Abstract: The subject of this research is the creative stylistics of the traditionalist direction in modern Chinese calligraphy. The object of this research is the works of the prominent calligraphist Huang Qi (1914-2005, PRC), who was able to retain the ethical and aesthetic valued of calligraphic tradition through the historical cataclysms of the XX century. The goal of this article consists in the analysis of artistic principles that defined the creative work of Huang Qi, as well as characterizing the peculiarities of writing techniques of the maestro in various scripts. Psychotechnique of his creative process is explained through the traditional task of “nurturing life” (yang sheng). The example of the oeuvres created throughout the last two decades of Huang QI’ life demonstrates how the artistic expressiveness of calligraphy is interpreted and complements the content of the written texts. The picturesque scroll of the maestro are notable for calligraphic technique of arm manipulation and calligraphic structure of the picturesque shape, which corresponds with the fundamental for the Chinese visual art tradition principle of the initial unity of these two arts. The art methodology couples with the methods of semiotics, hermeneutics, and culturological analysis. The scientific novelty of the acquired results consists in examination of works of the remarkable representative of traditionalist direction that is yet insufficiently studies in the Western art history. The author reveals the factors of sustainable development of calligraphic tradition during the era of emergency modernization of China’s cultural space in the last quarter of the XX century, which opens the prospect for reconsideration of the importance of avant-garde directions known in the West.

Abstract: The subject of the research is the theory and practice of the gardening art of China during the period of the Myng Dynasty (1368-1644) when the gardening tradition reached the height of its development. The object of the research is the treatise 'Yuan e' ('Gardening') written by a famous practical and theoretical expert in gardening Ji Cheng (1582-1642?) as well as an essay 'Jan u Ji' ('About Things that Delight our Eye') written by a well-known writer Wen Zhensheng (1585-1645). The purpose of the research is to systematize artistic devices and analyze artistic principles which have predetermined the national singularity of the phenomenon of Chinese gardens. The art studies methodology was completed with the methods of semiotics, hermeneutics and cultural analysis. The author gives extracts from the aforesaid treatises in her own translation and offers new interpretations of the key terms there. Her analysis of the gardening tradition once again proves the unity of theory and practice that is so typical for Chinese art in general. The novelty of the results is caused by the fact that the author clarifies the content of theoretical postulates about Human having the right to actively transform Nature through the art of landscape design which creates prospects for better understanding of the status and role of Human in the traditional Chinese culture in general.