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

Abstract: The object of this study is the "sea waves and cliffs" (海水江崖纹) pattern. The subject of the study is its application on porcelain and textiles of the Ming and Qing dynasties. The main attention is paid to the origin of the pattern and the process of its intermedia dissemination, with an emphasis on a comparative analysis of the compositional structure, color scheme and technical methods of execution. Not only the symbolic significance, but also the transformation of the artistic qualities of the pattern are revealed. The study analyzes how the "sea waves and cliffs", with their auspicious meaning, were transformed from an imperial symbol on Ming porcelain into a decoration of Manchu palace garments of the Qing era, and then into a motif accessible to the common people. Then, the continuity and innovations in the application of this pattern in modern textile design, as well as its viability in the context of contemporary artistic practice are considered. The study shows that the “sea waves and cliffs” pattern retains its symbolic essence in different applications, but at the same time acquires different visual forms depending on the material and technique of execution. It is a striking example of cultural diffusion. The methodological basis of the study includes two main approaches: the analysis of written sources and the study of museum exhibits. The study offers a new interdisciplinary approach that combines art history and cultural studies, as well as the theory of cultural communication. This study partially fills the gap in the study of intermedia aspects of traditional decorative patterns, offering a new academic approach to their analysis. In addition, the work can serve as a basis for the integration of traditional motifs into modern design and artistic planning. Unlike previous works, which focused mainly on the imperial symbolism of the pattern, this study for the first time carries out a comparative analysis of the pattern on porcelain and textiles, identifying key aesthetic and technological differences; examines the evolution of the pattern in the context of its contemporary interpretation, focusing on the changing symbolic meaning and role of the pattern in the fashion industry, interior design and digital art; summarizes historical and art history information, demonstrating how the traditional pattern is adapting to modern design trends.

Keywords: Silk Road, waves and cliffs, intercultural communication, textile, porcelain, pattern, Qing Dynasty, decorative arts, Ming Dynasty, Chinese art

Abstract: Decorative and applied arts began to play a significant role in Soviet cultural discourse during the Khrushchev "Thaw". In the art of porcelain, the Thaw manifested itself in the active creation of shapes, updating the themes of paintings, and the development of an innovative artistic language such as decorative minimalism. In the article, the researcher aimed to analyze the issues of shape design in Leningrad porcelain of the Thaw period. Its relevance is due to research and curatorial interest in the heritage of this era. The lack of specialized works devoted to the shapes of porcelain products determines its novelty. The object of the study is the shapes developed by sculptors of the Leningrad Lomonosov Porcelain Factory in the second half of the 1950s – 1960s. The topic of the study is the artistic originality of the author’s shapes of this period. The researcher used comprehensive methodology. The author summarized that organic design with fluidity and a sense of inner life of shapes was dominating trend in the late 1950s – early 1960s. In the second half of the 1960s, the functionalist rigor and clarity of forms prevailed in the shape design. Each of the sculptors developed their own individual style within the framework of general trends. The shapes of vases and services created by sculptors regularly received awards at international exhibitions and favorable reviews in the press. The artists actively used them for paintings in the “modern style”. The aesthetic trends developed by Leningrad Lomonosov Porcelain Factory sculptors were also in demand at other enterprises. Contemporary porcelain artists use a number of Thaw shapes for their original compositions. In addition, the principles of shape design the period of the “second modernism” remain relevant for porcelain of the 21st century.

Keywords: organic design, functionalism, modern style, Leningrad Porcelain Factory, shape design, Thaw, porcelain, Soviet decorative and applied art, Anna Leporskaya, Vladimir Semenov

