No 10 (2025)

The subject of the research is the process of transforming traditional Chinese artistic symbols in contemporary decorative and applied arts, using interior textiles developing within the context of the "Guochao" phenomenon (national trends) as a case study. The study examines ornamental motifs ("cloud and thunder," "taotie"), natural and mythological symbols, calligraphy, and auspicious imagery. The aim of the work is to analyze the artistic patterns and socio-cultural consequences of adapting traditional elements to the modern object-spatial environment. Particular attention is paid to the transformation of motifs rooted in the art of the Tang, Song, and Ming dynasties and their integration into contemporary aesthetics. A systematic analysis is conducted of the mechanisms of transformation, the aesthetic logic of reinterpretation, cultural connotations, and artistic patterns of heritage adaptation. Interior textiles are considered an example of preserving cultural identity in the context of globalization. The methodology combines qualitative and quantitative methods: art historical analysis of visual symbols, decomposition of design cases, surveys of Generation Z representatives - the main consumers of "Guochao" products, and interviews with textile designers and artists. The theoretical framework includes the semiotics of R. Barthes and the theory of cultural capital by P. Bourdieu. The comprehensive approach ensures a holistic study of the transformation of traditional symbols. The scientific novelty lies in conducting the first systematic art historical analysis of the "Guochao" phenomenon in interior textiles, whereas previous studies were limited to the fields of fashion and visual culture. An integrative methodological approach has been developed, overcoming the fragmentation of existing research. Unlike works focusing on formal aspects, the semiotic mechanisms of ornament transformation and the dynamics of cultural connotations have been identified. Contemporary cultural transformation is characterized by the actualization of heritage through the reinterpretation of symbols (the "Ode to Landscape" collection), the integration of technologies (HUANG GANG's 3D knitting), and narrative construction (the 24 solar terms). The synthesis of traditional principles (symmetry, rhythm) with parametric design confirms the potential for developing a national school of art that preserves cultural identity in the context of globalization. An analysis of leading brands' practices shows that successful transformation requires a deep understanding of the semantics of traditional symbols and their organic integration into the contemporary visual context.

The subject of the study is the problem of "overcoming the past" in German culture, conceptualized through the means of cinema, exemplified by the activities of the German Attorney General of Jewish descent, Fritz Bauer. The relevance of addressing this topic is determined by the need to clarify the potential of artistic expressiveness in working through the legacy of the past; revealing the communicative potential of cinematic works in intergenerational dialogue and the ability of films to construct an image of the past, interpreting it through artistic means of expression. The aim of the work is to determine the role of contemporary films dedicated to the personality and professional activities of F. Bauer in representing and reflecting on the problem of "overcoming the past" in German culture. The tasks of the research included: 1) tracing the specifics of the phenomenon of the past and its representation in cultural memory; 2) identifying and describing the main areas of F. Bauer's professional activities; 3) clarifying the significance of Bauer's work for German culture, including in the context of the problem of working through the past; 4) determining the possibilities and limits of the creative initiatives of filmmakers (using films about Fritz Bauer as an example) in the work of "overcoming the past" in contemporary German culture. The methodology of the research is based on an interdisciplinary approach, incorporating data from cultural history, art criticism, and cultural anthropology. The study is a comprehensive cultural analysis that combines axiological and hermeneutic approaches, as well as biographical methods. It employs methods from specific disciplines, namely film studies (the systematic film analysis of Helmut Korte and narrative analysis). The novelty of the research lies in defining the role of the German prosecutor Fritz Bauer and his professional activities, as depicted through the medium of cinema, in the contemporary German society's understanding of its own past, related to the era and "legacy" of National Socialism; in clarifying the possibilities and limits of the language of artistic films in constructing collective knowledge about the past and shaping national identity; and in revealing the potential of cinema as a carrier of cultural memory, allowing for the removal of temporal limitations on the "lifespan" of an individual’s or generation's memories. The results obtained substantiate the significance and specificity of cinematic art as a means of reflection within the problematic field of "overcoming the past" in unified Germany and demonstrate the role of individuals in the formation of national self-consciousness.

