The Klironomy journal (KJ) is an international scientific journal on arts, culture and cultural heritage. The KJ is a part of the Tuculart Holding and is operated by the European Institute for Innovation Development in Czech Republic. The KJ is supervised and controlled by The Scientific Council of the European Institute for Innovation Development, headed by Professor Maksim (Maxim) Bakhtin and Dr. Alexander Buychik, Holding Director for Sciences, supervises the KJ. The publishing works are made by Tuculart Edition, including in the Tuculart Holding. The articles published in the KJ are included in ICI Copernicus, BASE, DOAJ, Zenodo, OpenAIRE, Academic Resource Index "ResearchBib", International Scientific Indexing, J-Gate, etc.
European Institute for Innovation Development
The Klironomy is an open access journal. Articles are available free of charge as PDF files on the website of the European Institute for Innovation Development. PDF files can be previewed with Acrobat Reader from www.adobe.com. All articles of the Klironomy are published under a Creative Commons Attribution 4.0 Generic (CC BY 4.0) International license. According to the Creative Commons Attribution 4.0 Generic (CC BY 4.0) International license, the users are free to Share — copy and redistribute the material in any medium or format for any purpose, even commercially (the licensor cannot revoke these freedoms as long as you follow the license terms). Under the following terms: Attribution — You must give appropriate credit, provide a link to the license, and indicate if changes were made. You may do so in any reasonable manner, but not in any way that suggests the licensor endorses you or your use. No additional restrictions — You may not apply legal terms or technological measures that legally restrict others from doing anything the license permits.
The Studies in Preserving Cultural Heritage: The Methodological Apparatus of the New Sciences of Theoretical Klironomy
At the beginning of the 21st century, it became apparent that the formation of separate sciences corresponded to the basic directions of preserving cultural heritage. However, the classical trends—restoration, conservation, renovation, revitalisation and reconstruction—only solve tangible heritage problems. The study subject was the development of the klironomic sciences’ complex in preparing the second edition of the author’s monograph on klironomy. The study object was the methodological apparatus of theoretical klironomy. The study aimed to identify additional theoretical klironomic sciences in jurisprudence, ethnology (social anthropology) and futurism. Analytical, historical and comparative research methods were used to achieve the set purpose of the study. The study used scientific articles by experts in cultural heritage, philosophy, archaeology, and law, as well as some works by the article’s author. The article presents the methodological framework of three new theoretical scientific fields of klironomy, the science of cultural heritage—juristic (legal), ethnic and futuristic klironomy. The author concludes that these new scientific directions require their development and inclusion in the complex of sciences on cultural heritage to train specialists in these fields of human activity.
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Creation and Preservation of Cultural Heritage in the Past and Present: A Philosophical Study of Klironomy
The problem of preserving cultural heritage is one of the “eternal”, always urgent problems of scientific thought. Currently, the urgency of this problem is reinforced by the fact that the era of vandalism and the deliberate destruction of cultural heritage has not disappeared at all. The so-called “cancellation culture” leads to such phenomena as the demolition of monuments to “wrong” historical heroes. The article is devoted to the phenomenon of the emergence and preservation of cultural heritage. It is shown that the cultural heritage itself is constantly changing during historical processes. It is demonstrated that intangible cultural heritage plays a huge role in the lives of countries and peoples. Reliance on cultural heritage creates the foundations of an ethnic group’s national identity. At the same time, professional artists have often created people’s cultural heritage in historically recent times. The article provides examples of the creation of cultural features of the Scots and Basques, European peoples with strong self-awareness. The features of preserving the cultural heritage are shown.
Karel Dichtl is a Czech musicologist whose scientific works are mostly unavailable to the public and, therefore, little known. During his professional career, Karel Dichtl worked as a teacher in primary schools and lectured at 13 universities in the Czech Republic and abroad. However, the focus of his tireless activity lies in creating musicological scientific writings, primarily focused on opera works between the 18th and the 20th centuries. In addition to scientific texts, he also writes pedagogical and poetic studies. Sophisticated language expression, meaningful stylisations and logical structure characterise his work. His original works gained recognition and appreciation in foreign scientific communities and should also be known in the domestic academic musicological environment.
Three Monuments, One Fate. Research on the Cultural Heritage of Socialism in Bulgaria
The socialist regime in Bulgaria left behind many monuments whose fate is a problematic issue for any government to resolve after the democratic changes. This study examines three of the most representative monuments of this legacy in Sofia—the Mausoleum of Georgi Dimitrov, the monument of “1300 Years of Bulgaria” and the Monument of the Soviet Army. Their fate is similar in many respects. All three monuments have been removed from the urban environment, but this does not solve the issue of the empty spaces left behind, which continue to be associated by Bulgarian society with places of historical memory. They have failed to transform into sites of other significance, and their historical, cultural and touristic potential remains untapped. To address the issues presented in the study, it is crucial to refine the legal framework and state strategies related to preserving cultural heritage. In the study, a comparative analysis of documents on the three monuments is made, using sources from state archives, the official website of the Sofia Municipality, the monographs of N. Paskalev, G. Gergov, etc. The study continues the author's monographic work on the significance and perspectives of the Mausoleum of Georgi Dimitrov in the contemporary urban environment.
