Abstract: The culture of traditional clothing and jewelry is an integral part of the ancient Chinese civilization. Chinese traditional costume is distinguished by its rich content, relevance at any time, as well as its unique features. Traditional clothing was influenced by successive millennial dynasties that brought the chaos of war. Traditional Chinese clothing has not only become the embodiment of the Chinese concepts of "the unity of Heaven and man", "the ritual of respect for nature and harmonious coexistence with nature", but also a visual representation of the cultural characteristics of different dynasties and the level of development of production. Chinese traditional costume carries the thinking of many Chinese philosophical teachings and schools, reflects the clash and synthesis of agrarian and nomadic cultures of different regions of China. The value of culture carried by the Chinese traditional costume goes beyond the costume itself, it reflects both the social hierarchy, and the peculiarities of society management, and the national spirit. In this article, based on the objective and subjective conditions of the formation of the culture of Chinese costume and accessories, on the basis of ornaments, patterns, colors of garments, as well as on the example of the Shenyi robe that violated previous traditions, the features of the embodiment of Chinese traditional cultural values in clothing are considered.

Keywords: clothes, decorations, traditional clothing, Chinese cultures, ornaments, colors, cultural values, Chinese jewelry, China, culture

Abstract: The subject of the study is the purpose of man through the prism of the oldest occupation – hunting. The role of hunting in the development of human culture and the construction of its interaction with space is poorly spelled out by modern historians. In philosophical works, the discourse of the "hunting man" is presented as a form of violence, aggression, territorial expansion and cruelty towards oneself and nature. The lack of an adequate cultural conceptualization of hunting, its removal from the framework of civilizational and cultural factors is also due to the new movement in defense of animal rights, which generally blocks conversations about hunting. Meanwhile, bringing this topic to the public forum is necessary precisely due to the fact that against the background of the decline of commercial hunting, other forms of it are flourishing, which also need to be discussed and evaluated. The authors put forward the thesis that the development of the hunting theme will allow a deeper understanding of the features of the relationship between a person and a territory, its features of its existence in socio-biological space and time. It should be recognized as a property of a living being to counteract another living being. However, not only in humans, but also in animals, there are examples of altruism and caring for the younger generations. Therefore, the origins of aggressiveness and the desire of civilized people to use such an extreme form of recreation as modern hunting becomes should be sought in the device of the artificial environment in which modern man is formed. The condition for solving this problem is a philosophical analysis of norms and codes of behavior that determine the codification of the ultimate grounds and drivers of hunting, as well as the synthesis of human rights and animal rights to preserve the biospheric integrity of the planet Earth.

Keywords: hunting, philosophy, identity, code, construction, landscape, right, animal, anthropology, pandemic

Abstract: The creativity of Rozanov is realized as the flow of experiences and associations. This experiences are putting together by means of the topic-conception “becoming”, that belongs to ancient categories. This categories are used to collect the dividual intuitions of Rozanov. Doctrine of Rozanov is interpreted as the coordination between the outside and the inside ranges of becoming. The inside rang of becoming includes by Rozanov the movement of people and things from birth to death. The inside ranges are corresponded with concrete things and represents the complex analogues to the outside range. The specific by Rozanov lies in the impossibility of things to stop eternal formation. By Rozanov this formation eventually determines itself. It is by Rozanov the folded type of entropy. Rozanov explicates forms of entropy, when he describes his life und the being of world. His descriptions are the is the evidence. We explain the cosmos by Rozanov with help of ancient ontological categories and determine his creativity as an interaction between cosmos and chaos. To find balance between cosmos and chaos is the main eksistential problem of his doctrine and life. The decision of this problem is by Rozanov imposable, but this impossibility gives the opportunity to understand the world of Rozanov in context of different directions of philosophy.

