Abstract: The subject of the study is the vocal cycle "Songs of the Wayfarer" by G.V. Sviridov, set to poems by Chinese poets translated by Yu.K. Shchutsky. The significance of this work extends far beyond a simple reference to Eastern poetry. The article examines the characteristics of the musical embodiment of Chinese poetry in the vocal cycle "Songs of the Wayfarer" by G.V. Sviridov. Taking the song "Return to the Homeland" as an example, a detailed analysis is conducted of the musical and expressive means employed by the composer to convey poetic imagery. Special attention is given to the texture, harmony, and form, as well as the methods of creating a synthesis of Russian musical tradition and Chinese poetic imagery. The role of the piano accompaniment in creating an artistic whole is investigated. Characteristic features of Sviridov's late style are identified in the context of intercultural dialogue. The research is based on a comprehensive approach that includes historical and cultural, textual, and musicological analysis. Methods of comparative analysis, structural-functional analysis, and semantic interpretation of the musical text are applied. The scientific novelty of the study lies in the identification of unique mechanisms for the transformation of Chinese poetic imagery within the context of Russian musical tradition. For the first time, specific techniques that allowed Sviridov to achieve an organic synthesis of Eastern poetic contemplation and Western compositional technique are analyzed in detail. The conclusions of the study demonstrate that the great Soviet and Russian composer Georgy Vasilyevich Sviridov created an original musical language, avoiding direct quotation or superficial stylization of Chinese music. The cycle features a special type of melody that combines the lyrical quality of Russian romance with the conciseness of Eastern poetry, a carefully thought-out textural dramaturgy, flexible metrorhythmic organization, and a particular approach to timbre. The significance of the work transcends the realm of experimentation in intercultural dialogue, touching upon universal themes of human existence.

Keywords: musical form, Songs of a Wanderer, style, Melody line, piano accompaniment, intercultural dialogue, musical analysis, vocal cycle, Chinese poetry, Georgy Sviridov

Abstract: The article examines the impact of Soviet cultural policy on the evolution of the genre system of animated cinema from 1953 to 1991. The relevance of the study is determined by the need for a comprehensive analysis of the mechanisms of direct and indirect influence of state ideology on the artistic features of animation, which played a defining role in shaping the cultural landscape of the era. The subject of the research is the relationship between Soviet cultural policy and the genre development of domestic animation. The main attention is focused on a detailed analysis of the phased transformation of genre models, the fundamental changes in visual-narrative strategies, and the complex dialectical relationship between ideological demands and the creative search of authors. The work systematically conducts a scientific periodization of the development of genres and meticulously investigates the stable correlation between a radical change in political courses and the subsequent modification of plot structures. The article employs comparative methods, historical content analysis, as well as the method of systematization and synthesis of data, which allowed for an objective assessment of the influence of state ideology on the genre structure of animated films. Special attention is given to the systematization of genres by time periods and the transformation of plot schemes under the influence of political settings. The goal of the work is to determine the role of state cultural policy in shaping the genre diversity of Soviet animation. The conclusions presented expand the understanding of the relationship between ideology and the artistic language of animation. The research demonstrates how state initiatives stimulated the development of certain genres (such as educational and propagandistic) while limiting others. The novelty of the study lies in its approach, which combines historical content analysis and comparative methods to consider animation as a mirror of the cultural-political processes of the Soviet era. The materials of the article may be useful to specialists in film studies, cultural studies, and the history of animation, as well as to anyone interested in the mechanisms of interaction between art and power in the USSR.

Keywords: domestic cinema, visual techniques, experimental animation, author's animation, socialist realism, ideology, cultural policy, genre structure, animation, Soviet culture

Abstract: This study examines the complex visual and spatial mechanisms of female representation in Chinese Buddhist cave art, with a particular focus on the Longmen Grottoes. As sacred architectural complexes, Buddhist caves are not only repositories of devotional images but also gendered spaces in which hierarchical social structures and religious forms of subjectivity are encoded. Women frequently appear in these visual programs—primarily in the role of donor figures—but their depiction is typically marked by marginal spatial placement, reduced scale, and stereotypical facial and bodily features. These visual strategies simultaneously render women visible and push them to a symbolic periphery, creating a dual process of representation and erasure. This research centers on the representation of women in Chinese Buddhist cave art, addressing a cutting-edge topic at the intersection of religious art and gender studies. The article engages in a comprehensive discussion of the mechanisms through which gender and power interact in Buddhist iconography. It combines the theory of alterity with the practice of Buddhist visual language to move beyond the traditional, simplified depiction of donor figures. The argument is presented through feminist critique and image analysis. Against the backdrop of a growing re-evaluation of female spiritual subjectivity and the increasing study of women's positions within non-Western visual traditions, this work offers a Chinese perspective on how women construct spaces of agency within traditional religious and patriarchal structures. It also contributes a cultural perspective to contemporary discussions on gender equality and religious diversity. The aim of this research is to analyze the visual representation of women in Chinese Buddhist art, with a special emphasis on cave art—particularly the Longmen Grottoes. The study seeks to explore how gender and power interact in Buddhist iconography and how female figures express their spiritual practices and subjectivity while situated within religious and social structures.