Goffredo Petrassi, Nonsense no. IV. Ideational Subtlety, Sound Expression, and Solutions for Conducting Approach
The music of the twentieth century is characterised by stylistic diversity, given by “the unprecedented complexity of structural composition, the extremely heterogeneous character of artistic creation and the fast change of writing technique” of “...ardently searching for the new, based on the development of tradition, sometimes on its denial”, such as the trend of scientific substantiation of the creation process. One of the features of each European musical culture faced with the pressing trends of modernity was to keep a balance between assuming a “high level of writing technique and the appeal to national and universal traditions.” In this context, the secular choral composition of Goffredo Petrassi offers a synthetic picture of the infiltration and adaptation of the composing options of modernity in the Italian interwar and postwar musical space. The conducting approach of the songs dedicated to vocal ensembles is influenced by many factors, including the understanding of the sound language used by the composer, the compositional and writing techniques, or its reference to the poetic background to which it appeals. The present study proposes several solutions for the conducting interpretation of the madrigal Nonsense IV by Goffredo Petrassi, starting from the stylistic analysis of the score and the reporting of music to the semantic content of the text.
Against the Background of Revolutions, Religious Fanaticism, and Pressures ‒ Satirical Magazine (Iranian Period of “Molla Nasreddin” Magazine)
Azerbaijani cartooning evolved in close connection with European and Russian satirical literature and media, adapting to the local cultural environment and developing both national and international artistic forms. It occupies a unique place in the history of world caricature, positively influencing the formation of satirical press and graphics in Central Asia, Tatarstan, Crimea, the Caucasus, and especially Iran, and has played an invaluable role in the advancement of political satire. The research adheres to the principles of historicity and chronological sequence, utilizing historical-comparative and art analysis methods. It highlights the contributions of Azerbaijani satirical media, writers, publicists, and especially cartoonists, from the perspectives of enlightenment, national revival, progress, and freedom. The study analyzes cartoons that carry a deep social and political weight, educational content, psychological impact, national color, sarcasm, reproach, and criticism. The scientific and theoretical study of Azerbaijani caricature – an essential part of global visual art – alongside research into the artists who contributed to this field, the genre’s modern popularity, and its recognition within society, underscores the importance of this art form and confirms the relevance of this topic. Our main goals in this research are to: undertake a deeper study of Azerbaijani caricature and its sphere of influence; conduct fundamental research into this genre; assess the role of the satirical press in advancing the art of caricature; identify the key features of national caricature traditions; and analyze the work of artists in this field, with particular focus on the publication of the satirical magazine “Molla Nasreddin” in Tabriz in 1921, which boasted a rich tradition of caricature. Additionally, we aim to highlight the positive impact and prestige of “Molla Nasreddin” on Iranian satire, emphasize the press’s role in the development of caricature, and outline the main stages of this evolution in chronological order. The research covers the various forms and stages of development within satirical graphics and caricature, examining the content, form, style, and artistic techniques of caricatures published at that time. The creativity and works of Seyid Ali Behzad, Molla Nasreddin’s leading artist, are also a focal point. The research’s scientific novelty is underscored by the problem’s formulation, demonstrated through solid evidence and analysis.
Western European Philosophy on Folk Art as the Basis of the National Cultural Heritage
Scientific research should always be based on some kind of philosophical basis. Since ancient times, philosophy has also tried to find its answers to questions about pressing social problems, about the relationship of the universe with its laws and people. This fully applies to klironomy as well. Can cultural heritage be considered a philosophical problem? Undoubtedly, after all, figuratively speaking, the philosophical problem is knowledge about ignorance and some subjective assumption about an unknown phenomenon to be disclosed. Cultural heritage is not limited only to the presence of any historical ruins or texts of classical writers. At its core, the cultural heritage of the nation is folk traditional art. It is precisely this that should be considered as the fundamental basis of klironomy. The study object was the Western European philosophical thought about folk art. The study subject was the view of various representatives of Western European philosophy about folk art as the basis of the national cultural heritage. The study purpose was to present the evolution of Western European philosophy about folk art as the basis of the national cultural heritage. Logical, historical, comparative and deductive methods were used to achieve the set goal and solve the research tasks. The study used materials from prominent experts in philosophy of art, culture, and cultural heritage, e.g., Johann Gottlieb Fichte, Jurgen Habermas, Immanuel Kant, Friedrich Schiller, Valentina Maksimovich, Alexander Buychik, Elena Borzova. The author concludes that for the philosophy of klironomy to be born and develop, it is necessary to first create a philosophy of folk art as part of the philosophy of art. This is the task facing philosophers in the age of globalisation.
