Abstract: The traditions followed by people throughout history underlie the development of the culture of monumental art, forming the continuity of generations, memory and traditions of temple architecture of the Crimea. The topic of religious monumental painting draws interest of the researchers. The object of this article is the Crimean religious monumental and decorative art; while the subject is the peculiarities of modern religious painting in Alexander Nevsky Cathedral in Simferopol and Saint Vladimir Cathedral in Chersonesos. The goal is determine the modern artistic-aesthetic form of temple painting carried out by the experts of monumental and decorative art, as well as the command of the unique languages of creative reinterpretation of wholeness. Temple religious painting is explored on the works of the modern artists of monumental religious painting, using the analysis of the academic style of painting, use of classical canons in images of the figures, artistic-stylistic, thematic, unique systems in the ornamental painting. The author determines the characteristics of the image such as material texture and plastic modeling of artistic form, which allows combining the modern wall paintings of the Crimean Orthodox churches of into a holistic system of material and spiritual values. The crucial theoretical-methodological vector of research is interweavement of the methods of culturology and art history, which reveals the techniques and peculiarities of academic painting in temple architecture.

Abstract: The object of this research is the Russian visual art of the turn of the XIX – XX centuries. The subject of this research is the Crimean theme in visual art of that period. The goal consist in determination of artistic and stylistic uniqueness of the Crimean motifs in paintings and graphics of the late XIX – early XX centuries. Research methodology is comprised of the cultural and historical method, which allow analyzing the evolution of artistic and stylistic systems in the national landscape genre, as well as the development of Crimean theme in art. Based on the synthesis of culturological and art methods, the author reviews cultural and stylistic distinctness of the Crimean motifs of the late XIX – early XX centuries. The novelty of this work lies in the statement that Crimean motifs that enjoyed wide popularity in the artworks of this period are considered one of the style-forming and meaning-forming factors in development of the art and style modes of landscape genre in Crimea. Specificity of the image of nature is defined by the art and style modes that substantiate the authorial concept and system of pictorial means. It is established that the uniqueness of Crimean motifs in painting and graphic art at the turn of the XIX – XX centuries lies in application of vibrating color, fusion with rough strokes of colored shadows, rhythmic principle of creating gradation of colors, soft airy and lighting environment of Crimean landscapes.

Abstract: Performance of socially important orders through the monumental art has had a direct influence on the development of Crimea regional culture of the late Soviet period. For this reason, the object of this research is the monumental art of Crimea in the period of 1970 - 80s. The creativity of Crimean masters whose works are significant for a number of Crimean cities (Sevastopol, Alushta, Kerch, etc.) is the object of this research. In particular, Zolotukhina analyzes works of Greiser, Kramarenko, V. Atlantov and E. Volobuva. The methodology of this research includes philosophical, artistic and semiotic analysis of the aforesaid works and their influence on the city life. Monumental art of Crimea in the period of 1970-1980s has never been a matter of individual research which causes the novelty of the research. The author has analyzed monumental art that is not used by modern artists, for example, mosaic and encaustic painting.