Abstract: Paper cutting is an important part of Chinese traditional culture, and the regional features of Chinese paper cutting are mainly reflected in the artistic traditions and paper cutting styles in different regions, reflecting the cultural characteristics and folk traditions of each region. The research is devoted to the study of the current state of the traditional Chinese art of jianzhi (paper cutting technique) in Shandong province. It has been established that the northern and eastern traditions/styles of this art are distinguished in Shandong Province. The main focus of the work is on the northern local tradition of Jianzhi, conventionally called "Jianzhi of Binzhou". The purpose of this study is to show the peculiarities of the development of the traditional Jianzhi style from the Chinese city of Binzhou, Shandong province, using the example of the work of the famous master Lan Fumei. The main methods used in this study are historical-cultural, formal-stylistic and semiotic, which allow us to show the features of the artist's creative method and its connection with traditional Shandong paper cutting. The novelty of the research is the formal, stylistic and semiotic analysis of Lan Fumei's famous jianzhi on the historical plot "The Holy Warrior Sun Wu" and on the plot of the Chinese opera "The Woman is the Husband of the Princess", demonstrating the specifics of the regional Jianzhi of Binzhou. It is established that the master uses both traditional jianzhi techniques typical of the Binzhou style, and makes his own changes by expanding the plot. The results of the study are aimed at drawing the attention of Russian researchers to the little-studied regional traditions of Chinese Jianzhi and the work of Lan Fumei, as well as modern traditions of jianzhi development in China.

Keywords: Woman-Husband of the princess, modern jianzhi tradition, Holy warrior SunWu, master Lan Fumei, jianzhi features, Binzhou jianzhi, Shandong jianzhi, paper cutting, jianzhi, Chinese decorative techniques

Abstract: The article attempts to consider Chinese plant images in the painting of German porcelain products of the XVIII century as an area of interaction between Chinese and European artistic cultures. The subject of the study is the paintings of works of German and Chinese porcelain, which are considered as a "text" that includes not only plot-formal meanings, but also hidden structural and semantic formations. Using the example of plant images in the painting of Meissen porcelain of the XVIII century, the forms of reading and interpretation of the artistic features of Chinese porcelain by Western European masters are revealed and analyzed. The systematization and comparison of the elements of the artistic language identified in the considered works of art are carried out, the specifics of perception and interpretation by European masters of the language of Chinese art are established. Special attention is paid to the semantic meaning of the texts of works of art. By means of a comparative method, the paintings of Chinese and Meissen porcelain objects are compared, on the basis of the iconological method, the meaning of the porcelain works in the context of the culture that gave rise to them is determined. Thanks to the semiotic-hermeneutic method, the works of Chinese and European porcelain of the XVIII century were studied as texts, elements of the artistic languages of the East and West were established and characterized. The novelty of the research lies in the fact that it reconstructs the process of translation and the mechanisms of loss of symbolic meaning of decoration in Meissen chinoiserie porcelain products in the context of reception and interpretation of the artistic language of Chinese porcelain by Meissen masters of the XVIII century on the example of plant plots. A special contribution of the author to the consideration of the topic is the consideration of the painting of porcelain art objects as texts, the analysis of which is used to study the artistic language of Chinese and European art of the XVIII centuries, as well as the peculiarities of the communication process between them. The main conclusions of the study are the following: original works of Chinese porcelain containing plant images are distinguished by the depth and richness of Chinese cultural connotations. The Meissen masters, copying Chinese products, did not so much expound the original cultural meanings embedded by Chinese masters, as they interpreted Chinese images in the context and from the standpoint of European culture, endowing them with local content, connotations and symbols.

Keywords: reception and interpretation, plot-formal meanings, structural and semantic formations, the interaction of artistic cultures, porcelain painting, plant plots, chinoiserie, XVIII century, Meissen porcelain, Chinese porcelain

