Abstract: The subject of the research is the types of decorative and applied art, the connection of decorative and applied art with the interior design of residential and public spaces. Special attention is paid to the fact that in modern interior design, the tendency to transform interior space using decorative and applied art objects is widespread, which determine the overall style of the room, despite the particular academic design style used in the project. The author examines in detail such aspects of the topic as the influence of the author's thing on the exclusivity of the project, giving a typical interior individuality by including an object of decorative and applied art made specifically for this room, or competently selected by a specialist taking into account the specifics and purpose of the room, the transformation of the project from a typical to an individual one. The author analyzed and systematized modern methods and techniques of introducing the author's art into the interior design of premises for various purposes. Based on the results of the study, a general methodology was formed and proposed for integrating things into the interior of the proposed spaces, the concept of transforming rooms using objects and techniques of decorative and applied art. The main conclusion of the research is that the author's art object of decorative and applied art, created in a certain way and integrated into the interior design, allows to form a certain concept of a thing in the interior, a philosophy or even your own unique and recognizable author's style. The novelty of the research lies in determining the current trend of integrating handmade objects into the interiors and spaces of residential and commercial premises for various purposes in order to give uniqueness, which contributes to the development of the design industry and art in general.

Keywords: handmade work, lamp, furniture, author's work, art object, design project, interior, design, decorative and applied art, object

Abstract: The study is a continuation of the article "Exhibition activity of the Palekh lacquer miniature craft (1923-1939)", published in the scientific journal "Man and Culture". The subject of the proposed work is an analysis of the exhibition activity of the Palekh lacquer craft in the post-war period, limited to the second half of the 1940s and the end of the 1980s. The purpose of the article is to use historical, typological and structural research methods, as well as a historical and systematic approach, to show the specifics of this period in the history of the exhibition activity of the Palekh craft. Emphasizing the continuity of the exhibition activities of the 1940s - 1980s with the pre–war period, the author at the same time points out the new features that appear in the exhibition practices of the craft in the post-war period.   The scientific novelty of the research consists in the fact that the author analyzes the most important art shows of the Soviet Union, where the products of the Palekh lacquer miniature were exhibited in the 1940s – 1980s. The article pays special attention to the activities of the State Museum of Palekh Art, which after its opening in 1935 became an important exhibition center for lacquer craft products, personal, retrospective, thematic and traveling exhibitions are considered. The main conclusion of the article is the substantiation of the importance of the considered topic for understanding the public recognition and fame that the Palekh lacquer miniature craft acquired in the late Soviet period, as well as in the post-Soviet period.

Keywords: Palekh, lacquer miniatures, Russian lacquer miniatures, exhibition, exhibition activities, Soviet lacquer miniatures, folk art, Russian folk art, applied arts, arts and crafts

Abstract: The subject of this study is an analysis of the exhibition practices of the Fedoskin lacquer miniature craft in the post-war period (from 1945 to the early 1970s). The purpose of the article is not just to tell about the exhibitions of Fedoskin lacquer products of the post–war period, but above all to show those important changes that allow us to consider the post–war period as an important stage in the history of the development of the craft and his exhibition activities. Having briefly reviewed the bibliography of the issue and given a description of the exhibitions of the Fedoskino labor artel in the pre-war period (1920s – 1930s), the author analyzes in detail the most remarkable post-war exhibitions of the craft, finding both common features with the previous period and the features of the differences on which the author focuses his attention.   Using the method of comparative analysis, as well as historical-systemic and problem-chronological research methods, the author characterizes the various forms of exhibition activity used to exhibit products of the Fedoskinsky lacquer craft both in the post-war period and earlier. The scientific novelty of the research consists in the analysis of the activities of museum workers and craft artists in the popularization and public recognition of the products of the Fedoskin lacquer miniature in the post-war period. The main conclusion of the article is the statement of the importance of studying the exhibition practices of the Fedoskinsky fishery of the post-war period for the most complete study of its history and public recognition.

