Abstract: After the October Revolution of 1917, the Russian avant-garde established close relations with the German left wing. Vkhutemas, as the center of the Russian avant-garde, also had an important influence on the development of the Bauhaus. This study examines the specific path and results of the influence of Vkhutemas on the Bauhaus in terms of concept, structural transformation and production strategy in order to clarify the relationship between them. In this work, Vkhutemas is taken as the center, based on the analysis of conceptual principles, structural transformations and production strategies, specific ways and manifestations of the influence of the Russian avant-garde on the Bauhaus in various periods of the 1920s are explored. This comprehensive and multidimensional Russian influence not only develops the modern system of design education and finally consolidates the historical status of the Bauhaus, but also lays the foundation for its final fate. Firstly, on an ideological level, the goals of Russian production are directly related to the construction of socialism, to the creation of a system of proletarian culture, which Avartov calls proletarian, which largely coincides with the left-wing ideals of Gropius. Secondly, at the level of artistic thought, productivism and constructivism, as new ideas of the early 20th century, represented the contribution of the Russian avant-garde to modernist design. Finally, at the level of educational practice, thanks to the introduction of Russian constructivism by Moholy Nagy, the Bauhaus created a prototype of the three main components of modern design education, taking lessons from teaching composition by Vkhutemas, and opened the transition from expressionism to function. This was a new stage in the transformation of socialism, and thus formed the classic image of the Bauhaus for the outside world.

Keywords: artistic paradigm, art education, art, avant-garde, design, Constructivism, Production art, Modernism, Bauhaus, Vkhutemas

Abstract: The subject of the study is the value-semantic roles and instrumental functions that were assigned to the intangible cultural heritage in Russia's conceptual and strategic documents affecting its preservation and use. The purpose of the work is to determine the current value-semantic and functional position of the intangible heritage in the structure of public administration in Russia, as well as to assess possible prospects for further development of this institution. The implementation of the Russian state approach to the preservation, actualization, popularization and use of intangible cultural heritage is interdisciplinary and interdepartmental. Therefore, in order to assess it more systematically and identify promising areas of development, it is necessary to expand the range of practical research to analyze the entire range of provisions of Russian state policy affecting these issues. The cultural approach seems to be the most heuristic way to achieve this goal. The research uses the method of content analysis, comparative and cultural-historical methods. The author identifies the importance and scope of the intangible cultural heritage at each stage of its institutionalization in Russia, proposes a periodization of the historical dynamics of this process, and substantiates the need to form a Russian national approach to the preservation and use of intangible heritage in comparison with the UNESCO discourse. The author concludes that the progressive institutionalization of the intangible heritage of Russian culture in domestic state policy has allowed us to take into account the creative aspects of scientific, professional and socio-political discourse, as well as harmoniously integrate this institution into a multi-level model of socio-cultural policy. Special attention is paid to the promising tasks of the Russian state policy in the field of intangible heritage in the context of the development of the existing system of its protection.

Keywords: ethno-cultural heritage, cultural values, regulatory framework, strategic planning documents, cultural memory, heritage safeguarding, russian national security, russian national policy, intangible cultural heritage, russian cultural policy

Abstract: The main subject of this research is the tradition of visual representation of the luminosity of the divine nature in Western European Christian art of the IV–VIII centuries. The objects of study are fragments of monumental temple decorations containing images, both literal and symbolic, of this divine phenomenon, as well as written sources related to the interpretation of these images. The focus of the research is on the Western European artistic tradition of depicting the halo of Christ and its change during the period under review. The purpose of this work, which is the first part of the study, the chronological framework of which covers the period from the IV to the XIII centuries, was to compile a holistic view of the development of the iconographic tradition of representing the theme "I am the light of the world", the luminosity of the divine nature of Christ in the context of the study of the visual language of Western European medieval religious art of the IV–VIII centuries. The visual sources of this work are Christian churches that have preserved the monumental decoration of the IV–VIII centuries, which are located on the territory of Rome, Ravenna, Milan, Naples and surrounding areas. The methodology on which this research is based is represented by typological, iconographic and formal stylistic methods of analysis. The novelty of the present study is a detailed analysis and systematization of various visual representations of the luminosity of the divine nature of Christ, first of all, variants of the image of the halo and their transformation over time. Based on the studied sources, the author has compiled a certain classification picture, which allows forming a holistic view of the formation and development of the artistic tradition of representing this topic.