The Relevance of Studying the Cultural Heritage of the Territory of the Republic of Ukraine
The Ukraine’s cultural heritage is of great historical importance for world culture and the study of the history of the formation of Eastern European civilizations. Archaeological research indicates that the territory of modern Ukraine has been actively developed by people for the last 5,000 years. Crimea became the center of the development of the Scythian civilization. In the 4th–5th century, the formation of the Slavic civilization, which later developed into Kyivan Rus, one of the most powerful centers of Slavic culture, began. The culture of the modern Ukraine’s territories developed further under the administration of the Grand Duchy of Lithuania, the Polish-Lithuanian Commonwealth and the Russian Empire. The Ukrainian people have even preserved their identity in the era of their development as part of the Soviet Union. In the topic of the Slavic War between Ukraine and Russia, it becomes extremely urgent to preserve the unique cultural heritage, which is in danger of disappearing during military operations and uncontrolled bombing of the Ukraine’s territory. To date, objects of material cultural heritage of the annexed territories of Donetsk region, Luhansk region, Kharkiv region, Kherson region, Zaporizhian region, Odesa region, and the Crimean Autonomous Republic are located in the immediate zone of potential destruction. The study subject was the tangible cultural heritage of the Republic of Ukraine. The study objects were objects of international, republican, and regional cultural heritage. The study purpose was to actualise the development of research on the Ukraine’s tangible cultural heritage, which is particularly endangered as a result of military actions by the Russian Federation. In the study course, logical, historical, documentary, comparative, and deductive methods of scientific work were used. Materials of archives and statistical data of UNESCO and the Ministry of Culture of Ukraine were used to achieve the purpose and solve the tasks set. The authors conclude that the relevance of the research of the fund of Ukraine’s tangible cultural heritage objects is obvious due to the ongoing military operations on the territory of the country and the use of modern military technologies of high-precision weapons of destruction at long distances. This poses a direct threat to any objects throughout the territory of Ukraine, regardless of their purpose and the causes of potential damage.
Restoration of the Church Gilded Wall Icon Case
A huge number of church decorative and applied art monuments, which lost their original appearance during the years of timelessness and persecution of religion, need competent, scientifically based conservation and restoration, which will prolong the life of these monuments and revive them for contemporaries and descendants. The article is devoted to the restoration of two gilded frames of a kiot (icon case) with mastic stucco ornament in the neoclassical style of the late 19th century. The study subject was wooden gilded frames of kiots with mastic decoration in the neoclassical style. The project purpose was to return the exposition form to the church decorative and applied art object—the kiot (icon case), which lost it as a result of a prolonged violation of storage and operation conditions. In preparation for the restoration work, a study of the theoretical works of Russian and foreign specialists in this field was conducted. In the course of the work, complex techniques of conservation, restoration and recreation, associated with local losses of stucco decoration, the presence of solid late paints of the author’s finishing of the kiot (icon case) with bronze paint, were applied. The article is intended both for professionals who are directly involved in the restoration of church cultural heritage works, fund and museum exposition curators, guides, and art historians.
The Role of Translated Works in the Repertory Policy of the Azerbaijan State Theatre of Young Spectators (1930–1970s)
The relevance of the study of this topic lies in the fact that foreign dramaturgy has always been in the center of attention of the Azerbaijani theater. This interest also applied to the Theater of Young Spectators. The directors of this theater often turned to the works of foreign playwrights to show the Azerbaijani audience the culture, lifestyle, national drama of other countries. From the 1930s to the 70s, the works of many famous world playwrights were staged: Y. Shakespeare, A. Pushkin, N. Gogol, N. Ostrovsky, I. Stock, Yu. Chaplygin, etc. It is true that the creative path of the Theatre of Young Spectators has always been the research object of national theater studies. However, the works of foreign playwrights included in the repertoire of the theater were not studied separately as a study subject. The study subject was foreign dramaturgy included in the repertoire of the Azerbaijan State Theatre of Young Spectators. The study object was the 1930s–1970s repertoire of the Azerbaijan State Theater of Young Spectators. The study purpose was to study the role of translated works in the repertory policy of the Azerbaijan State Theater of Young Spectators (1930s–1970s). To achieve the study purpose and solve the tasks, such scientific methods were used as historical-chronological, comparative, typological. The study used scientific works and articles of such Azerbaijani researchers as Z. Aghayev, N. Babayev, B. Boquslavski, İ. Karimov, C. Mammadov, İ. Novruzov, İ. Zamanli, I. Karimov, I. Ragimli and K. Abdullayev. The article talks about performances based on translated works on the stage of the Azerbaijan State Young Spectators Theatre in the 1930s–1970s. The author tries to show the reasons for giving a special place to the works of Russian-Soviet dramatists among the translated works included in the repertoire of the theater, and to explain the influence of the time on literature. The author noted that the plays written by Russian dramatists during the mentioned period were received with interest on the stage of Azerbaijan, associates this with the fact that these plays resonate with the time in terms of theme, ideas and style, their adequacy to the taste and psychological perception of the Azerbaijani audience, the compatibility of the principles of humanism, internationalism and equality in these stage works with national values.
Art Connection in the Metaverse or Online Space. Visual Arts Painting and Performance
Art is one of the most influential and powerful ways of conveying ideas and emotions. Art is found in people’s homes, in galleries, museums, and elsewhere. Artists have many ways to connect with their audiences; they can paint, sculpt, write poetry and drama, and create music and dance. In shaping the minds of others, the way an artist chooses to communicate is crucial. We use art to express ourselves uniquely, and it is an essential part of our world. Each art form has advantages and disadvantages. Connecting the different mediums and the audience of different cultures may be a challenging task. In this article we will try to set up a methodology of building bridges and engage to a more wired society both in the real space as well in the metaverse. The process of connection is a form of expression, an exteriorizing of an inner content. The case studies in the article, which are part of the visual arts field, discuss both the process and the content of arts-based research. The study purpose is the identification of different media connections from virtual space to physical space. It is our hope that through the creation of new connections, we can enrich the field of visual arts. The authors find that different people with very different cultural influences of a particular medium arrive at highly congruent systems by overlapping layers of memory, of transgenerational genetic, empirical and emotional heritage. To realize this, it is necessary to delve into this topic and explore the phenomenon in all its actualization.
