Abstract: The upbringing of the younger generation as one of the urgent socio-cultural problems of mankind described in the works of thinkers of Antiquity, the Renaissance and Enlightenment by foreign and domestic authors of the 19th-20th centuries. In the paradigm of the upbringing of the younger generation the emphasis is on a comprehensively developed personality that embodies the unity of the spiritual, intellectual and physical principles. The subject of research is the ideas of physical education of the younger generation, reflected in the storylines of the works of art of the Russian literature classics. The purpose of the study is to actualize the ideas of physical education reflected in the works of Russian classics of the 19th – early 20th centuries, in the context of the problem of harmonious personal development. The used methodology of the interdisciplinary approach determines the inclusion in the study of an analysis of examples from the works of L. N. Tolstoy, A. P. Chekhov, I. A. Bunin, A. I. Kuprin, G. I. Uspensky, V. V. Nabokov, etc. illustrating the reflection of the phenomenon of physical culture and sports in Russian literature. The author concludes that the texts of works of art reflect an understanding of the positive impact of physical education and sports on the comprehensive harmonious development of the individual, and therefore the experience of the past can be considered as positive. In educational institutions of prerevolutionary Russia, as well as in noble families, the issues of physical education and the development of the younger generation were of great importance in the formation of the need for a healthy lifestyle, active leisure, and health promotion.

Keywords: fiction, ideas, Russian literature, comprehensively developed personality, younger generation, physical culture, sports, physical education, culture, writers

Abstract: The article presents the results of a research monuments of religious wooden architecture. They are considered as the main component of the settlements sacred landscape in the Russian North and the Arctic. The case study uses materials from the village of Kimzha, Mezensky District, Arkhangelsk Region. However, the author also addresses religious buildings in the territory of Oneghskoye and Terskoye Pomorye. The object of research is the sacred landscape of rural historical settlements in the Russian North. The research aim is to analyze the sacred landscapes of settlements at the present stage of their existence (late 20th–early 21st centuries). The case study uses new materials from a field survey of the representative village of Kimzha. Materials of the Pomor and Tersky coasts research are also used. The research is based on the application of the methodology of Dr. of Cultural Studies A.B. Permilovskaya on architectural and ethnographic survey of wooden architecture objects, on historical settlements as objects of cultural heritage. Scientific novelty consists in specifying the range of surviving monuments of religious architecture, their significance in the process sacred landscapes formation not only in historical retrospect, but also at the current moment in time. It is concluded that the wooden church, chapel, cross in rural historical settlements of the North are preserved and recreated within the framework of the existing canon, due to which the continuity of both carpentry and religious traditions is ensured. They also acquire the function of preserving collective memory, a tool for transmitting the cultural experience of the people; they acquire special significance as visual and historical-cultural dominants in the cultural and sacred landscape of settlements, contributing to the development of local tourism industries.

Keywords: Orthodoxy, Pomors, cross, church, wooden architecture, cult architecture, traditional culture, sacred landscape, Russian North, Arctic

Abstract: The article examines the uniqueness of the narrative design in domestic textiles of the 1920-1930s. Subject of the study: substantive (figurative-thematic) and formal (means of artistic expression) aspects of narrative compositions of domestic printed fabrics of the 1920-1930s. Object of the study: samples of domestic printed fabrics of the 1920-1930s with narrative designs. The purpose of the article is to identify and analyze the substantive and formal aspects of narrative designs of domestic printed fabrics of the 1920-1930s. In achieving this goal, the author examines the figurative and thematic components of narrative designs of fabrics (the embodiment of the history and ideology of the post-revolutionary period, features of the display of national themes, intergenre interaction in narrative scenes). Particular attention is paid to the means of artistic expression, in particular the methods and forms of subject and conventional depiction. The methodology of the conducted research is based on the understanding of the category of "artistic style", developed in the domestic philosophy and theory of art (V.P. Bransky, V.G. Vlasov, E.N. Ustyugova), as a certain substantive and formal integrity formed in the context of its historical era. The author used the methods of formal-stylistic, iconographic, cultural and historical analysis. The novelty of the study lies in the attempt to highlight the formal and substantive aspects of the organization of the artistic integrity of the plot patterns of domestic printed fabrics of the 1920-1930s, which has both theoretical significance (use of the proposed methodology in further studies of the history of textiles) and practical value (use of the results in modern practice of fabric ornamentation; in the field of training textile designers). The main conclusions of the study are as follows: 1) plot compositions constitute a significant part in the art of fabric ornamentation of the studied period, being a figurative reflection of the era; 2) narrative drawings had a dual character: a combination of thematic unity of narrative compositions and the diversity of the formal character of the drawing; 3) in new subjects of textile drawings it is possible to identify characteristic substantive features that connect them with fine art; 4) formal features are characterized by a variety of artistic approaches in solving common themes associated with new subjects, which allows us to note the simultaneous coexistence of the traditions of realism and avant-garde trends in the style of narrative drawings.