Keywords: luminosity, monumental decoration, iconography, characteristic, image of Christ, visualization, mandorla, halo, light, solar symbolism

Abstract: The article "The originality of Chinoiserie-style garden architecture in England in the XVIII century" explores the development and specifics of Chinoiserie style in the landscape architecture of England. Chinoiserie style refers to the use of Chinese motifs and stylistic techniques in European architecture. The aim of the work is to identify the specifics of the arrangement of English gardens and parks in the Chinoiserie style. The subject of the study is the stylistic features of the embodiment of Chinoiserie gardens and parks. The object of the study is parks and garden architecture in the Chinoiserie style in England. The study covers the 18th century, revealing the contribution of individual architects and the influence of Chinese art on the development of garden architecture. The presented analysis demonstrates how architectural styles of Western and Eastern culture can mix. English gardens and parks are evidence of the influence of Chinese aesthetics on landscape gardening, which later spread to continental Europe. In the course of the research, the following methods were mainly used: historical, historical-genetic, historical-comparative. In the study of specific objects of landscape architecture, methods of art criticism analysis were applied — formal, stylistic and comparative methods. The article examines specific English monuments of landscape architecture of the XVIII century taken as examples the Chinoiserie style. The novelty of the study lies in the fact that the features of the Chinoiserie style in the landscape architecture of England were highlighted and a comparison of English architectural objects in the Chinoiserie style with Chinese analogues was carried out. The conducted research revealed the English specifics in the approach to interpreting Chinese designs of gardens and parks and architectural projects in the XVIII century. English gardeners and architects were inspired by Chinese aesthetics and used oriental elements for decoration, but did not follow all architectural canons and traditions. This gave rise to a new Chinoiserie style, a combination of Chinese and European landscape art that spread throughout Europe.

Keywords: eclecticism, analysis, architecture, landscape, parks, gardens, style, England, China, Chinoiserie

Abstract: The article is devoted to the analysis of the concept of "musical meaning", which conceptualizes the way a musical work is given in terms of its formal and meaningful features. The relevance of studying this issue is determined by the importance that the original version of the composition created by the composer has for further development of the musical fabric – both on the part of the performer and the audience of listeners. The purpose of the study is to determine approaches to the specifics of the existence of music, which is not directly reduced to sound and at the same time is realized in sound. Accordingly, the objectives of the study included 1) to identify and compare the most significant definitions of musical meaning, to establish the place of intonation in its physical, aesthetic and spiritual-intellectual disclosure; 2) to describe the means of expression that contribute to the achievement of technical and directly artistic goals; 3) to substantiate the nature of the connection of intonation with general musical and extra-musical phenomena. The research methodology is based on the philosophical theory of music as a temporary art. Categorical analysis was used in combination with elements of the biographical method and the method of included observation. The methods of private disciplines such as musicology, musical psychology, and communication theory are also used. The study shows the paradoxical nature of musical meaning, which is both set and at the same time elusive, requires strict restrictions – and at the same time organizes musical material through creatively free activity. The novelty of the work consists in clarifying the range of philosophical approaches to the "elusive" concept of musical meaning, in an attempt to find invariants of various interpretations of this concept based on a comprehensive analysis of the existence of musical meaning combining physical, emotional and spiritual-intellectual processes. The results obtained allow us to substantiate the specifics of performing skills, which includes not only the depth of understanding of the author's idea, but also the ability to find acceptable limits of variability of interpretations based on "semantic constants" captured by the creator of the work and recorded in his text in the form of notes. The communicative conditions of place and time also play a role, concentrating the national peculiarities of reading the musical meaning.