Chaos and Harmony in Nature and Art as the Origin of Beauty
The relevance of the topic “beauty” is inexhaustible. In this article, it is considered as the unity of two opposites—chaos and harmony. This unity is the basis on which art is built, as an activity inextricably linked with beauty. The study subject was these two concepts, and the study object is the entire aesthetic thought from ancient times, considering beauty as a combination of chaos and harmony. The study purpose was to show how this idea of the unity of two opposites, embedded in the structure of the universe, is the main driving force of any creative activity. Human culture is considered at the same time as a process aimed at harmonizing chaos, and art as an opportunity to give this process expressive forms. In the study, along with the philosophical and aesthetic methodology, methods of other sciences such as hermeneutical, axiological, existential-phenomenological, semiotic, and psychological were applied. When writing the study, there were used a wide range of sources: works of ancient thinkers Hesiod, the pre-Socratics, Plato, Pythagoras, Aristotle, Russian aesthetic and psychological thought of A.F. Losev, V.S. Solovyov, N.A. Berdyaev, Yu.N. Lotman, Yu.B. Borev, L.S. Vygotsky, works of Russian and foreign scientists, including A.V. Voloshinov, Yu.V. Taboyakova, B. Mandelbrot, H.-O. Paytgen, P.H. Richter, N.T. Rymar, G.P. Menchikov, studies in ornament art of V.V. Ivanov, V.N. Toporov, V. Gruzdev, K. Buher, and T.V. Kolchev. The author concludes that the unity of chaos and harmony is represented in art as a natural reality in which opportunity and action are combined. In this strange dyad is the basis of what we call creativity. And all this is contained in the universe, as a certain formula by which the beauty of the world and the beauty of art are built.
Riddles and Mysteries of Grandfather Clocks from the Palaces of Peterhof and Tsarskoye Selo
The article is devoted to the conservation and restoration of the upper part of the wooden carved gilded case of the grandfather clock from the White Dining Room of the Grand Peterhof Palace, which lost its expositional appearance as a result of the distortion of its appearance by late multi-layered oil painting, as well as the reconstruction of the lost lower part of the watch case with its subsequent finishing on the basis of an analogue and documentary research. The novelty of the topic lies in the comprehension and understanding by the restorers of the uniqueness of artworks, both at the time of their creation by the authors, and in the individuality of the conditions for their utilitarian use, storage, and exhibition, which were reflected in the distortion of the exhibition view as a result of various negative impact factors. The study subject was the works of European arts and crafts of the 18th century with a wooden base and decoration in the form of combined decorative gilding. The study object was the combined gilding of the wooden case of an 18th-century grandfather clock with a musical mechanism, made in Berlin by watchmaker Konrad Erbar. The study purpose was to identify the author’s finish of the object of restoration and to determine the methods of its conservation and reconstruction in order to return the work of exposition. In the study course, historical-archival, iconographic and comparative-analytical methods were used. The article highlights the process of technology research related to the history of finishing the wooden gilded case of the 18th-century grandfather clock, created by the watchmaker Konrad Erbar; the process of removing late multi-layered layers of oil paints from the author’s finish in the form of decorative combined gilding, conservation of the ground with finishing, reconstruction of various types of gilding on gesso, applying tinting to restoration gesso and gilding are described.
White Dining Room of the Grand Peterhof Palace
The Relevance of Creating a Scientific and Educational Complex for Training Specialists in Revitalization
At the present stage of development of the advanced society of the planet, a more careful attitude to the objects of the past, which have the value of cultural heritage, becomes relevant. One of the problems is the lack of uniform norms for the interpretation of objects as cultural heritage units. Consequently, in each society the fund of such objects is formed according to different principles. Some of these units, which become objects and structures of cultural heritage, fall into significant disrepair or lose harmony with the renewing environment, landscape, and buildings over time. The relevance of their existence or the profitability of their restoration is under threat. The way out of this situation was the process of revitalization, i.e., giving an object or structure a new life while preserving the part of the authentic appearance (exterior) survived to this day. The study subject was the processes of evolution and transformation of klironomical thought in revitalization of cultural heritage objects and objects. The study object was a scientific and educational complex for the revitalization of cultural heritage objects and objects. The study purpose was to identify the evolutionary regularity of the actualisation for creating a scientific and educational complex to train future specialists in revitalization. To achieve the set purpose and solve problems, historical, logical, and comparative methods were used in the study course. In the study course, the works of scientists and researchers in the history of urban planning and architecture, in revitalization, culture and cultural heritage (Klironomy) were used. The author concludes that the study revealed an evolutionary need for the emergence of a new specialty that would represent specialists in revitalization, who will have a broader professional view of the principles, processes and conditions for the revitalization of cultural heritage objects and structures. For the emergence of specialists in revitalization in state, municipal, and commercial structures, it is necessary to create a scientific and educational complex for training specialists on the basis of universities and research institutes that deal with the problems of urbanisation, urban planning, architectural and landscape design. However, the fundamentally distinctive feature of such a scientific and educational complex should be an approach from a klironomical worldview, i.e., the main mental activity of a specialist should be the maximum preservation of the cultural and historical forms of an object or structure and the desire to adapt the environment to the historical appearance of the revitalized object using the latest technologies and new art forms.