Keywords: Feminine representation, Patronage, Religious space, Visual subjectivity, Iconography, Gender and religion, Female patron, Longmen Grottoes, Buddhist cave art, Otherness

Abstract: Medicine today has gone beyond the boundaries of a science; it is actively present in the cultural space. Hygienic practices and sanitary standards regulate human behavior. In this regard it is very important to popularize medical knowledge. The museum can be a useful tool for this purpose. In 1893, firstly in russian history the All-Russian Hygienic Exhibition was organized. The subject of the article is the methods of displaying medical knowledge at the First All-Russian Hygienic Exhibition. The aim of popularizing hygiene and health education at this exhibition was transferred to the hands of doctors. The First All-Russian Hygienic Exhibition was poorly attended despite the importance of its topic and careful preparation. That’s why the problem of the methods of presenting information used in the design of the exhibition should be analyzed. For the stated purpose, the methodology of M. Foucault was chosen - his characteristic of the "medical view", which determines the methodology of medical research in clinical medicine and, more broadly, the view of the world in general. At the First All-Russian Hygienic Exhibition, a conflict between the medical view and popularization can be observed. The organizers of the exhibition - doctors spoke in their "medical language", designed it in accordance with their vision of the world, which alienated visitors. As a result, the visitor found himself in a kind of huge sick body – a panorama of the sanitary system of the Russian Empire, in which from a multitude of exhibited parts it was necessary to select symptoms (unsanitary practices) and, having analyzed them, develop a treatment (individual hygienic measures). Doctors easily navigated the uniform series of exhibits and statistical data, and found useful information for themselves, but for a simple visitor such complex intellectual work turned out to be beyond their capabilities.

Keywords: clinical medicine, statistical nature, concreteness, materiality, methods of exhibiting, medical view, popularization, exhibition design, medical museum, hygienic exhibition

Abstract: The article examines the transformation of the aesthetics and style of Chinese porcelain in the 20th-21st centuries in terms of its innovative functionality. The study considers the new functions of Chinese porcelain as a complex phenomenon. Innovation incorporates three aspects: technological development, changes in cultural meanings, and market adaptation. It shows how traditional craftsmanship methods and time-tested techniques of decoration and form creation are being replaced by new ones. In the new methods of working with products, digital technologies and modern materials are combined with historical heritage. The aim of the article is to highlight the possibilities of preserving the foundations of traditional art in conjunction with contemporary ideas and methods. Examples of the development of ceramics are provided: from new decoration techniques in the early 20th century to modern experiments. The research is interdisciplinary, combining historical and cultural analysis of sources, comparative study of technological processes, and empirical evaluation of contemporary projects in ceramic art and industrial design. Cultural analysis is employed in the research to demonstrate how the canons of beauty and the symbolism of the past coexist in the realm of modern functionality, extending into digital culture. The scientific novelty of the research lies in its interdisciplinary approach, integrating art history, technology, and cultural studies. It is shown that digital technologies do not replace traditional methods but rather enhance their cultural value. This work also contributes to the study of the impact of globalization on the porcelain market, presenting an analysis of the demand for souvenirs and works of art. The conclusion is drawn that knowledge of cultural traditions assists contemporary designers, and technological modernization (digitization, 3D printing) does not substitute traditional practices but, on the contrary, reinforces their cultural significance. The content of the article may be useful for researchers preserving the heritage of any culture through the reinterpretation of its cultural symbols. The author suggests that tradition and innovation do not oppose each other but mutually support one another in a continuous dialogue between eras, where technological breakthroughs find meaning through connection with cultural memory.