Keywords: tradition, philosophical anthropology, means of musical expression, musical meaning, musical thinking, musical performance, intercultural communication, intonation, author, philosophy of art

Abstract: The object of the study is “silent books” – books without text; the plot and author’s position are revealed exclusively through a sequential series of illustrations. The subject of the study is the graphic novels of young but already internationally recognized authors – Sean Tan and Guojin. "Silent books" are a relatively new direction in children's book illustration. The prototype of “silent books” – comics – was distinguished by rather primitive graphics, so although they were popular, but they were considered a “low genre” in the professional community. Then the comic went beyond kitsch culture and became an element of middle-class culture, and at the end of the century the comic was reinterpreted in pop art and included in the formation of neo-elite culture. The individuality of the authors is manifested in the choice of a plot related to personal and family history, as well as in the choice of a character of a certain psychological make-up – “silent heroes”, endowed with a rich imagination, the ability to empathize and equal friendly relationships. The technique in the “silent books” of Sean Tan and Guojin has the syncretism and dualism of Western and Chinese traditions. It can be interpreted both in terms of Chinese writing with “dry” ink, and in the European style of “chiaroscuro”; in all cases we had clearly defined contour and a sharp contrast of light and shadow. The author's self-expression in a graphic novel is very specific to book illustration. “The Quiet Book” can be considered as a special type of author’s utterance, similar to improperly direct speech in literature. All this distinguishes the graphic novels under consideration from other forms of children's book illustration, as an example of new paths in art, as well as an original and modern interpretation of social problems of society.

Keywords: visual images, artist, author's books, children's book illustration, Guojin, Sean Tan, quiet books, Chinese artists, illustrations, The main characters

Abstract: The article is devoted to the reflection of local and ethnic specifics (mainly Yunnan Province and the Tibetan borderland) in the works of Chinese artists of the Reform and Opening Up period – Jin Shangyi, Wang Yidong, Zhang Jian Jun, Yuan Yunsheng, Ai Xuan, Zeng Xiaofeng, Ma Yun, Mao Xuhui, Zhang Xiaogang, Liao Xinxue and Liu Ziming. Various cultural codes within which ethnic and local culture is interpreted in the paintings of visiting and local artists are identified. These differences in the perception and display of ethno-local specifics are especially evident when artists paint the same ethno-local object – for example, the life of Tibetan ethnic minorities. The glamorous characters of the Tibetan cycle of Zhang Jian Jun and Ai Xuan are strikingly different from the stern Tibetan women in the paintings of Zhang Xiaogang. The main conclusion of the study is that artists of various trends have their own ideological and aesthetic intentions, so they select individual figurative dominants from the whole variety of phenomena of tradition and everyday life of the ethnic group and build them into a new cultural code. It can be argued that the exotic cultural code (the view from the outside, characteristic mainly of visiting artists) presupposes “estrangement” and the dominance of aesthetic form to the detriment of ethno-cultural specifics, while the archaic code (the view from the inside) complements modern ethno-local elements with historical-cultural (folklore) examples. Artists of the esoteric type of coding possess “double vision”: they accurately reproduce the cultural landscape of Yunnan and the “life world” of ethnic minorities, but interpret it through individual optics, using world artistic experience.

Keywords: ethnic specifics, cultural landscape, artists, oil painting, visual art, painting, art school, Yunnan style, natural landscape, Yunnan

