Abstract: After 1604, Chinese art through Chinese goods rapidly and widely penetrated into European society and had a profound impact on European art and aesthetics.During the century of the popularity of everything Chinese in Europe, it was Chinese goods represented by porcelain and flowing silk that were most directly related to people's lives. From the second half of the XVII century to the second half of the XVIII century, European culture and art experienced a boom in Oriental art. A number of innovative artists began to change their traditional interests and methods of painting, creating many masterpieces with a Chinese flavor. Thus, a new page was opened in the history of Eastern and Western painting. China and Europe, two advanced human civilizations.It took quite a long time before the fog of myths and legends that enveloped China and Europe, the two highest civilizations of mankind, dissipated, until the true nature of China was revealed in the XVIII century. This work is divided into the following three parts: The emergence of Chinoiserie; Rococo and Watteau painting; The decline of Chinoiserie. Documentary studies, comparative analysis and case studies are used to study the phenomenon of China's popularity, which has engulfed Europe as a direct consequence of the spread of Chinese culture in the West.

Keywords: China, Europe, culture, painting, Chinese art, Chinese culture, chinoiserie, Popularity, rococo, art

Abstract: The development of the vital potential of the drama theater is in a continuous search for new forms of expression. Today, in an attempt to establish itself on the territory of a multicultural environment, as well as in an attempt to gain a unique method of communication with society, the theater as an art sphere expands the boundaries of its purpose. Going beyond the stage space turns out to be an important subject of research from the point of view of the search for the artistic existence of the theater in the conditions of digital reality. This article discusses the issue of finding a place for a drama theater in a digital environment where the energy of human relations is significantly minimized and manifests itself in a specifically different way. The subject of the research for the author was the cultural and creative activity of the Tovstonogov BDT.      The St. Petersburg Bolshoi Drama Theater does not need recommendations: it has a great history in the twentieth century, an attractive stage "today" for the audience and, undoubtedly, interesting prospects. In the practice of BDT under the leadership of Andrei the Mighty (2013-2023), there are such turns of dramatic action that are not directly connected with the stage and are almost out of place for the "repertory" theater. The phenomenon of the theater, as if removed from its ancestral roots, leaving the walls breathing tradition, is considered in the article as an experience of cultural and theatrical "exit" to the "stage" of digital reality. Among such experiments, the most significant are the social action "Help the doctors", as well as the experiments of "Minecraft" performances. In addition to the usual comparative historical method for art studies, others will be used, first of all, the formal method, which distinguishes the St. Petersburg school of theater studies. Scientific novelty is determined by the subject of research itself: BDT is considered as a phenomenon of a multi-genre cultural space, in which, as before, a special place is rightfully given to the actor, his role, as well as to the viewer who finds himself in the conditions of a new socio-cultural picture of the world.

Keywords: Alisa Freindlich, actor role, dramatic action, performativity, BDT digital, Digital theater, Art space, Andrey Moguchy, Bolshoi Drama Theater, virtual theater

Abstract: The article is devoted to an important area of scientific research related to the history and culture of Yakutia. Written monuments of historical and cultural heritage, along with material ones, occupy their permanent place. The solution to the problem of their preservation and interpretation is inextricably linked with publishing activities – modern technical capabilities increase its effectiveness. In the article we study the existing experience in this field by the example of the publication of Russian cursive sources of the XVII century about the history of Yakutia, as well as cultural heritage. The object of the study is the historical and cultural heritage of Yakutia. The subject of the study ate the samples in various forms. The research summarized the experience of publishing historical and cultural heritage monuments on the example of Russian cursive documents of the XVII century about Yakutia, as well as the works of the first Yakut composer M.N. Zhirkov. Since they are of great value as samples of archival documents reflecting regional specifics, we have carried out work to determine their historical significance for the culture of Yakutia. In this article, based on an assessment of the internal content of the collections considered as examples and the quality of their publication, recommendations have been developed to improve further work in this direction. Undoubtedly, further work should be continued to identify such written monuments that require special storage and interpretation, have great historical and cultural value for the Yakut people, as well as transfer to modern media of this information, taking into account the necessary publication rules. For the first time, the question of creating a pan-Yakut electronic database of written monuments of historical and cultural heritage of Yakutia was raised.

