ARTICLES of rubric«Arts and crafts»

du j. — Decorative art of Russian painted spinning wheels and the art of painted lacquer products in China during the Warring States of Qi Lien (№6, 2024)
ZHANG X., Chernova A.V. — Problems of studying the birch bark art of the Orochon people in China from the 1980s to the present (№5, 2024)
Vei V., Fedorovskaya N.A. — Features of structure and types in the traditional headdress of Chinese Orochons (№12, 2023)
Ovsiannikova E. — Ship Model as a Museum Object (№11, 2023)
Nekrasova-Karateeva O.L. — Art master Yulia Gusarova is an artist of multifaceted talent (№11, 2023)
Nekrasova-Karateeva O.L. — Philosophical reminiscences in the work of the artist Mikhail Kapustin (№9, 2023)
Wang X. — Contemporary ceramic art of China: a look from the perspective of the art market (№8, 2023)
Chernova A.V., Vasileva E.A., Fedorovskaya N.A. — Masters of decorative and applied art of the Spassky Factory of artistic ceramics in search of a unique style (№6, 2023)
Lavrov D.E. — Traditional ornamental techniques in the products of the Fedoskin lacquer miniature of the Soviet period (№10, 2022)
Bykova I.I. — Precious framing of the bestowed royal figures during the time of Peter the Great (№10, 2021)
Cheglakov A.D. — The pursuance of naturalness as one of the key trends in the sphere of modern wooden sculpture: domestic practice (№6, 2021)
Bykova I.I. — Jewelers who were commissioned by the tsar in Russia during the time of Peter the Great: biography, work organization, and stylistics (№12, 2020)
Chernova A.V. — Ceramic art of Russian Primorye (№3, 2020)
Gavritskov S.A., Vandysheva O.V., Kochetkova I.P. — Synthesis of Arts and Crafts Materials: Metal and Ceramics. History and Modern Trends (№3, 2019)
Bykova I.I. — More Facts about the Creative Life of a Court Jeweler Yakob Dublon (1702–1768) and His Role in the Creation of the Small Imperial Crowns (№12, 2018)
Kanokova F.Y. — Sets of Traditional Female Headgear of the Nogais (№4, 2018)

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du j.. Decorative art of Russian painted spinning wheels and the art of painted lacquer products in China during the Warring States of Qi Lien // Culture and Art. – 2024. – № 6. – P. 135-148.

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Abstract: The article is devoted to the comparison of Mezen painted spinning wheels actively produced in Arkhangelsk province (Russia) in the XIX century and objects of Chinese art of Qi Lien painting of the Warring Kingdoms period. In this era, the skill of creating Chinese lacquer products was very developed, and the spinning wheel industry of the XIX century became the basis for the existence of a vital craft for Russian people. The spinning wheels were decorated with colored paintings with repetitive plots. The subjects of the study represent the most important part of the folk art of the two cultures, reflecting at the same time the aesthetic and spiritual preferences of the population. Their prevalence in both cases made it possible to identify the commonality of artistic techniques used by folk craftsmen. Scientific work assigns an important role to the techniques of manufacturing household items that demonstrate the prevailing artistic environment at the time of their regular use. The leading method of research is formal stylistic analysis, revealing characteristic compositional features. Comparative analysis makes it possible to identify similarities and differences in the works of DPI, which make it possible to hypothesize a paradoxical objective community. Considerable attention is also paid to the coloristic analysis and symbolic meaning of the murals. The scientific novelty of the study is due to the presence of a very limited number of sources mentioning the possible similarity of the two fields of folk art, none of which is fully devoted to the formal and stylistic features of objects created by unknown masters. The article closes this gap, aiming to discover specific unifying features. Its tasks become a detailed study of plots, compositions, techniques and materials used. The research allows us to come to the conclusion that the work of both Russian and Chinese artists reflected the main artistic aspirations of contemporaries, who often endowed objects and phenomena with symbolic meaning. There is a noticeable interest in the use of wood, the use of warm shades and the embedding of patterns in compositions. There is a similarity in the desire to reflect reality when including plant and animal motifs in their works. Also, the decorative and planar nature of the painting combines the rich details of the product. The relevance of the research is due to the convergence of Russian and Chinese cultures, so that the study of the issue can contribute to finding new points of spiritual contact.

Keywords: Han dynasty, Qin dynasty, dower, Shen varnish, varnish products, Qi Lien, spinning wheel, Warring States period, Russian folk art, Chu nation

References:
Prilutskaya, E. N. (2014). Semantics of the image of a horse and a deer in wood painting of the Arkhangelsk North. Culture. Spirituality. Society.
Enemy, Yu. (2022). A. Symbolism and semantics of animalistic images in folk paintings of Russia: yesterday, today, tomorrow. Scientific notes.
Kulizhnikova, N.P. (1966). Trends in folk decorative painting of the early twentieth century. on the example of the creativity of Vologda masters of painting. Society. Wednesday. Development, 1, 127.
Arbat, Yu. Journey for beauty. Moscow: Art.
Gazizova, A. T. (2016). Current problems of art and design education in the formation of a professional and cultural subject. Tatishchev readings: current problems of science and practice. Materials of the XIII International Scientific and Practical Conference, pp. 82-85.
Gurlenova, L.V., & Zemtsova, I.V. (2014). Interaction of Slavic and Finno-Ugric cultures in northern wood paintings. News of the Komi Scientific Research

Reference:
ZHANG X., Chernova A.V.. Problems of studying the birch bark art of the Orochon people in China from the 1980s to the present // Culture and Art. – 2024. – № 5. – P. 122-138. DOI: 10.7256/2454-0625.2024.5.69556.

