Abstract: After the October Revolution of 1917, the Russian avant-garde established close relations with the German left wing. Vkhutemas, as the center of the Russian avant-garde, also had an important influence on the development of the Bauhaus. This study examines the specific path and results of the influence of Vkhutemas on the Bauhaus in terms of concept, structural transformation and production strategy in order to clarify the relationship between them. In this work, Vkhutemas is taken as the center, based on the analysis of conceptual principles, structural transformations and production strategies, specific ways and manifestations of the influence of the Russian avant-garde on the Bauhaus in various periods of the 1920s are explored. This comprehensive and multidimensional Russian influence not only develops the modern system of design education and finally consolidates the historical status of the Bauhaus, but also lays the foundation for its final fate. Firstly, on an ideological level, the goals of Russian production are directly related to the construction of socialism, to the creation of a system of proletarian culture, which Avartov calls proletarian, which largely coincides with the left-wing ideals of Gropius. Secondly, at the level of artistic thought, productivism and constructivism, as new ideas of the early 20th century, represented the contribution of the Russian avant-garde to modernist design. Finally, at the level of educational practice, thanks to the introduction of Russian constructivism by Moholy Nagy, the Bauhaus created a prototype of the three main components of modern design education, taking lessons from teaching composition by Vkhutemas, and opened the transition from expressionism to function. This was a new stage in the transformation of socialism, and thus formed the classic image of the Bauhaus for the outside world.

Keywords: artistic paradigm, art education, art, avant-garde, design, Constructivism, Production art, Modernism, Bauhaus, Vkhutemas

Abstract: The subject of the study is the value-semantic roles and instrumental functions that were assigned to the intangible cultural heritage in Russia's conceptual and strategic documents affecting its preservation and use. The purpose of the work is to determine the current value-semantic and functional position of the intangible heritage in the structure of public administration in Russia, as well as to assess possible prospects for further development of this institution. The implementation of the Russian state approach to the preservation, actualization, popularization and use of intangible cultural heritage is interdisciplinary and interdepartmental. Therefore, in order to assess it more systematically and identify promising areas of development, it is necessary to expand the range of practical research to analyze the entire range of provisions of Russian state policy affecting these issues. The cultural approach seems to be the most heuristic way to achieve this goal. The research uses the method of content analysis, comparative and cultural-historical methods. The author identifies the importance and scope of the intangible cultural heritage at each stage of its institutionalization in Russia, proposes a periodization of the historical dynamics of this process, and substantiates the need to form a Russian national approach to the preservation and use of intangible heritage in comparison with the UNESCO discourse. The author concludes that the progressive institutionalization of the intangible heritage of Russian culture in domestic state policy has allowed us to take into account the creative aspects of scientific, professional and socio-political discourse, as well as harmoniously integrate this institution into a multi-level model of socio-cultural policy. Special attention is paid to the promising tasks of the Russian state policy in the field of intangible heritage in the context of the development of the existing system of its protection.

Keywords: ethno-cultural heritage, cultural values, regulatory framework, strategic planning documents, cultural memory, heritage safeguarding, russian national security, russian national policy, intangible cultural heritage, russian cultural policy

Abstract: The main subject of this research is the tradition of visual representation of the luminosity of the divine nature in Western European Christian art of the IV-VIII centuries. The objects of study are fragments of monumental temple decorations containing images, both literal and symbolic, of this divine phenomenon, as well as written sources related to the interpretation of these images. The focus of the research is on the Western European artistic tradition of depicting the halo of Christ and its change during the period under review. The purpose of this work, which is the first part of the study, the chronological framework of which covers the period from the IV to the XIII centuries, was to compile a holistic view of the development of the iconographic tradition of representing the theme "I am the light of the world", the luminosity of the divine nature of Christ in the context of the study of the visual language of Western European medieval religious art of the IV-VIII centuries. The visual sources of this work are Christian churches that have preserved the monumental decoration of the IV - VIII centuries, which are located on the territory of Rome, Ravenna, Milan, Naples and surrounding areas. The methodology on which this research is based is represented by typological, iconographic and formal stylistic methods of analysis. The novelty of the present study is a detailed analysis and systematization of various visual representations of the luminosity of the divine nature of Christ, first of all, variants of the image of the halo and their transformation over time. Based on the studied sources, the author has compiled a certain classification picture, which allows forming a holistic view of the formation and development of the artistic tradition of representing this topic.

