Abstract: The author analyzes various aspects of the modern popular culture of kawaii. The connection between sweetness and the terrible in kawaii aesthetics is clarified. It is emphasized that the roots of kawaii go back to the Japanese culture of the past and today's total spread of the cute in Japanese everyday life is reflected in politics, government, business, the military complex, art, influencing all spheres of society and manifesting itself as a key component of the national identity of the Japanese. Attention is focused on the aesthetic category of yami-kawaii. Creepy kawaii understands the works of Japanese artists and the youth subculture. The connection of kawaii and yami-kawaii is shown. The subject of the study is the images of Japanese artists of the XX – XXI centuries. A characteristic feature of the art of which is the excessive depiction of the cute, indicating a connection with modernity. Comparative historical and iconographic research methods based on cultural, philosophical, and art historical scientific materials were used. The relevance of the topic is due to the need to explore new trends in art, with the need to rethink classical, aesthetic categories, in connection with the catastrophes of the XX – XXI centuries, which changed European culture and left an indelible mark on Japanese culture. The novelty of the research lies in an attempt to analyze the phenomenon of kawaii in a dual aspect: kawaii of the sweet and kawaii of the terrible in the art of Japanese artists, based on the phenomenon of fear as the driving force of yami-kawaii, as well as using the aesthetic category of "kawaii" as an all-pervading characteristic of mass culture. The yami-kawaii style is an independent aesthetic category, widespread by the youth subculture. The popularity of the "sick" kawaii as a crude grim reality is applied in the marketing of the industrial industry. Infantilism manifests itself as a defense, a psychological barrier in search of support and sympathy. The aesthetics of kawaii mildness acts as one side of the coin, the other is the internal conflict of society – fear, helplessness, depression. The yami-kawaii subculture is an expression of the aesthetic phenomenon of suffering and fear.

Abstract: The author analyzes various aspects of the role of women in the society and culture of China of the late XX-early XXI centuries, a special place is occupied by the analysis of family relations, education and artistic creativity of women. The subject of the study is women, the transformation of their status in society and culture, in particular, in the modern pictorial art of China. It is emphasized that at the end of the XX century there is a reassessment of values, the motivation of young people in the family sphere changes, the traditional importance of the family is lost due to state regulation of family relations. Comparative historical and iconographic research methods based on culturological, philosophical and art-historical scientific materials were used. The relevance of the topic is due to the increased interest in Chinese culture and the changing attitude towards women in society and culture. The novelty of the study is an attempt to trace the impact of modernization on the status of Chinese women, taking into account the availability of higher education, gender imbalance in society and culture. It is concluded that obtaining higher education, career development, personal freedom, participation in business, in the socio-political and cultural life of society, becomes a priority for a woman, putting marriage and family values at risk. It is revealed that the negative influence of mass culture leads to the decline of morals, psychological disorders, social infantilism. In contemporary art, Chinese female artists use unconventional artistic techniques to express their "I" in painting, but innovative methods of self-expression are less recognized than those of male artists, as well as defending their point of view and philosophy. The intertwining of cultural heritage and modern values have shaped the path of development of Chinese women's art.

Abstract: The article is devoted to the interaction and transformation of a mythological, mystical creature (cat) with a female image in Japanese painting. The subject of the study is the images of cats and women on scrolls and engravings of the XVIII-XX centuries. Attention is focused on the modern mythological aspect of Japanese culture. The aesthetic canons of beauty perception in the context of the national culture of Japan, based on Shintoism and Buddhism, are emphasized. Comparative historical and iconographic research methods were used in the analysis of cultural, philosophical and art-historical scientific materials. The relevance of the topic is due to the revival of interest in the mythological heritage of Japan, the transformation of mythological images and their feminization in modern popular culture. The novelty of the research lies in the comparative analysis of female images and mythological images of cats in Japanese classical painting and modern kawaii culture, based on the philosophical and aesthetic traditions of Japan. The novelty of the research lies in the comparative analysis of female images and mythological images of cats in Japanese classical painting and modern kawaii culture, based on the philosophical and aesthetic traditions of Japan. An attempt is made to compare the mythological images of cats and female images in both traditional and modern artistic images. It is concluded that national traditions and mentality are of great importance for the evaluation of Japanese mythological images, despite the historical period of time. Of particular importance is the perception of female images in kawaii, due to the aesthetic and religious foundations of Japanese society, given that the myth is firmly embedded in popular culture. It is emphasized that the kawaii culture is an independent aesthetic phenomenon.