DOI: 10.7256/2454-0625.2024.5.69556

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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

References:
Kocheshkov, N. V. (1983). Problems of ethnic traditions in the decorative art of small peoples of the Soviet Far East. Traditions and modernity in the culture of the peoples of the Far East, 3-17. Vladivostok.
Kocheshkov, N. V. (1989). Ethnic Traditions in the Decorative Art of the Peoples of the Extreme North of the East of the USSR. L.: Science.
Kaplan, N. I. (1980). Folk decorative and applied art of the Far North and the Far East. Moscow: Prosveshchenie.
Boguslavskaya, I. Я. (1987). The problem of the formation of local artistic features in folk art. Dymkovskaya toy: Avtoref. diss. of Dr. of Art History.
Yu, D. S. (1957). A Brief Historical Sketch of the Orochon People on the Kumar Road. Printed by the Northeast Ethnic Minority Research Group (internal).
Edited by the Office of the Nationalities Commission of the National People's Congress. (1958). Archival Materials on the Orochon People of Kumari Road.
Qiu, P. (1956). Orochon people. – Bei

Reference:
Vei V., Fedorovskaya N.A.. Features of structure and types in the traditional headdress of Chinese Orochons // Culture and Art. – 2023. – № 12. – P. 221-231. DOI: 10.7256/2454-0625.2023.12.68896.

DOI: 10.7256/2454-0625.2023.12.68896

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Abstract: The object of the study is the cap of the Chinese Orochon tradition. The subject of the study is the head decoration of Chinese orochons made of goat skin. The article discusses the main types of caps and their structural features and production technology. Orochons make a special headdress from the head skin of a roe deer, which demonstrates the gender and status of the person wearing this decoration. The Orochon hat belongs to traditional Chinese clothing and serves as one of the indicators of this nation. Against the background of globalization, the culture and aesthetic thinking of Orochon art provide rich ideological sources and practical directions for the development of aesthetics and art of the world. The purpose of the study is the characteristics of traditional Orochon headdresses, the symbolic meaning of headdresses and the importance of animal skin headdresses. This article uses such research methods as the method of literature analysis, the method of investigation and research documentary interview and examines the art of Orochon head ornaments. Thus, we can lead to the following conclusion: the traditional Orochon head decoration is an important component of the Chinese and world culture of the art of head jewelry. Orochon head jewelry in its long history of development has acquired an elegant and attractive appearance and exquisite workmanship. Chinese researchers pay more attention to the aesthetic and ethnological studies of these products, which has created great theoretical value for us and provides a strong reference basis. The novelty of the article lies in the distribution of symbolic meanings and artistic features of Orochon head ornaments, in particular, their hats. The history of their development and cultural connotation are systematically analyzed, the description and communication of artistic features and symbolic meanings are carried out.

Keywords: pattern, costume, art, orochon, manufacturing technology, orochon headdresses, roe deer scalp, Chinese Orochons, national minorities of China, Traditional culture

References:
Wei, V. (2022). Genesis of the Orochona people in Chinese historical and cultural studies. Scientific notes of Komsomolsk-on-Amur State Technical University, 8(64), 4-8.
Soldatov, V., Manchuria. Encyclopedic dictionary of Pomegranates. Retrieved from http://granat.wiki/enc/m/manchzhuriya
Sirina, A.A. (2018). The Manchurian Expedition of S.M. and E.N. Shirokogorvykh (1915-1917). Ethnography, 1, 64-85.
Kocheshkov, N.V. (1999). Non-Han peoples of Northeastern China (historical and ethnographic essay). Russia and the Asia-Pacific Region, 1. Retrieved from https://cyberleninka.ru/article/n/nehanskie-narody-severo-vostochnogo-kitaya-istoriko-etnograficheskiy-ocherk
Wu, Y.Z. (2006). The last legend. Research of the Orochon culture. Beijing: Beijing University of China Minzu Publishing House.
Barmina, E.V. (2019). The image of a deer in the traditional culture of the indigenous peoples of Eastern Siberia. Socio-economic and humanitarian Journal of the Krasnoyarsk St

Reference:
Ovsiannikova E.. Ship Model as a Museum Object // Culture and Art. – 2023. – № 11. – P. 58-71. DOI: 10.7256/2454-0625.2023.11.39075.

DOI: 10.7256/2454-0625.2023.11.39075

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Abstract: Ship models are the part of a significant number of collections of domestic and foreign museums. Such objects are the primary sources of knowledge and emotions, true monuments of history and culture, but often belong to the group of reproductions of museum objects, that is, reduced copies of original objects. The article analyzes the questions of the definition of ship models, correlates the definitions of these items in different sources. The author considers the model of the ship from the point of view of the functions and properties of a museum object, asserts their value as originals of significant historical and cultural significance, monuments of science and technology, objects of arts and crafts, ethnographic sources. The novelty of the research lies in the study by the author of the ship model from the point of view of the theory of the museum object. This allows us to consider ship models from other, not generally accepted positions, and consider them full-fledged museum objects, which, along with originals, have the same set of properties, qualities and features. The main conclusions of the study are, firstly, that the models of ships and vessels in the collections of museums are not secondary in relation to other material sources, and secondly, that such objects fully correspond to the concept of "cultural values", are source of knowledge and emotion.

Keywords: objects of arts and crafts, properties of a museum object, technical monuments, ship model, museum object, cultural values, museum collection, museum, copy, maquette

References:
Andreeva, I. V. (2017). Museum object as a document: to the sources of documentary search for museum research. Bulletin of Culture and Arts, 3(51), 7–15.
Dolmatova, U.A. (2016). Monuments of science and technology as museum items. St. Petersburg: St. Petersburg State University. Retrieved from https://nauchkor.ru/pubs/pamyatniki-nauki-i-tehniki-kak-muzeynye-predmety-587d363f5f1be77c40d58a87
Ivanov, A.V. (2012). Problematic issues of attribution and definition of ship models (on the implementation of a half model of the 12-gun frigate "Courier" in 1702). Menshikov Readings. St. Petersburg: "XVIII century". Issue 3(10), 76–89.
Lavrent'eva, L.S. (2008). Models in the Collections of the Europe Department: Collection History, Description and Exhibition Project. Collections of the Europe Department: Exhibition Projects. Catalogs. Research. Miscellany of the Museum of Anthropology and Ethnography. Vol. LIV. St. Petersburg: "Nauka". P. 59–74.
Larionov, A.L. (1972).

