and historical notes. Summing up the analysis of the "Streets of Munich" and the "Workshop of the Anton Ashbe School" by Mstislav Dobuzhinsky, the author of the article concludes that the special, subtle poetic mood of the two works under consideration, a gloomy autumn landscape and a bright sunny interior sketch, representing the early stage of the evolution of the artistic manner of the master, thoughtfully and figuratively reflect the concept "quiet poetry", characteristic of the artist's mature graphics and paintings, consistently developed by him in his further work.

Keywords: World of Art artists, painting study, Mstislav Dobuzhinsky, Russian Munich, Mir iskusstva, symbolism, painting, graphics, study, landscape

Abstract: The realist ideas and revolutionary concepts characteristic of Russian oil painting were of special significance for the development of art in China in the 20th century. In particular, in the 1950s, the leaders of the Chinese Communist Party praised and promoted Russian and Soviet painting at the state level, which greatly contributed to the formation of the idea of realist painting and the scientific system of teaching oil painting in Chinese society. This paper examines the core values of socialism embodied in Russian oil painting and their derivatives; traces the development of oil painting in China; records the significant role of socialist features in the development of oil painting from different perspectives; and explains the influence of the Soviet art education system on the development of oil painting in China. This paper comprehensively examines the positive impact of Soviet painting on the development of Chinese art education, which contributed to the development of modern Chinese art in terms of artistic creativity, artistic organization and the construction of a system of art education.

Keywords: art education, Chinese oil painting, art of socialist realism, socialist realism, Fine Arts, artistic development, Soviet oil painting, realistic oil painting, art development, art history

Abstract: The article analyzes the international activities of the outstanding representative of the Chinese art world Xu Beihong. The subject of consideration is the artist's trips to the countries of Europe, Southeast Asia and the USSR in the 30s - early 40s of the XX century. Special attention is paid to how the painter organized the participation of Chinese artists in international exhibition projects. A detailed description of the most significant of them is given. The emphasis is on how Xu Beihong selected works for exhibition projects that could be called "pure and representative Chinese art." The role of Xu Beihong in the popularization of Chinese art is also revealed. The article reveals for the first time the stages and features of the activities of the outstanding Chinese artist Xu Beihong, focused on the popularization of Chinese fine art and culture outside China. As a conclusion, it is argued and argued that Xu Beihong's activities abroad, which included a variety of forms of representation of Chinese painting – exhibitions, lectures, master classes, scientific reports, information platforms, etc., was the first serious step that allowed showing the heritage of Chinese art culture to the general public outside China, to bring Chinese painting to the international arena.

Keywords: chinese artist, China, painting, exhibition project, cultural exchanges, Xu Beihong, chinese painting, international exhibitions, chinese art, history

Abstract: The article discusses the origin and evolution of women's visual art in China. The development of this artistic direction was due to the radical social transformations since the beginning of the Open Door Policy in 1978. Analysis of the art by Li Hong, Cui Xiuwen, Feng Jiali, Yuan Yaomin and others reveals main features of the evolution of women's creativity in China. The search and acquisition of female identity, the destruction of psychological barriers imposed by traditional ideas and stereotypes about a woman, her physicality, beauty, etc., the study of gender differences, the reflection of female subjectivity, the assertion of a new status for women in modern society - all this makes the content of Chinese women's art. The novelty of the research lies in the fact that the article studies the works of quite reputable Chinese artists who were not presented earlier in Russian art history science. This article is intended to contribute to the study of the processes of emancipation of the consciousness of the Chinese and raising the status of women artists in society. Reflections on personal experience, social problems and historical destinies determine the specifics of the artistic language of women's works. In view of the active feminist movements of our time, increasing attention to the inner world of women and criticism of patriarchal foundations, addressing this topic seems very relevant today.