Keywords: cosmos, technology, world, tradition, becoming, objectivity, energy, potency, entelechy, conception

Abstract: As a type of Chinese folk art, jianzhi paper carving expresses not only people's spiritual life, but also their aspirations for a better life. Chinese paper carving art is filled with simple life wisdom and good wishes, and the figurative symbols contain unique artistic value and national traits. However, in today's multifaceted development, the traditional art of paper carving with a thousand years of history is gradually fading away. Traditional folk art represented by paper cutting has also begun to be introduced into new fields, not only in graphic design, but also in installation design of public spaces, showing its rich expressiveness and deep artistic value. This paper will examine the characteristics of traditional national paper carving, highlight cultural differences between Eastern and Western paper carving art, combine traditional folk art of paper carving with modern artistic expressions, analyse symbolic and emotional imagery and explore new ideas for the development and innovation of Chinese national art.

Keywords: design, art, Tradition, culture, Traditional culture, China, national art, symbol, paper cut, artistic images

Abstract: In this article, for the first time, the work of Professor E. K. Virsaladze in class on the "Symphonic Etudes" Op. 13 by R. Schumann was reviewed and a small performance analysis of her performance in the Great Hall of the Moscow Conservatory was given. The concert took place on April 16, 2010, on the 200th anniversary of the birth of R. Schumann. The author, being a student of her class and an assistant trainee, made notes of the teacher's wishes in the work on the "Symphonic Etudes" by the romantic composer R. Schumann. The suggestions and recommendations expressed by E. K. Virsaladze on "Symphonic Sketches" are presented for the first time and have great practical and artistic value. The author discusses in detail the work on each etude. In his work, the professor pays attention to all means of musical expression: rhythm, strokes, dynamics… Advises a certain fingering, pedal… Such work of a teacher should undoubtedly contribute to obtaining certain performing skills from students for their further development. As an example, the article examines Virsaladze's performance of "Symphonic Etudes" in the Great Hall of the Moscow Conservatory in a concert dedicated to the 200th anniversary of the birth of R. Schumann. The article is recommended for students of music universities, colleges, colleges preparing for a concert performance of Schumann's works, in particular, "Symphonic Etudes" Op. 13.

Keywords: pedal, articulation, accents, dynamics, fingering, rhythm, Symphonic etudes, recommendations, Eliso Virsaladze, performance

Abstract: The article is devoted to the emergence and development of Yakut cinema. The object of the study is the Yakut cinema as a phenomenon of national culture. The first appearance of film installations in the Yakut region at the beginning of the XX century is considered. Attention is drawn to the process of mass cinematography in Soviet times. In parallel, the inclusion of Yakut people in the creative process of participating in the first filming at All-Union film studios in the 1930s is traced. Attention is also drawn to the prominent role of the Yakutkino State Trust, which led the development of Yakut cinema. The author analyzes the reasons for the rapid development of Yakut cinema in the post-Soviet period, related to the appeal to the traditions of the Sakha people, the high level of development of theatrical art in Yakutia, artistic and aesthetic needs and spiritual demands of the audience. The article shows the role of "Sahafilm" in the history of Yakut cinema.   The characteristic features of the formation of genres of journalistic cinema, the change of repertoire in the early years of Soviet cinematography and during the Great Patriotic War are revealed. The characteristic features of the post-war reconstruction of the technical equipment and training of personnel of the Yakut cinema are outlined. The genre diversity of films shot during this and subsequent times is shown, when, along with documentaries, feature films also begin to be shot. The development of Yakut cinema is traced against the background of all-Union and all-Russian processes. The formation and development of the main institutions of Yakut cinematography, the growth of the skill of its figures are examined through famous films created by them. For the first time, three stages of the development of Yakut cinema have been identified - from the very beginning to the present day: from "silent cinema" to the birth of the national film industry.

