Abstract: As the title implies, the article provides a general overview of the Kaluga iconography as a unique regional iconographic tradition that formed in the 2nd half of the 18th century. The primary parameters of this phenomenon are identified, including technological, iconographic, and stylistic factors. Based of archival data and historical evidence, Kaluga’ icons are defined a number of monuments executed in the technique of tempera painting in a specific stylistic manner, for the most part inheriting of artistic direction named “zhivopodobie”. The main iconographic features of the products of the Kaluga icon painters are revealed, in particular, the iconographic renderings of Christ the Almighty and the Mother of God "The Life-Giving Spring" common in Kaluga. It also provides a classification of the main stylistic lines in the Kaluga icon painting, which took shape at the end of the 18th century. The question of the chronological boundaries of the phenomenon is considered. Based on the analysis undertaken, Kaluga iconography is determined to be a full-fledged center of regional icon painting that forms part of a broader context of late iconography. On the one hand, Kaluga's iconography aligns with general trends, with its unique writing style appearing in the last quarter of the eighteenth century, overtly influenced by significant European styles, and experiencing artistic decline in the second half of the nineteenth century. On the other hand, the Kaluga iconography distinguishes itself through its singular stylistic and iconographic peculiarities, sufficient to demarcate it as a distinct artistic center.

Keywords: icon painting of the 19th century, iconographic program, Old Believers, regional icon painting centers, icon painting of modern era, Kaluga province, history of Kaluga, Kaluga icon painting, identity strategies, Vetka and Starodubye

Abstract: The object of the research is Internet memes as a product of modern mass culture and art. The subject of the study is the iconological interpretation of an Internet meme as an art object. Internet memes dedicated to the lockdown and the COVID-19 pandemic - "quarantine" from the collection of social cartoons of the Center for Socio-Political History of the State Public Historical Library, which was collected during the lockdown of 2020, and also relevant Internet materials were selected for interpretation. The purpose of the article is to conduct an iconological interpretation of selected Internet memes from the collection of social cartoons of the Center for Socio–Political History of the State Public Historical Library. The novelty of the research lies in the fact that for the first time an Internet meme was considered as an art object, and the possibilities of iconological interpretation of this phenomenon of modern culture and art were investigated using the example of several "quarantine" sites. The article shows that the construction of "quarantines" went both along the path of creating new memes and by transforming old memes based on recontextualization – using well-known plots, images, heroes to discuss new realities. The iconological interpretation of the "quarantines" made it possible to identify the features of the reflection of the pandemic in the public consciousness (the feeling of the "inversion" of the world, the catastrophic nature of changes, new security conditions) and to deepen knowledge about the nature of artistic self-help of society in conditions of social extremum (the use of the healing effects of the tragicomic).

Keywords: recontextualization, interpretation, digital folklore, popular culture, pandemic, quarantine, web culture, iconology, Internet meme, social caricature

Abstract: The purpose of the article is a historical and anthropological reconstruction of the traditional economic practices of the Yakuts, in which the most important place was occupied by the exploitation of cryogenic resources (cold, snow, ice, "permafrost"). The work is based mainly on the analysis of observations by researchers of the second half of the XIX – first half of the XX centuries, who recorded in the course of their expedition surveys a number of stories concerning the practices of the use of cryogenic resources by the Yakuts in economic activities. Methodologically, the article is based on the principles of cryosophy, involving the study of the cold matter of the Earth through the prism of their role as an active element of the universe, a source of benefits and opportunities for humanity, as well as a historical and anthropological approach. The article for the first time shows a number of examples of successful and active exploitation of cold, snow, ice and "permafrost" in the traditional economic activities of the Yakuts within the framework of such a plan: cattle breeding and horse breeding, fishing and hunting, as well as in the organization of salt production. Based on accumulated materials, including documents from the Archives of the Russian Academy of Sciences and its St. Petersburg branch, the State Archive of the Irkutsk Region, the Scientific Archive of the Siberian Branch of the Russian Academy of Sciences, the Scientific Archive of the Russian Geographical Society and the Manuscript Fund of the Archive of the Yakut Scientific Center SB RAS, the authors conclude that cryogenic resources were one of the important adaptation mechanisms Yakuts to the natural and geographical realities of Yakutia.

Keywords: ice, snow, Cryoanthropology, cryogenic resources, Yakuts, permafrost, Indigenous Peoples, Yakutia, Arctic, traditional economy

Abstract: In the study the personal history of the repressed intelligentsia of Yakutia, the name of the outstanding scientist and socio-political figure Gavriil Vasilyevich Ksenofontov (1888-1938) occupies a special place not only because of the tragedy of his personal fate, but also the actualization and significance at the present stage of his most conceptual ideas, which, like their author, have their own scientific destiny. For the first time, research of this type became possible thanks, on the one hand, to the invaluable layer of archival sources identified in the handwritten heritage of G. V. Ksenofontov, on the other hand, to the methodology of a comprehensive study of the biographical narrative in the intellectual tradition of the first Yakut humanities scholars within the framework of modern approaches to intellectual history. For the first time in the unpublished manuscript legacy of G. V. Ksenofontov, a special circle of ideas is highlighted, the most indicative in the aspect of the formation of his integral intellectual program. In his scientific notes of 1934-1937, G. V. Ksenofontov increasingly refers to the multidimensional concept of «culture», perceived as a whole as a complex mechanism of a complex producing principle associated with ethnic identity and national identity. In this regard, in the statements and research of the scientist of recent years, there is a steady interest in methodological research and the conceptual basis of related humanities disciplines. We will focus on their review and justification in the broad context of G. V. Ksenofontov's ideas about «culture», the reasons for their appearance in his scientific tools in this paper, which determined the subject and purpose of the study.

Keywords: national institute, dialogue of cultures, language and culture, intellectual tradition, historical memory, poetic function, oral culture, nomadic culture, intellectual-reformer, eurasianism