Keywords: female image, female identity, female subjectivity, physicality, artistic language, feminist art, women's art of china, chinese painting, chinese art, a new woman

Abstract: The article is devoted to the study of Chinese landscapes painting by Chinese and Russian artists. Comparative analysis of landscape painting by Chinese and Russian artists dedicated to China allows to identify the most important trends and patterns in the methods of landscapes painting in Russia and China of the late XX в - early XXI century. The purpose of this study is to determine the main intersections in the approaches of artists of the two countries. The specificity of the artistic and expressive language of Chinese and Russian landscape artists in the embodiment of landscapes of China is determined primarily by the influence of the modern national school of painting, as well as the desire to develop and update existing traditions, finding inspiration in foreign experience, coming into contact with foreign culture and artistic tradition. The main conclusions of the study are that landscape painting by artists of Russia and China reveals similarities in formal terms: artists of both countries use techniques of both, realistic school and impressionism. Scientific novelty is determined by the fact that the mechanism of integration of the principles of realism and Western impressionism by Chinese painters is revealed. The author introduces an extensive body of artistic materials of Russian and Chinese painters into Russian science, notes that there are significant differences between the artists of the two countries.

Keywords: Yao Lu, Vasilyeva, Burtov, Tian Haibo, Hong Leung, Lavrenko, modern russian painting, modern chinese painting, landscape painting, cultural exchange

Abstract: The subject of this research is such a means of harmonization of composition of the image in a plane as the contrast. The article assesses the possibility and factors of using contrast for increasing the attractiveness of the designed photographic image. The author reviews the examples of photo images with appropriate use of contrast; provides the research data on the perception[WU1]  of contrast by human visual system.; explores correlation between contrast and the conditions for a harmonious composition; as well as reviews the connection between the properties of compositional elements of photography and the components of visual perception, discovered by R. Barthes in his work “Camera Lucida”. The author carries out the analysis of photographic images; compares the empirical data on the study of perception of contrast by a human; applies the methods of induction and deduction in analyzing the acquitted results and comparing them with the characteristics of a harmonious composition. The author’s special contribution consists in comparison of the results of empirical research of perception of contrast by a human in the context of dependence of the sensitivity of human visual system on the size of observable alternating contrast lines and the size of the dominant in relation to the image field object of composition. It is proposed to use high contrasts of the elements of detail drawing for reaching harmonization of composition of the designed image elements.  [WU1]

Keywords: photography, bright dot, contrast perception, image projecting, focus of attention, detailed drafting, harmonious composition, light and darkness, tonal contrast, visual perception

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 examines the impact of Chinese traditional painting upon the formation of Western expressionism, as well as interprets the influence of Western expressionism upon Chinese painting in expressionist manner of different periods. The author reveals the mutual influence, similarities and differences between Western expressionism and Chinese painting in expressionist manner, Chinese imagery oil painting, Chinese colored ink painting, and Chinese imagery painting in Western style. Based on correlation between the spiritual ideology of painting and artistic form, the author carries out a comparative analysis of spiritual and formal factors of Chinese and Western painting systems for the purpose of determination of their mutual influence, and how it affects the emergence of new concepts in painting. The structure of brush stroke of the artist defines his aesthetic spirit. The article determines the “cyclic” nature of interinfluence processes between Chinese and Western painting systems that stimulate the development of human civilization. The analysis of corresponding cultural factors allows assessing the individual artistic characteristics of painting. Both, Chinese and Western painting systems entered the period when spiritual ideology of painting interacts with the artistic forms, opening the era of “globalization” of the language of painting.

Keywords: Subject consciousness, western expressionist painting, Chinese imagery oil painting, Colored ink painting, Form factor, Spiritual factor, European traditional painting, Chinese calligraphy, Chinese traditional painting, Localization

Abstract: The subject of this research is the main fugitive pigments used in easel oil painting at the various stages of its evolution (cinnabar, ultramarine blue, white lead, verdigris, orpiment, yellow chrome). Depending of its chemical composition, the degradation of pigments may vary based on the three main mechanisms described in the article. Grouping of fugitive pigments in accordance with degradation mechanism allow to more accurately rectify the methods of preventative conservation of paintings for obstructing the process of changing of coloristic characteristics of the paint layer. The author’s main contribution consists in demarcation of degenerative processes into passive and active, which results in precise structuring of problematic of the change of color of the paintings carried out in oil technique. It is determined all options of degenerative mechanisms occur throughout the entire history of easel oil painting. The article also provides general recommendation on storage, exhibition and restoration of paintings prone to degeneration of color characteristics due to the physical-chemical properties of the paint layer.