The main content of the article is the consideration of new trends in the aesthetics of modern cities. What will the city of the future look like in the light of the problem of its perception as an aesthetic phenomenon. The relevance of the study is related to the problems of modern cities as a habitat for a sentient person. The following issues are highlighted: preservation of the cultural heritage of cities in the context of revitalisation; new aesthetics of street art; metamodern architecture and related anthropological problems; the city as an existential phenomenon. The study object is the architecture of modern cities; the subject is modern architecture as an object of artistic perception. The study purpose is to present the process of urban planning in the context of its tasks related to culture as a whole and to man as a subject of perception of the phenomenon of architecture. To achieve this purpose and solve the research tasks, along with philosophical and aesthetic methodology, methods of other sciences were applied: hermeneutical, axiological, existential-phenomenological, semiotic, psychological. The sources used were works on urban studies by such well-known researchers as: N.P. Antsiferov., C. Landry, A.E. Gutnov, I.G. Lezhava, A.G. Rappoport, as well as publications on the Internet by modern observers, cultural figures, authors of architectural projects, artists. Modern urbanism is a creative field where a constant search for new forms and solutions is performed. But all these numerous finds and discoveries are interesting, but not connected by a single idea of creative thought. It is necessary to form a goal that will unite all efforts. And the main content of this goal should be a feeling person.
Computer-Aided Moorish Geometric Design and Patterns
Humans have been striving to decorate their surroundings with various visual elements, such as shapes, textures, and symbols, since ancient times. A lot of times the inspiration for these patterns and textures came from nature, which has always motivated people to create aesthetically pleasing patterns. Geometry assists us to comprehend and reproduce numerous patterns found in nature. Hence, producing geometric patterns has been an integral part of art and ornamental interior design. Exploring a design process for recreating ornamental patterns has led to the development of software for generating Moorish patterns using computer-aided tools. The generated geometric patterns are two-dimensional elements, and could be transformed into three-dimensional objects before they can be used in numerous aspects in interior and architectural design. Thus, combining a two-dimensional pattern with a three-dimensional graphical software, adding extra features and functions to it, provides a powerful tool for artists and designers. The Moorish geometric patterns, renowned for their intricate interlacing and strongly geometric designs, have a long history embedded in multiple cultures. Nevertheless, modern-day computer software has been utilized to incorporate Moorish geometric design into the process of creating interior design- furniture and even in architecture planning and building structures. Computer-aided Moorish geometric design and patterns can influence the manner in which designers and architects create their work. This research traces some of the historical backdrop of Moorish style, the posthumous dynamic of the development of geometric patterns, the advances in PC programming that empower its utilization, and the potential applications of this correlation. The study object was geometric patterns as a form of decoration in architecture and design in the context of geometry and form creating with the purpose of aesthetic search. The study subject was the creation of geometric patterns and the ways possible to make this process faster and more efficient in the work of today’s designer and architects. The study purpose was to investigate the source of making geometric design patterns, in terms of employing them in decorating interior spaces and in architecture in general by a brief exploration in historical samples. By inspecting an example of how PC helped Moorish geometric designs can be used in the process of designing interior places or in architecture planning, this exploration will show how innovation can be utilized to produce works of art and design. The last section concludes by summarizing the main aspects of this work and explaining points for further improvements.
The Body as a Source of Beauty: On the Problem of Perception of a Work of Art
The study is devoted to the topic of the human body beauty, which is relevant at all times. Human beauty is an eternal and favorite topic – art, aesthetics, and psychology. It is presented in sciences as a limitless field, accommodating the entire rich history of thinking about beauty as a complex phenomenon combining physics and metaphysics, logical and irrational, conscious and subconscious, including the unconscious. Today, turning to the topic of physicality is a natural reaction to the events taking place, and the changes caused by them in our attitude to the body. Our body loses the necessary connection with the living natural environment, which has always been healing for it. The author presents an individual experience of the works of art based on the recipient’s internal resources: cognitive, perceptual, intellectual. The study purpose was to apply this experience in existential psychotherapy. The study object was fine art, represented by the works of artists of different eras and trends. The study subject was the image of the human body in the artists’ works, presented explicitly or indirectly. To achieve the purpose and solve the tasks, formal-logical, hermeneutical, axiological, phenomenological, semiotic, religious-philosophical, and psychological methods were used. The author used the works of thinkers of different eras, which consider the topic of corporeality: representatives of religious philosophy and the Russian art studies school. As a result of the study, the author concludes that fine art is a full-fledged source of aesthetic knowledge, and can offer us in artistic, often symbolic forms the most important information about human nature. This information is contained in the picture as a unity of the conscious, subconscious and unconscious.