Keywords: russian cursive sources, popularization, culture, interpretation, electronic copies, preservation, historical and cultural heritage, Yakutia, written monuments, Zhirkov

Abstract: The subject of research in this article is some aspects of the life path of a prominent figure of the Reformation in Germany, Philip Melanchthon, which influenced the evolution of his worldview. Special attention is paid to the facts of his biography, the characteristics of his early works, as well as his assessments of the confessional struggle and calls for the active involvement of administrative resources to crack down on dissidents. The methodological basis of this article is the dialectical approach, in particular, the principle of the relationship between the general and the singular, as well as the principle of the unity of the logical and historical. These principles allow us to identify the ethical nuances of the evolution of F. Melanchthon's views as a Reformation figure based on his statements and assessments. Philip Melanchthon is often evaluated in the scientific literature as one of the founders of the new faith, the second most important after Martin Luther, whose merit was the attempt to reconcile humanistic views and new confessional interests. However, based on a detailed analysis of the material presented in the article, the authors come to the conclusion that Philip Melanchthon, having devoted himself entirely to the Reformation, renounced the German humanistic tradition of the XV century, the values of humanism represented in the works of Jacob Wimplefing, Johann Reichlin, Erasmus of Rotterdam, Thomas More, John Colet. Therefore, its classification as "Christian humanism" is erroneous.

Keywords: Education, Philosophie, Theology, Aristotelianism, Christian humanism, Lutheranism, humanism, Reformation, Martin Luther, Philip Melanchthon

Abstract: According to Marxist philosophy, everything in the world is universally connected and in perpetual motion. Chinese society has gone through a long history of civilizational development. Since the modern era (1840-1919), great changes have taken place in the civilizational development of China. The transformation of social forms depends on the transformation of culture, and the approximation of culture to modernity is a prerequisite for the modernization of society. Thus, the development of society inevitably causes changes in art and culture; and vice versa, the progress of art and culture, in turn, contributes to the progress of society. A clear and complex line has been traced in the development of Chinese painting over the centuries: from a high degree of integration to gradual differentiation leading to conflict, and then to integration. The development of Chinese painting as a whole shows a transformational trend from tradition to modernity, developing in a tortuous way. In this paper, a combination of research methods is used for research, mainly documentary research, descriptive research, comparative research and case study. Considering the features and trends of Chinese painting at different stages of development, we can more accurately judge the direction of development of modern Chinese painting and find ways to integrate tradition and modernity.

Keywords: Traditional culture, arts, painting, china, synthesis, transformation, modernity, tradition, Chinese painting, culture

Abstract: The subject of this research is the immersive artistic environments that exist in the modern cultural space. Immersive technologies are used today in educational processes, historical reconstruction, various forms of socialization, in visual arts; immersion is implemented as a special scientific approach in anthropological, ethnographic, art history studies. Interactivity and immersiveness are considered here as complex predictable processes whose algorithms are embedded in the very basis of an artistic work or cultural environment. They make it possible to intensify the entire spectrum of sensory-emotional perception, creating not only a new type of artwork, but also a new type of recipient immersed in the process of unfolding an artistic plot. The classification of functions of immersive spaces is proposed in the study. On the example of Russian and foreign art projects, the essential signs and features of immersive art are analyzed and identified. Immersive projects implemented in recent years are considered on the example of the cultural field of the north-west of Russia, as well as a comparative analysis of foreign and domestic events is carried out. The study concluded that immersive environments have both positive and negative potential: a complex effect on human feelings using special technological techniques that affect perception can lead to both the effect of complete immersion and catharsis, and to destructive hyperstimulation of the psyche. And the artistic immersions themselves are more a form of media communication than finished works.

Keywords: virtual reality, media communication, contemporary art, immersive theater, immersive exhibitions, historical reconstruction, interactivity, immersion, immersive art, modern culture

Abstract: The subject of the study is the color meaning in the film of the famous Chinese director Zhang Yimou "Hero", the conceptual understanding of color as the main semantic element of the artistic solution. The object of research is the techniques of visual solutions in cinema. The perception of color in the culture of different peoples differs in certain nuances and depends on many factors, including national traditions and historically established stereotypes. Films by Chinese, Korean, and Japanese filmmakers are interesting from the point of view of color solutions, as they differ in artistic originality and often offer the Russian audience an extraordinary semantic solution of the idea not only at the level of comprehension of the content, but also at the level of a specific color palette. The author similarly examines the color symbolism of Zhang Yimou's film "Hero". The conceptual content of the visual-figurative series, the originality of the coloristic solution of the film is comprehended. The scientific novelty of the article lies in the study of the color symbolism of Zhang Yimou's film "Hero" in the aspect of the correlation between the perception of the coloristic solution of the visual series and the conceptual content of the film. The author comes to the conclusion that despite the ambivalence of perception of a particular color in visual art, the coloristic solution is predetermined by the conceptual content of each episode, so color becomes the leading semantic concept of Zhang Yimou's film "Hero".