Abstract: The article is devoted to the comparison of Mezen painted spinning wheels actively produced in Arkhangelsk province (Russia) in the XIX century and objects of Chinese art of Qi Lien painting of the Warring Kingdoms period. In this era, the skill of creating Chinese lacquer products was very developed, and the spinning wheel industry of the XIX century became the basis for the existence of a vital craft for Russian people. The spinning wheels were decorated with colored paintings with repetitive plots. The subjects of the study represent the most important part of the folk art of the two cultures, reflecting at the same time the aesthetic and spiritual preferences of the population. Their prevalence in both cases made it possible to identify the commonality of artistic techniques used by folk craftsmen. Scientific work assigns an important role to the techniques of manufacturing household items that demonstrate the prevailing artistic environment at the time of their regular use. The leading method of research is formal stylistic analysis, revealing characteristic compositional features. Comparative analysis makes it possible to identify similarities and differences in the works of DPI, which make it possible to hypothesize a paradoxical objective community. Considerable attention is also paid to the coloristic analysis and symbolic meaning of the murals. The scientific novelty of the study is due to the presence of a very limited number of sources mentioning the possible similarity of the two fields of folk art, none of which is fully devoted to the formal and stylistic features of objects created by unknown masters. The article closes this gap, aiming to discover specific unifying features. Its tasks become a detailed study of plots, compositions, techniques and materials used. The research allows us to come to the conclusion that the work of both Russian and Chinese artists reflected the main artistic aspirations of contemporaries, who often endowed objects and phenomena with symbolic meaning. There is a noticeable interest in the use of wood, the use of warm shades and the embedding of patterns in compositions. There is a similarity in the desire to reflect reality when including plant and animal motifs in their works. Also, the decorative and planar nature of the painting combines the rich details of the product. The relevance of the research is due to the convergence of Russian and Chinese cultures, so that the study of the issue can contribute to finding new points of spiritual contact.

Keywords: Han dynasty, Qin dynasty, dower, Shen varnish, varnish products, Qi Lien, spinning wheel, Warring States period, Russian folk art, Chu nation

Abstract: The subject of the study is a set of approaches and paradigms chosen by the authors to study the cultural environment of the city. The purpose of the work: a theoretical analysis of the variety of approaches to the definition of "cultural environment" in relation to the original category "culture." The object of the study is the definition of "culture" and "cultural environment" as part of the methodology for researching the cultural environment. The author considers in detail such aspects of the topic as general ideas about the cultural space, association with the category "culture" and features of the new, and integrative approach, according to which the cultural environment appears as a really perceived physical space, the area of implementation of cultural activities within the framework of socio-cultural communities, individual persons, axiological component of the cultural environment in the system of value coordinates, motivations and meanings, combination of axiological, information-semiotic and perceptual-aesthetic approaches to the study of the cultural environment. The relevance of the study consists in the need to understand the variety of research approaches to the study of the cultural environment, aimed at developing models of cultural policy at the regional and municipal levels. The scientific novelty of the study lies in understanding the essence of methodological paradigms emanating from the integrative definition of the cultural environment of the city. Another conclusion is related to the fact that culture in general, and the cultural environment in particular, determines axiological parameters, sets a system of value coordinates, motivations and meanings for man and humanity. The results of the work consist in understanding the existing methodological approaches to the study of the cultural environment of the city, determined by its integrative definition. The scope of the results: the scope of regional and municipal cultural policy.

Keywords: metaphysical meanins, anthropocultural component, supra-biological needs, cultural work, cultural communications, methodological principles, paradigms, research approaches, culture, city cultural environment

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.

Keywords: painting, fear, Japanese culture, yami-kawaii, Kawaii, aesthetic categories, suffering, modern aesthetics, Popular culture, consumer society

Abstract: The subject of the study is the mutual influence of the compositional ideas of the Chinese-American composer Zhou Wenzhong and the French-American composer Edgar Varese. Edgar Varese, known as a composer and innovator who had a significant influence on the concepts of the post-war avant-garde, was also a brilliant teacher. One of his students was Zhou Wenzhong. Subsequently, Zhou Wenzhong became the editor of Warez's works, his biographer, an indispensable assistant and keeper of the archive. The article presents the facts of Zhou Wenzhong's biography, special attention is paid to the study of the composer's period of study with Varez, the trajectory of his influence, and the pedagogical principles that he adhered to in his teaching. Zhou Wenzhong needed to assimilate the innovations of Varese, form his own compositional style, based on the cultural traditions of China, forming points of intersection with the ideas and concepts of the avant-garde in cross-cultural interaction. The work has an interdisciplinary character, mediated by a key trajectory – the problem of the interaction of musical cultures of the East and the West. The author relies on source-based, analytical, comparative, historical and theoretical methods. Zhou Wenzhong (1923-2019) is one of the most influential and major American-Chinese composers. Despite the importance of this person, his work is still unexplored in Russian musicology, and therefore, filling this gap in the history of the development of new compositional trends in Chinese music, which marked the beginning of the phenomenon of the "New Wave" (after 1978), seems extremely relevant and important. The scientific novelty of the study is associated with the introduction into scientific use of information about the American period of Zhou Wenzhong's work – the time of his studies with Edgar Varese.