The object of the study is decorative fabrics produced by art industry and in the academic workshops in the 1950s–1960s. The subject of the research is the relationship between socio-economic processes and the design of Soviet fabrics. The study of interior textiles of the 1950s and 1960s is relevant because during this period the foundations for the formation of regional schools of decorative art and design were laid. Particular attention is paid to the organization of the educational process at the Department of Furniture and Decorative Fabrics at V.Mukhina Leningrad Higher School of Art and Industry. The author examines decorative fabrics from museum and private collections intended for the interiors of public buildings. The documents from the Central State Archive of Literature and Art of St. Petersburg were involved in the study. A historical-cultural method was used to study textiles within the context of a time-limited cultural environment. It made it possible to establish the relationship between fabric patterns and the pace of scientific and technological development, as well as political and social processes. In conclusion, it was noted that in the 1950s, the leading direction in textile development was fabrics for public buildings, while in the 1960s, curtains for small apartments appeared. It outlined the role of the state in the process of regulating the art industry. The work explains that in the post-war period, decorative fabrics woven on a loom remained the main experimental platform for the development of textiles. The research materials and conclusions can be used in museum, exhibition, and restoration practices, in educational programs on the history of design and decorative arts, and in the practical work of students in the course "Design of Textile Products".

Using materials from the films "Mimino" (1977), "Kin-dza-dza!" (1986), "Afonya" (1975), "Autumn Marathon" (1979), and others, as well as archival documents (scripts, director's notes, interviews) by renowned Soviet film director Georgy Daneliya, this article explores the evolution of the poetics of cinematic comedy, from the gentle irony of his early works to the socio-philosophical grotesque of his later period. Particular attention is focused on three key levels of Daneliya's humor: verbal, visual, and socio-philosophical. The article proposes a provisional classification of the director's comic techniques within the context of the socio-economic formation of Soviet society and world cinema. G. Daneliya's signature cinematic language developed at the intersection of several cultural traditions. An analysis of archival materials, including working scripts and censorship edits for the film "Afonya," demonstrates how the director circumvented ideological restrictions by employing Aesopian language. Social satire was elegantly veiled behind seemingly innocuous everyday situations. The evolution of cinematic images in Daneliya's filmography is of particular interest, particularly in terms of the representation of stereotypical characters in his early works to complex psychological personalities. As Daneliya's working materials demonstrate, he paid particular attention to musical accompaniment and employed the staging technique of counterpointing image and sound. In his films, musical accompaniment acquires a fundamentally new quality, becoming an integral part of the production in the creation of grotesque images, situations, and semantic subtext. The research methodology includes: 1) textual analysis of scripts, taking into account the author's edits 2) comparative study of film edits 3) intertextual analysis of visual and sound solutions 4) sociological survey of contemporary viewers

The subject of the study is the cultural analysis of the digital participation of older adults in China and the identification of its role in the processes of active ageing. Digitalization affects all spheres of life, including culture, education, and everyday practices, opening new opportunities for the preservation of memory and the expansion of social participation. For older people, digital culture becomes not only a means of communication but also a resource of cultural identity, an instrument for overcoming social isolation, and a channel of intergenerational transmission. The study examines such key categories as symbolic capital, cultural memory, and everyday practices, which make it possible to interpret the experience of older users in the media environment as a specific form of cultural participation. The analysis also draws on the concepts of cultural citizenship and structuration theory, highlighting the active inclusion of the older generation in the public sphere. Thus, digital culture appears as an independent sociocultural phenomenon, shaping a new model of getting old. The methodology is based on cultural analysis and an interdisciplinary approach, combining cultural studies, sociology, and gerontology. The empirical basis consists of qualitative research through semi-structured interviews with respondents aged 60–69 who had experience using digital cultural services (online lectures, virtual exhibitions, educational courses). The results of the study show that the perception of the digital environment by older adults is determined not only by the functional parameters of services (simplicity, usefulness, attractiveness) but also by cultural dimensions (identity, memory, intergenerational practices). Trust and the level of digital competence act as mediators between external stimuli and readiness for cultural participation, while mastering digital skills reduces feelings of social isolation and strengthens intergenerational ties. Educational initiatives linking digital literacy with local heritage (for example, courses in libraries and universities of the third age) form sustainable practices of “digital heritage.” The scientific novelty of the study lies in the cultural interpretation of digital participation of older adults as a symbolic resource that ensures the transmission of memory and the affirmation of cultural citizenship. The conclusions emphasize that digital culture is becoming an independent space of active ageing, while the practical significance of the study lies in the possibility of using its results for the development of cultural policy and digital humanities projects aimed at expanding the rights and opportunities of the older generation.

