Abstract: The article is devoted to the phenomenon of the emergence of individual plots illustrating the story of the Trojan Prince Alexander (Paris), which appeared in Venetian art in the first decade of the XVI century. Despite the fact that Trojan themes were widely represented in the works of Florentine artists, ancient history received a different interpretation and a new edition in the works of Venetian masters – Giorgione and artists and his circle. The publication examines the reasons for the interest in the Trojan theme among Venetian artists and the ways in which this theme was implemented in the art of the Most Serene Republic during the XV-XVI centuries. The evolution of the plot of "The Court of Paris" and the variety of ideas of Venetian artists visualizing the story of the Trojan Prince are shown. As a result of the work done, it was revealed that the new image of Paris, which appeared in Venetian art in the first decade of the 16th century, reflects the ideal of a new personality gentile uomo and corresponds to the mindset of Venetian society, which arose at the turn of the century and associated with the decline of the economic and political greatness of the Most Serene Republic. The paper presents descriptive and formal stylistic analyses combined with iconographic and iconological methods of studying works of art. The relevance of this work is evidenced by the evolution of the image of Paris and the many interpretations of his life story: from the ancient epic to the visual form, thanks to which he takes root in the spiritual and artistic culture of Venice, becoming a symbolic figure in the humanistic consciousness of society at the beginning of the XVI century. The novelty of this topic lies in the analysis of little-studied works by Venetian masters, which were created on the basis of ancient myths. We have proposed a new approach to interpreting the image of Paris and individual scenes from his life in the works of Giorgione and his followers. This interpretation makes it possible to bring the fundamental semantic meaning of the plot closer to the requirements that arose in the mindset of Venetian society at the turn of the XV-XVI centuries. This approach allows us to consider these plots as an integral historical and artistic phenomenon, which allows us to shed light on the semantic meaning of a number of works studied in a general context.

Keywords: Venetian art, Giorgione and the circle of Giorgione, pastoral genre, the ideal of a new identity, Trojan legend, shepherd, mythological subjects, Venice, Judegement of Paris, Paris

Abstract: Paper cutting is an important part of Chinese traditional culture, and the regional features of Chinese paper cutting are mainly reflected in the artistic traditions and paper cutting styles in different regions, reflecting the cultural characteristics and folk traditions of each region. The research is devoted to the study of the current state of the traditional Chinese art of jianzhi (paper cutting technique) in Shandong province. It has been established that the northern and eastern traditions/styles of this art are distinguished in Shandong Province. The main focus of the work is on the northern local tradition of Jianzhi, conventionally called "Jianzhi of Binzhou". The purpose of this study is to show the peculiarities of the development of the traditional Jianzhi style from the Chinese city of Binzhou, Shandong province, using the example of the work of the famous master Lan Fumei. The main methods used in this study are historical-cultural, formal-stylistic and semiotic, which allow us to show the features of the artist's creative method and its connection with traditional Shandong paper cutting. The novelty of the research is the formal, stylistic and semiotic analysis of Lan Fumei's famous jianzhi on the historical plot "The Holy Warrior Sun Wu" and on the plot of the Chinese opera "The Woman is the Husband of the Princess", demonstrating the specifics of the regional Jianzhi of Binzhou. It is established that the master uses both traditional jianzhi techniques typical of the Binzhou style, and makes his own changes by expanding the plot. The results of the study are aimed at drawing the attention of Russian researchers to the little-studied regional traditions of Chinese Jianzhi and the work of Lan Fumei, as well as modern traditions of jianzhi development in China.

Keywords: Woman-Husband of the princess, modern jianzhi tradition, Holy warrior SunWu, master Lan Fumei, jianzhi features, Binzhou jianzhi, Shandong jianzhi, paper cutting, jianzhi, Chinese decorative techniques