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

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

Abstract: The subject of this research is decorative and applied art of the Orochon people living in the Northeast of China and the issues of its study in Chinese academic studies. Currently, the humanities in China are moving to a fundamentally new level in the study of ethnic traditions and cultures, which is associated not only with a relatively new policy of "reform and openness", but also with a deep understanding of the humanities and social studies about the value of local cultures. The birch bark art of the Orochon national minority in China is an important part of creativity, broadcasting the traditional culture and aesthetics of this people. In this work, an attempt is made to study and systematize information about the research of Chinese scientists on this art, as well as about the origin and naming of the Orochon ethnic group, its language, traditional culture and the dynamics of its changes. The number of studies that have been studying the Orochon people, their culture and art, since the 1980s, has become noticeably larger, and their overall level has increased significantly. This work examines scientific papers and articles collected on four aspects – history, culture, art and birch bark art of the Orochon people since the 1980s. The authors of the article conclude that the state of research on Orochon birch bark art is unbalanced, however, there are already prerequisites for a deeper study of it within the framework of art criticism in the areas of form, color and aesthetics, as well as cultural codes and connotations of works of art, allowing to clarify the features of the traditional culture of ethnic minorities of Northeast China and the changes taking place in it. With the constant attention of Chinese scientific and public circles to the Orochon people, combined with relevant ideological and cultural opportunities such as the revival of national rural areas and the construction of the "One Belt, One Road", the study of Orochon folk art will certainly deepen. The interaction and joint research of scientists from China and Russia in the direction of studying the cultures and art of ethnic minorities in the Far East, as well as the correlation of conclusions about the art of ethnic minorities in a previously unified territory, are also necessary and expected.

Keywords: Chinese folk crafts, Northeast of China, artistic birch bark, craft, traditional culture, decorative and applied arts, the art of birch bark, folk art, the ethnic minority of Orochon, the art of ethnic minorities

Abstract: The object of the study is the cap of the Chinese Orochon tradition. The subject of the study is the head decoration of Chinese orochons made of goat skin. The article discusses the main types of caps and their structural features and production technology. Orochons make a special headdress from the head skin of a roe deer, which demonstrates the gender and status of the person wearing this decoration. The Orochon hat belongs to traditional Chinese clothing and serves as one of the indicators of this nation. Against the background of globalization, the culture and aesthetic thinking of Orochon art provide rich ideological sources and practical directions for the development of aesthetics and art of the world. The purpose of the study is the characteristics of traditional Orochon headdresses, the symbolic meaning of headdresses and the importance of animal skin headdresses. This article uses such research methods as the method of literature analysis, the method of investigation and research documentary interview and examines the art of Orochon head ornaments. Thus, we can lead to the following conclusion: the traditional Orochon head decoration is an important component of the Chinese and world culture of the art of head jewelry. Orochon head jewelry in its long history of development has acquired an elegant and attractive appearance and exquisite workmanship. Chinese researchers pay more attention to the aesthetic and ethnological studies of these products, which has created great theoretical value for us and provides a strong reference basis. The novelty of the article lies in the distribution of symbolic meanings and artistic features of Orochon head ornaments, in particular, their hats. The history of their development and cultural connotation are systematically analyzed, the description and communication of artistic features and symbolic meanings are carried out.

Keywords: pattern, costume, art, orochon, manufacturing technology, orochon headdresses, roe deer scalp, Chinese Orochons, national minorities of China, Traditional culture

Abstract: Ship models are the part of a significant number of collections of domestic and foreign museums. Such objects are the primary sources of knowledge and emotions, true monuments of history and culture, but often belong to the group of reproductions of museum objects, that is, reduced copies of original objects. The article analyzes the questions of the definition of ship models, correlates the definitions of these items in different sources. The author considers the model of the ship from the point of view of the functions and properties of a museum object, asserts their value as originals of significant historical and cultural significance, monuments of science and technology, objects of arts and crafts, ethnographic sources. The novelty of the research lies in the study by the author of the ship model from the point of view of the theory of the museum object. This allows us to consider ship models from other, not generally accepted positions, and consider them full-fledged museum objects, which, along with originals, have the same set of properties, qualities and features. The main conclusions of the study are, firstly, that the models of ships and vessels in the collections of museums are not secondary in relation to other material sources, and secondly, that such objects fully correspond to the concept of "cultural values", are source of knowledge and emotion.

