编号 3 (2025)
Articles
Toward the Origins of the Concertmaster-Pianist’s Profession: The Art of Maestro al Cembalo
摘要
The relevance of the research lies in the urgent need for modern musicology to reconstruct the profession of a concert pianist. The subject of the study is the art of maestro al cembalo. The object of the research is the work of maestro al cembalo and the features of his creative activity. The purpose of the research is to study the process of formation of the initial stage of the development of the profession of a concert pianist, which spanned the period from the late Renaissance to classicism. Research objectives: to highlight the main characteristics of joint performance using basso continuo; to provide information about the specific skills and knowledge that maestro al cembalo should have possessed; to show the importance of these musicians in the musical performances, as well as in the evolution of musical creativity; to present portraits of the most significant representatives of this profession. The author of the study focuses on the influence of the maestro al cembalo’s art on the formation of European concertmaster schools. To disclose the author's stated topic, the following methods are used: anthropological, hermeneutic, comparative-historical, theoretical, and analytical. A special contribution of the author is the search, analysis, and systematization of archival materials from Italian theaters and city archives, based on which information about the life, work, and specifics of the maestro al cembalo’s creative and pedagogical work has been introduced into scientific circulation. The main conclusions of the study show that the most important principles of professional activity of a modern pianist-concertmaster of a musical theater were formed several centuries ago. The results obtained can be applied both in conducting courses on the theory and history of performing arts and in the practical activities of modern concert pianists. The study’s conclusions allow us to form a clear picture of the initial stage of the formation of concertmaster art and trace its leading trends, which will be reflected in the subsequent development of this creative specialty.
Culture and Art. 2025;(3):1-9
1-9
The Sacrifice of Isaac in the Religious Art of Jews and Christians: The Philosophical Antagonism of Law and Truth
摘要
The article examines the iconography of the Sacrifice of Isaac (Akedah) in Jewish and Christian religious art of late antiquity. The focus of the study is on the frescoes of the Dura-Europos synagogue (3rd century CE) and the paintings of the Catacombs of Peter and Marcellinus (3rd–4th centuries CE), interpreted through the philosophical opposition of Law and Truth, as proposed by Alain Badiou. In Jewish tradition, the Akedah symbolizes fidelity to the Law and the covenant with God, while in Christianity, it is reinterpreted as a prophecy of Christ's sacrifice, reflecting a radical break with previous ritual structures. The methodology of the study is based on comparative iconographic analysis and philosophical interpretation within the framework of Badiou's concepts. The author reveals how visual symbols (such as the shell, the lamb, and the postures of the figures) become carriers of theological ideas, highlighting the antagonism between Jewish and Christian interpretations of the Akedah. The novelty of the work lies in the application of Badiou's philosophical concepts to the analysis of religious art, uncovering the metaphysical conflict between Law (as a system of norms) and Truth (as an event that disrupts the existing order). For the first time, the iconography of the Akedah is examined as a field of confrontation between two paradigms, where Judaism maintains fidelity to tradition, while Christianity asserts a new universality through symbolic reinterpretation. The conclusions emphasize that Jewish art focuses on fidelity to the Law and dialogue with God, while Christian art transforms the sacrifice into a symbolic Truth linked to the event of Christ. This antagonism continues to shape the development of the two religious traditions, finding expression in their art and theology.
Culture and Art. 2025;(3):10-21
10-21
Zhenya Komelkova’s Image in Tan Jianping’s Opera “The Dawns Are Quiet Here”
摘要
This study analyzes the musical and dramatic features of the opera The Dawns are Quiet Here by Chinese composer Tang Jianping, based on the novella by Boris Vasilyev. The work examines the interaction of Russian literary tradition with Chinese musical style, as well as the expressive means used in the opera to reveal the characters’ personalities. Special attention is given to the musical image of Zhenya Komelkova, one of the opera’s key characters. Her vocal line, the evolution of the musical accompaniment, and her dramatic role in the plot are explored. Key scenes are considered in which Zhenya goes from cheerfulness to the realization of her tragic fate. The article analyzes vocal and instrumental means, such as timbral solutions, harmonic content, and rhythmic changes that enhance the emotional impact on the listener. The study employs methods of music-theoretical analysis to identify features of vocal parts and orchestral accompaniment. A comparative method is used to study the musical language of the opera in the context of Russian and Chinese traditions. The novelty of the research lies in the detailed examination of the interaction between Chinese musical tradition and the Russian literary original. The analysis of Tang Jianping’s opera demonstrates how the composer adapts traditional methods of Chinese musical theater to convey the dramatic line of Russian classics. An important contribution is the study of Zhenya Komelkova’s vocal part, her evolution throughout the work, and the musical means used to convey her emotional state. The main conclusions of the conducted research are the identification of musical techniques that contribute to the creation of vivid artistic images and the revelation of the dramaturgical role of music in shaping the emotional impact on the audience. An original methodology for analyzing military themes in musical works has been developed. The study opens new perspectives for investigating intercultural dialogue in contemporary music.
Culture and Art. 2025;(3):22-35
22-35
The concepts, typical practices and influences of public art in Europe in the late 19th and early 20th centuries.
