The 5th International Conference on Art Studies: Research, Experience, Education (ICASSEE 2021)

Painting and literature are often viewed as two different types of art, but the line between them is rather arbitrary. The classification dichotomy of the painting and the literature is associated with the traditional division of the arts and the prevailing aesthetic experience. In the second half of the 19th century, the writer and the artist worked in a single space of narrative and visual imagery. In this paper, the author analyzes the parallels between the paintings of Russian artist Vladimir Makovsky (1846—1920) and the texts of Russian writers of the 19th century. The research describes not only specific parallels of verbal and visual texts, but also analogs of rhetorical figures and visual tropes. The semantic content of many works by V. Makovsky is polysyllabic. A special role here belongs to metaphors, antitheses, hyperboles and comparisons. Paintings by V. Makovsky require an analytical approach from the viewer, reflection of the literary text. In this regard, the works of V. Makovsky literally "read" by the viewer.

The research of peculiarities of the architecture of a less-studied monument of architecture of Don Armenians, the church of Amenaprkich (All-Savior) in the village of Krym (Topty), 1895-1902, is aimed to the understanding of its place in the architecture of Don Armenians and in the shaping of the Armenian style of the Modern Time. The analysis of the composition and decoration of this church reveals bright talents of its anonymous architect. The singularity of this monument provides it a special place on the background of the development of Russian, and Armenian architecture. On one hand, the typology of the church in Krym is a simplified model of the inner composition of the Ejmiatsin Cathedral. On the other hand, its façade decoration has the most similarity to the Surb Karapet Church in Nakhichevan-on-Don. Borrowing a rare feature of the façade design of a drawing from the album by D.I. Grimm makes the church in Krym related to this monument of Nakhichevan-on-Don, testifies to the popularity of this album of drawings of Armenian and Georgian monuments. The creative search for a new language of Armenian architecture by architects and customers was complicated with the development of several style trends in the country, which enriched the palette and scope of creative searches. Amenaprkich is an example of the development along the path of incrementing the features of traditional Armenian-Georgian architecture to the Classicist and generally eclectic Russian architecture of the period in question.

The article is devoted to the description of the destroyed Great Mosque in the Crimean city of Kefe, made at the end of the 18th century by academician P.S. Pallas. This document is used to this day to reconstruct the appearance of the building, although its content contradicts the architectural logic. Pallas's description does not match the range of textual and pictorial evidence left by his contemporaries. The whole complex of sources is considered and a conclusion is made about the unreliability of this description as a basis for the reconstruction of the main architectural volume of the mosque.

Grand Canyon of Taihang Mountains is a world-famous mountain and river, an outstanding landmark in the history of Chinese landscape painting and a model of artistic creation. It has epic praises of the motherland's beautiful schematism, known as the "Taihang Spirit" in history. According to Jing Hao's tour of the Grand Canyon of Taihang Mountains and the prototype mountain range of the handed-down work "Kuanglu Tu", this article focuses on the cultural connotation. Combined with Jing Hao's "The Writing of Brushwork", this article comprehensively explains the Taihang Mountains and the literati's writings of the famous mountains and rivers of the motherland. The author records the process of "Looking for Jing Hao" through fieldwork. And Jing Hao's handed-down work "Kuanglu Tu" and his "The Writing of Brushwork" are the most representative combination of theory and practice from the later Tang Dynasty to the Five Dynasties, which inspired the author to go back to the Grand Canyon of Taihang Mountains for field investigation and sketching, to interpret the process from theory and practice, and to explore the traces of Jing Hao's activities. This article is of great influence on painting history and painting theory.

"Shao Music", also known as "Xiao Shao", eulogized Shun's benevolence, which was the main way for Shun to "subdue Youmiao". Confucius praised him for "giving benevolence all over" to make Youmiao obedient. However, it was puzzling to use Ganqi dance to make Youmiao retreat. Qu Yuan also confused about the reasons why Ganqi dance can make Youmiao obedient. From the perspective of national cultural identity, this paper analyzes and studies the connotation, form, function and value of Shao Music in the period of Yu Shun with the help of ancient books, and human beings can realize Yu Shun's moral and political concept in ancient times through Shao Music. The "music education", "ruling the world by virtue" and "cultural identity" contained in Shao music are the inexhaustible spiritual and cultural wealth left by Yu Shun.