Keywords: objects of arts and crafts, properties of a museum object, technical monuments, ship model, museum object, cultural values, museum collection, museum, copy, maquette

Abstract: The article contains materials about the work of St. Petersburg artist Yulia Vasilievna Gusarova, a master who creates works in different materials and techniques and has her own theme, manner and style. The purpose of the article is to determine the foundations and nature of creativity, to track the dynamics of the personal development of a hereditary artist. She is multi-faceted and is successfully realized in the art of painting, in mosaics, in ceramics, in textiles, in scientific and pedagogical activities. The main themes of her work: stories from the history of culture and art, travel impressions, the world of the sea and marine life, the fantastic world of the medieval "bestiary" and modern technology. The article presents examples of her works, describes their semantic content and artistic merits, notes theoretical and methodological-pedagogical aspects of the problems of art and art education. The materials of the article have novelty, because they are offered for publication for the first time. There was no scientific study of Y. Gusarova's creativity in domestic and foreign art criticism. The results and research methods in this article can be useful in art criticism for use in writing monographic works about the work of other artists, as well as for creating a complete picture of the features of the work of domestic ceramic artists of the XX - XXI centuries.

Keywords: technology, composition, art painting, sculpture, mosaic, textiles, ceramics, art education, painting, decorative art

Abstract: The author examines the art history problem of the influence of philosophical trends on the art that is relevant to them on the example of the work of the St. Petersburg ceramic artist Mikhail Yuryevich Kapustin and his philosophical reflections revealed in the plastic search for impressive images. His worldview was formed in a whirlwind of contemporary philosophical trends, scientific and technological discoveries, new trends in culture and contemporary art. The article reveals the regular change of one philosophical direction to the next, often alternative, and how artists reacted to this in their work, finding new ideals and expanding expressive possibilities in the visual arts. The purpose of the article is an attempt to decipher the in-depth meanings of the artist's works. The subject of research is philosophical reminiscences in the author's sculptural and graphic works of the ceramic artist. The main themes of his artwork are Man, Earth, and Time. The study has a novelty, because its materials are original and are offered for publication for the first time. In domestic and foreign art criticism there was no scientific study of the work of M. Kapustin. The works of M. Kapustin are large-scale, peculiar ceramic (sculptural and graphic) compositions of epic imagery, represent a compressed formula of an idea in a tense volume of form. The logical chain of his creative process as a ceramic artist goes as follows: from the idea towards the artistic image, material, technology, and finally – work. The results and research methods in this article can be used in art criticism for contribution in writing monographic works about the work of other artists.

Keywords: sculpture, architectonics, technology, ceramics, exhibitions, meanings, composition, artistic image, philosophy, art

Abstract: The object of this research is contemporary Chinese art in the context of the latest trends in the development of the global and national art market. The subject of the study is the problem of underestimation of modern ceramic art in China and its potential from the standpoint of the art market. The history of the issue is considered, the analysis of the main directions of research development in this subject area is carried out. In addition, the article clarifies the existing concept of "modern ceramic art" in China. Special attention is paid to the analysis of the most significant modern objects of Chinese ceramics presented in the domestic art market of the country. The features of the artistic originality of the masters Li Jiusheng, Wang Silyan, Zhang Songmao, Guo Aihe are revealed. The scientific novelty of the research is connected with the development of ideas about the modern ceramic art of China, its role in the modern art market, both at the national and international levels. For the first time, the criteria for the demand for modern porcelain are revealed; the idea is stated that the problem of collecting modern Chinese ceramics remains on the periphery of scientific discourse. A special contribution is the establishment and justification of the artistic value of a number of works carried out for the first time in science, which were sold at various auctions for fabulous money. The main conclusions of the study are the following. Currently, the development of the art market indicates that experts are beginning to realize the artistic value of modern Chinese ceramics art. The greatest interest among collectors is aroused by works in the spirit of "ceramic painting" with the use of modern technologies that allow expanding the expressive possibilities of painting on porcelain. The boom in collecting modern Chinese porcelain, observed since the beginning of the XXI century, testifies to the high level of artistic execution of objects of modern ceramic art in China, as well as such qualities as innovation and non-standardness in terms of choosing themes, visual effects, expression of the author's idea, rethinking academic traditions.

