Abstract: The object of this research is creativity as a cultural and philosophical phenomenon. The subject of the research is the ontological, epistemological and anthropological aspects of creativity, revealed in the conceptual space of classical European philosophy. The aim of this research is to identify ways to understand creativity as a cultural and philosophical phenomenon through the prism of the views of the largest representatives of European philosophical thought. When considering the essential foundations of creativity, special attention is paid to the ontological, epistemological and anthropological nature of creativity, which is emphasized in the conceptual constructions of Plato, Aristotle, Augustine Blessed, Thomas Aquinas, F. Bacon, R. Descartes, J. Locke, I. Kant and F.W.J. Schelling. The theoretical basis of this research is the original works of representatives of classical European philosophy, as well as modern research in the field of philosophy of creativity. The methodological foundation of the research is the comparative analysis and the method of contextual vision of creativity. The main result of the conducted research is the articulation of the understanding of the phenomenon of creativity in the context of the classical period of the development of European philosophical thought from the standpoint of ontological, gnoseological and anthropological approaches. Based on the identified aspects of the desired cultural phenomenon, a historically determined concept of creativity is presented. The scientific novelty of the research also lies in the discovery and accentuation of both explicit and implicit aspirations of the classics of European philosophy to the essential understanding of the genuine and false intentions of the creative subject.

Keywords: false creativity, ontology, epistemology, anthropology, ancient philosophy, medieval philosophy, Philosophy of the New Time, German classical philosophy, genuine creativity, creative intentions

Abstract: The subject of research in this article is the use of such a type of computer art as computer graphics in the artistic development of children studying in secondary educational institutions, from the point of view of pedagogy. When analyzing the potential of two-dimensional computer graphics, its means that exist from the point of view of art history and computer science are taken into account. Particular attention is paid to the technical potential of computer graphics in the development of artistic abilities of students and includes hardware and software, and art history is focused on the artistic and expressive potential formed by the artistic and expressive means of computer graphics (dot, silhouette, color, etc.). The main conclusions of the study of the topic are the detailed disclosure of the potentials of computer graphics. We are talking about its properties, which, combined with each other, ensure the development of the artistic abilities of children. This article characterizes such properties and considers the developing possibilities of each of them. The author's special contribution to the study of the topic is the formulation of theoretical aspects, thanks to which in the future it is possible to develop effective methods for teaching people belonging to different age categories, computer graphics and fine arts within the framework of art education.

Keywords: virtuality, imitation, reversibility, computer programs, computer graphics, artistic development of students, visual arts, interactivity, image, composition

Abstract: The subject of the study is the analysis of the ways of development of the Palekh lacquer miniature fishery in the 1980s - the last decade of the Soviet period, which also became the last relatively prosperous time of the development of the fishery itself. Special attention in the article is paid to the analysis of the so–called Palekh "split" - the destruction of the unified organization of the Palekh art and production workshops, which followed in 1989 and ended the Soviet period in the history of the Palekh craft. The purpose of the article is to characterize the state in which one of the most prosperous Soviet crafts of folk art – the famous craft of the Palekh lacquer miniature – entered the tragic era of the 1990s. The scientific novelty of the study consists in an attempt to comprehensively study the late stage of the history of the Palekh lacquer craft in the 1980s, which also makes it possible to realize the problems of its modern crisis situation. Using the historical and systematic method, as well as the method of comparative analysis, the author of the study comes to the conclusion that the 1980s (before the "split" of 1989) became, like the previous decades of the history of the Palekh lacquer miniature fishery (despite some individual costs), the time of its progressive development, and the main reason for the collapse the financial disagreements of its participants became a single organization of the fishery in 1989.

Keywords: split, russian folk art, perestroika, 1980s, russian culture, russian lacquer miniature, Palekh, Palekh Art School, folk art crafts, palekh miniature

Abstract: This article discusses the historical-culturological component of coins in jewelry and women's costume of the Volga Tatars in the XIX – XX centuries. The subject of this research is the coins of the tsarist, Soviet and modern Russian periods, which in one way or another were used as a decorative element in the Tatar national costume and jewelry. Research methodology is comprised of the general scientific and private scientific, such as culturological analysis, empirical experience of the author in jewelry restoration, and interview. The article relies on iconographic materials, jewelry, as well as essays and testimonies of the eyewitnesses. The scientific novelty lies in the thematic selection of sources and information, analysis and comparison of the facts. The author touches upon previously unstudied technical and technological aspects in preparation and processing of coins for their use as decoration. The article reveals the specificity of using coins for decorative purposes, provides information and hypotheses based on the sources that describe the use of coins in costume decoration. The author is first to carry out the classification of coins depending on the method of fixation, perforation and elements of the costume. The article describes the method of historical dating based on the technical and technological methods of processing of coins for application in jewelry.

Keywords: coins in jewelry, Tatar costume, Tatar customs, silver, Tatars, precious metal, coins, jewelry, traditional decoration, Tatar art

Abstract: The problematic of studying Latvian art culture after declaring independence in 1918 did not receive due coverage in the works of national researchers. Based on the new facts of artistic biography of the prominent cultural figure of Latvia –  the painter August Ivans (1895-1975), analysis is conducted on the isolated phenomena of the Latvian art culture of the 1920s – 1930s, namely the establishment of higher art education in the Republic of Latvia. The preserved sayings of the painter allow revealing the role of graduates of Russian schools of art in formation of the Latvian Academy of Arts. The author highlights the painter’s role in the process of democratization of the country's art life, which consists in his work on illustrations to the satirical magazines. The establishment of art education in Latvia is reviewed on the basis of life and creative path of the Latvian painter August Ivans for the first time. The role of the graduates of Russian art schools in formation of the Latvian Academy of Arts is also noted. In the 1920s – 1930s, the art life in Latvia became more public, and artists acquired more opportunities to exhibit their paintings. More artists were able to sustain themselves by selling their works. Printing numerous satirical publications designed by A. Ivans led to the process of democratization of art life of the country. This article is also first to publish the information on the death and burial place of the artist.