Keywords: design, market demand, influence of globalisation, 3D printing, contemporary porcelain, decorative craftsmanship, tradition and modernity, functional innovation, Chinese porcelain, cultural heritage

Abstract: The object of this study is Soviet science fiction cinema of the 1950s to 1980s. The subject of the research is the image of the alien in Soviet cinema from the 1950s to the 1980s in visual, narrative, and symbolic structures. The article examines the key stages of the transformation of this image—from the early utopian model of the "other" to complex metaphysical and allegorical figures in late Soviet cinema. Special attention is given to the visual, genre, and stylistic means used to create the alien image: sets, lighting and editing dramaturgy, artistic codes of animation and live-action cinema, as well as sound and spatial solutions. The theoretical and methodological basis for this work includes the works of domestic researchers M. Yampolsky, M. Kogan, O. Kozhemyako, A. Sinitsin, I. Zhukov, S. Lem, S. Dobin, E. Ryazantseva, M. Voronin, N. Gromov, I. Kondakov, E. Ulyanova, V. Zhitenyov, as well as foreign researchers T. Dobzhansky, S. Lem, R. Lewis, Y. Tsivian, M. Smith, G. Roberts. The research methods include semiotic and visual-analytical methods, which provide an interpretation of the sign and symbolic structures that form the image of the alien, intertextual analysis that allows establishing connections between cinema and literary fiction (the works of Yefremov, Strugatsky, Lem, etc.), and a comparative method that enables the juxtaposition of different stages and stylistic traditions within the genre. The main conclusions of the study show that the image of the alien in Soviet cinema evolved from the embodiment of technocratic hope and dreams of interstellar solidarity to a visual expression of philosophical crises and ideological doubts. It becomes less a figure of the external other and more a screen metaphor for the inner self, God, conscience, utopia, and fear. The research demonstrates that through this image, Soviet cinema expressed both collective aspirations for the future and the hidden contradictions of cultural identity. The scientific novelty of the study lies in the comprehensive analysis of the image of the alien in Soviet cinema, emphasizing its artistic transformation: from a character of a utopian project to an allegorical figure of cultural and philosophical reflection. For the first time, this work conducts a systematic comparison of the visual and meaningful strategies involved in creating this image across different decades.

Keywords: Artistic means, Screen image, Ideology in art, Genre transformation, Philosophical allegory, Otherness, Visual culture, Alien, Science fiction, Soviet cinema

Abstract: The subject of the study is how the Russian artist Pavel Pokidyshev expresses and reconstructs an idealized social scene through his unique painting language. The article examines the following aspects in detail: the formation and expression of the painting language, the concept of time in the works (linear and interwoven time), the synthesis of visual elements from different cultures, and the mechanisms of constructing and conveying utopian ideals through visual art. Special attention is given to how Pavel Pokidyshev constructs the language of painting when transitioning from late Medieval art to early Renaissance art. The recreation and imagination of the "ideal society" in his works, the confrontation and merging of cultures from different historical periods, and how this reflects the concept of "linear interweaving of time." The concept of "linear interweaving of time" as a way to combine the mystical religious art of the Middle Ages, the knightly spirit, and the humanism of the Renaissance to recreate a utopian world, peaceful, harmonious, and free of contradictions. This work employs the method of systematization, the method of abstraction, and the method of literature analysis, combined with a metaphysical methodology of research. The main conclusion of the conducted research is that in the work of Pavel Pokidyshev, the styles of late Medieval and early Renaissance art merge, creating an art form that transcends generations. The author's special contribution is the visual overcoming of the boundary between reality and fantasy in his works, successfully combining reason and sensibility, tradition and innovation, mystery and humanism. His female figures, as spiritual symbols, embody individuality and the freedom of humanist thought of the Renaissance. At the same time, Pokidyshev dismantles the concept of linear time and constructs an idealized utopian world using complex historical elements and narratives in which space and time intertwine. The novelty of the study lies in the fact that Pokidyshev's art transcends the boundaries of time and history through a subtle language that returns to the values of human culture and thought and explores the relationships between reason and individual freedom. Evoking nostalgia for medieval mysticism while reflecting the intellectual liberation of the early Renaissance, his works form a unique bridge between tradition and modernity, demonstrating a profound connection between history and time.