Keywords: antiques, collecting, tradition, art market, modernity, China, art, pottery, porcelain, ceramics

Abstract: The significance and artistic results of the Far Eastern ceramic productions launched in the second half of the XX century and liquidated at the beginning of the XXI century, as well as the creativity of the masters and artists who worked for them, are currently insufficiently studied In the Primorsky Territory, this is largely due to the general decline of the industry, the complexity of collecting primary information, the lack of reliable data, the problem of attribution of products etc. The subject of the study is the activity of master artists who worked at the art ceramics factory in the city of Spassk-Dalny, Primorsky Krai. The research was carried out using a set of theoretical and empirical methods, including comparative-historical, biographical, formal-stylistic, as well as interview methods and included observation, which allowed to identify the key figures of the masters who influenced the formation of their own unique style characteristic of this plant. As a result of the study, it was found that the formation of the creative team was carried out both from visiting specialists with specialized education and from local artists. Among the most significant masters of the Spassky Art Ceramics Factory are E. E. Skurikhin, A. I. Gornich, S. V. Danilyuk, Z. H. Zhelandinova, V. A. Lavrenova, A. A. Lupey, N. B. Ovchinnikova, L. Y. Skrynnikova, O. Timofeeva. These artists have made a significant contribution to the improvement of molding technologies and decoration of utilitarian and highly artistic products. The results of the activity of master ceramists led to a significant evolution of the forms and types of decoration of the products of the Spassky Art Ceramics Factory, creating their own style based on ethnic and regional flavor. The presented information can be used for attribution of ceramic products, studying the specifics of the author's artistic ceramics of the XX – XXI centuries, forming a general picture of the evolution of Russian decorative and applied art.

Keywords: ceramic decoration techniques, ceramic artist, the artistic style of the enterprise, ceramic production, Spassk-Dalny, Spassky Ceramic Factory, Primorsky Krai, artistic ceramics of Primorye, regional style of ceramics, decorative art

Abstract: The subject of the study is the analysis of ways to restore the ornamental techniques of the Lukutinsky lacquer miniature craft, lost by the end of the XIX century and recreated during the Soviet period. The article examines the activity of miniature artists of the Fedoskinsky Labor artel - the successor of the Lukutinsky enterprise – to revive forgotten technologies for creating ornaments on lacquer products. Special attention is paid to the assistance in this process provided to the fishery by the Soviet state. The purpose of the article is to show the significant role of state support in the development of Russian folk art of the Soviet period by the example of a successful solution to the problem of restoring the lost ornamental techniques of the Fedoskinsky craft.   Using comparative-historical, historical-typological, as well as historical-genetic methods, the author characterizes various ornamental techniques of Lukutinsky products, comparing them with the features of Fedoskinsky products of the twentieth century. The scientific novelty of the research consists in the analysis of the activities of the experimental laboratory at the Fedoskin labor artel, which restored the ornamental techniques of the Lukutin miniature, as well as the contribution made to this process by Fedoskin masters M. S. Chizhov, V. V. Korsakov, S. N. Tardasov. The main conclusion of the article is the statement of the importance of studying these fishing techniques for understanding the reasons for the flourishing of ornamental motifs in Fedoskinsky products in the late Soviet period, as well as the present.

Keywords: Fedoskino, Fedoskino lacquer miniatures, Russian lacquer miniatures, folk art crafts, Russian folk art, Soviet state, Lukutin miniatures, applied art, mother of pearl, Fedoskino Lavor artel

Abstract: The goal of this research is the comprehensive examination of precious framing of the bestowed royal figures in Russia during the reign of Peter the Great. The author explores the circumstances of emergence of such awards in Russia and creation of precious frames of this time, possible “prototypes” of the diamond frame pattern that are similar to Western European awards, the masters who design these frames, etc. The article is based on the combination of art criticism and historical-cultural approaches. The object of this research was the award badges – royal figures of the first quarter of the XVIII century (enamel and graphic miniature portraits of Peter the Great, as well as minted medals). The research employs the written (unpublished archival documents) and visual sources (portraits of the grandees of the Petrine period with such awards; images of the royal figures on lithographs of the mid XIX century). It is established that precious frames of the bestowed royal figures of the first quarter of the XVIII century had the same pattern. Most likely, in design of the framing of award badges in Russia, the masters relied on the appearance of the royal figures brought by Peter I from England and Holland after the Great Embassy. These Western examples, in turn, had the “design” characteristic to similar royal awards of the XVII century. The article list the names of the jewelers who manufactured diamond frames of the bestowed royal figures in Russia of that time. These are the "foreigners" J. Westfahl, K. Boldan, I. Jasper. A significant part of such frames (over a hundred) was created by J. Westfahl. The design of precious frame for the royal figures of the Petrine period remained in similar awards of the Russian rulers and in XVIII – XIX centuries.