Central Asian Playwrights’ Works on the Azerbaijani Stage
It is a historical tradition of the Azerbaijani theater to refer to translated works, to show examples of world drama, works of neighboring nations. Central Asian playwrights’ woks (Fitrat’s (Abduarif Rashidov) “Indian Inventors”) have been staged on the stage of the Azerbaijani theater since the mid-1920s. Central Asian playwrights’ works contributed to bring our peoples closer and develop cultural relationships besides enriching the repertoire of Azerbaijani theaters. The subjects of these works introduced people to the culture, art and moral norms of other nations. Works on different themes were staged in different theaters in different years, on the theme of land: “Indian inventors” by Uzbek playwright Fitrat (Abduarif Rashidov) was staged at the Azerbaijan State Academic National Drama Theater, “Silk Patterns” by Uzbek writer A. Gahhar (“In the New Land”) at the Ganja State Drama Theater, “Mother Earth” by Kyrgyz writer Ch. Aitmatov at the Nakhchivan Theater, “Mankurt” based on the novel “The Day Lasts More Than a Hundred Years” at the Azerbaijan State Pantomime Theater, “Socrates’s Remembrance Night” by Chinghiz Aitmatov and M. Shahanov at the Sumgayit State Musical Theater (“Trial on Donkey Skin”), “Pienbald Dog Running on the Seashore” by Chingiz Aitmatov at the Azerbaijan State Theater of Young Spectators, on the theme of morality: “Family Honour”, “Who is to Blame” by Turkmen writer H. Mukhtarov at the Azerbaijan State Academic National Drama Theater (“Family of God”), “The Ascent on Mt. Fuji” by Chinghiz Aitmatov and K. Mammadjanov at the Azerbaijan State Theater of Young Spectators, “Jamila” by Chinghiz Aitmatov at the Azerbaijan State Academic Musical Theater. These works, which deal with the current problems of the time, have found a stage solution in accordance with the requirements of today in different directorial structures. The author concludes that Central Asian authors’ works staged at the Azerbaijani theaters were welcomed by theatergoers and had a positive impact on the formation of their audience ideological and aesthetic taste along with the positive and negative features.
Elements of the Romanian Mythical Space in Advertising
For design, the myth is a source that creators turn to in order to translate into everyday life those ideas that we have genetically implanted in us and to which we feel a call or to which we refer at certain times. The myth is for every society an identity known by the vast majority, which is why it is used in design either to repeat the primordial acts of the ancestors unconsciously, or consciously to make connections between the newly created object and the mythological one, which is it ensures credibility, security and success, and, in addition to these, an emotion coming from a more or less profound experience. In order to achieve the research goal and solve the tasks set, the authors conducted quantitative studies and comparative studies concerning the main characteristics of the myth, taking several primitive myths and observing their search in modern times through their use in the advertising sphere. The research used the works of researchers Mircea Eliade, George Călinescu, Mădălina Moraru, Romulus Vulcănescu, Doina Graur. The author notes that turning to the myth in advertising, echoes of the world are vaguely preserved, which can have reverberation among the audience, and thus the impulse to buy is determined by proximity to the world a long time ago, when the heroes of the first great exploits lived in the paradise world of a fairy tale, in which good wins and after the created chaos returns to a state of balance and harmony. The product can be considered as a replacement for fantastic weapons or companions with magical functions that, together with the hero, lead to victory in the final stage or battle. The product, maybe for the client, represents the magic from fairy tales that makes the world of beginnings so attractive and seductive.
Features of the Event-Geographical Distribution of Folk-Art Products in Russia
Russian folk crafts are a form of folk art, in which Russian traditional customs, which originated many centuries ago, are clearly traced. Russian handicrafts combine the uniqueness of Russian traditional culture. Russian art painting has at least 28 geographical varieties, fabric products have at least 11 geographical varieties, metal products and bone carvings have six geographical varieties each, toys have at least 16 geographical varieties. All of them were distributed in various ways on the territory of both Russia and foreign countries. The object of the study was the processes of distribution of works of folk art in Russia. The subject of the study was the mechanisms of distribution of folk-art products in Russia. The purpose of the study was to comprehend the historical practice of the realisation of works of traditional folk-art crafts, characteristics of the role of small retailers (ofenias, peddlers, walkers), fairs, national and international exhibitions in this process. Historical, logical, and critical research methods were applied to achieve the tasks set. The research used scientific articles and monographs of famous Russian and Soviet researchers in traditional applied art of Russia. The author concludes that in the new millennium, the traditional applied art of Russia has entered into conditions when interest in its ancestral roots and folk art has already covered a considerable part of Russian society. However, certain difficulties for the traditional applied art of Russia arise due to weak and ineffective advertising, and the lack of a distribution system for artistic products. If the sale of antiques, as well as the so-called “modern art” rely on a wide network of relevant institutions and organisations, then the sale of Russian folk-art products is just beginning to acquire organised forms. It seems that over time, a network of sales and distribution of folk-art products should still develop. When creating such a network, the experience of the past may well be useful.
Comprehensive Conservation and Restoration of Two Frames for the Temple Icons of the Sampson Cathedral in St. Petersburg
The article is devoted to the restoration of two carved gilded frames to the temple icons of the 1760s in the Rococo style, during the work on which the techniques of conservation, restoration, reconstruction and recreation associated with the severe physical condition of the objects of church decorative and applied art received in the restoration were comprehensively applied. The purpose of the study and practical work was to return the expositional appearance of church objects of decorative and applied art as monuments of cultural heritage of Russia. During the study part of the project, printed and handwritten materials of many Russian experts in art and restoration, including Andrei Petrovich Aplaksin, a member of the Imperial Archaeological Commission, author of the restoration project of the Sampson Cathedral in 1908–1909, diocesan architect-restorer, civil engineer, artist, archaeologist, historian of Russian architecture, writer, were studied. Thanks to the well-coordinated and consistent restoration and restoration processes performed on the monuments, professional craftsmen: sculptors, carpenters, wood carvers and gilding restorers managed to turn the shapeless, heavily soiled fragments of fragments of two frames to the temple icons back into frames. After a comprehensive restoration of the two frames, it was possible to restore them to their former expositional appearance, prolong their life and preserve these monuments of church art for contemporaries and descendants, and then place them in the temple in their former historical places, i.e., to fulfill the main task of the restorers—to preserve the cultural heritage of Russia.
