Abstract: The subject of the study is sacred water sources, which can be recognized as objects of cultural and natural heritage. Sacred water sources are important objects of religious worship and places of pilgrimage, of particular importance to various cultures and religions. They are often accompanied by legends, which makes them unique and valuable objects of cultural and natural heritage. However, despite their importance, many sacred sources remain unidentified and unprotected, which can lead to their loss and disappearance. The authors, based on the results of expeditionary research conducted by scientists and graduate students of the Altai State Pedagogical University, hypothesized that sacred water sources can be identified as objects of cultural and natural heritage. In order to identify sacred water sources as objects of cultural and natural heritage, their study and typologization is necessary. The article analyzes various approaches to the typologization and classification of sources, including territorial, infrastructural, historical, ethnographic and anthropological. Particular attention is paid to the various levels of clericalization and infrastructural security of sources. The author examines various factors influencing the classification, such as the layering of meaning, local traditions and the variability of the status of sacred sites. The study also highlights the need for an interdisciplinary approach to typologization in order to take into account all aspects of their essence. Among other things, the authors focus on the term "sacred water source", which is insufficiently defined in the legislative framework and modern dictionaries. In general, the study highlights the need for a deeper and more systematic approach to the study and protection of sacred sites, which is important for preserving the cultural identity and spiritual heritage of the peoples of the country.

Keywords: places of interest, clericalization, typology, classifications, intangible heritage, cultural heritage sites, natural heritage sites, Sacred water sources, heritage, historical and cultural heritage

Abstract: Artistic space in animation art is a multifaceted concept, including various aspects that influence the perception of an animated film. This topic is actively discussed in theoretical discourse and covers various approaches to its terminological definition and classification. The purpose of this scientific study is to justify the choice of universal parameters, from the point of view of the author of the work, characterizing the artistic space of an animated film. The object of the study was animation cinema as a phenomenon of art and culture. The subject of the study is the artistic space of an animation work. The objectives of the study are to analyze existing art classifications parameters of the artistic space of an animated film, as well as to propose the following parameters for analyzing the artistic space of an animated work: semantic, temporal, editing-rhythmic, color-light, sound. To classify the artistic space of an animated film, a system-analytical and typological approach was used. In the analysis of animated films, descriptive-analytical and structural-semantic methods were used. The scientific novelty of the work lies in the fact that it is the first to propose a classification of parameters with the help of which it is possible to deeply analyze different aspects of the artistic space of an animated work, which is of interest for further art history research in the field of animated cinema. As examples of how the listed parameters of the artistic space of an animated work contribute to a holistic and deep examination of the films, the films of Russian animation film directors - Yu. B. Norshteyn "The Tale of Tales" and D. A. Geller "A Man Meets a Woman" - are analyzed. The proposed classification provides potential for art historical research in the field of animation art.

Keywords: color-light parameter, the temporal parameter, the installation and rhythmic parameter, semantic parameter, classification of the art space, analysis of an animated film, animated cinematography, parameters of the art space, animation art, art space

Abstract: An analysis of the regional, cultural and technological observations is proposed in the article with the aim of preserving a unique phenomenon of the textured pattern belts of the Semeiskie people from Transbaikal. The work is based on personal photo archives of residents of the village of Bichura in the Republic of Buryatia and interviews with them. Photographs are used as an auxiliary source to visualize belts in the folk costume complex. An analysis of digital images of photographs from the beginning of the 20th century to the 1980s is presented. Despite the insufficient quality of the photographs by modern standards they represent a valuable source. In terms of statistics on the use of a traditional men's suit (an obvious replacement for the civilian leather belt) age and gender limits for wearing, as well as the preservation of traditional ornamentation. The scientific novelty of the study consists in systematization and generalization of heterogeneous information, which allows to analyze images according to the author's method of describing textured pattern belts. The geometric elements of the pattern, the composition, the principle of constructing the ornament, the approximate number of woven threads. Photographic materials from personal and museum archives have been introduced into scientific circulation. A comparison of the belt ornamentation in the photographs with real samples is made. It is preliminary established that there is no basis for dividing the belts by gender and age. The results are obtained using content analysis, visual analysis, comparative-typological, comparative, biographical methods and the formalization method. The analysis of the content of the images is based on the identification of visual elements that are significant from the point of view of the problem at hand, the frequency of their appearance in the selected collection of images and subsequent analysis of the quantitative results.