Reference:
Nekrasova-Karateeva O.L.. Art master Yulia Gusarova is an artist of multifaceted talent // Culture and Art. – 2023. – № 11. – P. 18-41. DOI: 10.7256/2454-0625.2023.11.68866.

DOI: 10.7256/2454-0625.2023.11.68866

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Abstract: The article contains materials about the work of St. Petersburg artist Yulia Vasilievna Gusarova, a master who creates works in different materials and techniques and has her own theme, manner and style. The purpose of the article is to determine the foundations and nature of creativity, to track the dynamics of the personal development of a hereditary artist. She is multi-faceted and is successfully realized in the art of painting, in mosaics, in ceramics, in textiles, in scientific and pedagogical activities. The main themes of her work: stories from the history of culture and art, travel impressions, the world of the sea and marine life, the fantastic world of the medieval "bestiary" and modern technology. The article presents examples of her works, describes their semantic content and artistic merits, notes theoretical and methodological-pedagogical aspects of the problems of art and art education. The materials of the article have novelty, because they are offered for publication for the first time. There was no scientific study of Y. Gusarova's creativity in domestic and foreign art criticism. The results and research methods in this article can be useful in art criticism for use in writing monographic works about the work of other artists, as well as for creating a complete picture of the features of the work of domestic ceramic artists of the XX - XXI centuries.

Keywords: technology, composition, art painting, sculpture, mosaic, textiles, ceramics, art education, painting, decorative art

References:
Daniel, S. M. (1990). The art of seeing: about the creative abilities of perception, about the language of lines and colors and about the education of the viewer. S. M. Daniel. Leningrad. Art: Leningrad branch.
One composition. (2011). St. Petersburg: Publishing house «New Niva».
Nekrasova-Karateeva, O. L. (2023). Philosophical reminiscences in the work of the artist Mikhail Kapustin. Culture and art, 9, 23-38.
Nekrasova-Karateeva, O. L. (2021). V. F. Markov is the creator of the school of Leningrad ceramics. TERRA ARTIS, 2, 36-49. St. Petersburg.
Vasilkovsky, V. (2006). Images of the 30s and memories of the artist [album book. M. A. Kopylkov, comp.]. St. Petersburg.
Gusarova, Yu. V. (2022). Vladimir Sergeevich Vasilkovsky-artist and teacher. Teacher-student: biographical portraits of teachers of the LVKHPU named after V.I. Mukhina-SPGHPA named after A. L. Stieglitz in the memoirs of students: monograph/FSBEI HE «St. Petersburg State Ar

Reference:
Nekrasova-Karateeva O.L.. Philosophical reminiscences in the work of the artist Mikhail Kapustin // Culture and Art. – 2023. – № 9. – P. 23-38. DOI: 10.7256/2454-0625.2023.9.44086.

DOI: 10.7256/2454-0625.2023.9.44086

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Abstract: The author examines the art history problem of the influence of philosophical trends on the art that is relevant to them on the example of the work of the St. Petersburg ceramic artist Mikhail Yuryevich Kapustin and his philosophical reflections revealed in the plastic search for impressive images. His worldview was formed in a whirlwind of contemporary philosophical trends, scientific and technological discoveries, new trends in culture and contemporary art. The article reveals the regular change of one philosophical direction to the next, often alternative, and how artists reacted to this in their work, finding new ideals and expanding expressive possibilities in the visual arts. The purpose of the article is an attempt to decipher the in-depth meanings of the artist's works. The subject of research is philosophical reminiscences in the author's sculptural and graphic works of the ceramic artist. The main themes of his artwork are Man, Earth, and Time.
The study has a novelty, because its materials are original and are offered for publication for the first time. In domestic and foreign art criticism there was no scientific study of the work of M. Kapustin. The works of M. Kapustin are large-scale, peculiar ceramic (sculptural and graphic) compositions of epic imagery, represent a compressed formula of an idea in a tense volume of form. The logical chain of his creative process as a ceramic artist goes as follows: from the idea towards the artistic image, material, technology, and finally – work. The results and research methods in this article can be used in art criticism for contribution in writing monographic works about the work of other artists.

Keywords: sculpture, architectonics, technology, ceramics, exhibitions, meanings, composition, artistic image, philosophy, art

References:
One Composition. (2011). Saint-Petersburg: Novaya Niva Publishing House.
Western Philosophy of the End of the 20th – Beginning of the 21st Centuries. Ideas. Problems. Tendencies [Text]. (2012). Russian Academy of Sciences, Institute of Philosophy; Ed.-in-chief I. I. Blauberg. Moscow: IFRAN.
Petrovskaya, E. V., & Pomerantz, S. (2010). Postmodernism. New Philosophical Encyclopaedia: in 4 vols. Chairperson of the scientific-editorial board V.S. Stepin. 2nd edition, revised and supplemented, 297-298. Moscow: Mysl.
Blinova, E. K. (2011). Order as an Architectural and Artistic System. Historiography and Methodological Aspects. Monograph. Saint-Petersburg: Publishing House of the Herzen State Pedagogical University of Russia.
Leonardo da Vinci. (2010). The Artist’s Dispute with the Poet, Musician, and Sculptor. Selected Works: in 2 vols. translated by A. A. Guber, V. P. Zubov, V. K. Shileiko, A. M. Efros; ed. by A. K. Dzhivelegov, A. M. Efros. Moscow: Artemy Lebedev Studio Publishin

Reference:
Wang X.. Contemporary ceramic art of China: a look from the perspective of the art market // Culture and Art. – 2023. – № 8. – P. 86-95. DOI: 10.7256/2454-0625.2023.8.43723.