Kayak – A Note. Role of Language in the Development of Indian Culture
This is the story of the spiritual endevour of Basavanna. This philosophy of life by which he lived. This is torch of illumination that he has left as a precious legacy for mankind. This Basavas perennial philosophy of life which is bound to have a universal appeal to mankind all age and man and women. Work is worship “ಾಯಕ ೇ ೈ ಾ”. This statement made by the Lord Basavanna. Who is the great philosopher of the land of Karnataka, Land of India? He emphasised the Importance of the doctrine of work. Sri Basavanna stands out as one of the most outstanding personality in the religious history of India. His life and teachings have been a source of inspiration to millions of people, He revolted against the blind rituals’ superstitions and distraction of cast and creed. Women were treated like cattle. All this was perpetrated in the name of religion and few selfish people. Basavanna revolted against their reactionary forces. He founded on the principles of justice equality for all mankind strapped of all narrow consideration. He resurrected the status of women as an equal of man in all respects. He bought about a social revolution to restore the Status of man in all his human dignity considering all men from all walks of life. Equal in the fellowship of service by preaching the dignity of labour, through his philosophy of Kayak.
Practices and Rituals of Today’s Consumerism. The Particular Case of the Mobile Phone: Cultural, Biographical and Identity Object
This article focuses on a very relevant topic: current consumption patterns. It mentions the role of the designer involved in the design interaction process according to principles of communication, visual form, economy, technology and logistics. The object of study is a world of users seen as active creators of experience and the main point of research is the object as creator of identity. To exemplify the theoretical aspects, we will take the case of the mobile phone, an omnipresent device, considered as a cultural object. The mobile phone is an element, somewhat hybrid, essential in our immediate environment, which makes our lives easier, more mobile, more complete. It is much more than a sophisticated device. It is a cultural object, not only because of its social implantation, but because, in a fully biographical and identity related sense, it is part of our daily life and of the daily rites in which we build ourselves as individuals and as societies. The mobile phone appears today as a meeting ground between the public and the private, between the market and the social rituals of interaction, between interpersonal communication and cultural consumption, between the symbolic (identity) and the practical (use), between the promise (the world in your pocket) and the reality that mark the new mobile cultures (text and multimedia messages, social networks, nomadic individual leisure and social leisure, image and file sharing, personalization, mobile blogs, etc.). References are made to well-known authors in the field of communication design, e.g., J. Frascara, D. Norman, and B. Bürdek, and mobile technology, e.g., L. Haddon, D. Quarante, and L. Fortunati, through a theoretical monographic methodology, establishing lines of research on the basis of which other studies with technological references can be developed (use of certain objects and technological objects of the future).
Problems of Ethno-Cultural Intolerance in the European Community in the 21st Century
The relevance of this study was determined by the problems of ethno-cultural intolerance in the European community of the 21st century, the roots of which have been growing since ancient times and regularly led to xenophobia and political conflicts. If Western European societies have already passed the stage of tolerance formation and can show a sufficiently high level of tolerance, then Eastern European peoples are still quite insensitive to openness and klironomical understanding of traditions, culture, art, and cultural heritage of other communities. To some extent, the Russian-Ukrainian war is also defined by the phenomenon of ethno-cultural intolerance, associated with political intolerance affecting the former. The subject of the study was the phenomenon of ethno-cultural intolerance in the modern technologically advanced European community. The object of the study was the European community, which is experiencing strong ethno-cultural fluctuations at the beginning of the 21st century. The purpose of the study is to identify the main problems of ethno-cultural intolerance in the European community in the 21st century. Empirical, logical, historical, and comparative analysis were applied to achieve the purpose and solve the study tasks. The research used materials of prominent scientists and researchers in the field of tolerance, xenophobia, ethnic identification and culturalism, as well as official documents of the European Union, UN, and UNESCO. The authors identified three main problems of ethno-cultural intolerance in the European community in the 21st century: (1) weak practical application of theoretical documentary developments in the field of tolerance, which leads to a dichotomy; (2) weak definition of criteria for ethno-cultural tolerance, which includes klironomical views on culture, art, traditions, and cultural heritage of other peoples; (3) the desire of some European states, in particular, Eastern European states, to fundamentally associate ethno-cultural intolerance with political intolerance, creating an erroneous idea of the unity of views of a citizen of the country, which can facilitate the influence on his worldview and its management.