Keywords: methods of fastening, visible parameters, rapport motif, ethno-confessional affiliation, principle of ornament construction, contrast, basis, auxiliary source, old Believer sign, textured pattern weaving

Abstract: The traditions of the interaction of word and music in the Yakut folk song of Dyeretia Yrya in Olonkho culture of the central (Prilensky) region are investigated. The study of the tradition of the interaction of word and music in the Yakut folk song is important due to the fact that it helps to understand the mechanisms in the relationship of word and music in folklore, in addition, this issue has not yet been considered as a special one in science, especially since the verse structure and their patterns in ancient poetic texts differ from modern folklore and vocal works, and their melodies are suprasemantic in nature. The song traditions of Dyeretia yrya in Olonkho were formed before the 1st century BC and many of their significant elements have survived to our time. The material of the study is the musical transcriptions of the Dyeretia Yrya Olonkho recognized by Olonkhosuts (Olonkho culture researchers). The methodology is based on theoretical developments in ethnography, philology and folk music. In this work, the author relied primarily on the method of comparative analysis. For the first time, on the basis of comparative works, it is shown that the traditions of the interaction of word and music in the Yakut folk songs of Dyereti Yrya in Olonkho culture of the central (Prilensky) region can be revealed by comparing the rhythm of the verse structure and the quantitative rhythmics of the chant, which in the future will help to reveal the deeper integrative possibilities of these two semantic systems and temporary art forms. The traditions of the interaction of word and music in the Dyeretia of the central (Prilensky) region of Yakutia are canonical and have been preserved for centuries. In the songs of Dyeretia Yrya, the melodic line develops according to the principle of "rotation in a closed circle" and has a pendulum-like character of the melodic pattern, which confirms the antiquity and patriarchy of such songs from Yakut legends. In the verse structure of the dyereti of yrya in olonkho, the tendency to equilocation and the presence of seven-syllable and six-syllable periods characteristic of Turkic versification are revealed. In the quantitative rhythm of the chant, the dominance of chants is observed to a greater extent with long durations, each sound of which is equal to short durations, expressed by eighth, sixteenth durations and trioles. The super-long ones represent the introductory part and necessarily open the melody, thereby emphasizing the beginning of the song.

Keywords: the verbal structure, semantics, olonkho, dyeretii yrya, The word-music ratio, interaction, traditions, musical ethnography, quantitative rhythmics, Yakuts

Abstract: The relevance and novelty of this study is determined by its purpose, which is to analyze color categorization as a cultural schema. Color categorization is understood as a way of dividing the color continuum into discrete areas (color categories), which society then endows with cultural connotations and includes in the general system of cultural knowledge. According the mentioned purpose, the concept of “cultural schema” was considered, the structure of color categorization as a cultural schema was designated and an analysis of its consistent inheritance and genesis in culture was presented. To reveal the main stages of the color categorization genesis and its typological characteristics, the ternary model of culture by A. V. Kostina and A. Ya. Flier was used. Based on the identified specificity of the interaction of three functional types of culture (consumer, traditional and creative), two types of color categorization are distinguished: natural and artificial. Natural color categorization is the historically first way of classifying color, which develops as nature is imitated (natural classes of colors) and dyes available to people are mastered. An important result of the accumulation and production of new knowledge in the field of color is the formation of a taxonomy of color terms in natural language, as well as the establishment of color categorization in everyday human consciousness in the form of cultural norms and customs, for example, the division of colors into “male” and “female” or into “festive” and “everyday” in religious clothing. As cultural practices associated with color develop, artificial color categorization arises against the background of natural color categorization. Its main distinguishing feature is a completely controlled process of obtaining color and codification of color relations in the form of atlases and color systems.

Keywords: natural color categorization, ternary model of culture, cultural knowledge, cultural practices, culture, cultural schema, schema, color, color categorization, artificial color categorization

Abstract: Interactive media is a type of multimedia content that involves active user interaction, which includes various forms such as interactive presentations, games, applications and digital installations that combine text, sound, images and video in one space. The relevance of this study is related to the increasing popularity of interactive art works – computer games and, as a consequence, the increasing demand of the industry for qualified game designers. The aim of the study is to analyze the artistic design methods used by game designers to create artistic images in game video content, which contributes to the development of an integrated approach to creating a visual solution for interactive game video content. The objectives of the study are to systematize the methods and techniques by which the artist attracts and holds the user's attention in gaming media content. The object of the study is interactive computer games. The subject of the study is the peculiarity of the artist's work when creating an image of interactive content, in particular, computer games. In the course of the research, general scientific methods were used, such as analysis and synthesis, description and systematization. The novelty of the work is determined by the fact that it identifies key visual techniques used in the creation of game content. The study clarifies the designer's capabilities in creating an artistic image in interactive computer games. The proposed systematization of methods and techniques of an artist's work has practical significance, since it can be used in the work of game designers, as well as theoretical significance, since it can be used in compiling software and methodological material for training animation and computer graphics artists.

Keywords: artistic image, virtual art, game mechanics, frame composition, computer technology, computer game, screen image, computer graphics, interactive media, interactive art