Abstract: The article is devoted to the analysis of the semiotic field of the term "ornamental composition" in the context of definitions of ornament and composition in the art of the Pazyryk culture and its historiography. The subject of the study is ornamental compositions from elite burials of the Pazyryk culture of different periods of its development – the early Second Bashadar kurgan and the Tuekta burial ground and the late Pazyryk burial ground. In addition, the paper examines the specifics of the use of the terms "composition" and "ornament" in order to highlight the history of their meanings, as well as analyzes certain provisions of theoretical works on the study of the theory of composition and ornament. The purpose of the study is to identify the components of the semantic field of an ornamental composition related to the field of interaction of the composition with the viewer, and not to the field of meaning of specific figurative images. The article proposes using the method of formal analysis in combination with some provisions of the Gestalt approach described in the works of E. Gombrich and R. Arnheim to analyze a series of ornamental compositions with and without figurative images in the art of the Pazyryk culture. The scientific novelty of the study is predetermined by the absence in the Russian historiography of works describing the specifics of the meaning of ornamental composition in the context of visual perception in the art of the Pazyryk culture. The researchers note that the significance of ornaments in Pazyryk art could be related to the meaning of multi-figure compositions (when zoomorphic images are included in the ornament) and reflect the worldview of the bearers of the Pazyryk culture, or the types of symmetry used in the construction of ornaments could reflect the social structure of society. However, in both of these trends, the analysis of an ornamental composition without figurative images remains outside the scope as a structural and semantic, integral work of art interacting with the viewer. As a result of the research, the assumption is put forward that it is possible to designate a single semantic field for ornamental and multi-figure compositions in Pazyryk art. Clarifying and expanding the scope of the ornamental composition allows us to identify a single specificity of interaction with the viewer of both figurative and non-figurative images of Pazyryk art, to emphasize the game element in the nature of culture.

Keywords: the meaning of the ornament, terminology issues, composition, Altai, Pazyryk culture, animal style, the ornament, visual perception analysis, burials, The Scythian-Siberian world

Abstract: The object of this study is the ceramic art of Qingzhou Nisin, which has a history of over 1300 years. The aesthetic characteristics of Qingzhou Nisin ceramics are highlighted, and the current situation of insufficient innovation in modern ceramics is summarized and analyzed. The importance of design innovations is emphasized. A new method of innovative design for Qingzhou Nisin ceramics is proposed, which involves combining the regional culture of Guangxi Beibu Gulf with traditional artistic elements of Qingzhou Nisin ceramics to give them new vitality. The article highlights four aspects that facilitate the realization of innovations in Qingzhou Nisin ceramic design: the fusion of pattern elements, the integration of morphological elements, the integration of texture components, and the use of complex materials. The research methodology includes a literature review of Qingzhou Nisin ceramic art and its contribution to the development of innovative trends in this direction, an analysis of Qingzhou Nisin's works was made in order to understand its style and approach to creating ceramic art. The main conclusions of the study are that Qingzhou Nisin ceramic art is an important part of Chinese civilization, and its development should be based on preserving the continuity of traditions and culture. To restore the connection between the regional culture of Guangxi Beibu Gulf and innovations in Qingzhou Nisin ceramic design, research and innovation practices are necessary. To develop Qingzhou Nisin ceramic art, innovations in design should be based on preserving the continuity of traditions and culture, as well as restoring the connection between regional culture and innovations. Overall, the article shows that Qingzhou Nisin ceramic art is an important part of Chinese civilization, and its development should be based on preserving the continuity of traditions and culture.

Keywords: pottery craft, Chinese ceramics, Qinzhou Nixing, Nixing ceramics, regional culture, design innovations, intangible cultural heritage, ceramics, pottery industry, pottery art

Abstract: The Indian poet and educator Rabindranath Tagore was the creator of an original philosophy that gives additional meaning to the picture of the history of Indian philosophy in the 20th century. He usually emphasized his identity as a poet and an artist, not considering himself a philosopher. However, Tagore embodies the phenomenon of a poet-thinker who comprehends universal philosophical problems and, in the process of philosophizing, offers his own vision of them. Moreover, he owns a number of texts of a religious-philosophical and socio-philosophical nature, in addition to the content of poetry and fiction. The philosophy created by the poet requires a comprehensive holistic study, which, in turn, raises the problem of research methodology. The article proposes the author's methodology for the reconstruction of Rabindranath Tagore's philosophy, based on an understanding of his personality, the contexts of thought and the hermeneutics of texts. The methodological model of philosophy reconstruction includes three levels. The first involves analyzing the personality of R. Tagore using the categories "cross-cultural thinker" and "problematic thinker". The second is a description of the contexts of his philosophizing: external general civilizational, internal epochal and internal biographical. The third is the hermeneutics of texts, taking into account the poetic component and the philosophical problems of speeches and fiction. The novelty of the described methodological model is due to the possibilities and prospects of reconstructing Tagore's philosophical thought and concepts. 1. Description of the phenomenon of a poet and writer creating a philosophy in which the experience of artistic creation generates a universal religious and social meaning and actualizes humanistic issues. 2. Presentation of the process of formation of cross-cultural philosophy of the XX century on the material of a particular thinker. 3. The analysis of the contexts of the unfolding of philosophy helps to trace the continuity of the thinker and his ideas with the Indian philosophical tradition in a broad sense and at the same time identify innovation, not least due to his dialogue with Western culture and modernity. 4. Seeing Tagore's philosophy as a kind of quintessence of the Bengali Renaissance heritage, it is not difficult to notice its significance and relevance for modernity. 5. Reconstruction along the proposed methodological path will open up not only direct, but also comparative prospects for studying Tagore's philosophical thought in comparison with the reflections of philosophers from different cultural areas, primarily peripheral to the West and non-Western ones.

Keywords: religious philosophy, model of reconstruction, context, hermeneutic key, philosophizing, Rabindranath Tagore, Modern Indian Philosophy, the Bengal Renaissance, Methodology of History of philosophy, social philosophy