Features of the Technique of “Multilayered Painting” Based on a Comparative Analysis of the Qualifying Works of Students of the Department of Decorative Painting of the Higher School of Folk Arts
The appearance of lacquer painting on metal, the birthplace of which is Nizhny Tagil, refers to the conditional date of 1746. This type of traditional arts and crafts originated in the Urals. Mining painting acquired stable features of the established craft. Houses and their interior decoration, wooden dishes and other kitchen utensils, chests and tin things were decorated with elegant paintings. Since the mid-18th century, lacquer saucers and trays have been in demand. Later, there is a division into complex multilayered and simple swoop painting. The article analyses the qualifying works performed by students studied under higher education programmes in the technique of Nizhny Tagil multilayered painting. The focus is on the system of traditional and innovative artistic and technical techniques for the decorative design of works, mainly furniture items. The research uses methods of descriptive and formal stylistic analysis of works of art. The characteristic artistic-stylistic, compositional and technological features of the Nizhny Tagil painting are considered. An attempt is made to identify the common features inherent in the Nizhny Tagil multilayered painting, as well as the distinctive features of the works of artists. To achieve this purpose, monographic publications and scientific articles of Russian researchers in folk art were used.
Parody in the Romanian Animation Theater
The article refers to the presence of parody in the animation theater in Romania. In the introductory part, the author talks about Mihail Bahtin’s concept of carnival culture, a category that also includes parody, a manifestation of the critical spirit, specific to animation theater of all times. The parody is inherent in the animation theater which, through its specific means, through the representation of the characters with puppets or marionets, makes a literary work written with “serious intentions” become ridiculous and funny. The parody ridicules both the “serious” themes and the mannerisms and ancient representation procedures in theater and opera, the grandiose style of play of some actors or opera soloists, etc. The article reviews some hypostases of parody in the drama of the genre, giving examples from the writings of Mihai Eminescu, George Călinescu, I.L. Caragiale, Vasile Alecsandri and some contemporary authors, as well as from the shows are based on the principle of parody.
The Relevance of Klironomy as a Complex of Scientific Knowledge of Cultural Heritage Preservation
The relevance of the topic Klironomy Relevance as a Complex of Scientific Knowledge of Cultural Heritage Preservation concludes in consideration of klironomy not as a separate science but as a scientific knowledge complex, connected with many sciences from social and humanitarian fields. Despite klironomy includes three fundamental scientific directions, each of them has few sciences, cumulative existing knowledge forming united humanitarian outlook directed to researching of the main tangible and intangible values. Each klironomical science is clearly identified, withal has close connection together and uses knowledge received in adjacent sciences development, e.g., history, philosophy, anthropology, archaeology, physics, chemistry, etc. The study subject is the complex of klironomical sciences. The study object is cultural heritage preservation phenomenon. The study aims to detect interconnection of separate klironomical directions and sciences on example of each direction’s representative. In the study, historical, comparative, and logical analysis and also analyses and synthesis methods were used. To reach the set destination and solve tasks made, the works of the native and foreign specialists in culture, art, philosophy, history, geography, archaeology, and other sciences that help form klironomical outlook. The author concludes that to analyse three separated klironomical sciences each of which is included in separated klironomical direction it was concluded that they are interconnected, complete each other, and present complex and full characteristics to an object, subject, or element of cultural heritage. Thus, it can be concluded that Klironomy as the science of cultural heritage is a set of multiple separated klironomical sciences united in three scientific directions.
Documentary Scientific Heritage – Actual Contextual Representation
The report analyses the process of the heritage model formation as the choice of different generations of different parts of it. The field of scientific knowledge is considered as a set of systematised objective knowledge accumulated by mankind. The role of science is considered, in which rational, i.e., reasonable, true, reliable knowledge of people about the environment and themselves is concentrated, which is intersubjective, can be shared and translated by people in communicative processes. The significance of cultural heritage, including scientific, is also evaluated, which for new generation is only illustrative information that is not related to current life and requires updating, i.e., rational development in order to be used in solving vital tasks for an individual. The problem of reliable and objective interpretation of historical events and circumstances of scientists’ activities reflected in the submitted documents, letters, diaries, notes, photographs, etc. is revealed.
Cultural Heritage of the Russian Abroad – Russian Envoy to the world
The report examines the cultural heritage of the Russian diaspora from the viewpoint of a complex socio-cultural system that has been formed over a long historical period and includes objects of cultural heritage that are different in their composition, kinds, types and forms. Many of them are part of rossika – a vast array of foreign materials related to Russia (historical, socio-political, scientific, religious, literary and artistic), its authorship belonged to both foreigners and representatives of the Russian diaspora, who were engaged in diversified studies of the fatherland in a foreign land. All heritage objects are united by their involvement in Russia, by connection with its past and present, by transmission of the historical experience and cultural memory of the Russian people, as well as the preservation of the national and cultural self-identification of compatriots. It allows us to consider them as a historical and cultural phenomenon, which deserves a detailed description and study.
There are many teachers in Slovak music history and in present times who have educated generations of musicians with love and who have influenced many artistic careers and lifestyles. Paying homage to these personalities and making their activities accessible to the public is the goal of the national project KEGA 003UMB–4/2021, Lexicon of Personalities of Slovak Music Pedagogy. The paper aims to briefly present two exceptional personalities who work with talented pupils/students of different ages, in different cities, different types and levels of schools, but with a common mission. They are united by their love for the teaching profession, their way of communicating, and their responsibility and exceptional human values. The authors present piano teacher, performer and accompanist Viera Horváthová, a prominent figure in primary art education; we also present Gregorian chant teacher, researcher and author of theoretical works Janka Bednáriková, a respected pedagogue at the Catholic university. The method used in this research is a questionnaire and interviews conducted in 2021–2022.