Keywords: movies, filmification, stages, development, becoming, cinematography, cinema, directors, Yakut cinema, actors

Abstract: The article is devoted to the study of the history of theatrical therapy in the no-si ritual drama. It is shown that, in general, the ritual elements of the no-si drama can be used in modern drama therapy. In addition, dramatic therapy, which is implied by the author in this article, is somewhat different from the modern concept of psychodrama, since it covers large areas of the human psyche. The author believes that it is not necessary to completely ignore this complex area of human culture, because regardless of function or form, dramatic therapy is closely related to the shamanic ritual of healing. The formation of the Chinese national drama took place in the context of the historical development of China. Having originated in the most ancient forms of shamanic rituals, the theatrical performance has evolved into a unique stage genre. Along with other earliest theatrical forms such as ancient Greek theater and ancient Indian drama, Chinese opera originated several centuries before our era, but unlike them it has survived to this day almost unchanged. Now Chinese traditional opera occupies an important place in the list of intangible heritage not only of China itself, but also of the whole world. One of the most important milestones in the development of theatrical art in China was the ritual drama "no-si", which today the ritual drama no-si in China is called a real "living fossil", because it is the oldest cultural form that has come down to us through the centuries. Archaic religious rituals, reflected in modern theatrical performances, testify to the mixing and syncretization of various religious traditions, including no-rituals and no-si drama, and modernity. The current generation is successfully modernizing the tradition of its ancestors in accordance with the times, preserving it in the centuries-old cultural memory of its people.

Keywords: ritual, No-si, China, theater therapy, chinese theater, chinese traditional opera, psychodrama, history, Moreno, theatre

Abstract: Jade products that imitate ancient Chinese art samples are a special kind of objects that, in their form and decor, are close to or likened to more ancient works of arts and crafts. The article explores the artistic form and characteristic features of imitations of ancient jade products of the Qing era, presented in the collections of Russian museums and the Palace Museum of China. The object of the study are objects of Chinese art of jade carving, which are in the collection of the Palace Museum (Beijing), the Museum of Anthropology and Ethnography. Peter the Great (Kunstkamera) of the Russian Academy of Sciences (St. Petersburg) and the State Museum of Oriental Art (Moscow), where the use of imitations of ancient objects was discovered. Artistic analysis of jade imitations allows us to conclude that the works of the Qing era were more complex and diverse in form, decor and carving techniques compared to Han products, while the craftsmen, although they managed to preserve the classical sophistication of objects, lost the severity and solemnity of Han jade. As well as the art history analysis of the works, one can see that the forms and decors of jade objects are the product of aesthetic consciousness. The novelty of this study lies in the fact that the varieties and features of imitations of ancient jade during the Qing Dynasty are summarized, and the huohuan technique in jade processing is confirmed. This may be of interest to researchers in related scientific fields.

Keywords: art form, technique, jade carving, aesthetic consciousness, jade processing technique, Qing dynasty, imitation ancient jade, Art Analysis, study, carving art

Abstract: The stone lion played an important role in ancient Chinese architectural decoration and was often used in traditional Chinese architecture in different Chinese dynasties. China is not the natural habitat of the lion, but this animal has long been revered by the Chinese. The stone lion is a metaphor of the Chinese culture. The stone lions are one of the most important artistic expressions in various arts. As the stone lion culture emerged, developed and matured, its artistic image has become a unique spiritual and cultural symbol in China. This article consists of three parts: the historical status and symbolic significance of stone lions; the characteristics and evolution of the stone lion image in different dynasties of China; and the decorative characteristics of stone lions in different subject-spatial environments. The article is devoted to research and interpretation of the symbolic meaning of the Chinese stone lion, its decorative characteristics in different subject-spatial environments; analysis of its characteristics and evolution of its image in different historical epochs. Using various examples the article shows how culture and ideology have influenced the evolution of the characteristics of the image of the Chinese stone lion.

