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.