Abstract: The legacy of Crimean painting from the late nineteenth to the first half of the twentieth centuries requires a deep scientific approach in cultural studies, as a result of which the relevance of our research is determined by the analysis of the evolution of the visual code of the great marine painter I. K. Aivazovsky, reflected in the works of Crimean artists of subsequent generations. The application of the cultural approach together with the art historical analysis made it possible to address the problem of the synthesis of traditions and innovation, to trace the transformation of the methods of depicting the Crimean nature of I. K. Aivazovsky in the works of painters during the period under study. The cultural code, in the semiotic interpretation of Yu. M. Lotman, is identified with a communicative function and is a text in the form of a special form of message transmission. Based on this provision, we have named the term "Aivazovsky code" as a pictorial text, that is, a method of depicting the Crimea used and transformed in the works of Crimean painters and masters of the Cimmerian school, whose work is the object of our research. The subject of the study is the evolution of the Aivazovsky code, integrated into the art of the Crimean school of the first half of the twentieth century, in the context of creating an artistic image of Crimea. The research methodology includes the use of a cultural approach in conjunction with art historical analysis and the method of comparison, which makes it possible to address the problem of synthesizing traditions and innovation, to trace the integration and transformation of methods of depicting the Crimean nature of I. K. Aivazovsky in the works of painters during the period under study. A special contribution to the study of the stated topic is the characterization of Aivazovsky's visual code and the identification of its features transformed in the process of integration into the artistic space of the Crimean painters of the first half of the twentieth century. The novelty of the research lies in explanation of the term "Aivazovsky code" and conducting a cultural analysis of this phenomenon. It is established that Aivazovsky's visual code, as a carrier of information, in the process of integration determines the possibility of dialogue and communication between cultural spaces of artists. Throughout the twentieth century, the process of evolution of Crimean painting has been taking place based on the use of a synthesis of traditions and innovation, thanks to the introduction of new visual texts by artists into the cultural memory embedded in the Aivazovsky code. A feature of his evolution is the transition from romanticism and realism to the transformation of the artistic image.

Abstract: The appeal to the cultural space of the Silver Age and the Russian avant-garde allows us to judge the diversity of manifestations of the cultural text, the uniqueness of the dialogue between the cultural worlds of Russia and Europe, East and West. The cultural space of prominent representatives of the Russian avant-garde, including V. Kandinsky and D. Burliuk, was distinguished by a combination of artistic creativity and theoretical views, that is, a variety of synthesis of visual, verbal, auditory and other texts. Accordingly, the object of the study is the creative and theoretical heritage of V. Kandinsky and D. Burliuk, consisting of many texts, the subject is the identification of characteristic features of their cultural worlds, such as dialogicity and textuality. The scientific novelty and purpose of our research consists in the culturol analysis and method of comparing the artistic and theoretical views of the artists-thinkers V. Kandinsky and D. Burliuk, in identifying the inseparable connection of their various texts: artistic, visual, verbal, auditory and others.
It is established that the originality of the national culture is due to the history of Russia and its location between Europe and Asia. The simultaneous coexistence of cultural phenomena of the past, present and future, their continuity and competition among themselves is a non-linear process, which happens in the era of the Silver Age. This "transitional" period at the junction of the XIX-XX centuries is characterized as an "explosion" situation.
The embodiment of the unity of the traditions of Russian and European arts, the interweaving of their artistic achievements and theoretical attitudes in V. Kandinsky's worldview, as well as theoretical views on art problems and the originality of D. Burliuk's artistic text with his passion for Oriental art – all this confirms the similarity of the creative attitudes of artists-thinkers. A comparison of their verbal and artistic texts leads to the conclusion that the features of the cultural worlds of V. Kandinsky and D. Burliuk are dialogic, textual and synthetic.

Abstract: This article carries out a culturological analysis of the artistic worldview of the poet, artist, art historian, and art critic Maximilian Voloshin (1877–1932) – one of the prominent representatives of the Silver Age. The object of this research is the diversity of artistic space of M. Voloshin, while the subject is the interinfluence of his literary texts. The author aims to determine the symbolic-anthroposophic intentions in the artistic space of M. Voloshin as a complex semiotic formation that comprises the continuum of various texts: visual, verbal, nonverbal, and others. Maximilam Voloshin’s reasoning on the symbolic nature are reflected in his theoretical works and correspondence with cultural figures. In his articles, Voloshin advanced the idea that the artist refers to the spatial form of art by means intuition and inner consciousness. The poem “Rouen Cathedral” by M. Voloshin is vivid example of the synthesis of poetic and picturesque texts. M. Voloshin’s engagement in construction of the Goetheanum in Dornach headed by the German anthroposophist R. Steiner contributed to the development of the new worldview, which is reflected in the original watercolor “Dornach Album”. The novelty of this research lies in the fact that the personality of M. Voloshin is presented as a metatext, complex semiotic space that intertwined visual (iconic), verbal and other texts that embody the symbolic and anthroposophic intentions. It is established that the use of symbolic and anthroposophic intentions by M. Voloshin, as well as the synthesis of visual, verbal and other texts, characterize the diversity and synthetism of his worldview, although he did not fully apprehended the views of the symbolists and anthroposophists. All these principles formed the artistic space of M. Voloshin as metatext in a single guise – poet, artist, and philosopher.