Keywords: traditional culture, China, decor, symbol, stone lion, characteristics, architecture, culture, stone carving, Chinese culture

Abstract: The subject of the study is the cultural code "Rimon", covering phytomorphic symbolic images in the Jewish pictorial semiosis. The object of the study is the traditional symbolism in the pictorial practice of the Jews of the Crimea. The article uses the methods of semantic and semiotic analysis in deciphering the meanings of plant symbols of the pictorial semiosis of the Jews of the Crimea, the method of analysis of previous studies, the method of synthesis in structuring groups of signs. The authors consider the following aspects of the topic: the codes of the pictorial semiosis of the Jews of the Crimea are designated, their morphology, semantics, key meanings and the main code are substantiated. The phytomorphic Rimon code and its features are considered in detail.   The main conclusions of the study are: 1. As a result of studying the traditional culture of the Jews of the Crimea, five main codes of the Jewish pictorial semiosis were identified, covering the following groups of symbols: skewomorphic (subject), phytomorphic (plant), zoomorphic (animal), numeric. The source of all codes and the generalizing code is the Sefer code (Book). The interrelationships between the codes, four key meanings – Creation, Paradise, Torah persons and Messianic aspirations are revealed. The semantic center of the code system is defined – the Torah and Aron Hakodesh, as a repository of the Torah. 2. The considered phytomorphic code Rimon is a symbolism of traditional images of plants, the mention of which is found in the Torah, as well as in the Talmud and Midrash. The images of plants in the Jewish reading convey the meanings of human virtues and negative qualities, and also indicate the Messianic hopes laid down in the Torah and especially in the Midrash of the Talmud.The scientific novelty of the study consists in the fact that for the first time a semantic-semantic analysis was carried out and the interrelationships of cultural codes in the pictorial semiosis of the Jews of the Crimea were determined, with an emphasis on the Rimon code.

Keywords: Tree of Life, Remon, phytomorphic symbolism, Torah, Judaism, cultural text, Crimea, Ethnic group, Cultural code, decorative and applied art

Abstract: One of the iconographic trends that became especially articulated in the XII century is the strengthening of the role of typological logic in the selection and organization of subjects within the iconographic program of monuments of decorative and applied art, book illumination and stained glass. Interest in this kind of visual exegesis, based on the symbolic parallelism of the Old and New Testaments, generates experiments in the field of iconographic programs, which leads to the appearance in the late XII – early XIII centuries a number of monuments in which detailed typological cycles are used (the Klosterneuburg altar, typological stained glass windows of French and English cathedrals). The subject of the research in this article is the connection of the described iconographic trend with texts of a theological, theosophical and liturgical nature. Despite the fact that some of the mentioned texts have already been involved by researchers of Christian iconography for the interpretation of pictorial programs, a special study of the sources of "typological iconography" in the XII century has not been implemented yet. Based on the analysis of a number of texts and iconographic analysis of fine art monuments, an attempt is made to identify a group of sources that could be familiar to the compilers of iconographic programs. Among the monuments of fine art, works created in the Rheno-mosan region (as well as derivatives of this tradition) are of particular interest in the XII century. In this group of works of art (including processional and altar crosses, phylacteries, portable altars, works of stained glass and book illumination), searches in the field of typological iconography are consistently realized.

Keywords: Adam of Saint Victor, Honorius Augustodunensis, medieval book illumination, mosan art, exegesis, medieval art, christian iconography, typology, image and text, Harmony of Testaments

Abstract: Each Olympic Games will provide new material for research in the field of sports philosophy and social philosophy. This article raises the problem of understanding sports as a participant in social development on the example of the 2022 Winter Olympics in Beijing. The author analyzes the phenomenon of combining the philosophy of social sports, represented by the modern Olympic movement, and traditional Chinese philosophy. The main conclusion is that sport, as a social force, is reborn in the modern era due to the combination of Eastern and Western cultures and civilizations. This gives rise to new social cognition. The leadership of the countries hosting the Olympic Games gain experience and the opportunity to demonstrate their own political and economic strength and deep mental foundations. The Beijing 2022 Winter Olympics, taking place in a completely new societal environment (COVID-19 pandemic, world power realignment) is used as a case study for analysis. Using this example, the article shows the social significance of the Olympic Games and emphasizes that the social value of sports and the Olympic movement is reflected in the "spirit of fair competition" and the "spirit of peace", "human intelligence". This is a relatively new direction in the development of research in the field of physical education and social philosophy, and the special contribution of this study is to study one of the promising trends in the development of sports, that is, the modern Olympic movement, integrated with the national culture of different countries.