Keywords: Peter the Great era, jeweler, portrait of Peter the Great, award badge, medal, diamond, precious frame, German Quarter, the art of jewellery, Jacob Westfahl

Abstract: This article is dedicated to modern trends in the art of wooden sculpture. The key question raised in the article consists in drawing the line between art and craft. The problem of distinguishing between these two terms is one of the crucial issues of the theory of art. Having examined the works of multiple contemporary artists in the genre of wooden sculpture, the author comes to the conclusion that the fundamental difference between craft and artistic wooden sculpture is the pursuance of naturalness by the artists, work with unfinished wood, fixation of the natural the beauty of the material, which is not much inherent to craftsmen. Turning to the modern ecological trends, it is suggested that the task of a contemporary artist and a human who desires to live in harmony with nature lies in cognizing the beauty of nature, even in its unsightly forms. The author claims that the greatness of nature is its diversity, in the current era of excessive production (for example, oversaturation), which also pertains to art objects, our shared goal is to working with the objects discovered, which are exposed to minimal processing, and first and foremost, demonstrate the beauty of nature.

Keywords: aesthetics, modern art, an artist, architectural forms, a wooden sculpture, Russian peasant creativity, a craft, trends, woodworking, ecology

Abstract: The goal of this research consists in comprehensive examination of all groups of gold, silver and diamond jewelers who were commissioned by the tsar in Moscow and Saint Petersburg in the late XVII – early XVIII centuries (their biographies, work organization, and artworks), as well as in analysis of stylistic evolution in the artistic image of items made of precious metals of that period. The research is based on the combination of art and historical-cultural approaches. The object this work the jewelry art of the time of Peter the Great. For achieving the set goal, the author refers to the unpublished archival documents and monument of decorative and applied art from the collections of Russian museums. Summary and analysis are conducted on the published material dedicated to the work of jewelers of that time; new records on the jewelers are introduced into the scientific discourse. The research demonstrates that that in the early XVIII century, tsar’s order was carried out by several teams of jewelers from Moscow and Saint Petersburg, who were simultaneously public servants and “free” artisans. The analysis of archival documents allowed specifying the nationality of foreign specialists, as well as the time of their arrival to Russia. The author suggests correlation between attitude of the monarch-commissioner towards court culture and the stylistics of works of decorative and applied art.

Keywords: tsar, Samson Larionov, the art of jewellery, regalia, Russian imperial court, Peter the Great, the epoch of Peter the Great, Catherine I, jewelers, Workshops of the Moscow Kremlin

Abstract: The goal of this work is determination of the development stages of ceramic art in Russian Primorye, as well as their specificity. It is established that the history of ceramic art of this region alongside its current stage are insufficiently studied. The evolution of ceramic art of Primorye is viewed in the context of its manufacture and production. The author examines the role of the three major factories – Vladivostok Porcelain Factory, Artemovsk Porcelain Factory, and Spassky Plant in development of ceramic art of Russian Primorye. The  two main development stages of ceramic art in Primorye are determines. The first one includes the activity of porcelain factories in Vladivostok and Artem, as well as pottery plant in Spassk-Dalny, which resulted in the inflow of certified specialists in the area of decorative-applied arts and formation of a unique style of the regional ceramic art. The second one includes the forms of existence of ceramic art in Primorye after closing the factories and creation of private workshops that developed the ceramic branch of decorative-applied art, namely souvenirs, use of pottery and porcelain objects in landscape and interior design, as well as involvement of ceramics in inclusive education.  

