编号 4 (2025)

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

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

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

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

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