Keywords: Traditional, Nationalism, Chinese Culture, Modern Sport, Olympism, China, Beijing, Social Philosophy, Winter Olympic Games, Philosophy

Abstract: The subject of the study is collective trauma and its manifestations in post-war Italy. The definition of collective trauma is given on the basis of the works of sociologists and its characteristics. The purpose and novelty of the work is to explain the "phenomenality" of the journalist and historian Giampaolo Pansa. The contribution he made to the Italian consciousness after the release of the books "Children of the Eagle" and "Blood of the Vanquished", devoted to methods of retaliation against fascist arbitrariness during the Italian Civil War of 1943-1945, consists in explaining the bilateral collective trauma that arose as a consequence of the ideology of fascism, affecting both its supporters and its opponents.   The main conclusion of the study is the following. The method of J. Alexander's cultural sociology enriched with the existential grief of A.I. Etkind is analyzed. The meaning of socio-cultural trauma can be determined by answering the questions about what crisis events we are talking about, who is responsible for them, what are the consequences of traumatic actions. Turning these questions into a narrative is the most important problem for anthropology. The meaning of socio-cultural trauma can be determined by answering the questions about what crisis events we are talking about, who is responsible for them, what are the consequences of traumatic actions. Turning these questions into a narrative is the most important problem for anthropology.

Keywords: grief, violence, power, war, totalitarianism, collective trauma, fascism, creating a cultural fact, anthropology, culturalsociology

Abstract: The historical factors as well as the units of the cultural knowledge which are considered to have provided Chateaubriand’s books, and “The Genius of Christianity” in particular, with the success and the content are the subject of the present article. The following historical reasons which attracted the readers’ attention to the book have been defined: the disappointment of the society with the atheistic ideals of the revolution, the need for religious cult restoring, the authorities’ desire to stop strife in the country and build relationships with Catholic Europe. The semantic content of the work also contributed to its popularity because it responded to the request of finding logic in the religion, had an emotional impact and dealt with the relevant issues of the morality by means of the cultural category of sinfulness. Scientific novelty of the research implies the following: the cultural category of sinfulness objectified in F.R. Chateaubriand’s book “The Genius of Christianity” having been analyzed for the first time as well as the author’s approach to the understanding and cultural information streamlining having been identified. More over cultural-historical factors promoting the book’s prominence among Chateaubriand’s contemporaries have been studied. The author’s using rational way while explaining the basis of the sin, resorting to the strict argumentation and the evidence-based methods, denying religious irrationality have been set. The conducted research has shown the key factors leading to the book’s relevance: the society’s necessity of the religion revival, the authorities’ support of this tendency specified by the political environment.

Keywords: cultural category, Napoleon, Chateaubriand, sinfulness, religion, French Revolution, french literature, cultural studies, XIX century, Decalogue

Abstract: The subject of this study is a set of alleged contradictions in the development of artificial intelligence, pursued in order to achieve their overcoming. Philosophical anthropology contains the potential to analyze complex interactions, to articulate the problems that arise between artificial intelligence and humans. The philosophical and anthropological analysis of artificial intelligence is aimed at understanding this human phenomenon, human presence and its experience. The article is an attempt to identify and outline the trajectories for the possible resolution of the contradiction in the development of artificial intelligence, the analysis of the parameters proposed by philosophical anthropology to solve their problems in the modern socio-cultural situation. The relevance of the proposed problem arises in the fact that artificial intelligence qualitatively changes the existence of a person, and in philosophical anthropology there is a potential to outline the prospects for the development of artificial intelligence, while preserving the languid human in a person. To study this perspective is very important in society. The novelty of the topic raised in the article is the analysis of solving the problems of artificial intelligence from the standpoint of philosophical anthropology, in the articulation of contradictions in the development of artificial intelligence, in the search for solutions to overcome these contradictions. Philosophical anthropology provides tools for a balanced decision on the development of artificial intelligence, the degree of its impact on human existence.