Keywords: artistic textiles, avant-garde art, ornament, plot drawing, textile pattern, printed fabrics, propaganda textiles, Soviet propaganda chintz, traditions of realism, soviet art

Abstract: The article continues a series of studies by the authors devoted to the consideration of the activities of famous musicians-teachers of the South Urals in the heroic paradigm – as outstanding masters who have achieved impressive results in pedagogical work, have received wide public recognition, are perceived by the professional community as a model of service to their cause and an axiological guideline for the younger generation. The purpose of this work is to present the activities of famous musical teachers of the Southern Urals in an integrative context. In this article, the personalities of outstanding teachers of the P.I. Tchaikovsky South Ural State Institute of Arts (hereinafter referred to as the Tchaikovsky Law School) - E.G. Bykov (balalaika), V.V. Kozlov (guitar), A.A. Heineman (French horn, orchestral conducting) are chosen for study. The methodology consists in using an integrated approach and synthesis of research methods in pedagogy, art history, and cognitive linguistics. The scientific novelty of the article lies in the fact that the heroization of the personality of the teachers-musicians of the Tchaikovsky YUrGII is revealed integratively: in the didactic aspect (creation of their own outstanding pedagogical school), culturological (enrichment of cultural achievements of the region through fruitful and highly productive creative work of professional heroes), communicative (establishment of stable artistic communication with the public through creative activity of students), axiological (formation of reference principles and methods of work of a professional teacher, acting as axiological guidelines for the younger generation of musicians). The theoretical significance is expressed in a systematic and consistent study of the pedagogical heritage of outstanding masters of art of the South Urals, which allows us to enrich the history of the development of the Tchaikovsky School as one of the leading creative universities in the region. As a result of the research, the hypothesis is proved that the activities of outstanding musical teachers should be considered as a phenomenon of the spiritual culture of society in the unity of transformative, cognitive, value-oriented, communicative potential, and only integrative perception allows us to identify aspects of the glorification of personality most fully and in relief.

Keywords: heroic linguistics, art history, integrative context, creativity, teacher, heroic paradigm, music pedagogy, professional hero, musical and pedagogical activity, personal-creative paradigm

Abstract: The subject of the study is the totality of the main stages of artistic cultural exchange between Beijing and Moscow from the 1950s to the present. The object of the study is the historical process of artistic and cultural exchange between Beijing and Moscow from the 1950s to the present. The article examines the period of educational activity of the Central Academy of Fine Arts in Beijing, where special attention is paid to the contribution of Konstantin Methodievich Maksimov to the development of art in China in the 1950s. Topical issues of cultural policy and mutual understanding in the field of art between the two countries are discussed, as well as the impact of these events on strengthening relations. The author focuses on the importance of the "Festivals of Art and Culture" held in Moscow and Beijing after the reform and opening of China, which became an important catalyst for dialogue between artists and cultural institutions. The research methodology is presented by publications of Russian and Chinese scientists, which were analyzed for theoretical material relevant to the topic of this article. The article opens up new perspectives for further study of the periodization of artistic cultural exchange between Beijing and Moscow. The author believes that China's initiatives on reform and openness policy have proved to be a driving force for deepening cultural interaction, which has reached new heights. As part of this process, many events and festivals have been organized aimed at cultural rapprochement between the two States. The consequence of these events was the fact that the 2024-2025s. They have been declared the Years of Culture of Russia and China, which, undoubtedly, must be taken into account in order to further continue the description of the periods of artistic exchange.