Keywords: decorative and applied art, applied art, soviet lacquer miniature, russian lacquer miniature, lacquer miniature, Fedoskino, folk art, russian folk art, exhibition, exhibition activities

Abstract: The article is devoted to the history of the production and painting of artistic porcelain products in the Palekh craft – a little-studied page in the annals of the twentieth century Palekh. The subject of the study is an analysis of the technical and artistic difficulties faced by Palekh artists in mastering the production and painting of porcelain in the 1920s - 1930s, as well as the reasons that, unlike the production and painting of papier–mache, it could not be put on an industrial basis. The purpose of the article is to expand our understanding of the richness of the ways of development that the Palekh fishery had during the early Soviet period using the example of an alternative artistic material for Palekh. Using the method of comparative analysis, as well as narrative and structural research methods, the author examines the role of A.V. Bakushinsky and other representatives of the Soviet intelligentsia in the development of porcelain painting by Palekh artists. The scientific novelty of the study consists in an attempt to consider this problem as a complex phenomenon: the article analyzes Palekh porcelain products from both the pre-war period and the 1950s – 1970s. The main conclusion of the article is the statement that despite the gradual fading of the Palekh fishing organization's interest in this material, many Palekh artists continued to create talented and original porcelain products during the Soviet period.

Keywords: russian folk crafts, palekh miniature, russian lacquer miniature, ceramics, Dulevsky Porcelain Factory, porcelain, Palekh, russian folk art, applied art, artistic varnishes

Abstract: The subject of this research is the analysis of works of the three prominent artists of various Russian manufacturing centers of lacquer miniatures of the XX century – P. D. Bazhenov (Palekh), I. K. Balakin (Mstyora), V. A. Belov (Kholuy). The goal of this article consists in the attempt to create a “comparative biography" of the artists of various lacquer crafts, as well as demonstrate fruitful work of the miniaturist-innovator in different fields of art that are not a part of the traditional folk art. Among the manifestations of such innovation, the author indicates that the listed miniature artists found themselves in other fields of fine art, such as easel paintings, stage performance, posters, caricatures. The application of biographical method of research allows focusing attention on experimentation and innovation as the key feature that unites all three masters of lacquer crafts: P. D. Bazhenov in Palekh (1930s), I. K. Balakin in Mstyora (1940s – 1950s), V. A. Belov in Kholuy (1960s – 1970s). The scientific novelty lies in studying the practices of implementation of peculiarities of the aforementioned types of art in the works of lacquer miniatures. The main conclusion consists in the fundamental provision on justification of the artistic pursuit by any artist of folk art, which was oppugned during the Soviet period of the history of Russian folk art.

Keywords: Igor Kuzmich Balakin, Pavel Dmitrievich Bazhenov, Russian lacquer miniature, Kholui, Mstyora, Palekh, Vladimir Andreevich Belov, innovation, panel, folk art

Abstract: The subject of the study is the stylistic features and means of artistic expression of architectural majolica by Pyotr Kuzmich Vaulin. The object of the study is the actual architectural and artistic ceramics of P.K. Vaulin on the facades of buildings in Moscow at the turn of the XIX-XX centuries, as an object of cultural heritage. The author examines in detail the Moscow period of the master's activity, designates the circle of artists who worked with the ceramist, analyzes the phenomenon of the Abramtsevo art circle and its influence on the formation of P.K. Vaulin. Special attention is paid to the workshop in Abramtsevo, as a real art center and a source of the formation of a national romantic trend in fine and decorative arts, as well as the most significant architectural monuments of Moscow using majolica decor performed by P.K. Vaulin.The theoretical and methodological basis of the article was scientific works on the theory and history of art, aesthetics, psychology of art and philosophy. The method of compositional-artistic analysis, the comparative-descriptive method and the method of figurative-stylistic analysis were applied to consider the means of artistic expressiveness of architectural ceramics, the compositional interaction of materials and space, the study of style-forming and form-forming features of ceramics. As a result of the research, the author concludes that the direct participation of professional artists in the practice of Russian decorative and applied art at the end of the XIX century seriously influenced the development of applied art and attracted the attention of the world community, thus contributing to the progress and high importance of this art direction in the system of fine arts. The analysis of the architectural works given in the article allows us to call P.K. Vaulin a co-author of ceramic works created by artists of the Mamontov circle. The scientific novelty of the research consists in a comprehensive study of P.K. Vaulin's creativity of the Moscow period of activity in the field of facade ceramics, as well as figurative, stylistic and artistic analysis of the master's works.