摘要
The topic of this study is public art in Europe at the turn of the 19th and 20th centuries. The author thoroughly examines the formation of theoretical concepts of European public art and their practical application in public spaces. The research shows that the period from the end of the 19th century to the beginning of World War I was key for the practice of public art, its organizational development, and international relations, which contributed to the global recognition of public art. The concept of public art emerged during this period with the aim of defining, protecting, and disseminating "public interests in art," with typical practices tending to emphasize social aesthetic responsibility and local features. Subsequently, various interpretations of "public interest" by elites, policymakers, various actors, and the public led to a diversification of public art practices and public understanding. Special attention is given to the formation, development, and impact of European public art, as well as Europe's contribution to public art research. The research methodology includes an analysis of historical sources, a critical review of literature, and case studies on selected examples of public art in various European countries. The results of the study show: an analysis of historical documents related to the inception of the term "public art" revealed that public art in Europe at the turn of the 19th to 20th centuries had a guiding influence on public art practice worldwide and on international relations, and there is even reason to believe that the concept of "public art" as a widely accepted idea originated at that time. The novelty of the research lies in the fact that previously, scholars studying the theme of "public art" often relied on American theories or the concepts of public art from the time of Roosevelt's New Deal, overlooking the influence of Europe on the development of "public art." The author proposes and emphasizes the importance of Europe's contribution to the development, practice, and influence of the concept of "public art."
Culture and Art. 2025;(3):36-51
36-51
Discussions about the essence and features of traditional Chinese culture.
摘要
Traditional Chinese culture, with its several millennia of history, is characterized by its autochthony and syncretism, as well as its remarkable vitality. This article addresses the question of what constitutes the essence of traditional Chinese culture and how its specificity can be defined. The object of study in this article is traditional Chinese culture as a phenomenon, its spiritual-value core, material heritage, and historical dynamics. The subject of research is the essence and specificity of traditional Chinese culture, along with the structural and historical features of its development. The author examines aspects such as the structure of traditional Chinese culture and its historical aspects in detail. Special attention is paid to the contradiction between spiritual-material heritage and the spiritual-worldview foundations of culture. The cyclical perception of traditional culture in China is discussed, including its use as a tool of "soft power" to strengthen global influence and overcome the identity crisis. To achieve the goal of the research, the following methods were employed: structural-historical analysis; retrospective analysis of the evolution of cultural representations; examination of historiographical sources (the "24 Histories of Dynasties") and a comparative approach to various historical periods (dynastic, post-revolutionary, modern). The main conclusions of the research indicate that the structural specificity of traditional Chinese culture is defined by the syncretism of the spiritual-value core of "sanjiao" (Confucianism, Daoism, Buddhism) and the spiritual-material heritage, which includes calligraphy, martial arts, and decorative arts, along with key concepts such as "dao," "ren," "wu xing," "zi xiao," and Confucian virtues. The chronological boundaries of traditional culture are restricted to the Manchu dynasty era (up to the 19th century), determined by the shift in the political-cultural vector in the 19th century, after which its transformation began under the influence of westernization, Marxism, and Deng Xiaoping's reforms. The historical dynamics demonstrate cycles: stages of denial (under Mao, westernization) and revival (Deng Xiaoping's reforms, modern "soft power"). The Confucian-Daoist-Buddhist foundation of pre-dynastic and dynastic periods gave way to ideological crises of the 20th century, and in the modern era, a return to traditions is observed as a tool of "soft power" to strengthen global influence and overcome identity crises. The ideological evolution reflects the adaptation of culture to political changes while maintaining a deep connection with indigenous philosophical-religious teachings, underscoring the role of tradition as a stabilizing factor in the context of modernization.
Culture and Art. 2025;(3):52-64
52-64
Images of the future in cinema: the transformation of cultural paradigm
摘要
The subject of the study is the tendency of representation of stable images of the future in cinema as a tool of cultural forecasting. Cinema, with its extensive instrumentation and synthetic nature, has become an ideal polygon for the realisation of prognostic visual representations of the near and distant future. At the same time, being a product of culture, it is capable of transmitting socio-cultural values, beliefs and ideologies. The aim of this article is to explore the transformation of cultural paradigms in cinema through the visualization of the image of the future in cinema and the ways of its modeling on the screen; analyze how projections of specific problems have changed over time through the visual language of the future through cinema. The study is based on a cultural and sociocultural analysis of film productions, focusing on the identification of sociocultural guidelines through the visual component and narrative discourse. A comparative and axiological approach is used to capture the dynamics of changes in the representation of the image of the future in cinema of different time periods. The author claims that cinema not only reflects but also actively constructs perceptions through the visual image. The main component of modeling a futurological image is the material environment and objects within it. The representation of the image of the future is based on the extrapolation of the problematic socio-cultural discourse of reality. With the change of epochs, the change of cultural coordinates is traced, depicting the problems and the technological stage of progress of their time, and the main categories that are present to a greater or lesser extent in all futurological cinema are identified: social inequality, the relationship between man and machine, the impact of technology on society, control and freedom of the individual.