Keywords: The keeper of the archive, Editor, Ionization, China, cross-cultural influence, Edgard Varèse, Zhou Wenzhun, Composer, Nocturnal, Colin McPhee

Abstract: The article is devoted to the problem of transformation of the imagery of the monumental sculpture ensemble created in memory of the Sino-Japanese War in Beijing. The construction of the memorial took place in two stages: the Memorial of the Chinese People's War of Resistance to Japanese Aggression was erected in the late 1980s, and a decade later the Sculpture Garden of the Memorial of the Chinese People against the Japanese War was laid. These elements of a single ensemble represent different options for using figurative-meaningful, compositional-spatial, artistic-stylistic and plastic features of monumental sculpture and interpreting its semantic role in such structures. Using the example of these memorials, it is possible to identify and trace the development strategy of memorials and their sculptural design, especially the dynamics of changes in the creation of an artistic image of sculptural groups. The author uses the method of art criticism to describe the visual and expressive features and the ideological content of the monumental sculpture of the memorial plan on the example of an analysis of the aesthetic qualities of two different elements of the ensemble in Beijing. This requires an analysis of the artistic structure and forms through which the authors express their ideological messages, as well as a comprehensive study of visual and expressive means. The object of attention in the article is the role and place of monumental sculpture in the development of historical memory and culture of China, and the subject is the options for the development of figurative and stylistic features of the art of sculpture in the context of the expansion and transformation of memorial complexes. Sculpture is considered as a reflection of the ideological and creative pursuits of Chinese sculptors of the late XX and early XXI centuries. The research material is a monumental sculpture as the most important artistic element of the memorial ensemble in memory of the Sino–Japanese War in Beijing, which allows for artistic comparisons, including with similar monuments on the territory of modern Russia. The article provides an opportunity to reveal the nuances of artistic, spatial and semantic interaction between the memorial and the sculpture garden.

Keywords: ideological content, art form, historical memory, Sino-Japanese War, sculpture garden, Memorial complex, Chinese art, monumental sculpture, Beijing, transformation

Abstract: The object of research is Chinese fine art presented in Soviet museums, museum practice and scientific discourse that has developed around the study of Chinese art in the USSR. The subject of the research is the specifics of designing exhibitions of Chinese art in Soviet art museums and the issues of its historical transformation. The analysis of a number of exhibition events held in Soviet museums and dedicated to Chinese fine art is proposed. During the consideration of the topic, such issues as the factors that influenced the methods of Soviet scientists in planning Chinese expositions, the degree of their effectiveness in relation to communication between the Soviet viewer and works of Chinese fine art are traced. This material is used to reconstruct the process of transformation of Soviet art critics' approaches to presentation and communication in the field of Chinese art. The comparative historical method is used to allow a comparative analysis of the Early Soviet and late Soviet periods in order to comprehend the issues of the evolution of scientific knowledge about Chinese art, approaches to its research, museum presentation and communication in this area. A descriptive method of analyzing exhibitions and collections of Chinese fine art in Soviet museums is used. For the first time, the nature of Soviet museum studies of Chinese fine art is generalized, the approaches of Soviet researchers to presentation and communication in the field of fine art in China are revealed, and their historical transformation is traced. The main conclusions of the study are as follows. The nature of the evolution of Soviet researchers' approaches to presentation and communication in the field of Chinese fine art in USSR museums is determined by the movement towards the development of deep scientific ideas, which in the late Soviet period provide a reliable basis for the effective implementation of certain approaches to exposition planning, the complication of exhibition events, the movement of Soviet museological theory from an ideologized view of exposition material as a means education of a citizen of a new formation, to the perception of an independent artistic idea of exposition works. Since the second half of the 1980s, new principles of artistic communication between the viewer and works of fine art have been formed in the USSR: an independent artistic idea of exposition works is brought to the fore, which provides favorable conditions for the Soviet viewer to perceive traditional Chinese aesthetics as a separate phenomenon of ancient and original Chinese culture.