DOI: 10.7256/2454-0625.2023.8.43723

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Abstract: The object of this research is contemporary Chinese art in the context of the latest trends in the development of the global and national art market. The subject of the study is the problem of underestimation of modern ceramic art in China and its potential from the standpoint of the art market. The history of the issue is considered, the analysis of the main directions of research development in this subject area is carried out. In addition, the article clarifies the existing concept of "modern ceramic art" in China. Special attention is paid to the analysis of the most significant modern objects of Chinese ceramics presented in the domestic art market of the country. The features of the artistic originality of the masters Li Jiusheng, Wang Silyan, Zhang Songmao, Guo Aihe are revealed. The scientific novelty of the research is connected with the development of ideas about the modern ceramic art of China, its role in the modern art market, both at the national and international levels. For the first time, the criteria for the demand for modern porcelain are revealed; the idea is stated that the problem of collecting modern Chinese ceramics remains on the periphery of scientific discourse. A special contribution is the establishment and justification of the artistic value of a number of works carried out for the first time in science, which were sold at various auctions for fabulous money. The main conclusions of the study are the following. Currently, the development of the art market indicates that experts are beginning to realize the artistic value of modern Chinese ceramics art. The greatest interest among collectors is aroused by works in the spirit of "ceramic painting" with the use of modern technologies that allow expanding the expressive possibilities of painting on porcelain. The boom in collecting modern Chinese porcelain, observed since the beginning of the XXI century, testifies to the high level of artistic execution of objects of modern ceramic art in China, as well as such qualities as innovation and non-standardness in terms of choosing themes, visual effects, expression of the author's idea, rethinking academic traditions.

Keywords: antiques, collecting, tradition, art market, modernity, China, art, pottery, porcelain, ceramics

References:
Guoyi, Qin. (2022). Collecting Chinese art in England in the 19th century. Artikult, 3(47), 18-24.
Kazakova, V.V. (2008). Porcelain in private collections in Russia in the first half of the 18th century. Proceedings of the Russian State Pedagogical University. A.I. Herzen, 77, 100-105.
Sipovskaya, N.V. (2009). Fashion and politics of porcelain collections. Collection of Peter the Great in the Porcelain Study of Empress Elizabeth Petrovna. Decorative Arts and Object-Spatial Environment. Vestnik MGHPU, 2, 57-70.
Chernyshova, E.P., & Zhou L. (2021). Analysis of the signs of collecting artistic Chinese porcelain in Russia in the 18th-20th centuries. Art History and Pedagogy: Dialectics of Interconnection and Interaction. Proceedings of the XIV International Interuniversity Scientific and Practical Conference, pp. 48-53. St. Petersburg.
Wang, Yu., & Liao, Zhengding. (2020). Chinese porcelain sculpture of the 1950s as a subject of private collection. Questions

Reference:
Chernova A.V., Vasileva E.A., Fedorovskaya N.A.. Masters of decorative and applied art of the Spassky Factory of artistic ceramics in search of a unique style // Culture and Art. – 2023. – № 6. – P. 77-88. DOI: 10.7256/2454-0625.2023.6.38189.

DOI: 10.7256/2454-0625.2023.6.38189

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Abstract: The significance and artistic results of the Far Eastern ceramic productions launched in the second half of the XX century and liquidated at the beginning of the XXI century, as well as the creativity of the masters and artists who worked for them, are currently insufficiently studied In the Primorsky Territory, this is largely due to the general decline of the industry, the complexity of collecting primary information, the lack of reliable data, the problem of attribution of products etc. The subject of the study is the activity of master artists who worked at the art ceramics factory in the city of Spassk-Dalny, Primorsky Krai. The research was carried out using a set of theoretical and empirical methods, including comparative-historical, biographical, formal-stylistic, as well as interview methods and included observation, which allowed to identify the key figures of the masters who influenced the formation of their own unique style characteristic of this plant. As a result of the study, it was found that the formation of the creative team was carried out both from visiting specialists with specialized education and from local artists. Among the most significant masters of the Spassky Art Ceramics Factory are E. E. Skurikhin, A. I. Gornich, S. V. Danilyuk, Z. H. Zhelandinova, V. A. Lavrenova, A. A. Lupey, N. B. Ovchinnikova, L. Y. Skrynnikova, O. Timofeeva. These artists have made a significant contribution to the improvement of molding technologies and decoration of utilitarian and highly artistic products. The results of the activity of master ceramists led to a significant evolution of the forms and types of decoration of the products of the Spassky Art Ceramics Factory, creating their own style based on ethnic and regional flavor. The presented information can be used for attribution of ceramic products, studying the specifics of the author's artistic ceramics of the XX – XXI centuries, forming a general picture of the evolution of Russian decorative and applied art.

Keywords: ceramic decoration techniques, ceramic artist, the artistic style of the enterprise, ceramic production, Spassk-Dalny, Spassky Ceramic Factory, Primorsky Krai, artistic ceramics of Primorye, regional style of ceramics, decorative art

References:
Varlamova, L. I. (2008). The history of the formation and development of the seaside arts and crafts 1978-1990. Humanitarian research in Eastern Siberia and the Far East, (1), 17-19. Retrieved from https://cyberleninka.ru/article/n/istoriya-stanovleniya-i-razvitiya-primorskogo-dekorativno-prikladnogo-iskusstva-1978-1990-gg
The history of the enterprises of the city of Spassk-Dalny in the documents of the archival department. Retrieved from https://spasskd.ru/index.php/otdely/arkhivnyj/9078-old-9078
Khokhlova, E. N. (1978). Спасский завод художественной керамики [Spassky plant of artistic ceramics]. Production of artistic ceramics, 66-68.
Спасский завод художественной керамики [Spassky plant of artistic ceramics].(1973) Artistic crafts of the RSFSR. Directory. Comp.: V.G. Smolitsky, Z.S. Skavronskaya, 247.
Maloletkov, V. A. (2006). The main stages in the development of Russian decorative ceramics in the last third of the 20th century, 272 p. Retrieved from https://search.rsl.ru/ru/record/010032

Reference:
Lavrov D.E.. Traditional ornamental techniques in the products of the Fedoskin lacquer miniature of the Soviet period // Culture and Art. – 2022. – № 10. – P. 55-62. DOI: 10.7256/2454-0625.2022.10.36728.