The article examines the history of the creation and publication of Chopin’s songs. It has been known for the fact that according to the testament of the composer, all unpublished compositions were to be burned, however, fortunately, his friends insisted on their conservation and Julian Fontana collected many versions of songs, edited and published them in 1859 under the posthumous opus 74. Certainly, the song works by Chopin were episodic and in comparison with the other genres, more than modest, but it does not diminish its values; Chopin himself collected and edited songs, preparing for their publication but now we know his songs partly in reconstructions. They all are grouped around three stages of his life: youthful experiences, his emigration and passion to Maria Wodzińska and George Sand. The genres, defining the stylistic specificity in the songs, were primarily the mazurka in all its varieties, and the ballad. Chopin’ songs are characteristic and diverse, and their interpretation puts very difficult tasks for the performers, despite their seeming “lightness”.

The subject matter of this article is related to the initial stage of the history of studying Modest Musorgsky’s orchestral style. The first scholars who got access to the composer’s manuscript full score were Boris Asaf’yev and Pavel Lamm. They edited the full score of the opera Boris Godunov for the première, which took place in Leningrad, at the State Academic Opera and Ballet Theatre, on February 16, 1928. It was the opera’s first performance in the author’s original orchestration after a half-century interval. Two short but fundamentally important articles by Asaf’yev, as well as his marginalia in the manuscript full score, opened a new stage in the scholarly and artistic perception of M. P. Musorgsky’s orchestral dramaturgy and orchestral style.

The article is devoted to the instrumental work of the modern Russian-Israeli composer Ilya Heifetz. His life and creative path is divided into two stages: the Russian (until 1991) and the Israeli, in each of which the question of understanding his national roots arises with great acuteness. During his life in the USSR, in Omsk, despite all the integration into Soviet society, the composer feels himself to be different. This feeling is based on the national identity, which is complemented by the collective memory of anti-Semitism and maintained by fragments of traditions and folklore. In Israel, having found himself in a motley society of Jews from different countries, I. Heifetz continues to experience alienation and identifies himself more and more as a Russian Jew, relying not only on nationality, but also on such criteria as the Russian language, and specifically acquires through it the Russian culture and the Russian mentality. All this could not but affect the composer's work. The ‘Jewish’ theme, which is cross-cutting for him, includes many-sided aspects and subtopics in different periods. In the Soviet period, it is primarily Jewish folklore, the theme of the Holocaust and Jewish pogroms. After the move, these components are supplemented with new religious meanings and the theme of national conflicts in modern Israel.

This article is dedicated to the creativity of the Ukrainian composer Alla Zagaykevych (b. 1966). She is the author of various works in contemporary art music genres. The presence of various verbal programs is the peculiar feature of her instrumental compositions. In the quality of verbal basis lines of poems, plots of literature works, different visual impressions etc. are used. From the point of view of the role of a verbal plot two chamber compositions by Zagaykevych are analysed. These works show the composer's interest in the spheres both acoustic and electroacoustic music. At the example of "Gravitation" for two cellos the specific of an ontological verbal plot realization is examined. "Friend Li Po.." for guzheng/bandura and electronics presents using of a psychological verbal plot. Generally, specific of verbal program causes the selection of compositional techniques, texture, structure, methods of tone-painting etc. in these works.

The motif of a screen as an element of the figurative matter of film is analyzed in the article. The author focuses on the period of silent cinema, when the main models of the use of "screen-on-screen" are formed. This motif can have different interpretations. The diegetic screen plays the role of the magical level of reality. It is also shown as a part of technical devices, fantastic and real. But the most significant and dramatic type of diegetic screen is precisely the screen in the cinema, the screen reality of cinema. The article examines the evolution of the attitude to screen reality: from a dismissive attitude, understanding it as a strange attraction to the perception of screen reality as the highest, ideal reality, getting into which becomes a dream for the characters.

The article analyzes the attributes of models which can be observed in the portrait photography of the second half of the 19th century. With the help of the items in the shot, the photographers created typical images of honourable members of European society. The photographs captured new archetypes of the urban community with modern attributes of a profession or leisure. Items of European and colonial everyday life reflected the interaction between the metropolis and the territories under its control. But the objects in the photograph also conveyed the individual features of a model's personality, which was important for its functioning as an instrument of memory.