Keywords: interdisciplinary cooperation, ethics, dialogue, consciousness, free will, contradictions, technology, artificial intelligence, human, philosophical anthropology

Abstract: Cultural heritage, which serves as a substratum of national identity, forms the right of the state to its own sovereignty. The substantiated proof of the possibility of independence from other cultures and nations has relatively recently entered the conceptual field of the philosophy of culture. In January 2023, significant changes made to the Foundations of the state Cultural Policy took into account the concept of cultural sovereignty and, to the necessary extent, justified its high importance for the development of the state and society. The fundamental role of culture in the creation and development of the state has been repeatedly recognized as one of the priorities. It should be noted that even later this priority was not a Russian regulatory novel.   The purpose of the study is to consider a range of concepts and legal novels reflecting the sphere of cultural heritage. The long-term work of an extensive circle of philosophers and culturologists has been crowned with the recognition of the value of culture in the system of state regulation of various spheres of human activity. As a result of the research, the conclusion is made about the relevance and timeliness of the implementation of the most important philosophical concepts in strategic planning documents and the high potential practical significance of the actualization of cultural heritage in order to achieve the results of the state cultural policy. In conclusion, it is noted that heritage as a cultural phenomenon has direct access to its semantic and value core. The preservation of cultural identity through the consistent building of cultural sovereignty is one of the most important priorities of modern state policy.

Keywords: public administration, heritage, cultural heritage, cultural phenomena, cognition, a public policy tool, interpretation of cultural heritage, culture, interpretation, philosophy

Abstract: The object of the study is the culture of digital society, the subject is the ontological foundations of culture. The aim of the research is to reveal the ontological problems of cyberculture, which becomes the basis for a digital society with a virtual nature. In the modern world, the impact of digital technologies on human life has acquired an irreversible scale. The changes affected not only socio-economic relations, but also affected the sphere of personal relationships, information perception and cognitive processes of the individual. People are spending more and more time on the Internet, using social networks, using applications. We can talk about a new stage in the development of human civilization, the culture of which has its own special features. In this study, the culture of digital society is considered from a philosophical and ontological point of view. The novelty of the research lies in the fact that cyberculture is in the stage of its formation. Digital society is changing, Internet technologies are developing, new applications are appearing. All these processes require philosophical reflection and scientific analysis. A special contribution of the author to the study of the phenomenon of cyberculture and the ontologization of the culture of digital society, which has its own distinctive features, namely crisis, virtuality, technology. The main conclusions of the study are that cyberculture, the culture of communities based on the use of advanced information technologies, is postmodern in nature. The further development of digital technologies gives a chance to a person to overcome the limitations of the individual nature of the personality, but at the same time there is a great danger of losing generic features and ceasing to be a person in the classical sense.

Keywords: society, internet, man, being, essence, virtual, digital, cyberculture, ontology, reality

Abstract: In the modern research literature, there is a discussion about what concept to designate the socio-cultural community of the Volga Germans. Having previously corrected some aspects of the definitions given by the researchers, the author came to the conclusion that it would be most correct to recognize the Volga Germans as an independent Russian-German ethnic group that does not have a clearly defined spatial autonomy, but has a place of compact residence. The second problem directly affecting the preservation of the identity of this ethnic group is the problem of preserving the native language. We also propose to analyze the definitions of the concepts "nation", "ethnos", "national (ethnic) minority". Special attention is paid to the problem of preserving the language as the basis of the cultural identity of Russian Germans, including Volga Germans. The article presents a plan for conducting a sociological study to identify quantitative and other indicators of the Volga Germans ethnic group at the present time in order to obtain an objective definition of the ethnocultural phenomenon "Russian Germans".

Keywords: Volga Germans, German culture, compact place of residence, social-cultural origin, basic cultural elements, common origin, language, national minority, ethnos, nation