Abstract: This article analyzes the activity of the Art Nouveau artists of the late XIX – early XX centuries, and the reception of their works. The subject of this research is the works of both female and male artists, and their interinfluence. The article touches upon the topic of genders in art, difficulties of promoting the “female perspective” in the period of Art Nouveau. The article employs the comparative-historical, involving scientific materials on culturology, philosophy and art history; sociocultural approach towards historical events in the establishment of Art Nouveau. The relevance of this topic is substantiated by heightened interest to studying the phenomenon of Art Nouveau and the role of women in its formation. The novelty of this research consists in attempt to determine the specificity of female principle in Art Nouveau style, both as an artistic image that holds the leading place therein, and in the image of women artists who tried to implement their vision of female image in the art object. The conclusion is made that despite the shift in the worldview orientations and artistic paradigms of this period, women artists were experiencing major difficulties. The formation of the Art Nouveau style vividly manifested the features of the “new woman” in the works of women artists, emphasizing their uniqueness and artistic peculiarities. It is determined that the comprehension of multifacetedness of Art Nouveau style was greatly affected by women artists, whose works are still relevant today.

Abstract: This article analyzes the activity of female artists and the problems of their relationships in the society during the period of Viennese Art Nouveau of the late XIX – early XX centuries. The subject of this research is the works of female artists of the Vienna Secession and the materials of the Belvedere art exhibitions. It is noted that the problem of gender relationship during the period of Viennese Art Nouveau was given considerable attention; the cultural and artistic creativity were viewed from the perspective of the impact of this problem upon the mentality and minds of the society. The relevance of the selected topic is substantiated by the heightened interest in studying the specificity of the phenomenon of Viennese Art Nouveau and the role of woman in its formation. The novelty of this research lies in the attempt to determine the specificity of the impact of female beginning upon the culture of Viennese Art Nouveau, both as an artistic image that is the centerpiece, and in the image of female artists who supported its development. The conclusion is made that despite the shift in worldview orientations and artistic paradigms fin-de-siècle, the problem of gender relationship and apparent competition between female and artists for their position remained strongly pronounced. The author determines the considerable impact of female artists (many of whom were of Jewish descent immigrated or deceased during the World War II) upon comprehension of the phenomenon of Viennese Art Nouveau.

Abstract: This article analyzes female images in Chinese and Japanese painting (Bijin-ga). The subject of this research is the depiction of Chinese beautiful women on the scrolls of the X – XVII centuries and Japanese woodblock printing of the XVII – XIX centuries. Attention is given to the works of modern artists. It is noted that the aesthetic ideals are oriented towards the perception of beauty in the context of national culture of China and Japan, which undergo changes in each era, nurtured by Buddhism, Shintoism, Taoism and Confucianism, which contributed to the development of female image and symbolic sound. The fact that the worldview orientation towards women and their status in the Far Eastern society faded away defines the relevance of the selected topic. The novelty of lies in the comparative analysis of philosophical-aesthetic traditions of Chinese and Japanese painting, reflected in female images in the historical development, with the emphasis on its modern development. The conclusion is made that the assessment of female image in Chinese and Japanese art requires taking into account the national mentality, spiritual traditions, and interinfluence of cultures. The perception of the changing image of women in society plays a special role. It is determined that the depiction of women in clothes and face paint that conceals their body shape and facial emotions, deprive a woman of her individuality and lower her social status. Such trend remains in the contemporary art of these countries. Up until now, female images resemble the symbolism of depiction, closeness to nature, interweaving of external and internal content substantiated by the aesthetic, ethical and philosophical saturation of painting, indicating the uniqueness of each culture and its national heritage.