Keywords: the meaning - forming concept, parable, Zhang Yimou, Chinese cinema, visual-figurative series, pictorial solution, coloristic solution, artistic technique, symbolism of color, the art of cinema

Abstract: The study of literature from the point of view of the search for archetypal images and the study of artistic creativity from the standpoint of structuralism are two important trends. Both of these trends have emerged in the contexts of different scientific paradigms. The origin of archetypal criticism is associated with the figure of Herman Northrop Fry, and the basis of archetypal criticism is psychology, namely the concept of psychoanalysis, founded by Sigmund Freud and Carl Gustav Jung. While the origin of structuralism is associated with linguistics and the name of Ferdinand de Saussure, who first began to consider language as a system of signs in which each element defines other elements and is itself determined by them. With all the difference in origin, in general, both theories do not contradict each other – on the contrary, they complement each other. Archetypal literary criticism and structuralist theory of art have deep internal theoretical connections in several ways: both theories look for repetitive elements in literature, both consider literature as a space of memory about the past. Archetypal literary criticism and the structuralist theory of art direct the appeal to the psychology of man as the creator of works of art. Both directions are also largely based on the idea of binary oppositions: within the framework of the archetypal criticism of the pair, many archetypes are grouped into pairs, whereas within the framework of structuralism, the idea of structure itself is based on elementary concepts opposed to each other; finally, both methods have been criticized for the same shortcomings, such as the denial of author subjectivity and the denial of human progress. This article attempts to show that the theory of archetypes in literature and the structuralist theory of art complement each other, and how exactly this complementarity is achieved.

Keywords: both, Flaw, complementarity, integrity, repetition, structuralism, archetype, literary criticism, memory, psychology

Abstract: The research subject in the present article is A. Comte’s and H. Spencer’s beliefs, who are considered the representatives of early positivism. The particular emphasis is made on the ethnicity issues. A. Comte distinguished three stages of the human consciousness elevating: theological or fictitious, metaphysic or abstract, positive or real. The scientist claimed the quality of a society as a whole is directly related to the level of the individual development. Moreover, moral ideas, which have to be free from theology and metaphysics and based on the new philosophy of positive thinking, have a powerful influence on the society development. As a result, moral principles have to be guided by social solidarity and be a society’s logical controller. However, the societal progress rejected the scientist’s notion. According to H. Spencer, social morality arises from natural one whereby altruism and social equity are built on the concern of the kind preservation. The higher the society is organized, the greater the level of the equity is. The researcher provides the example illustrating an ideal society in which a well-functioning organ evolves better than others which in turn means “social equity” principle is implemented. The scientific novelty of the article is determined by the first comparative analysis of A. Comte’s and H. Spencer’s moral-ethnical concepts as well as defining the most controversial theses in their theories. There has been found out that the key difference in the philosophers’ ideas is their seeing into the real nature of morality, having its ground either in the human mind (Comte) or natural environment (Spencer). The definition of the society as an entity with its characteristics resembling a biological organism is considered to be significantly similar in their views. Secondly discovered similarity is the definition of the human history as a progressive process in which individual human mind, morality and a society as an entity are evolving simultaneously. The present paper also puts forward the conclusion that the ideas about the history as a progressive process resulted at a “positive” stage turned out to be the most debatable issues.

Keywords: Auguste Comte, public justice, positivism, development of society, the foundations of morality, ethics, morality, Herbert Spencer, human consciousness, systematization of morality

Abstract: The subject of the research is the modern educational environment of Western countries. The object of the study is the system of tolerance and the mechanisms of its functioning in the educational environment of Western countries. The author examines in detail the system of tolerance and the mechanisms of its functioning on the example of Western educational institutions. Since in the modern educational environment of the Euro-Atlantic states tolerance is perceived differently than in Russia, special attention is paid to the philosophical understanding of the current state of the phenomenon and its reflection by the Western scientific community. The author uses works of both philosophical and social, pedagogical orientation in order to reveal the main features through their prism. In the course of the study, it was found that the mechanisms of tolerance in the Western educational environment contradict the idea of tolerance for the Other. It was concluded that the boundaries of tolerance in Euro-Atlantic educational institutions are blurred: they are not clear either to the teaching staff or to the students themselves. The author traces the Nietzschean idea of ressentiment in the actions of minorities, constantly opposed to the majority, regardless of what rights and opportunities this majority gives them. The study also made it possible to identify the paradox of tolerance in the Western educational environment: although the struggle for the rights of the oppressed is officially proclaimed, the oppressed themselves avoid discussions on the topic of equal opportunities within the framework of the educational process, because the Western structure of tolerance allows them to avoid discussing pressing issues, while maintaining and even building on the benefits of a tolerant education system. In addition, the author found that Western society usually does not perceive tolerance as part of an individual's worldview, which leads to the fact that in the education of Western countries it becomes a socio-political tool.