Keywords: pigments in paintings, unstable pigments, color degradation, material degradation, Western European oil painting, easel painting, oil painting, paintings degradation, conservation, painting’s color change

Abstract: The subject of the research attention is the determination of a circle as a method of spatial and compositional organization of visual material. The article presents the thesis that a plastic movement, arising from the use of a rounded geometric shape in the figurative structure, determines the mechanics of visual perception. A circle, being a styling element of a composition, possesses an ability to enhance both artistic and conceptual expression of the image. The article draws attention to the priority value of the circle in the compositional construction of paintings by Raphael. The regularities of plastic construction are determined by the analytical consideration of the peculiarities of the artistic language and compositional techniques of a number of works of the Italian master. Based on the conducted research, the author comes to the conclusion that a circle, dominating in a compositional organization of the artist's works, remains spatially neutral. Architectonical use of a circle as a planar figure allows relating the art of Raphael, both with the traditions of medieval painting and with the heritage of Pietro Perugino.  

Keywords: composition, spatial construction, visual perception, painting, architectonics, circle, Raphael, semicircle, Perugino, picture plane

Abstract: The article is devoted to the definition of 'art space' that is usually opposed to a traditional concept of space. Rozin analyzes the process and stages of the development of art space as part of the scheme theory. In particular, Rozin studies four stages of how views on art space have developed. At the first stage the archaic culture created schemes that described various kinds of animals and humans. The second stage was the stage of ancient kingdoms that developed the method of depicting extended spaces by layering one kinds over others. The third stage, the era of Renaissance, represented the concept of one-point perspective, and the concept of reverse perspective was developed at the fourth stage. Rozin also focuses on cultural circumstances and schemes that contributed to the development of art space at all four stages. The researcher has used the following methods: problem statement, situtional analysis, comparative analysis, statement of definitions and description of the process and visual imagery argumentation. As a result of the research, the author has defined the term 'art space' and described four stages of its development as well as demonstrated the dependence of ideas about art space on the cultural environment (worldview and type of communication) as well as space schematization (schemes and means of operation with it). 

Keywords: length, subject, type, formation, becoming, art, scheme, space, personality, culture

Abstract: The subject of the study is contemporary art practices, examined by the author in the context of neo-mythologism and tendencies of posthumanism. In the article, the contemporary approach to the creation of pieces of art using the latest digital technology on the example of works of Russian and foreign artists E. Ostrova, K. Khudyakova, B. Viola, AES-F group, is analyzed. The spread of VR technology becomes a new method of conducting a dialogue with art images of the past, reconsidering a cultural tradition, and defining an own place in it. Contemporary art criticism and aesthetic discourse, as well as the concept of postmodernism, are actively used as a methodological basis. The main conclusions: avant-garde denial of tradition led to the exclusion, archiving of culture, and the destruction of the connection between the past and the future. Individual neo-myth, created by a modern artist - is a kind of compensatory mechanism, an attempt to put "shadows" of artistic images of the past in the context of the growing trends of posthumanism. The author's special contribution consists in the development of the concept of neo-mythologism in relation to the visual arts of the XX-XXI centuries. The novelty of the study is due to the detection of specific features of neo-mythologism in visual art, customary for the modern period. 

Keywords: video-art, video installations, digital art, VR technology, neo-mythologism, contemporary, art, myth, modernism, postmodernism

Abstract: In her research Aganina analyzes calligraphy as a time-related intermedia and this is why the nature of the line movement and the sign pattern in general is one of the main criteria for evaluating the caligraphic piece. Considering that the aesthetics of the handwriting movement is more developed in the calligraphy of the Far East, the purpose of this research is to analyze movement as a category that creates the identity of Chinese, Korean and Japanese handwriting in order to review and to use the experience of Far Eastern calligraphy in the European writing. The methodological basis of the research involves the following: the problem statement, classification of aesthetic categories, comparative historical and axiological analysis, and iconological method. As a result of the research, the author concludes that the compositional movement of signs in the Far Eastern calligraphy directly and symbolically relates to the free movement of human body (and spirit) through the space. The fact that China, Korea and Japan have different concepts of the movement of spirit dictates differences in the nature of the sign pattern in the calligraphy of these countries. 