Keywords: Soviet museology, presentation of art objects, museum communication, exhibition, the exposition, Chinese collection, the museum, Chinese art, artistic communication, Chinese aesthetics

Abstract: The article is devoted to the study of the conditions for ensuring the information security of Russian citizens when using generative "artificial intelligence" technologies in the socio-cultural sphere. The relevance of the topic is due to the modern high rates of development of computer neural networks that generate multimedia content: texts, images, sounds and videos. The developers classify generative technologies as "artificial intelligence", position them as a "new nuclear project" capable of radically increasing the productivity of socio-cultural creativity, and receive significant government, corporate and investment financing. The object of the study is modern multimedia generative models, the subject of the study is the possibility of their use in the socio-cultural sphere of creativity and the associated risks of information security. The purpose of the study is to determine the conditions for ensuring the information security of Russian citizens when using multimodal generative technologies in the socio-cultural sphere.  The research materials are scientific publications of recent years (2021–2024) in Russian journals of the HAC list (categories K1, K2) and international Scopus publications (quartiles Q1, Q2) devoted to research and critical analysis of the possibilities of multimodal generative models, associated risks and security tools. The philosophical methodology is applied: theoretical and cultural analysis, synthesis. The scientific novelty of the article is due to the application of a philosophical theoretical and cultural methodology for a critical comparison of the declarations of developers and the actual potential of applications of multimodal generative technologies. The result of the study is an assessment of how greatly exaggerated the risks predicted based on the positioning of the technologies in question as "artificial intelligence". The real risks are proposed to include: the incompatibility of development costs with the usefulness of the results; lowering the cultural level of professional and amateur creativity and worsening the tastes of the mass audience; use in "social engineering", fraud, mass disinformation, fake news, manipulation of public consciousness, "cancellation culture", destruction of traditional values and substitution of socio-cultural identity. The means of ensuring the safety of Russian citizens in the development and use of multimedia generative technologies in the socio-cultural sphere are recommended.

Keywords: cancel culture, social engineering, fake news, disinformation, mass culture, multimedia generative models, artificial intelligence, information security, traditional values, socio-cultural identity

Abstract: The object of the study is a Chinese screen. The subject of the study is the characteristic features of the Chinese screen based on the material of the Hermitage collection. During the consideration of the topic, such issues as the degree of study of the issues under consideration, the connection of the screen with the fields of fine and decorative arts are traced and analyzed. The analysis of seven items from the collection of the State Hermitage Museum is carried out. The analysis of rare samples of the Chinese screen allows us to identify the characteristic features of this subject, the specifics of the development of the Chinese screen in the XVIII – XIX centuries, as well as to discover its relationship with the spheres of decorative, applied and fine arts of China. The author examines in detail the artistic features of the objects, their design characteristics, the use of various materials – porcelain, wood, metal, jade, the content of calligraphic inscriptions appearing on the objects in the context of the aesthetics of the epoch and socio-cultural space. The research involves the systematization of information related to collecting, studying, and describing the screen in Russian museum practice and theory. Traditional methods of art criticism and historiographical analysis are used; a combination of formal and iconological methods allows to create a reliable idea of the works of art under consideration, identify meaningful and formal features; the historical and cultural method allows to clarify the nature of the patterns of screen development. The scientific novelty of the research primarily consists in the fact that for the first time an analysis of the Chinese screen in the collection of the State Hermitage Museum is carried out, a detailed description and a comprehensive art historical analysis of a number of previously unexplored objects are given. The systematization of Russian publications devoted to the problem of the screen is carried out, in particular, offering a description and analysis of certain screens. The study clarifies and expands existing ideas about the Chinese screen, clarifies the attribution of a number of objects in the collections of the State Hermitage Museum. It is concluded that the objects presented in the Hermitage collections are of considerable variety and give an idea of the variety of techniques and materials for creating screens in China in the XVIII – XIX centuries, allow us to see the connection between the art of creating screens with the field of decorative and applied arts and painting. The screen of this period is a work of art with high artistic value. The aesthetics of the screen is connected not only with the current trends in the development of decorative, applied and fine arts, but also with the socio-cultural context.