Keywords: the result of artistic creativity, democratization of artistic life, satirical magazines, magazine graphics, artistic culture of Latvia, Penza Art School, new facts from the biography, dynamics of cultural processes, national perception, art education

Abstract: The subject of this article is the poetry of the Russian authors, veterans of Patriotic War 1812 – Pyotr Andreyevich Vyazemsky and Fyodor Nikolaevich Glinka dedicated to the Crimean War and Siege of Sevastopol in 1854-1855. The analysis of their poems created over the period of 1853-1967 is conducted. They touch upon various topics: glorification of heroes and military commanders, military operations in Caucasus, bombardment of Odessa, siege of Sevastopol, perception of Crimean war as religious war, satirical reviews of military operations of the allies, etc. The article also examines the question of comprehension of the Crimean War by Russian society through the prism of the historical experience of 1812. Methodological foundation contains the principle of historical cognition: objectivity and historicism. The author applies the comparative-historical methods: poetry is viewed on the background of publicist works and literary process of the era in general. Reference to fiction predetermined the use of interdisciplinary methods from the arsenal of philology and literature studies, particularly textological methods and structural analysis. The work h reveals the main motifs reflected in the creative works of F. N. Glinka and P. A. Vyazemsky, as their assessment of the events of Crimean War as the representatives of generation of 1812 was not the subject of research. Their poems fit into the extensive palette of national culture of the mid XIX century, emphasizing their importance for personal perception, as well as testimony to the era. Special attention is given to the oeuvres that express the forming historical memory regarding the siege of Sevastopol during the Crimean War.

Keywords: Russian culture, historical memory, historical source, fiction, Vyazemsky Pyotr, Glinka Fyodor, the Siege of Sevastopol, Crimean war, the Patriotic War, interdisciplinary approach

Abstract: The subject of this research is the works of one of the founders of visual art of Karachay-Cherkess Republic. The first professional Nogai painter – Karasov Yuri Baubekovich. The author conducts an art analysis of his artistic and graphic canvases from the ethnographic series “Nogai El”. The article determines the general style and circle of storylines of each composition, reveals the symbolic meaning of the key images, giving particular attention of examination of the compositional schemes, use of technical methods, reckoning of color formulas, and identification of the main coloristic preferences of the painter. The methods of art analysis of the oeuvres include the formal-stylistic and iconographic analysis of the entire series and separately depicted images. The author traces the process of creation of each composition, since the conception of the idea, until the final product; reveal the paths of creative search and sources of inspiration. The scientific novelty consists in introduction into the contemporary art studies of the circle of new, previously unrenowned compositions of the artist.

Keywords: ornament, dombra, camel, steppe, painting, graphic arts, artist, Nogai, sun, form

Abstract: The subject of this research is the historical regularities of emergence and development of the DIY-practices (from English “Do It Yourself”) as a type of the amateur creative art. The author reviews different types of DIY-practices within the context of the cultural evolution from Ancient to Modern times, as well as substantiates the place of DIY-practices in the mundane aesthetics and the historical change of a human role as a subject of material and spiritual activity. The historical-genetic method along with the activity approach of this culturological research allowed determining the peculiarities of DIY-practices as a way of creative self-realization within the realm of the art culture. Scientific novelty lies in the multi-aspect retrospective examination of the DIY phenomenon from the perspective of culturology, social psychology, and history of art. The main conclusion consists in the direct connection between the post-industrial stage of social development and spread of DIY-practices in the area of art culture. It is demonstrated that the DIY phenomenon captures many spheres of the modern art culture, from applied arts to music and media arts.

Keywords: mundane aesthetics, art culture, DIY-ethic, non-professional creative activity, DIY-culture, DIY-practices, Do It Yourself, DIY, handmade, prosumption

Abstract: The article is devoted to the analysis of a cultural and semiotic approach which is viewed as one of the main approaches in studying the art of indigenous groups of the North, Siberia and Far East. The author’s systematization of methodological principals of the cultural and semiotic approach (understanding the culture as a structure which consists of several symbolic systems and cultural texts; the principle of creating the symbols that are actualized in the artistic dialogism; representationism of the culture and symbolic interpretation of the culture’s signs; the notion “value” as one of the key notions in the concept of the art’s semiotic phylosophy) is suggested in the article. The definition of the notion “art” is made clear on the basis of correlating the methodological principles of the cultural and semiotic approach and the ideas of constructivism. The art is understood as a cultural-semiotic set which evokes social senses in individual and collective consciousness and helps to perform verification of the human ideas if the world around and to create our own world vision in the underconsciousness. The method of the research is a conceptual and categorical concepts analysis of the basic notions. The article proves the cultural-semiotic methodological approach ton the analysis of the fine arts objects. The methods of philosophical artistic analysis by V.I. Zhukovskij, N.P. Koptseva, D.V. Pivovarov are used. The most effective methodological strategy for the analysis of the works of art of the native people of the North, Siberia and the Far East is defined for the first time. The double semiotics of the art works is shown as that of cultural texts. Possibilities of cultural-semiotic approach to the analysis of certain works (including the Northern nations living on the territory of the Russian Federation) is analyzed. The problem of the article is of great importance in connection with the new exploration of Siberia and the Far East and the necessity to preserve the unique culture of the native peoples living on that territories.

Keywords: сonstructivism, Siberia, native peoples, arts, cultural text, symbol, sign, value, world vision, the North