Keywords: Stages of art development, travelling exhibitions of artists, joint exhibitions, cultural festivals, contemporary art, relations in art, 21st century art, Beijing artists, Moscow artists, cultural exchange

Abstract: The purpose of this work is to define the semantics of coloratives in the artistic discourse of one of the brightest representatives of the first wave of Russian emigration, Boris Poplavsky. His work is a kind of aesthetic experiment, which is carried out at the level of form, content, and naturally poetic language. The subject area of the study is the lyrical texts of B.Y. Poplavsky, they are concentrated in comparison with the author's prose and have proper color nominations that expand the semantic halo of the author's artistic world. The analysis of the semantics of coloratives makes it possible to identify the stylistic dominants of Boris Poplavsky, to compare his writing style with a number of experimental artistic trends of the early twentieth century. The discursive nature of B.Y. Poplavsky's writing is deliberately associated with the expansion of the semantic boundaries of a literary work. The continuous sampling method is not the main one in the work, because the purpose of the article is not to concretize the statistics of the use of a particular color, but to identify the functional limits of the color palette of B. Poplavsky. This does not contradict scientific research, the content layer is the main one within the framework of cognitive linguistics, sociolinguistics, semiotics. The results of the work can be used in university practice, when studying the poetics of B.Y. Poplavsky's texts, determining the specifics of his artistic orientations. In our opinion, Boris Poplavsky's poetry is the most advantageous for illustrating the color significance, since his texts are focused on visual arts – surrealism, avant-garde, and modernism in general. The novelty of work in building a systematic and holistic hierarchy of color in Poplavsky. At the same time, it can be noted that the functional load of the coloratives is not uniform. We have identified such options as emotional-evaluative, nominative, axiological, receptive, and, of course, visual (figurative). Boris Poplavsky's poetic cosmos is verified due to color combinations, it is important that semantic expansion is not excluded.

Keywords: artistic image, semantics, color, color vocabulary, lyrics, Boris Poplavsky, visual art, sense, reception, style

Abstract: The article substantiates the essential characteristics and factors of the development of tourism activities based on gastronomy, as a form significant in the promotion of territories and their branding. Our research is significant for understanding this issue in the Republic of Sakha (Yakutia). The form of tourism we have mentioned plays a significant role in the branding of territories, as it allows regions to stand out and attract tourists through unique culinary offerings. The object of the study is the branding of territories. The subject is gastronomic tourism as a form of socio-cultural branding of territories. The authors consider such aspects of gastronomic tourism as cultural immersion, economic impact, importance in the formation of the territory's brand, its sustainable development and educational opportunities. These aspects emphasize the importance of gastronomic tourism as a multifaceted and significant area in international tourism, contributing to cultural exchange and economic development. The work uses a culturological approach, descriptive and the method of included observation, reception of analysis and synthesis, induction and deduction. The SWOT analysis method was aimed at understanding the strengths and weaknesses, opportunities and threats to the development of the tourism industry in the region. The relevance of the study is due not only to the growing interest in gastronomic tours in world practice, but also to the importance of this type of tourism in positioning regional culture and promoting the territory. Recommendations have been developed aimed at developing and strengthening gastronomic branding in the Yakutia, the implementation of which will allow the formation of a strong gastronomic brand of Yakutia, contributing to attracting tourists and supporting the local economy. The article emphasizes that the gastronomic brand is a powerful tool for the development, strengthening and promotion of regional territories, contributing to their economic growth and strengthening cultural identity.

Keywords: Yakutia, yakut cuisine, food culture, national cuisine, gastronomic culture, territory, brand, gastronomic tourism, tourism, culinary tourism

Abstract: The purpose of this study is to identify the potential of visual culture in contemporary studies of ethnocultural identity. The author examines in detail visual images, which he considers not only as ways of representation of ethnocultural identity, but also as important mechanisms of its construction. At the same time, the potential of the so-called images of identity becomes especially important due to the fact that visual images play an increasingly important role in the modern globalized world. Understanding and using their potential becomes a key aspect in the study of ethnocultural identity today, when visual culture is a powerful tool for understanding how images reflect sociocultural realities and how they interact with a wide range of social and cultural processes, and the study of ethnocultural identity becomes especially relevant in the light of globalization and digitalization of modern society. The author uses visual studies as the main research methodology, where the unit of research is the image as a carrier of meanings and an active participant of sociocultural processes. The main conclusions of this study are the following: visual culture is a dynamic space where visual practices and images not only reflect, but also actively shape ethnocultural identity, contributing to the critical rethinking of cultural interactions. Images of ethnocultural identity may include not only signs and symbols that are decipherable when perceived by a representative of a particular ethnocultural group, but also meanings that have a special potential hidden in visual images. Images of ethnocultural identity create a unique visual impression that reflects and shapes the values and traditions of a certain ethnocultural group. The study of the role of the visual in the context of identity allows us to conclude that visual images play a key role in its research to date.