DOI: 10.7256/2454-0625.2022.10.36728

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Abstract: The subject of the study is the analysis of ways to restore the ornamental techniques of the Lukutinsky lacquer miniature craft, lost by the end of the XIX century and recreated during the Soviet period. The article examines the activity of miniature artists of the Fedoskinsky Labor artel - the successor of the Lukutinsky enterprise – to revive forgotten technologies for creating ornaments on lacquer products. Special attention is paid to the assistance in this process provided to the fishery by the Soviet state. The purpose of the article is to show the significant role of state support in the development of Russian folk art of the Soviet period by the example of a successful solution to the problem of restoring the lost ornamental techniques of the Fedoskinsky craft. Using comparative-historical, historical-typological, as well as historical-genetic methods, the author characterizes various ornamental techniques of Lukutinsky products, comparing them with the features of Fedoskinsky products of the twentieth century. The scientific novelty of the research consists in the analysis of the activities of the experimental laboratory at the Fedoskin labor artel, which restored the ornamental techniques of the Lukutin miniature, as well as the contribution made to this process by Fedoskin masters M. S. Chizhov, V. V. Korsakov, S. N. Tardasov. The main conclusion of the article is the statement of the importance of studying these fishing techniques for understanding the reasons for the flourishing of ornamental motifs in Fedoskinsky products in the late Soviet period, as well as the present.

Keywords: Fedoskino, Fedoskino lacquer miniatures, Russian lacquer miniatures, folk art crafts, Russian folk art, Soviet state, Lukutin miniatures, applied art, mother of pearl, Fedoskino Lavor artel

References:
Bakushinskiy A. V. Fedoskino i Zhostovo. V kn.: Narodnoe iskusstvo SSSR v khudozhestvennykh promyslakh. M. – L., Iskusstvo, 1940. 74 s.
Borutskiy V. Lakirovannye izdeliya iz pap'e-mashe Fedoskinskoy arteli. Eksport kustarno-khudozhestvennykh izdeliy i kovrov. Informatsionnyy byulleten' tsentrov promyslovoy kooperatsii i Koverkusteksporta. 1931. Yanvar'. S. 12.
Vasilenko V. T. Fedoskinskie laki. Eksport kustarno-khudozhestvennykh izdeliy i kovrov. Informatsionnyy byulleten' tsentrov promyslovoy kooperatsii i Koverkusteksporta. 1932. Fevral'. S. 9-10.
Gosudarstvennyy Russkiy muzey. Russkoe narodnoe iskusstvo i ego sobirateli. K 55-letiyu Otdela narodnogo iskusstva. Katalog vystavki. L., 1993. 244 s.
Gryaznov A. I. Fedoskinskie talanty. M., Moskovskiy rabochiy, 1970. 128 s.
Zhizhina S. G. Lukutinskoe delo kak osnova russkogo lakovogo iskusstva. – V sb.: Sovremennaya russkaya lakovaya miniatyura. Materialy mezhdunarodnoy konferentsii VMDPiNI (14-16 noyabrya 2013 g.). M., 2013. S. 23-36.
Lavrov D. E. Agitatsionnye obrazy v sovetskoy

Reference:
Bykova I.I.. Precious framing of the bestowed royal figures during the time of Peter the Great // Culture and Art. – 2021. – № 10. – P. 89-109. DOI: 10.7256/2454-0625.2021.10.36687.

DOI: 10.7256/2454-0625.2021.10.36687

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Abstract: The goal of this research is the comprehensive examination of precious framing of the bestowed royal figures in Russia during the reign of Peter the Great. The author explores the circumstances of emergence of such awards in Russia and creation of precious frames of this time, possible “prototypes” of the diamond frame pattern that are similar to Western European awards, the masters who design these frames, etc. The article is based on the combination of art criticism and historical-cultural approaches. The object of this research was the award badges – royal figures of the first quarter of the XVIII century (enamel and graphic miniature portraits of Peter the Great, as well as minted medals). The research employs the written (unpublished archival documents) and visual sources (portraits of the grandees of the Petrine period with such awards; images of the royal figures on lithographs of the mid XIX century). It is established that precious frames of the bestowed royal figures of the first quarter of the XVIII century had the same pattern. Most likely, in design of the framing of award badges in Russia, the masters relied on the appearance of the royal figures brought by Peter I from England and Holland after the Great Embassy. These Western examples, in turn, had the “design” characteristic to similar royal awards of the XVII century. The article list the names of the jewelers who manufactured diamond frames of the bestowed royal figures in Russia of that time. These are the "foreigners" J. Westfahl, K. Boldan, I. Jasper. A significant part of such frames (over a hundred) was created by J. Westfahl. The design of precious frame for the royal figures of the Petrine period remained in similar awards of the Russian rulers and in XVIII – XIX centuries.

Keywords: Peter the Great era, jeweler, portrait of Peter the Great, award badge, medal, diamond, precious frame, German Quarter, the art of jewellery, Jacob Westfahl

References:
Vypiski iz zapisnykh knig dvortsovykh prikazov… 1614–1702 gg. – OPI GIM. F. 440. Op. 1. D. 544.
Dve otpiski iz Velikago Novagoroda v Posol'skoy Prikaz o vyezde v Rossiyu shvedov Khristiana Austura, Skaperta Gamefelya i Yakova Vestfalya; gamburtsov Ivana fon Kolena, Ivana Arnsta i Ernsta Vestfalya – RGADA. F. 150. Op. 1. 1697 g. D. 21.
Delo o vyvezennykh inozemtsem Ivanom Lyubsem iz Gollandii k gorodu Arkhangel'sku i otdannykh v Posol'skiy prikaz almaznykh veshchakh na otdelku portretov i kavalerii gosudarya Petra I, ob otdache emu, Lyubsu, za onye deneg i rospis' portretam i krestam s pokazaniem komu i kogda onye rozdany – RGADA. F. 158. Op. 2. 1712 g. D. 187.
Delo o posylke v pokhod kavaleriyskikh krestov, sdelannykh inozemtsem Yakovom Vestfalom i ob uplate za onye deneg – RGADA. F. 158. Op. 1. 1709 g. D. 40.
Delo o prieme v Posol'skiy prikaz «patretov», kavalerskikh krestov s almazami i almazov, kuplennykh za granitsey torgovym inozemtsem Ivanom Lyubsom (Jean Lups) dlya Petra I. 1712 g. – RGADA. F. 248. Op. 2. D. 18. L. 130–132

Reference:
Cheglakov A.D.. The pursuance of naturalness as one of the key trends in the sphere of modern wooden sculpture: domestic practice // Culture and Art. – 2021. – № 6. – P. 44-50. DOI: 10.7256/2454-0625.2021.6.36004.