Keywords: Japanese calligraphy, Korean calligraphy, Chinese calligraphy, ink brush calligraphy, handwriting, aesthetics of movement, white space, fengliu, meot, mono-no aware

Abstract: The object of this research is the iconographic composition of the dome of an early Christian mausoleum that is often referred to as the Exodus Chapel (Bagawat necropolis, Kharga, Egypt). The subject of the research is the compositional and semantic interactions between three compositions depicted on the western wall of the mausoleum. The author of the article examines such aspects of the topic as the mutual location, iconography and semiotic relations between these compositions. She pays special attention to the origin of iconographic types, sequence of how those compositions were created, their interpretation and the place they take in a range of Egyptian and Eastern Mediterranean memorials of those times. Particular features of the research matter predetermined the author's choice of methods, in particular, the author applied the iconographic approach and methods of historical contextualisation and semiotic analysis as the main research methods. The main conclusion of the research is the author's proved hypothesis that initially the orant entered the Sacrifice of Abraham scene and it was Isaac. Later, as a result of compositions being drawn in a limited space and united according to the gender and virginity features, the orant figure was depicted in a new composition that was most likely to be devoted to the deceased. The author's special contribution to the topic is her analysis of the influence of the mainstream and local artistic traditions on early Christian funeral art of the Kharga Oasis. The novelty of the research is caused by the fact that the author defines probable stages of creation of that group of compositions and clarifies precedent hypotheses about their semantics. The author also evaluates the role of the memorial in the history of the Coptic Art development.

Keywords: Mausoleum, Al Bagawat, Coptic Art, Orant, Saint Thekla, Sacrifice of Abraham, Early Christian Art, composition, group of compositions, iconographic types

Abstract: The present article is devoted to defining and describing the modelling method used by Leonardo da Vinci in his painting. The author's detailed analysis of a number of Leonardo da Vinci's paintings has allowed to define this unique method which key feature is the horizontal or inclined position of a model. Being typical only for da Vinci's creative work, this method was the basis for creating complex contrappostos and light-and-shade effects as well as reflections of the artist's emotions and mood which were so typical for his creative work. The topic of innovations and singularities of Leonardo da Vinci's artistic language is very well studied and presented in both Russian and foreign researches on art history. As it seems, his individual style based on applying new painting and compositional techniques should have made his paintings quite recognizable. However, the question about attributions of his paintings still remains unresolved in Russian art history. Despite availability of modern expertise methods, experts still cannot define which paintings were actually created by Leonardo except for very few paintings kept mostly in the the Louvre. Considering the fact that it is still a rather debatable question in most cases, the purpose of the present research was to discover additional, never before discovered singularities of the artist's individual style which may help to solve the above mentioned problem. The object of the research is Leonardo da Vinci's paintings Gioconda and St. John the Baptist, the copy of his painting Leda and the Swan made by an uknown artist and kept in the Galleria Borghese and Francesco Melzi's painting Colombina. The subject of the research is contrappostos in these paintings. The main method of the research is a detailed analysis of paintings. To prove the thesis about the horizontal posing, the author of the article has carried out a testing experiment based on drawing from nature. Taking into account that the main feature of the modelling method (horizontal posing) is directly related to the research of Gioconda's smile, the author of the article provides a brief analysis of art history theories and hypotheses the explain the phenomenon of that mysterious smile from different points of view. Special attention is paid to analyzing historical sources containing information about Gioconda painting. As a result of the research, for the first time in the academic literature the author defines a unique painting method typical for Leonardo da Vinci's creative work as well as describes his methods of painting from nature as the basis of the aforesaid method. The theoretical importance of teh research is caused by the fact that the author offers totally new concepts and interpretations of The St. John the Baptist and Gioconda as paintings. The detailed analysis of Colombina has also allowed to conclude that that painting initially had another painting plot which was not completed by the artist. Based on that, the author makes a hypothesis that the true portrait of Mona Liza is kept in the State Hermitage. The research results can be used to make an attribution of the artist's paintings. The horizontal posing can be used as an essential feature of Leonardo da Vinci's unique style when attributing and analyzing his paintings. 