Keywords: Ressentiment, Us and them, West, Education, Conflict, Academia, Political correctness, Tolerance, Virtue, Postmodernity

Abstract: The author examines the idea of "mind" in three linguistic pictures of the world - Russian, French and Chinese. The study is contrastive, the results are compared. The description of each idea is made according to a clear algorithm: the etymology of the word, the mythological roots of the concept, its compatibility, from the compatibility is distinguished real connotation according to V. A. Uspensky, a comparison of dictionary definitions is made. The aim of the study is to identify the peculiarities of the idea of "mind" in the Russian, French and Chinese languages. The purpose of the comparison is to see the similarities and differences in the worldview of different peoples. Scientific methods of research are: comparative-historical method, method of generalization, method of semantic analysis. This topic is understudied, no linguocultural studies analyzing this idea in Russian, French and Chinese culture have been observed earlier, which constitutes the scientific novelty of the work. The results will contribute to mutual understanding between peoples, forming a kind of conceptual bridge, and will also be used in courses on regional studies, comparative studies of cultures, and in the teaching of the respective languages.

Keywords: Chinese language, real connotations, comparative linguistics, semantic analysis, linguoculturology, mind, contrastive research, national worldviews, Russian language, French language

Abstract: The study of the cultural activity of the Spiritual missions of the Russian Orthodox Church in various regions of Russia is one of the urgent tasks in the context of the problematic field of the theory of regionalism, cultural studies and socio-philosophical knowledge. Russian settlements on the territory of the Yenisei River basin and the entry of ethnic groups and territories of Yakutia and Buryatia into the Russian Empire has become one of the most important stages of the integration of the ethnic groups of Siberia into a single statehood. The Irkutsk Spiritual Mission received a more perfect organization, institutionalized by increasing the number of missionary camps, which for successful Christian activities carried out among pagans allowed the formation of school educational institutions for the education and upbringing of a new Buryat generation of children in the doctrinal Orthodox canons, and Russian cultural traditions. In this regard, one of the key tasks of the missionaries was to establish a rational view of further life in new Christian-type formations, which was realized in socio-cultural activities: providing medical care to sick representatives of other ethnic groups, a friendly attitude to people of a different faith and a sincere desire to guide them on the path of righteousness, etc. It should be noted that the largest share of foreigners in this territory belonged to Buddhists, which was reflected in the influence of lamas on doctrinal issues, including economic ones. Since Buddhism in the Russian Empire belonged to the section of tolerant religions, direct (administrative) pressure on it was impossible. There remained funds of an exclusively spiritual nature, to which Orthodox missionary work was directed. Today in the Russian Federation, Buddhism, as well as Islam, Catholicism and Protestantism, as well as some other faiths belong to the category of traditional religions, which organizationally operate within the framework of the modern Russian Constitution.

Keywords: The Russian Empire, shamans, population of region, christianity, regional government, cultural activity, culture, Russian Orthodox Church, religion, spiritual character

Abstract: The author of the work raises the issue of the phenomenon of nomadism in the context of the work of the French director Alain Resnais. The object of the research is the early works of the director, such films as "Last year in Marienbad", "Hiroshima, my love", "I love you, I love". The purpose of the work is to answer the question of how nomadic strategies allow the author to create non-linear narrative structures, oscillating characters and flickering characters in his films, and how understanding these strategies can help viewers and researchers in the act of deciphering works. The author also analyzes a number of phenomena related to nomadism, such as the rhizome, the body without organs, deterritorialization, escape, flicker. The novelty of the research lies in the application of nomadic strategies to the cinema of Alain Resnais. This approach makes it possible to use the current philosophical and art history prism to study narrative structures, intraframe space and characters. The author argues that Rene's cinematography can be viewed through a position of resistance to forms of power - suppression and control - which manifests itself in the violation of traditional forms of narration and the creation of split characters. To study the mentioned aspects of Rene's work, the author resorts to the philosophy of Gilles Deleuze and Felix Guattari. The author also explains the position of the modern viewer and describes the strategies of looking, which can lead to a state of pleasure from interacting with nomadic works.