DOI: 10.7256/2454-0625.2021.6.36004

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Abstract: This article is dedicated to modern trends in the art of wooden sculpture. The key question raised in the article consists in drawing the line between art and craft. The problem of distinguishing between these two terms is one of the crucial issues of the theory of art. Having examined the works of multiple contemporary artists in the genre of wooden sculpture, the author comes to the conclusion that the fundamental difference between craft and artistic wooden sculpture is the pursuance of naturalness by the artists, work with unfinished wood, fixation of the natural the beauty of the material, which is not much inherent to craftsmen. Turning to the modern ecological trends, it is suggested that the task of a contemporary artist and a human who desires to live in harmony with nature lies in cognizing the beauty of nature, even in its unsightly forms. The author claims that the greatness of nature is its diversity, in the current era of excessive production (for example, oversaturation), which also pertains to art objects, our shared goal is to working with the objects discovered, which are exposed to minimal processing, and first and foremost, demonstrate the beauty of nature.

Keywords: aesthetics, modern art, an artist, architectural forms, a wooden sculpture, Russian peasant creativity, a craft, trends, woodworking, ecology

References:
Khudozhnik-Nestor Engel'ke [Elektronnyy resurs]. URL: https://vladey.net/ru/artist/nestor-engelke (data obrashcheniya: 08.06.2021).
Surkova N. Dnevnik khranitelya. Sergey Gorshkov, «Tsvety». [Elektronnyy resurs]. URL: https://permm.ru/~/sergey-gorshkov (data obrashcheniya: 08.06.2021).
RAKh. Slovar' terminov. [Elektronnyy resurs]. URL: https://www.rah.ru/science/glossary/detail.php?ID=19763&sphrase_id=113964 (data obrashcheniya: 08.06.2021).
Manke Dzh., Beyd P., Kostello S. 1000 shedevrov. Skul'ptura. - SPb.: Azbuka, 2014. - 544 s.
Kulik I. Yavlenie naroda // Katalog «XI Arkhitekturnaya biennale v Venetsii. Russkiy pavil'on. Partiya v shakhmaty. Turnir za Rossiyu». [Elektronnyy resurs]. 2008. URL: http://polissky.ru/publications/kulik-irina-yavlenie-naroda-katalog-2008/ (data obrashcheniya: 08.06.2021).
Iskusstvo s 1900 goda. Modernizm, antimodernizm, postmodernizm / 2-e izd., dop. - M.: Ad Marginem, 2015. - 816 s.
Golubkina A.S. Neskol'ko slov o remesle skul'ptora. [Elektronnyy resurs]. 1923. URL: https://iskusstvoed

Reference:
Bykova I.I.. Jewelers who were commissioned by the tsar in Russia during the time of Peter the Great: biography, work organization, and stylistics // Culture and Art. – 2020. – № 12. – P. 27-51. DOI: 10.7256/2454-0625.2020.12.34368.

DOI: 10.7256/2454-0625.2020.12.34368

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Abstract: The goal of this research consists in comprehensive examination of all groups of gold, silver and diamond jewelers who were commissioned by the tsar in Moscow and Saint Petersburg in the late XVII – early XVIII centuries (their biographies, work organization, and artworks), as well as in analysis of stylistic evolution in the artistic image of items made of precious metals of that period. The research is based on the combination of art and historical-cultural approaches. The object this work the jewelry art of the time of Peter the Great. For achieving the set goal, the author refers to the unpublished archival documents and monument of decorative and applied art from the collections of Russian museums. Summary and analysis are conducted on the published material dedicated to the work of jewelers of that time; new records on the jewelers are introduced into the scientific discourse. The research demonstrates that that in the early XVIII century, tsar’s order was carried out by several teams of jewelers from Moscow and Saint Petersburg, who were simultaneously public servants and “free” artisans. The analysis of archival documents allowed specifying the nationality of foreign specialists, as well as the time of their arrival to Russia. The author suggests correlation between attitude of the monarch-commissioner towards court culture and the stylistics of works of decorative and applied art.

Keywords: tsar, Samson Larionov, the art of jewellery, regalia, Russian imperial court, Peter the Great, the epoch of Peter the Great, Catherine I, jewelers, Workshops of the Moscow Kremlin

References:
Bruel F.L. Les orfèvres français à Saint-Pétersbourg de 1714 à 1814 // Bulletin de la Société de l'histoire de l'art français. Paris, 1908. P. 47–62.
Backsbacka L. St. Petersburgs Juvelerare, guld-och silversmeder 1714–1870. Helsingfors, 1951. — 552 s.
Backsbacka L. Narvas och Nyens Guldsmeder. Helsingfors, 1946. — 77 s.
Yablonskaya E.A., Orlenko S.P. Zapadnoevropeyskie oruzheyniki v Oruzheynoy palate XVII veka // Materialy i issledovaniya. Oruzheynoe sobranie Muzeev Moskovskogo Kremlya. Pamyatniki, istoriya, problemy izucheniya. Vyp. 28. M., 2018. S. 66–104.
Fel'kerzam A.E. Opisi serebra Dvora Ego Imperatorskago velichestva. Izdanie Gofmarshal'skoy Chasti Imperatorskago Dvora. T. 1. SPb., 1907. — 392 s.
Fel'kerzam A.E. Nekotorye svedeniya o S.-Peterburgskikh zolotykh i serebryanykh del masterakh za sto let (1714–1814) // Starye gody : ezhemesyachnik dlya lyubiteley iskusstva i stariny. 1907. Yanvar'. S. 7–13.
Fel'kerzam A.E. Inostrannye mastera zolotogo i serebryanogo dela // S

Reference:
Chernova A.V.. Ceramic art of Russian Primorye // Culture and Art. – 2020. – № 3. – P. 70-82. DOI: 10.7256/2454-0625.2020.3.30669.