The cultural and educational environment is ideal for broadcasting socio-cultural standards through social advertising. It allows you to preserve and increase socio-cultural values through the education system, to introduce young people to models of communicative behavior, rules of behavior in society. This is how personal education is implemented in a limited environment, where young people are only the object of communication influence. Currently, educational work is increasingly turning to a system-activity approach, and educational methods are based on the points of growth of the subject's own action. Therefore, in this work, young people are considered as the creator of social advertising. The subject of the study is the design of social advertising. The object of the study is an educational method implemented in a cultural and educational environment. The author pays special attention to the characteristics of the design process of the design object of social advertising.  The author uses culturological and axiological approaches. The analysis of the value and socio-cultural potential of the educational method is based on the results of a survey of young people. The main conclusions of the study are the following theses: – young people are familiar with social advertising, but through participation in competitions they discover new socially significant problems; - developing a project concept, young people learn new facts and methods of solving problems, change their attitude to them, realize their importance for society as a whole and for themselves personally; – young people are aware of the degree of influence on their behavior of the information received about the problems and the creative process of working on a visual and graphic embodiment; - the process of working on social advertising allows you to make social advertising more visible in the information space as a whole, helps to make a decision to give up a bad habit, reduces anxiety in certain situations, makes a person more attentive to the community. In the process of creative competitive activity, the design of social advertising provides an opportunity for self-development and self-realization of a young person, introducing him to the values, moral and behavioral norms accepted in society.

The subject of this study is the Tavrida.Art festival of young art, the central event in the Tavrida creative cluster (Sudak, Crimea). Based on an analysis of the festival's structure, content, concepts, and functions, the authors examine the specifics of Russian creative industries, which are expressed in the use of modern technologies and forms as tools that contribute to the actualization of cultural heritage, its preservation, and the strengthening of traditional spiritual and moral values. The goal of the study is to identify and substantiate the essential features that determine the potential for the further development of creative industries in Russia as a form of actualization of cultural heritage. This article is devoted to one of the central issues determining Russia's integration into the global creative economy: the role of cultural heritage and traditional values in the context of the innovative and modernization vector of cultural policy. Methodology: structural functionalism and axiological approach. Research methods: functional analysis, structural analysis, comparative analysis, case study, participant observation. The key findings outline the distinctive development path of creative industries in Russia. These industries are distinguished by their reliance on tangible and intangible cultural heritage, the cultural diversity of Russia's peoples and ethnic groups, and the unity of cultural and historical processes. The study's novelty lies in its identification of the specific characteristics of Russian creative industries. An analysis of one of the activities of the Tavrida.ART creative cluster—the creation of souvenirs and representative products based on the interpretation and reinterpretation of the visual and value-semantic codes of Russian culture—is presented. Examples of the successful implementation of this concept in merch products developed by the Tertsia Center for Contemporary Art (Moscow) and presented by porcelain jewelry designer Anna Loginova under the ALCHIMIA brand (Moscow) are examined in detail.

The subject of the research is Japanese animation (anime) in the context of its functional purpose as an element of mass culture. The author examines the reasons for the relatively late emergence of the anime industry, as well as its interaction during its formation with established traditions of educational art for children and adolescents. The article discusses the factors that led to the duality of the studied phenomenon, as well as the contradictions of its functions: serving as a source of entertainment, a means of illusory satisfaction of desires, as well as a tool for conveying social norms and values. The author also considers the reasons for the further evolution of anime in the 21st century, including the strengthening of entertainment and hedonistic elements in it, related to the general trends of modern cultural development. The article also discusses the prospects for the development of anime in Russia. The main research tools were historical-genetic methods, which allow for revealing causal relationships between various socio-cultural phenomena, and structural-functional analysis. The main conclusion of the research is the thesis on the dual nature of anime. As an element of mass culture, it inevitably acquires a consumerist character, serves as a means of satisfying desires, and embodies the dreams of children and adolescents. However, anime is also under the pressure of social demand and is objectively forced to act as a way of transmitting social norms and values. The dual nature of anime allows it, in the hands of the most outstanding directors, to rise above the clichés of plots and techniques of mass culture and create true masterpieces. At the same time, the overall evolution of culture leads to a gradual reduction of anime's educational functions and an increase in its hedonistic, entertainment, and destructive elements. Anime has become a formed and necessary element of mass culture and can only be transformed outside of it.