Keywords: linear interwoven time, humanism, border, Fantasy, Reality, utopia, retro, ideal world, Renaissance, Middle Ages

Abstract: The subject of the study is the features of the architectural style known as "Stalinist Empire" as part of the cultural landscape of Crimea. The article examines the concept of "cultural landscape" and its significance in the multi-ethnic territory of Russia in general and Crimea in particular, the concept of architectural style, the influence of ethnic cultures and shifting state formations on the development of styles in Crimea, the formation of a local "Crimean style" during the modern period, and its impact on the subsequent development of postmodernism. The Empire style spread during the reign of Napoleon in Western and Eastern Europe, as well as in Russia, is analyzed. The reasons for the perception of the main features of the Empire style during the USSR under the rule of I. V. Stalin are explained using examples of several architectural objects in Crimea. The article employs an ontological method regarding the history of the Empire style, a comparative method to compare the features of European and Stalinist Empire, a synthesis method to identify their common traits, and an analytical method to study individual architectural examples. The main conclusions of the research are : 1. Architectural styles are an integral part of the cultural landscape of Crimea, as they reflect the socio-ethnic and religious components, as well as the state formations that followed one another in Crimean history. 2. The basic Empire style became the embodiment of the imperial rule of Napoleon Bonaparte and spread in the countries of Western and Eastern Europe, as well as in the Russian Empire in the first third of the 19th century. It is based on the ancient order system in its ancient Roman interpretation, with the introduction of features of the palace style of the 18th century – Rococo. 3. The term Stalinist Empire refers to the style of public architecture in the USSR during the rule of I. V. Stalin, in which, as in Ancient Rome and France during the Directory period, the ideas of uniting numerous territories under a single government were embodied. The Stalinist Empire in Crimea has a number of features related to the influence of regional characteristics of Crimean modernism, making it one of the recognizable markers of the Crimean cultural landscape.

Keywords: postmodern, Stalin's Empire Style, Empire style, architecture, style, Crimea, cultural landscape, rotunda, The spire, gallery

Abstract: This research is dedicated to color in the religious painting of the nomadic peoples in northern China. During the Tang and Song dynasties (7th – 13th centuries) – a period known as the "golden age" of Chinese painting – nomads also created their own artistic language with a distinct arsenal of expressive means, particularly concerning color. The choice and semantics of colors were built on a combination of active borrowings from different cultures, including Han culture, and at the same time on the ethnocultural characteristics in the perception and interpretation of color and color combinations. The object of this study is seen as the evolution of artistic expressiveness in the painting of the nomadic peoples of Northern China. The subject is the influence of the artistic traditions of other peoples on the techniques of color usage in nomadic painting. Methodologically, the article relies on approaches that study various aspects of the existence of artistic traditions of nomadic peoples, their formation, and evolution. Works by Russian and Chinese researchers dedicated to the analysis and interpretation of the visual language of nomad art have been used. The study takes into account data from archaeology, anthropology, ethnography, and cultural studies. The novelty of the work lies in its proposal to establish clear guidelines that allow for the recognition of the closeness of the artistic expression means of nomad art, particularly regarding color. The article presents various aspects of the significance of color and hue in the art of northern nomadic peoples in medieval China, exemplified by fresco painting. In accordance with the premise, an analysis of the color characteristics of works by representatives of these peoples, who populated the territories of modern Xinjiang, has been conducted; borrowed and indigenous features in the choice, usage, and semantics of color in compositions have been revealed, developed by artist representatives of nomadic culture through transformations of hue in religious art; and perceptions of the creativity of nomads in China have been expanded, which in turn allows for an examination of trends in the art space of the nomads of Russia in the future.

Keywords: Chinese painting, color, nomadic culture, Northern China, nomads, nomadic peoples, Uyghurs, Han, Xinjiang, Silk Road

Abstract: Digitalization of art and the influence of digital technologies have transformed the art of creating Chinese posters, combining classic aesthetic techniques with the latest achievements in the field of media. This study dives into the analysis of the fusion of traditional elements of China’s poster art with modern digital methods, understanding the impact of digitalization on the evolution of design and visual presentation of information. The transformations that the art of the poster underwent are analyzed – from its role in socio-political processes to its current position, where ancient practices and modern innovations merge into a single whole. The field of design in the context of digital media art covers many areas and is reflected in various fields, especially in such as the creation of advertising materials, the formation of architectural space and industrial design, the development of multimedia products, design in the field of online media, as well as innovations in the field of displayed graphics and interfaces. Such creative action in the field of design is a process based on the use of computer technology for artistic creation. Artists and designers are required not only to form works of art with deep aesthetic qualities, but also to meet the growing needs of society in the field of beauty and the development of artistic and aesthetic concepts. The purpose of our research is to capture and analyze the process of merging the traditional art of the Chinese poster with modern digital media, through key aspects of the mutual influence of the latter, as well as to assess the values of integration for the development of contemporary art. Research methods include analysis of scientific literature and sources on the Chinese development of digital media arts, comparative and content analysis, visual content for the study of stylistics, technique.

Keywords: design, Chinese poster, visual communication, poster, art, tourism, cultural heritage, design concepts, multimedia, digital art