DOI: 10.7256/2454-0625.2020.3.30669

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Abstract: The goal of this work is determination of the development stages of ceramic art in Russian Primorye, as well as their specificity. It is established that the history of ceramic art of this region alongside its current stage are insufficiently studied. The evolution of ceramic art of Primorye is viewed in the context of its manufacture and production. The author examines the role of the three major factories – Vladivostok Porcelain Factory, Artemovsk Porcelain Factory, and Spassky Plant in development of ceramic art of Russian Primorye. The two main development stages of ceramic art in Primorye are determines. The first one includes the activity of porcelain factories in Vladivostok and Artem, as well as pottery plant in Spassk-Dalny, which resulted in the inflow of certified specialists in the area of decorative-applied arts and formation of a unique style of the regional ceramic art. The second one includes the forms of existence of ceramic art in Primorye after closing the factories and creation of private workshops that developed the ceramic branch of decorative-applied art, namely souvenirs, use of pottery and porcelain objects in landscape and interior design, as well as involvement of ceramics in inclusive education.

Keywords: porcelain, workshop of art ceramics, ceramic production, porcelain plant, national crafts, art ceramics of Primorye, arts and crafts, faience, majolica, potter

References:
Zhushchikhovskaya I. S. Ocherki drevnego goncharstva Dal'nego Vostoka Rossii. – Vladivostok: DVO RAN, 2004. – 312s.
Dobrynina G. G. Farforovyy zavod A.D. Startseva na ostrove Putyatin v istorii otechestvennogo farfora kontsa XIX-nachala XX v / Dekorativnoe iskusstvo i predmetno-prostranstvennaya sreda. Vestnik MGKhPA. 2017. T. 1. № 2. S. 164-174.
Kandyba V. I. Istoriya stanovleniya i razvitiya khudozhestvennoy zhizni Dal'nego Vostoka. – Vladivostok: Izdatel'stvo Dal'nevostochnogo universiteta, 1985.
Kandyba V. I. Khudozhniki Primor'ya / V. I. Kandyba.-L. : Khudozhnik RSFSR, 1990.-125s.
Varlamova L. I. Istoriya stanovleniya i razvitiya primorskogo dekorativno prikladnogo iskusstva 1978-1990 gg // Gumanitarnye issledovaniya v Vostochnoy Sibiri i na Dal'nem Vostoke. 2008. №1. URL: https://cyberleninka.ru/article/n/istoriya-stanovleniya-i-razvitiya-primorskogo-dekorativno-prikladnogo-iskusstva-1978-1990-gg (data obrashcheniya: 18.08.2019).
Varlamova L. I. Aleksey Pesegov. Farforovykh del master // Iskusstvo Evrazii. 2019. №2 (13). URL

Reference:
Gavritskov S.A., Vandysheva O.V., Kochetkova I.P.. Synthesis of Arts and Crafts Materials: Metal and Ceramics. History and Modern Trends // Culture and Art. – 2019. – № 3. – P. 65-73. DOI: 10.7256/2454-0625.2019.3.29151.

DOI: 10.7256/2454-0625.2019.3.29151

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Abstract: The synthesis of materials in arts and crafts is a rather understudied topic in modern researches. The aim of this research is to analyze the synthesis of ceramics and metal as an independent trend of arts and crafts and relation of such artwork to other kinds of art and design as well as the influence of technology on the creation of an integral art image as a result of organic synthesis of two different materials. By saying so, the authors of the article mean the creation of a completely new artistic phenomenon that influence the material, aesthetic and spiritual spheres of human life. The methodology of the research is based on complex combination of art history and cultural research methods as well as the authors' practical experience. The researchers have also carried out historical comparison and stylistic analysis of different decorative compositions as well as touched upon the technological aspect of the matter. In their article the authors have attempted full analysis and generalisation of the research matter, i.e. synthesis of materials (metal and ceramics have been chosen as an example) in arts and crafts. As a result of their research, the authors have described typical features of creation of artwork out of ceramics and metal, their specific features, aesthetics and functions played at different time periods. The researchers have also outlined general trends of changes in the sphere of expressive means related to the change in the perception of artists and the use of new production technologies and methods of form making. Modern decorative art is more humanities-oriented, focused on the inner world of a person and has the emotional and imaginary role prevailing over traditional craft functions.

Keywords: art ceramics, art metal, synthesis of DPI materials, craft, design, arts and crafts, work of art, art-object, technology, master

References:
Kochetkova I.P. Osnovy proizvodstvenno masterstva: metod. rekomendatsii k programme dlya studentov, obuchayushchikhsya po spetsial'nosti «Khudozhestvennaya keramika» /I.P. Kochetkova.-Magnitogorsk: MAGU, 2014.-40 s.
Kochetkova I.P. Podglazurnaya rospis': metod. rekomendatsii po distsipline «Proizvodstvennoe obuchenie» dlya studentov spetsial'nosti i napravleniya podgotovki «Dekorativno-prikladnoe iskusstvo» /I.P. Kochetkova.-Magnitogorsk: MaGU, 2013. – 68 s.
Keramika: novoe slovo v yuvelirnom iskusstve [Elektronnyy resurs]: Rezhim dostupa: https://sokolov.ru/blog/precious-metals/keramika-novoe-slovo-v-yuvelirnom-iskusstve/ (data obrashcheniya: 28.02.2019).
Katalog 58-y mezhdunarodnoy vystavki vypusknikov khudozhestvenno-promyshlennykh zavedeniy «Ta1ep1e-2006». Myunkhen, FRG, 2006.
Katalog 60 Mezhdunarodnoy vystavki vypusknikov khudozhestvenno-promyshlennykh zavedeniy «Ta1ep1e-2008». Myunkhen, FRG. 2008.
Kanap'yanova R.M. Dekorativno-prikladnoe iskusstvo, kak sintez narodnoy kul'tury i tvorchestva / R. M. Kanap'yanova, P. S.Gulyaev // Vestn

Reference:
Bykova I.I.. More Facts about the Creative Life of a Court Jeweler Yakob Dublon (1702–1768) and His Role in the Creation of the Small Imperial Crowns // Culture and Art. – 2018. – № 12. – P. 29-44. DOI: 10.7256/2454-0625.2018.12.28356.