Keywords: modelling method, horizontal posing, painting from nature, contrapposto, perspective, sfumato, aerial perspective , mystery of a smile, Gioconda , attribution

Keywords: engraving, portrait, 18 century, German art, Russian art, freemasonry, Catherine II, Paul I, Dmitry Rovinsky, etching

Keywords: khudozhestvennaya fotografiya, estetika beskonechnosti, effekt Droste, fraktal, rekursiya, post-obrabotka izobrazheniya, tsifrovoe iskusstvo

Abstract: The article presents commentaries on a famous book written by N. Volkov ‘The Color in Painting’. In his book Volkov tried to create the theory comparable to the theories in music studies. However, comparison of color in painting with the musical sound shows that it is rather impossible. Rozin points out that Volkov distinguishes between the color as an art form and coloristic art events which refer to artistic reality. Rozin discusses peculiarities of artistic reality in painting and analyzes the two color systems (offered by Newton and Goethe) compared by Volkov. Rozin also establishes and substantiates the hypothesis about the role of these color systems in painting being comparable to the ‘single point perspective’ concept. The other hypothesis is based on Rozin’s analysis of the concept of ‘expression’ of human feelings and ideas as it is presented in art studies. Rozin questions this concept and proves quite the opposite. Based on Rozin, the development of art and ‘color practice’ constitute the emotional life of human but not vice versa. The research article is based on such methods as the comparative analysis, problematization, reference to the author’s teaching about psychic (mental) realities as well as his studies of art and music. As a result, Rozin has managed, in some ways, to distinguish between music and color practice, provide a substantive commentary on N. Volkov’s book emphasizing the most interesting provisions of that book, discuss peculiarities of artistic reality which events are described based on the color and establish the hypothesis about the role of the color concepts offered by Newton and Goethe.

Keywords: Color, sound, music, color practice, creation, art studies, theory, system, painting, music studies.

Abstract: Analyzing Arkady Plastov’s late works, we can define the main images and meanings there. Internal harmony typical for work by this master, does not disappear under the influence of new ideas and events in the country’s social and art life. Work created by Plastov during his last ten years of life reflected his attitude to the word. Narrative , selected topics and his preferences in genres were closely connected to his art goals. Opposing to sketches in painting, the artist used expressive opportunities of ‘fast work with nature’ in some of his late works. The author of the article pays special attention at such Arkady Plastov’s portraits and paintings as ‘Grandma Katerina and Tanya Yudina’, ‘Death of the tree’, ‘The Blinds’ and ‘April’. In his late paintings, Arkady Plastov shared his own perception of the world that is based on traditional Russian religious and esthetical views and holistic perception of the world.

Keywords: art history, Arkady Plastov, religious grounds of creative work, Christian system of values, traditional peasant life, composite structure, emphasis on image and meanings, blind, children in art, fine art.

Abstract: The article reveals peculiarities of the image of a revolutionary – populist in fi ne arts at the end of the 19th – beginning of the 20th century and its transformation under the infl uence of events ongoing in Russia in those times. Special attention is paid at the creative works by Iterinants such as I. E. Repin and his follower N. I. Verkhoturov as well as N. A. Kasatkin.

Keywords: art history, revolutionary – populist, ‘Popular Will; socialist revolutionary, proletarian, Museum of the Revolution, fi rst Russian revolution in 1905-1907, intellectual – commoner, fi ne art, Iterinants.

Abstract: The article is devoted to the analysis of an allegoric portrait of the Duke Cosimo I de’Medici featured as Orpheus (artwork by Agnolo Bronzino). Being an example of a man in love and a founder of orphism, for Marsilio Ficino and his followers Orpheus became a symbol of wisdom teaching people a virtuous and beneficial to society life. The author of the article makes a suggestion that Plato’s Symposium influenced creation of the portrait. Florentine humanist Cosimo Bartoli is viewed as a potential author of the iconography version of the portrait.

Keywords: cultural studies, Renaissance, Duke Cosimo I de’Medici, Orpheus, the Symposium by Plato, fi ne arts, humanism, neoplatonism, harmony.