Culture and Art. 2025;(3):65-74
65-74
The soap operas as an important audiovisual medium of the XXI century
摘要
The author considers the modern soap operas (series) in the audiovisual space as an object of research. By the subject of the study, the author understands the influence of the series of the XXI century on cultural, economic and technological processes, as well as their role in shaping modern media trends. Special attention is paid to the influence of the series on popular culture, the formation of audience preferences and their role in the globalization of the media market. Research methods include content analysis of scientific and journalistic sources, a comparative historical method for studying the evolution of the series, as well as a systematic approach that allows a comprehensive assessment of the impact of the serial medium on society, culture and the economy. The main conclusions of the study show that the series in the XXI century have become a powerful tool for influencing social processes, shaping public discourses and value orientations. They not only reflect current trends, but also actively participate in their formation, becoming an element of global cultural exchange. In addition, economic and technological changes have led to the emergence of new series formats, such as interactive projects and personalized content using artificial intelligence algorithms. The main contribution of the author is a comprehensive analysis of the serial medium, taking into account its historical development, modern influence and prospects of evolution. The scientific novelty of the research lies in an interdisciplinary approach to the study of the series, combining cultural, economic and technological analysis. The work expands the understanding of the impact of the series on global media processes and emphasizes their role as one of the leading formats of contemporary art and mass communication.
Culture and Art. 2025;(3):75-87
75-87
Japandi: between Nordic and Japanese design
摘要
The article is devoted to the issue of the specifics of understanding design in different regions. In a narrow sense, design is a product of modernist culture, and its origins can be traced back to the European rationality of the Enlightenment. However, by today, the understanding of design has greatly expanded, and different regions of the world offer different understanding of design, contributing to the "science" of design. The purpose of the article is to identify similarities and differences in the understanding of design in Japan and the Nordic countries based on the analysis of the modern trend in environmental design "japandi", which involves a blending of Scandinavian (Nordic) and Japanese design traditions. Although "japandi" is a trend of the 2020s, it should be noted that the influence of Japanese design on Nordic design can be traced back to the middle of the twentieth century. The study is based on a comparative method, offering a comparison of different design models in the context of geographical, historical, cultural and socio-economic characteristics of the regions. Following N. Skou and A. Munch, the authors analyze the Nordic design using the keywords: "north", "nature", "models" [of welfare] and "minimalism". The authors conclude that the specifics of Nordic design as a whole are based on the idea of the balance of nature and culture, functionalism and pop culture, it is socially oriented and, as a result, simple, but not strict in its commitment to simplicity. This makes it accessible and understandable to everyone. At the same time, the design here is a "way of life". Continuing the logic of keywords, the authors conclude that the main ones for Japanese design are: "tradition", "nature", "minimalism" and "care". In Japanese design, the creation of the new takes place by embedding in the old. Its minimalism is due not only to the influence of Buddhism or traditional aesthetics, in particular the simplicity of "wabi", but also to "Westernization" in general. Also, "Japanese minimalism" is associated with caring for other people, it is "contemplative", which is facilitated by the traditional connection with nature and the aesthetics of "sabi" scuffs. Although design in both regions strives for peace, harmony with nature and simplicity of forms, in general Japanese design is "contemplative", and Nordic design is "cozy" ("hygge"). Thus "japandi" is a Western trend offering a "cozy" Japan "for everyone."
Culture and Art. 2025;(3):88-105
88-105
Common Features of the Sea Waves and Cliffs Pattern on Ming and Qing Porcelain and Textiles
摘要
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.
Culture and Art. 2025;(3):106-116
106-116
Peter Andreevich Gusev and the Origins of the Classical Choreographic School in China
摘要
This article examines the activities of the outstanding Russian Soviet choreographer, teacher, and dancer, P.A. Gusev, during his time in the People’s Republic of China in the 1950s. It describes Gusev’s work in terms of its general influence on the formation of the Chinese classical choreographic school. The features, forms, and methods of his pedagogical work are reflected, and its diversity and multifaceted nature are emphasized. Gusev’s desire to train and educate a new generation of Chinese choreographers and dancers is noted in the course of classes at the choreography courses at the Beijing Choreographic School, as well as the first ballet troupe in China, Experimental Ballet, which was part of the Beijing Choreographic School (now the National Ballet of China), combining the trends of classical world choreographic art and traditions of the great national dance art of China. The article presents an analysis of the productions of classical ballets by Gusev, as well as by students and young Chinese choreographers studying at the choreography courses. Among them are “Swan Lake” by P.I. Tchaikovsky, “Le Corsaire” and “Giselle” by A. Adan. The process of preparation and the course of rehearsals of these ballets are described. A detailed description of the first Chinese national ballet, “The Beautiful Fish,” which later became known as the Chinese dance drama, is given. The article presents an analysis of P.A. Gusev’s results as a basis for the further development and prosperity of Chinese classical choreographic art. In conclusion, the importance of organizing ballet masters and dance school courses at the Beijing Choreographic College, the outstanding role of P.A. Gusev in it, and the need for interaction and continued cooperation in the field of ballet between the PRC and the USSR, established by Soviet figures in the middle of the last century.
Culture and Art. 2025;(3):117-130
117-130