Keywords: jade, lacquer, porcelain, collection, Hermitage, decorative and applied arts, museum collections, Chinese art, The screen, cloisonne enamel

Abstract: The purpose of the study is to identify the main forms of presentation and positioning of Russian fine art, in particular the St. Petersburg art school, in the cultural space of modern Shanghai. The research material is the works of fine art by artists from Russia, which were presented during this period at exhibitions and other cultural and educational events in Shanghai. Tasks: to determine the range of events in Shanghai in which the works of Russian artists participated in the 2010-2020s.; to characterize the works of Russian authors presented at exhibitions, including through the artistic analysis of the latter; to identify the authors, themes, genres and images of Russian painting, and historical periods that are in demand by residents of the Chinese city. The theoretical and methodological basis of this research is the works on the history and theory of Soviet and modern Russian art, the art market, philosophy and aesthetics, as well as factual materials related to the artistic life of modern Shanghai, especially those presented in announcements and descriptions of exhibition projects and other events in Shanghai with the participation of Russian painting. The novelty of the study is due to the fact that it highlights the current situation in the field of presentation of Russian art by Chinese institutions on the example of Shanghai, a city that is traditionally famous for its ties with the culture of its northern neighbor, especially with St. Petersburg – the cradle of the artistic traditions of Russian art. By referring to the material of art exhibitions of the 2010-2020s, which took place in different spaces of Shanghai, the author analyzes which approaches the curators of such projects prefer in the presentation of Russian painting, both modern and Soviet period. An artistic analysis of the pictorial material of the exhibitions is carried out. The main function of these events is determined by the comparison of Russian and Chinese painting, which is important for new generations of masters.

Keywords: Sino-Russian relations, cultural space, exhibition activities, presentation of art objects, St. Petersburg Art School, positioning forms, St. Petersburg, Shanghai, China, Russian fine art

Abstract: The object of the study is the design of tea packaging in China. The subject of the study is the problem of the formation of a national features in the design of tea packaging in China. During the research, such issues as the brief history of the subject of research, the specifics of the modern view of tea packaging in China, the main factors in the formation of approaches to the development and design of tea packaging with national specifics, the concept of a "cultural and creative product" are traced. The problem of integrating elements of traditional culture and aesthetics into the sphere of modern design of tea packaging products is considered separately. In addition, an analysis of examples of successful design is given, in which the competent and effective use of cultural tradition is traced. The advantages of using one's own tea packaging language as a product promotion factor are revealed. The study involves the systematization of available information on the theory and history of tea packaging design in China. An integrated approach is used to create a holistic view of the formation of China's own design language for these products. The scientific novelty of the study is due to the fact that for the first time a complex of issues related to the problem of forming a national language in tea packaging design in China is being studied. Individual samples of modern Chinese tea packaging design are being introduced into scientific circulation. The author's main contribution to the research of the topic is to identify the grounds that determine the features of the process of developing one's own language in tea packaging design in China at the present stage. The main conclusions of the study: currently, the formation of China's own tea packaging language is associated with the actualization of cultural tradition and spiritual heritage, which is associated with the orientation of tea producers not only to the Chinese consumer, but also to a foreign audience. The development of a national language in the design of tea packaging has the character of adapting traditional culture and aesthetics, the principles of which are determined by the concept of a "cultural and creative product".

Keywords: visual culture, spiritual heritage, creative product, cultural product, designing, national culture, national tradition, tea packaging, packaging design, Chinese design