The subject of this study is the principles and conceptual approaches to artistic design of light advertising in the urban environment of Hong Kong. The research details the process of integrating light advertising into the architectural and cultural "fabric" of the city, taking into account technological, ecological, social, and aesthetic factors. Special attention is given to issues of harmonizing lighting solutions with architectural appearance, minimizing light pollution, and preserving the cultural identity of the urban environment. Modern trends in the use of neon, LED, and interactive technologies are analyzed, along with the artistic, engineering, and design aspects of the project. Methods for creating visually expressive, innovative, energy-efficient, and environmentally responsible advertising objects that enhance the visual perception of the night city and increase its tourist appeal are also considered. The study employs comparative and analytical methods, including the examination of architectural objects, visual analysis of light installations, and a systemic approach to evaluating the interaction of light advertising with the urban environment of Hong Kong and its cultural context. The scientific novelty of the research lies in a comprehensive approach to analyzing the artistic design of light advertising in the dense urban environment of Hong Kong, where architecture, culture, and modern technology intersect. Unlike traditional studies, the focus is not only on the technical characteristics of lighting structures but also on their aesthetic and cultural impact on the perception of the urban environment. The work proposes a concept of sustainable artistic design aimed at harmoniously combining light advertising with the architectural appearance of the city and minimizing the negative effects of excessive illumination. The conclusions of the study emphasize the importance of developing unified standards and quality criteria for light design that ensure a balance between visual expressiveness, functionality, and environmental safety. The results obtained can be used in developing strategies for visual culture in megacities and forming an aesthetically cohesive urban environment.

The subject of the research is Old Russian singing traditions. Historical circumstances, triggered by the church schism of the 17th century and the subsequent secularization of culture, led to the loss of the performance practice of authentic chants. The focus of the study is the creative activity of medievalists and choir conductors in actualizing the ancient Russian cultural heritage. The author examines such aspects of the topic as the genesis of the scientific school of Russian musical medieval studies, tracing back to the work of M. V. Brazhnikov, and analyzes the evolution of methods developed for the reconstruction and study of Znamenny chant not as an archaic relic but as a relevant phenomenon of contemporary culture. Special attention is given to identifying and exploring the mechanisms of actualization and transmission of ancient Russian singing heritage in the performance activities of choir conductors. For this purpose, the creative interaction of A.V. Konotop with the Synodal Choir, N.S. Sergeina with "Rossika," and K.N. Nikitin with the choir of Valaam Monastery is considered. Based on a comprehensive approach that includes general scientific methods of description, analysis, and synthesis, as well as cultural-historical and musicological analysis, the creative symbiosis of medievalists and choir conductors is studied in the process of actualizing ancient Russian musical culture. A special contribution of the author to the research topic is the examination and analysis of the multifaceted process of actualizing ancient Russian singing heritage in the modern auditory space, including scientific reconstruction of authentic chants (M. V. Brazhnikov, N. S. Sergeina, A. V. Konotop), performance interpretation (choirs "Revival," "Rossika," Valaam's Courtyard, Danilov Monastery), educational practices, and festival activities ("Academy of Orthodox Music," "Heritage"). The evolution of methods for deciphering neume notation, paleographic analysis, and stylistic modeling is also considered, which has allowed for the introduction of unique monuments of Znamenny and syllabic singing from the 16th to 17th centuries into scientific and performance discourse. The most successful method for reconstructing authentic chants, in our opinion, is a comprehensive method that integrates paleography and historical-cultural context, allowing ancient Russian singing art to transition from silence to the field of active scientific discourse. The scientific novelty of the work lies in examining the interaction of science, performance, education, and festival activity as a unified system that ensures the viability of the ancient Russian musical tradition in the 21st century.