In Bong Joon-ho's "auteur system", sharp realistic issues are nakedly thrown on the screen, suspense, thriller, crime, psychology and other elements are mixed into exciting stories, which follow the laws of the market and gain insight into the public. The realistic creation of aesthetic psychology has become an important reason why Bong Joon-ho's films are so popular. This article will present three perspectives from the collective trauma in the interpretation of real events, the underlying dilemma intertwined with obedience and resistance, and the human nature that breaks the binary opposition between good and evil to research on the spiritual picture in Bong Joon-ho's realist film, presenting Bong Joon-ho's independent style and realistic critical value of "auteur system".

This article reviews Samuel Barber's Piano Concerto in three projections: a work of enhanced personal representation, a highly artistic example of the genre, and an "American Piano Concerto”. The affiliation of this work to the culminating phase of the artist's biography, marked by a significant modernization of the individual musical language, is emphasized. The directions of articulation of the basic features of the concert genre are revealed: diversification of forms of dialogue between soloist and orchestra, the balance of technical and artistic in an arrangement of the piano part, achievement of the integrity of a cycle at the expense of intensive motive-thematic work. The place of the Barber concert in the American history of the genre as a point of balance between the canonical and experimental approaches to its embodiment is marked.

American artist Chuck Close is famous for his extremely large pixel portrait paintings based on photos with various geometric grids. This type of portrait painting provides people with a new way of viewing — viewing the abstract nearby and the concrete afar. And as the bridge between the abstract and the concrete, it is the grid of pixels with various styles. Based on this, this article uses Close's portrait paintings from 1970 to 1999 to try to analyze his intention to create with photos and the evolvement of the style of pixel portrait paintings, as well as the way he uses photography to express the new vitality of portrait paintings, thereby reflecting the symbiotic relationship between photography and painting.

The issues of the functioning of theaters in the modern world have been the subject of multiple researches, both theatrical and based on the analysis of statistical and sociological data. The present article focuses on describing the features of the state cultural policy of the Russian Federation aimed at children and young people, and analyzing the repertoire policy of youth theaters. The study has used the data from the sociological survey conducted by researchers of the State Institute for Art Studies in 2019 and the statistics for the period of 2015-2019. The article discusses the issues of the functioning of children's theaters, and analyzes not only the performances in the repertoire of the federal and regional youth theaters, but also the possibility of changing the repertoire.

In general, artistic languages tend to present a diverse visual language system. For oil painting, adopting different art languages has irreplaceable influence on visual tension, and subtly alters style and taste. Since the 1980s, Chinese and Western cultures have collided and mingled, learning from each other in the process. In creation language, Chinese expressive painting exhibits various style and schema, and artists also attach great importance to the study and practice of painting subject. Tracing back the history and context of Chinese and Western cultures, this article tries to explore the reflection of Chinese expressive oil painting against the background of contemporary art by examining its language content: modernity, national spirit and freehand tradition.

In recent years, with the continuous improvement of China's national status and the increasing national cultural confidence, the research focusing on Chinese aesthetics has gradually deepened. Using the scientific bibliometric analysis software CiteSpace, this paper analyzes and identifies literatures related to Chinese aesthetics published in CNKI journals from 1983 to 2020, sorts out the development context and research hotspots of Chinese aesthetics research, and speculates the future development of the field of Chinese aesthetics. The data reflects that the field of Chinese aesthetics is in a preliminary stage of development, with research hotspots emerging, and branches refining in the field. In the future, Chinese aesthetics may have internal branches to drive the development of the overall field. This research aims to provide a valuable reference for researchers and practitioners in the field of Chinese aesthetics. At the same time, as an important part of Chinese culture, it is of great significance to study and predict the development of Chinese aesthetics in the field of inheritance and development of Chinese culture.

As a comprehensive artistic expression, conceptual books have been committed to various bold attempts and innovations, especially in the use of materials, they continue to actively explore and put forth new ideas. The author of this article takes the public welfare theme of animal protection as the core idea of conceptual books, aiming to promote the public welfare concept of protecting animals and paying attention to environmental pollution. The rich material language can contribute to the visual language that expresses the real conditions of animals. Through the multi-sensory experience brought by the materials, readers empathize and thus have a clearer understanding of the hostile and miserable environment in which animals live, so as to better promote the concept of animal protection.