Keywords: porcelain, workshop of art ceramics, ceramic production, porcelain plant, national crafts, art ceramics of Primorye, arts and crafts, faience, majolica, potter

Abstract: The synthesis of materials in arts and crafts is a rather understudied topic in modern researches. The aim of this research is to analyze the synthesis of ceramics and metal as an independent trend of arts and crafts and relation of such artwork to other kinds of art and design as well as the influence of technology on the creation of an integral art image as a result of organic synthesis of two different materials. By saying so, the authors of the article mean the creation of a completely new artistic phenomenon that influence the material, aesthetic and spiritual spheres of human life. The methodology of the research is based on complex combination of art history and cultural research methods as well as the authors' practical experience. The researchers have also carried out historical comparison and stylistic analysis of different decorative compositions as well as touched upon the technological aspect of the matter. In their article the authors have attempted full analysis and generalisation of the research matter, i.e. synthesis of materials (metal and ceramics have been chosen as an example) in arts and crafts. As a result of their research, the authors have described typical features of creation of artwork out of ceramics and metal, their specific features, aesthetics and functions played at different time periods. The researchers have also outlined general trends of changes in the sphere of expressive means related to the change in the perception of artists and the use of new production technologies and methods of form making. Modern decorative art is more humanities-oriented, focused on the inner world of a person and has the emotional and imaginary role prevailing over traditional craft functions. 

Keywords: art ceramics, art metal, synthesis of DPI materials, craft, design, arts and crafts, work of art, art-object, technology, master

Abstract: The object of the research is the biography and creative life of a court jeweler Yakob Dublon who worked on the governor's order during the reign of Empress Elizabeth Petrovna. In her research Bykova also discusses the biography of Yakob Dublon's full brother Martin Carl Dublon who was the silversmith. The scope of the research also covers jewelry masterpieces stored in the collections of Russian museums. Bykova focuses on the circumstances under which the Small Imperial Crowns were created and used during the first half of the XVIIIth century. In her research Bykova applied the integral research method (based on the combination of the fine art and historical-cultural approaches) which enabled a better view of the main research issues. For the first time in the academic literature the author of the article has managed to define the origin of two famous jewelers who worked at Russian palace in the mid of the XVIIIth century Yakob and Martin Carl Dublon and to discover that they represented the traditions of Nuremberg silversmithes. The documents found by the author in the archives extended the scientific view of the creative life of these masters and the orders they made. In a number of cases it was possible to 'define' jewels created by Yakob Dublon. The results of the research demonstrate that Yakob Dublon made a great contribution to the development of the Russian art of jewellery. The name of that master also relates to the creation of new imperial regalias. It was Dublon who defined the stylistics of these insignias that were efficient throughout the second half of the XVIIIth century. They also analyzed the problem of creation, use and existence of the Small Imperial Crowns of the first half of the XVIIIth century that had never before been raised in the scientific literature. 

Keywords: regalia, imperial crown, Trinity-St.Sergius Lavra, mitre, panagia, the art of jewellery, Empress Elizabeth Petrovna, Dublon, court jeweler, wedding ceremony

Abstract: In her research Kanokova examines different kinds of traditional female headgear of the Nogais used by all Nogai ethnographic groups since the 14th (creation of the Nogai Horde) till the 20th century (the final stage of the development of the national Nogai female costume). The author of the article describes their sign function. By carrying out an integral analysis of the research objects, the author studies their stylistics, manifacturing technique, decoration technique, and relation to customs and religious concepts. This allows to define the infant, maiden, wedding and grown-up female headwear. Due to the insufficient study of the matter, the author has also used the method of field ethnography besides general and special cultural and art historical methods. The novelty of the research is caused by the fact that the author discovers and carries out an integral analysis of a wide range of female headgear kinds described or recorded in written or graphic sources and held in museum or private collections of regions where Nogai ethnographic groups live. For the first time in the academic literature the author defines local particularities and general features that define Nogai headgear as an individual type of headwear. 

Keywords: velvet, karanogai, decoration, embroidery, scarf, laced hat, headgear, nogai, plait, fur hat