Abstract: This article analyzes the female beginning reflected in the Buddhist art of thangka, and emphasizes its specificity in comparison with the Orthodox icon. The author examines symbolism of the key visual elements that form iconography of female characters and their color solution, as well as analyzes the symbolism of light in thangka painting and painting of icons. In drawing parallels between light symbolism of a female image in both types of religious paintings, the author determines their definite similarity in perception of light as a divine beginning of enlightened mind. The subject of this study is the Tibetan thangka and the Orthodox icon, viewed in the context of evolution of the female divine image within the chronological framework of the XV – XVII centuries. The relevance is substantiated by the growing interest of various experts to the religious painting thangka. In examination of sacred images of Buddhist thangkas and Orthodox icons were applied the comparative-historical and iconographic methods that lean on philosophical, culturological and art scientific materials. The novelty consists in the fact that based comparative analysis of the material of Tibetan thangkas and Orthodox icons, the author explores the traditions of depicting light manifestations of sacred images of women. Iconographic plot traces the formation of light and its role in creation of the female guise of wisdom. The conclusion is made that for assessing the Tibetan Buddhist art of thangka and Orthodox icon it is necessary to grasp the essence of female beginning and significance of the symbolism of light that indicates the aspect of wisdom and love on the path of spiritual growth. 

Abstract: The article is devoted to the variety of death symbols in European and Japanese painting of the XVth - XXIst centuries. The subject of the research is the flowers viewed as symbolic, mystical and conceptual framework of different kinds of death in European and Japanese painting. The researcher focuses on the symbolic language of flowers in interpretation of death and different kinds of death in fine arts. Simple, delicate and sophisticated nature of Japanese painting conveys the message of uncertainty and focus on the moment which is reflected in the painting of flowers, too. In her research Belova has used iconological and comparative research methods using philosophical, culturological and historical research data. The rationale of the research is caused by the growing interest in the culture and national features of Japan. The researcher makes an attempt to compare symbolism of flowers used to describe an act of death and different attitude of European and Japanese culture to different kinds of death. Belova concludes that that for both European and Japanese painting national traditions and specific symbolic content of images of flowers used in the decoration of an act of death are very important. Flower symbols demonstrate the beauty and aesthetics of death. Modern European society has lost the old traditions of death perception while Japanese artists has discovered the essence of human life and death in the image of flower. 

Abstract: In her article Belova analyzes the aesthetical value of nature, in particular, the role of flowers in European and Japanese art of the XVth - early XXth century. The researcher focuses on symbolism of flowers, general expressive patterns that symbolise the nature's circle and transience of flowers in the world as well as their philosophical, religious and mystical meaning. The subject of the research is blue flowers viewed by the author as part of the developing symbolism and metaphoric message in European and Japanese fine arts of the XVth - early Xxth century. In her research Belova has use comparative and iconological research methods based on previously published philosophical, cultural and historical researches. The research rationale is explained by the growing cultural contacts between Eastern countries, particulary Japan, and Europe, and the intention of both cultures to keep their national specific features. The author of the article attempts to compare European and Japanese fine arts, to describe symbolism of flowers, its aesthetical meaning and allegorical message, to emphasize the nature of symbolic images of blue flowers. The researcher makes the following conclusion: religious and mystical features are more typical for European painting while Japanese painting puts artistic expression of feelings above religion. This is expressed in the aesthetical perception of the colour palette.  

Abstract: Based on the analysis of proverbs and sayings, the authors of the article analyze how the age is perceived in different social and historical conditions by Russians and Japanese people. The authors have tried to define national-cultural specificity of perception of such a universally important concept as 'age', and analyze the definition of age and the influence of traditional religion and cults on its development. Comparing phraseologisms about age stages of human life, the authors underline national stereotypes and ideas about the spiritual and aesthetic experience and traditions of both nations. For this purpose, the authors have used comparative, linguocultural analysis as well as descriptive method to clarify the imagery picture of the world. The athors offer their own approach to understanding the multi-layer national world picture expressed in proverbs and perceived by language speakers as undoubted truth and nation's opinion. The authors conclude that there is a certain similarity in paremiological funds of both languages when age peculiarities are described. The similarity of biological and social characteristics of age in Russian and Japanese cultures proves that a specific feature of age in Japanese proverbs and sayings is a particular indication of a number of years.