Illustration is something closely related to life, which appears everywhere. It is exquisite, diverse and fashionable, and can be found on various objects. It is both a commodity and an art. There are a large number of classic allusions and legends in Chinese traditional culture that have been refined and redesigned by modern designers, being given new styles. The nine-color deer of Dunhuang culture is such a classic legend. After redesign, there are a large number of picture books and illustration products about it; however, the product type, quality and consumer groups are not satisfactory. This design takes the nine-color deer series illustration design as the research theme, and conducts research and exploration on the origin, history, current situation, advantages and disadvantages and prospects of the nine-color deer in commercial illustrations and Dunhuang culture. The author combines the professional design knowledge he has learned with the drawing style of modern illustrations to design a series of illustrations that have a wider audience, high economic value and good dissemination, without losing the classic cultural charm and collection value.

Currently, in the significant period of the history of new media art in China, there is a good chance to start developing the contemporary new media art education in practice. Compared with the Chinese art of traditional media and even the foreign new media art, it is especially the best time to develop the new media art education. It is undeniable that the new media art which was generated in the background of modern science and technology is the new mainstream of the contemporary art world, not only subverting the traditional aesthetic concept and system, but also changing our cognition of traditional artistic aesthetics. In addition, new media art has also promoted the cooperation and communication between art and education, and has unconsciously penetrated into all aspects of our production and life, opening up a wider horizon for art education to the public.

The great achievement of the famous Russian Musical Society was the opening in the second half of the XIX century of the first conservatories in Russia — St. Petersburg (1862) and Moscow (1866). Through their work, they implemented the main goals defined in the statutes of the Society — the development of professional music education and musical culture in Russia. The article examines on the example of the Moscow Conservatory the basic principles of educational activity of higher educational institutions of the Society — training, enlightenment and upbringing. Some little-known details and features of the content of the training course are disclosed. The importance of the concert and educational direction and the role played by the director, teachers, and students in it is noted. Educational measures permeated the entire educational process: teachers set an example to students with their mastery of the profession, and students were obliged to observe the rules of conduct at the conservatory. The management of the conservatory considered the early education of artistic skills in students as a necessary performing experience, as well as for the implementation of the educational idea of introducing the public to high academic art.

Sketch is essentially to create the vision of a three-dimensional physical space on a two-dimensional plane. Its "three regularity" principle contradicts the observation method of the sculpture major, which is not conducive to the development of correct observation habits for students. Modeling ability training through clay sculpture courses is more direct and effective. Canceling sketch courses in the lower grades, allowing students to get in touch with sculpture as soon as possible and make them master the observation methods and modeling methods of the sculpture profession, can minimize the negative impact of pre-examination education. Compared with sculpture, sketch is a convenient and quick art form. Putting sketch courses in the senior grades and adopting the method of short-term homework can give full play to the advantages of sketch in exploring artistic language, expressing creative intentions and collecting creative materials.

The idea of writing this article was born after coming across the illustrations of the book by the Chinese colleague Yin Guangyu “Encyclopedia of Art Education in China: Perspective”, published in Hangzhou by the “Chinese Academy of Fine Arts” publishing house in 1999 [1]. The textbooks on perspective in Russian offer valuable material to study, but more often are focused on the training of architects [2; 3; 4; 5; 6; 7; 8; 9; 10; 11; 12]. There are very few textbooks on perspective for artists, painters or graphic artists, which makes the data in this study even more relevant. The purpose is to develop a set of theoretical and practical materials to organize the process of teaching students of art universities in methods of determining the perspective height of people depicted on the on flat and inclined planes, which in turn will help to convey the size of other objects in perspective. Research results: reproductions of different paintings were analyzed; a set of visual aids (drawings) was formed; recommendations for how to use these materials in the classroom and individual students' work have been developed. The contribution to the existing research: the article has developed a set of theoretical recommendations and practical visual aids on finding the perspective artist's eye level to determine the perspective dimensions of people and other objects depicted on flat and inclined surfaces. The practical significance of the research results: in this article the specifics of using this method in the classroom during drawing classes are considered, and several tasks for organizing students' independent work are proposed.