Keywords: luminosity, monumental decoration, iconography, characteristic, image of Christ, visualization, mandorla, halo, light, solar symbolism

Abstract: The article "The originality of Chinoiserie-style garden architecture in England in the XVIII century" explores the development and specifics of Chinoiserie style in the landscape architecture of England. Chinoiserie style refers to the use of Chinese motifs and stylistic techniques in European architecture. The aim of the work is to identify the specifics of the arrangement of English gardens and parks in the Chinoiserie style. The subject of the study is the stylistic features of the embodiment of Chinoiserie gardens and parks. The object of the study is parks and garden architecture in the Chinoiserie style in England. The study covers the 18th century, revealing the contribution of individual architects and the influence of Chinese art on the development of garden architecture. The presented analysis demonstrates how architectural styles of Western and Eastern culture can mix. English gardens and parks are evidence of the influence of Chinese aesthetics on landscape gardening, which later spread to continental Europe. In the course of the research, the following methods were mainly used: historical, historical-genetic, historical-comparative. In the study of specific objects of landscape architecture, methods of art criticism analysis were applied — formal, stylistic and comparative methods. The article examines specific English monuments of landscape architecture of the XVIII century taken as examples the Chinoiserie style. The novelty of the study lies in the fact that the features of the Chinoiserie style in the landscape architecture of England were highlighted and a comparison of English architectural objects in the Chinoiserie style with Chinese analogues was carried out. The conducted research revealed the English specifics in the approach to interpreting Chinese designs of gardens and parks and architectural projects in the XVIII century. English gardeners and architects were inspired by Chinese aesthetics and used oriental elements for decoration, but did not follow all architectural canons and traditions. This gave rise to a new Chinoiserie style, a combination of Chinese and European landscape art that spread throughout Europe.

Keywords: eclecticism, analysis, architecture, landscape, parks, gardens, style, England, China, Chinoiserie

Abstract: The article is devoted to the analysis of the concept of "musical meaning", which conceptualizes the way a musical work is given in terms of its formal and meaningful features. The relevance of studying this issue is determined by the importance that the original version of the composition created by the composer has for further development of the musical fabric — both on the part of the performer and the audience of listeners. The purpose of the study is to determine approaches to the specifics of the existence of music, which is not directly reduced to sound and at the same time is realized in sound. Accordingly, the objectives of the study included 1) to identify and compare the most significant definitions of musical meaning, to establish the place of intonation in its physical, aesthetic and spiritual-intellectual disclosure; 2) to describe the means of expression that contribute to the achievement of technical and directly artistic goals; 3) to substantiate the nature of the connection of intonation with general musical and extra-musical phenomena. The research methodology is based on the philosophical theory of music as a temporary art. Categorical analysis was used in combination with elements of the biographical method and the method of included observation. The methods of private disciplines such as musicology, musical psychology, and communication theory are also used. The study shows the paradoxical nature of musical meaning, which is both set and at the same time elusive, requires strict restrictions — and at the same time organizes musical material through creatively free activity. The novelty of the work consists in clarifying the range of philosophical approaches to the "elusive" concept of musical meaning, in an attempt to find invariants of various interpretations of this concept based on a comprehensive analysis of the existence of musical meaning combining physical, emotional and spiritual-intellectual processes. The results obtained allow us to substantiate the specifics of performing skills, which includes not only the depth of understanding of the author's idea, but also the ability to find acceptable limits of variability of interpretations based on "semantic constants" captured by the creator of the work and recorded in his text in the form of notes. The communicative conditions of place and time also play a role, concentrating the national peculiarities of reading the musical meaning.

Keywords: tradition, philosophical anthropology, means of musical expression, musical meaning, musical thinking, musical performance, intercultural communication, intonation, author, philosophy of art