DOI: 10.7256/2454-0625.2018.12.28356

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Abstract: The object of the research is the biography and creative life of a court jeweler Yakob Dublon who worked on the governor's order during the reign of Empress Elizabeth Petrovna. In her research Bykova also discusses the biography of Yakob Dublon's full brother Martin Carl Dublon who was the silversmith. The scope of the research also covers jewelry masterpieces stored in the collections of Russian museums. Bykova focuses on the circumstances under which the Small Imperial Crowns were created and used during the first half of the XVIIIth century. In her research Bykova applied the integral research method (based on the combination of the fine art and historical-cultural approaches) which enabled a better view of the main research issues. For the first time in the academic literature the author of the article has managed to define the origin of two famous jewelers who worked at Russian palace in the mid of the XVIIIth century Yakob and Martin Carl Dublon and to discover that they represented the traditions of Nuremberg silversmithes. The documents found by the author in the archives extended the scientific view of the creative life of these masters and the orders they made. In a number of cases it was possible to 'define' jewels created by Yakob Dublon. The results of the research demonstrate that Yakob Dublon made a great contribution to the development of the Russian art of jewellery. The name of that master also relates to the creation of new imperial regalias. It was Dublon who defined the stylistics of these insignias that were efficient throughout the second half of the XVIIIth century. They also analyzed the problem of creation, use and existence of the Small Imperial Crowns of the first half of the XVIIIth century that had never before been raised in the scientific literature.

Keywords: regalia, imperial crown, Trinity-St.Sergius Lavra, mitre, panagia, the art of jewellery, Empress Elizabeth Petrovna, Dublon, court jeweler, wedding ceremony

References:
Dva podlinnykh doklada kamergera Vozzhinskago o zabrannykh brilliantakh. 1750 g. — RGADA. F. 1239. Op. 3. Ch. 115. D. 61737.
Dve knigi s opisaniem veshchey, postupivshikh v Masterskuyu i Oruzheynuyu Palatu v techenii 1728–1742 godov — RGADA. F. 396. Op. 2. Ch. 3 D. 1230.
Delo ob uchrezhdenii komissii i prigotovlenii dlya koronatsii dragotsennostey, odezhdy baldakhinov i dr. veshchey. 1742 g. — RGADA. F. 248. Op. 110. D. 315.
Delo po vedeniyam kamergera Nikity Vozzhinskogo v Kabinet… — RGIA. F. 468. Op. 36. D. 222.
Kniga iskhodyashchim bumagam za 1741–1742 gg. – RGIA. F. 468. Op. 36. D. 122.
O zaplate iz Solyanoy Kontory deneg za brillianty vzyatye kamergerom Vozzhinskim… 1751–1753 gg. — RGADA. F. 1239. Op. 3. Ch. 115. D. 61741.
O zolotykh, serebryanykh veshchakh i dragotsennykh kamen'yakh imperatritsy Elizavety. 1742–1761 gg. — RGADA. F. 14. Op. 1. D. 58.
O koronatsii imperatritsy Elizavety. 1742 g. — RGADA. F. 2. Op. 1. D. 59.
O prinyatie v sluzhbu ko dvoru yuvelira Dublon. 1743 g. — RGADA. F. 14. Op. 1. D. 70.
O rasporyazheniyakh i izd

Reference:
Kanokova F.Y.. Sets of Traditional Female Headgear of the Nogais // Culture and Art. – 2018. – № 4. – P. 33-38. DOI: 10.7256/2454-0625.2018.4.26010.

DOI: 10.7256/2454-0625.2018.4.26010

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Abstract: In her research Kanokova examines different kinds of traditional female headgear of the Nogais used by all Nogai ethnographic groups since the 14th (creation of the Nogai Horde) till the 20th century (the final stage of the development of the national Nogai female costume). The author of the article describes their sign function. By carrying out an integral analysis of the research objects, the author studies their stylistics, manifacturing technique, decoration technique, and relation to customs and religious concepts. This allows to define the infant, maiden, wedding and grown-up female headwear. Due to the insufficient study of the matter, the author has also used the method of field ethnography besides general and special cultural and art historical methods. The novelty of the research is caused by the fact that the author discovers and carries out an integral analysis of a wide range of female headgear kinds described or recorded in written or graphic sources and held in museum or private collections of regions where Nogai ethnographic groups live. For the first time in the academic literature the author defines local particularities and general features that define Nogai headgear as an individual type of headwear.

Keywords: velvet, karanogai, decoration, embroidery, scarf, laced hat, headgear, nogai, plait, fur hat

References:
Gadzhieva S. Sh. Ocherki istorii sem'i i braka u nogaytsev v XIX-nachale KhKh vv.- M.: Nauka, 1979.
Gmelin S. G. Puteshestvie po Rossii. – Spb., 1777. – T. II.
Dubrovin N. F. Istoriya voyny i vladychestva russkikh na Kavkaze. – Spb., 1871.-T. I.
Schlatter D. Bruchstucke aus einigen Reisen nach dem Sudlichen Russland in den Jahren 1882 bis 1828. – Gallen und Bern, 1836.
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Kalmykov I. Kh., Kereytov R. Kh., Sikaliev A. I.-M. Nogaytsy. – Cherkessk, 1988.
Kanokova F. Yu. Dekorativno-prikladnoe iskusstvo nogaytsev: dissertatsiya...kandidata iskusstvovedeniya: 17.00.04 / Kanokova Fatima Yur'evna; [Mesto zashchity: Mosk. gos. khudozh.-prom. un-t im. S. G. Stroganova].-Moskva, 2012.- 192 l.
Kanokova F. Yu. Kompleksy traditsionnogo muzhskogo i zhenskogo kostyuma nogaytsev // Chelovek i kul'tura.- 2017.- № 1.
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