Keywords: Abramtsevo, Vrubel, Vaulin, ceramist, artist, majolica, ceramics, architecture, modern, Mammoths

Abstract: The object of this research is the traditional Buryat costume, peculiarities of its current existence as an identity system in modern space of the global worldview and transnational cultures. The subject of this study is the specificity of using the unique features of Buryat costume as a source of autochthonous characteristics of the "place" in creating the souvenir gifts. The thoroughly examine such aspects, as color and ornament in the national Buryat costume, and their role in revealing the authenticity Buryat culture. Particular attention is paid to the analysis of regional souvenir products in the context of researching the problems of cultural identity, images of ancestral ethnic costume, which are used for creating the image souvenir products of Buryatia, reflecting the actual specifics of the "place", rather than “imaginary identities”. Methods of comparative-historical, ethnographic analysis and marketing research applied during the course of this research allow collecting the extensive ethnic material, review a diverse assortment of products presented in the souvenir market of Ulan-Ude and the republic, as well as compare the original models of traditional clothes and samples of souvenirs depicting the national costume elements and/or ethnic images. The scientific novelty consists in the highlighted ethnonational features of the costume, color systems and the specifics of ornamental decoration, most popular elements Buryat clothing, tranlated as the identifying codes, as well as their interpretation in souvenir products. An important role is also played by the tribal differences of a costume as a distinct “identifier” that allows distinguishing the ethnic images, including in souvenir products. Using the individual characteristics of Buryat costume in manufacturing souvenir products will provide opportunity to expand the assortment of souvenirs, separate Buryat motifs from the similar Mongolian, as well as achieve deeper “association” with the culture of this region, turning souvenirs into the image products of the “place”.

Keywords: souvenir dolls, Buryatia, cultural identification systems, translation of autochthon features, tribal differences in costumes, color, ornament, traditional Buryat costume, image souvenir products, souvenirs

Abstract: Based on the visual material of the collection “Russian lacquer miniature” of the Russian Museum of Decorative-Applied and Folk Art, the author examines the gallery of city images in the Russian and Soviet lacquer miniature, as well as suggest the original typology of images, locating them between the poles of the “real” and “utopic”. The images of the city panoramas were analyzed in the context of the replacing each other “regimes of vision” and supported by the power of technologies territories. The author describes the changed in the approaches towards representation of the urban space in the lacquer art, as well as follows the transformations the image of a city in perception of its residents. From the methodological perspective, the author bases herself upon the principles of visual research and structures the analysis of the content of images taking into account the social context of their existence. This work develops the tradition of studying the subjects with lacquer paining as a part of the Russian and Soviet material culture. Along with the introduction into the scientific discourse of the new visual historical sources, the result of the research consists in the fixation of the accompanying the change of historical eras dynamic of the visual culture, which is expressed in expansion of the “principles of vision” of the urban space, as well as the types of its imagery on the subjects with the lacquer miniature painting.

Keywords: Ideal city, Socialist realism, Palekh miniature, Visual history, Soviet visual culture, Image of the city, Soviet lacquer miniature, Russian lacquer art, Soviet applied art, Soviet art industry

Abstract:   The subject of this research is the belts to the women’s clothes of the late XVIII – the early XIX centuries. The authors conduct an analysis on designing the women’s national belt of this period from the fund of the National Historical Museum of Nalchik. Women’s clothes is directly associated with the ornamental art, particularly with jewelry accessories. Women’s belts are being studied by several different aspects: by shape, size, varieties of ornaments, designing techniques, etc. The meaning and role of belt in the life of Cherkess women is being examined. The method of this research is the study of reconstruction, designing technique and varieties of the women’s national belt, the analogue of which became the belt from the fund of the National Historical Museum of the Kabardino-Balkar Republic. The authors conclude that the silver belt were able to afford only the women from wealthy families; young ladies wore narrow belts, while the wide ones were more suitable for the status of older women. With the transformation of women’s clothes, takes place the design modification of the belt. It lost its functionality; the contemporary seamstresses simplified the shape of the belt. The world currently undergoes the processes of globalization, as well as experiences changes in the design of the ancient wares.  

Keywords: platinum black, transformation clothes, silver, applied arts, rivet, ornament, engraving, belt, jewelry, styling modifications