Keywords: Meaning, Symbol, World view, Visual turn, Identity, Image of identity, Ethnocultural identity, Visual culture, Visual image, Image

Abstract: The research is devoted to the issue of changing the understanding of design and its current state. Although design originated in the West, today the East is beginning to play an increasingly important role in its development. As a product of modernist culture, design initially followed the principle of "form follows function", but after a "semantic turn" it began to be understood as meaning-making, and form followed meaning. However, today the understanding of meanings only through the prism of "language" has exhausted itself, the understanding today is that design not only intellectually generated meanings, but also senses–sensations, therefore Western design theorists and practitioners began to look for alternative ways of developing design, which turned out to be consonant with the path that is being followed in the East today. The purpose of the article is to summarize some of the results of the alternative "linguistic" understanding of design in the West and in the East. The subject of the study is the change in the ways of meaning formation in modern design. Research methods used in the article are: - methods of synchronous and asynchronous analysis, that allowed us to analyze transformations in the understanding of design, both historical and regional; - the method of generalization, including comparative analysis, allows to understand the difference in approaches to design and shaping in different regions. The article presents modern design as a multicultural process, where different regions contribute to the general "theory" of design. However, the current eastern way of design is heterogeneous. Here we can highlight the Japanese vision of design – the "meditative approach", which involves reflection of sensations, reliance on personal experience, as well as the Chinese vision of design that is just taking shape today. We see China's potential contribution to the development of design in the inclusion of "embodied mind" in the design process, when the correctness of the chosen solution is determined not only by speculative calculations, but "resonates" with the feelings of the designer and the customer, as well as in the concept of "living form", when not only compositional or functional connections between elements are seen, but also the coherence of their movements. The Chinese approach can be called "vitalizing".

Keywords: living form, meditative design, meaning-sensation, semiotics, embodied mind, Chinese design, design theory, Japanese design, semantic turn, meaning-making

Abstract: The subject of this study is the "ecological direction" as one of the most relevant in modern choral music by Chinese composers. The object of the study is to consider the stylistic features of the work "Journey" by Wang Chao. The purpose of this article is to study current trends in the development of choral creativity of Chinese composers. The author examines in detail such aspects of the topic as the "ecological" trend in the music of Chinese composers and the stylistic features of Wang Chao's choral writing. Special attention is paid to the a cappella choir as the most natural "ecological" instrument. The author states that the stylist Wang Chao is distinguished by philosophical and aesthetic depth, semantic concentration. The appeal to all means of artistic expression in Wang Chao's a cappella choral compositions is characterized by an individual approach to solving the ideas of "ecological" music. The methodology consists in the synthesis of research methods, including philosophy, aesthetics and musicology. The parameters of the musical composition were revealed: the analyzed genre specifics and features of choral writing. Special attention is paid to the analysis of sonorous compositional technique and elements of scenography. The research experience is aimed at establishing the interrelationships between musical environmental aesthetics and the development of modern Chinese choral art. The main conclusion of the research is the paradigm of a deep stylistic synthesis of secular and spiritual, national and pan-European in the choral music of modern Chinese composers. In particular, this position has become a determining factor in Wang Chao's musical thinking. The author's special contribution to the topic is the study of the composition "Journey" (途) for mixed a cappella choir, which has not previously been the object of special research. The novelty of the research lies in the fact that for the first time the "ecological" trend in Wang Chao's work is analyzed from the standpoint of philosophy, aesthetics, musicology and choral studies. Attention is focused on the need to study the "ecological" trend in the choral art of Chinese composers, associated with a new turn to the understanding of the role of sound in the universe and in regulating the relationship between man and the environment through sound and music, characteristic of ancient thinkers. In this regard, it is the sound of human voices in the a cappella choir that is becoming a landmark phenomenon.

Keywords: The creative method, journey, Wang Chao, choral performance, choral music, environmental direction, modern music, Chinese composers, musical sound, choral texture