Keywords: Postmodernism, Rhizome, Power, Alain Resnais, Felix Guattari, Gilles Deleuze, Body without organs, Counternarrative Structures, nomadism, Physicality

Abstract: The article examines the historiosophical reflections of F. I. Tyutchev, presented in his treatises, letters, poems, and substantiates the idea that Tyutchev does not proclaim slogans of either Slavophil or Westernist doctrines, but creates an original imperial ideology. Tyutchev views Russia as an equal and integral part of Europe, linking the existence of the empire with the development of the European spirit in Russia. The main criterion for the existence of the empire is unity. If it does not exist, then the state as an empire cannot exist. Tyutchev treated Orthodoxy as a historiosophical category. He bases his concept of the historical process on the traditions of Eastern Christianity and the legacy of the Byzantine Empire. In the idea of an empire based on Christian principles, Tyutchev sees the best system of statehood. For Tyutchev, the Russian people and Orthodoxy play a major role in the transformation of the world.   In the concept of state and power, the categories of Christian ethics are especially important for Tyutchev, which, in his opinion, were not really relevant for the upper strata of society and representatives of the Russian government. The poet calls power "godless", claiming that it does not come from God, but is based on its material power, without recognizing a higher Divine authority over itself. The reason for the "godlessness" of the authorities was the separation from the Russian people and their national traditions and the departure from the historical past of "Holy Russia". This, from Tyutchev's point of view, is the main existential problem of Russia. Tyutchev's concept of empire was not a reproduction of the realities of the political life of Russia in the XIX century, but was an attempt to answer how the state should be built. Tyutchev's ideal of the Russian state is based on a society united by a single Christian faith.

Keywords: Tyutchev, Russian literature, historiosophy, religion, existentialism, philosophy, culturology, poetry, messianism, empire

Abstract: The article characterizes the substantial level of sacralization of values in the spiritual culture of the Greater Altai. The main emphasis is placed on identifying the grounds for the sacralization of values. It is established that the world order is one of the bases of sacralization and simultaneously performs the function of consolidating cultural carriers. The key thesis of the research is the thesis that spiritual culture cannot be fully comprehended without reference to sacred values. In addition, the sacralization of values is considered as a condition for ensuring spiritual security and continuity of values and norms between generations of cultural carriers. The assessment of the spiritual potential of the culture of the Greater Altai is of great importance. The main conclusions of the study are the following provisions: 1) the sacralization of key values is carried out at the essential or substantial level, while the stages of sacralization are mainly "tied" to the religious and mythological development of culture and its value-normative system; 2) sacralization encompasses those value structures that acquire importance in human existence and are a factor in the integration of cultural carriers and their generations; 3 sacralization is the process of identifying specific value-semantic structures – they are attributed symbolic meaning, and they are also correlated with certain cultural codes, signs and texts.

Keywords: the system of norms, value system, civilizational development, Big Altai, transformation of values, civilization, culture, values, civilizational approach, spiritual culture

Abstract: The authors designated speech culture as the object of this article. The subject of the study is the creative potential of the Honored Artist of the RSFSR Maria Vinogradova in the context of voicing Soviet cartoons. The authors set a goal to identify the range of the potential of speech capabilities in voicing cartoon characters. The methodological basis of the article is content analysis, comparative, statistical, historical and cultural analysis of Soviet animated works, as well as their characters voiced by Maria Vinogradova. The authors, when considering the problem, achieve the following results: from 1954 to 1995, Maria Sergeevna took part in the dubbing of 213 Soviet cartoons. The most fruitful years for the actress in terms of voice acting were 1976 – 15 works; 1975, 1984 - 12 works; 1973 – 11 works; 1974 – 10 works. For 40 years, the actress has voiced 109 animals, 87 boys, 22 girls, 14 indeterminate characters and 9 inanimate objects. In the process of developing the problem, the authors identify categories of voiced characters (boy characters, girl characters, animal characters, object characters, indeterminate characters) and analyze the actress' creativity for the characters she voices belonging to these categorical elements. The novelty of the research lies in the unconventionality of the indicated approach, as well as in the complex analysis of the palette of Maria Vinogradova's speech capabilities. As a result of the study , the authors come to the following conclusions: 1) The high creative rise of the actress was formed in the 1970s - 91 Soviet cartoons were voiced in this decade, which is 42% of the total number of voiced cartoons. 2) The acting role of Maria Sergeevna's travesty confirms the first place in the number of voiced male characters - children and animals. 3) In 15 cartoons, Maria voiced several characters, and in 2 – all the characters, which indicates a wide speech range of the actress.

Keywords: cartoon characters, speaker, speech technique, travesty, Maria Vinogradova, dubbing cartoons, Soviet cartoons, stage speech, culture of speech, actor's speech palette