Abstract: This work deals with such topical issues as digital painting and digital art, which have become popular in recent decades around the world. The problems of contemporary art are similar to the problems of digital art, which will be discussed in the article. It also examines the possibilities of computer technology in the visual arts and analyzes the works of foreign and domestic artists who work in computer graphics using traditional techniques of pictorial images. Theoretical methods of research of available information, systematization and analysis, empirical study of artists ' works on the research topic. Digital painting has just begun to develop and be studied, so not much research is conducted in this area. In my work, I fully disclose the topic of the problems of digital painting. Digital painting is a new step in contemporary art, it continues to develop and expand its capabilities. It gives a new look at the exhibition system. A different attitude to the works, for which no one pays, and which have the opportunity to look at everyone.

Keywords: art, raster graphics, graphic editor, contemporary art,, computer graphics, digitak artist, digital painting, digital art, computer painting, painting

References:
Belozerov. O.I., Selina A.M. Tsifrovaya zhivopis' – zamena sovremennomu iskusstvu? // Academy, 2019. №2(41). 12-16 s.
Isaeva O.A. Tsifrovaya zhivopis' kak aktual'noe napravlenie otechestvennogo iskusstva // Vestnik Sankt-Peterburgskogo gosudarstvennogo universiteta kul'tury i iskusstv. 2017. №1(30). 173-176 s.
Turlyun L.N. Spetsifika khudozhestvennoy vyrazitel'nosti tsifrovoy zhivopisi // Kul'turnoe nasledie Sibiri, 2016. №1(19). 39-46 s.
Turlyun L.N. Tvorchestvo otechestvennykh i zarubezhnykh komp'yuternykh khudozhnikov // Mir nauki, kul'tura, obrazovaniya, 2013. №4(41). 288-290 s.
Turlyun L.N. Komp'yuternoe iskusstvo v mirovoy khudozhestvennoy kul'ture // Alma mater (Vestnik vysshey shkoly), 2011. №11. 79-82 s.
Turlyun L.N. Imitatsiya traditsionnoy zhivopisi i grafiki sredstvami komp'yuternoy grafiki // V mire nauchnykh otkrytiy, 2012. №4.3. 272-281 s.
Turlyun L.N. Mesto komp'yuternoy grafiki v virtual'nom iskusstve // Molodoy uchenyy, 2011. №1. 269-271 s.
Prokhorov S.A. Sovremennaya zhivopis' i komp'yuternye tekhnologii: ot fotore

Abstract: The object of study is the architecture of the Chinese city Pozzani, one of the districts of the Russian Harbin. The subject of the research is the formation of the Chinese Baroque style. The article considers such aspects as the influence of Russian architecture on the emergence of a new style that has no direct European and Chinese analogues. Special attention is paid to the original interpretation of decorative elements in architecture and filling them with symbolic meanings. An increasingly decisive departure from the European Canon, allows us to talk about the formation of a kind of aesthetic system, certainly having an independent cultural significance research Methods: architectural analysis of objects in the Chinese Baroque style; historical and analytical methods in the study of stylistic features; method of full-scale examination. The main conclusions of the study is that the architecture in the Chinese Baroque style is the result of free improvisation in the decoration of facades. The departure from the European architectural canons indicates the formation of a kind of aesthetic system, which has an independent cultural significance. The basis of the new style is magical Taoist, Buddhist and Confucian attributes.

Keywords: Chinese city, decor, plastic facade, composition, decoration, style, architecture, Chinese Baroque, Russian Harbin, process

References:
LouChinsi. Desyat' etyudov po kitayskoy arkhitekture. M: Izd-vo Assotsiatsii stroitel'nykh vuzov, 2009. 208 s.
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Komissarov S. A. i dr. Iskusstvo kitayskoy arkhitektury. Novosibirsk: Izd-vo NGU, 2011. 228 s.
Dennike B. P. Kitay. M.: Izdatel'stvo Vsesoyuznoy akademii arkhitektury, 1935. 107 s.
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Abstract: The subject of this article is a sculptural pedestal in the urban environment. The harmonious interaction of the pedestal and sculpture is an important plastic compositional task. The article gives a short excursion into the history of the topic, analyzes specific examples and gives recommendations in solving compositional problems related to the pedestal in the urban environment. The purpose of the work: a historical excursion of the origin of the pedestal, and analysis of specific existing works of sculpture. The results of the study can be applied in the practical activities of sculptors, architects and urban planners in the situation of designing a sculptural form in the urban environment. The work employs methods of comparison and analysis of historical samples for compositional construction, as well as observation and specification. It can be concluded that the pedestal is the most important compositional element that not only affects the perception of sculpture, but also is an inseparable semantic component of one whole. Monument, any plastic spatial form in the urban environment is expressed clearly and convincingly when interpreted in a clear artistic, harmonious language, when it reaches the synthesis of architecture, sculpture and pedestal.

Keywords: Monumental sculpture, Monument in the city, Sculptural composition, History of pedestal, Plinth, Urban sculpture, base, Sculpture, History of sculpture, City monument

References:
Tursabaev I. Problema formy v skul'pture: uporyadochennost' i khaos // Iskusstvo glazami molodykh. Krasnoyarsk: KGII, 2017. S. 138–140.
Slabukha A. V. Arkhitektory Prieniseyskoy Sibiri. Konets XIX – nachalo XXI veka. M.: Progress-Traditsiya. 2004. 432 s.
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Moskalyuk M. V. Skul'ptor Yuriy Ishkhanov. Krasnoyarsk. 2009. 143 s.
Libman M. Ya. Nemetskaya skul'ptura M.: Iskusstvo, 1980. 406 s.
Miskaryan K. Rasshirenie granits // Iskusstvo. 2007. №5. S. 42–49.
Kostyuk M. Vosstanovlen pavil'on SSSR Vsemirnoy vystavki 1937 goda v Parizhe // Arkhitekturnyy vestnik. 2010. № 2. S. 91–96.
Hamann Richard. Geschichte der Kunst. Berlin, 1957. 978 s.
Turchin V. S. Monumenty i goroda. M.: Sovetskiy khudozhnik, 1982. 159 s.

Abstract: The subject of this research is the innovations in the area of architectural morphogenesis of the last decade of XX – beginning of the XXI centuries. The object of this research of interaction between the architecture, design, and other types of visual and plastic arts, which found reflection in the so-called “textile” plasticity of postmodern architecture. The article examines the principle of “textile” plasticity as a morphogenic method, a new strategy of architecture with the curvilinear, flexible geometry of folded structure. The article explores the rich internal connections of the diverse types of art, which play an irreplaceable role in emergence of a new artistic language of architecture. Methodology of the research is defined by analysis of the ideas of Western architects-experimentalists, Western and Russian theoreticians of postmodern architecture, deconstructivism, and nonlinear architecture. A conclusion is made that the interaction between arts and technologies activates the search for new basis of the architectural creativity, particularly the “textile” plasticity in architecture.  The considered architectural projects and ideas force have a new perspective on the interaction and interinfluence of the various types of art on the basis of modern computer technologies.

Keywords: folded architecture, postmodernism, fold in architecture, synthesis in architecture, synthesis of arts, architectural fold, architectural shaping, textile plasticity, dynamism in architecture, flexibility in architecture

References:
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