Suchergebnisse

The article is devoted to one of the directions of the art of post-modernism - street art, which became widespread in Kharkiv at the turn of the 20th - 21st centuries. This type of modern art quickly won the sympathy of city residents and found its supporters in a large group of young innovative artists (both professionals and amateurs, both individual authors and creative teams) who work in this style. The creation of murals quickly transformed from spontaneous work to managed by the city government, which supported this kind of change in urban decor. Kharkiv street art has come a long way in its formation: from the mysterious inscriptions of Oleg Mitasov to Ukraine's largest mural depiction of the poet Taras Shevchenko. The article highlights the procedure for creating a mural image. At the turn of the XX-XXI centuries the first mural portraits in Kharkiv were created spontaneously, outside of any general urban development plan. In recent years, first, the city architectural department, and then the Department of Culture of the Kharkiv City Council, took control of such works and such activities became more focused and planned. Artists come to the Department of Urban Planning and Architecture of the Kharkiv City Council with the initiative to create a mural on a particular house and provide its sketch. That is, the artists themselves choose the image that will be created. In order for such an image to be created, it is first necessary to coordinate this issue with the owners of the house on which the image is planned to be placed. At the same time, a problem arises as to who will support the drawing after its creation, because the money for its possible restoration by the city budget is not provided, and some of the murals already need updating. The most characteristic examples of this art in Kharkiv are considered, several of its types are distinguished. It is concluded that, in general, street art positively influenced the appearance of the city, which became more vivid and filled with new meanings and content. It is noted that murals and graffiti perform not only a decorative, but also a cultural and educational role. The main characters of Kharkiv murals are natives of the city and prominent figures who have made a significant contribution to world art, science and literature. ; Стаття присвячена одному з напрямів мистецтва постмодернізму – стрит-арту, який набув поширення в Харкові на межі ХХ–ХХІ ст. Цей вид сучасного мистецтва швидко завоював симпатії харків'ян і знайшов своїх прихильників серед великої групи молодих художників-новаторів (як професіоналів, так і любителів, як окремих авторів, так і творчих колективів), які працюють у цьому стилі. Створення муралів швидко перетворилося зі стихійної роботи на керовану з боку міської влади, яка підтримала подібні зміни міського простору. На межі ХХ–ХХІ ст. перші муральні портрети в Харкові створювались стихійно, без жодного загального містобудівного плану. Останнім часом спочатку міське архітектурне управління, а потім Департамент культури Харківської міської ради взяли під свій контроль такі роботи, і подібна діяльність стала більш керованою і планомірною. До Департаменту містобудування та архітектури Харківської міської ради звертаються художники з ініціативою створити мурал на конкретному будинку і надають його ескіз. Тобто художники самі вибирають образ, який буде створений. Для того, щоб таке зображення було створено, потрібно передусім узгодити це питання з власниками будинку, на якому планується розміщення зображення. При цьому виникає проблема в тому, хто буде підтримувати малюнок після його створення, адже гроші на його можливу реставрацію міським бюджетом не передбачаються, а частина муралів вже потребує оновлення. В статті розглянуто найбільш характерні зразки цього мистецтва в Харкові, виокремлено кілька поширених типів. Зроблено висновок про загалом позитивний вплив стрит-арту на зовнішній вигляд міста, яке стало більш яскравим і наповнилося новими смислами і змістом. Відзначається, що мурали і графіті виконують не лише декоративну, але й культурну роль. Головними героями харківських муралів є уродженці міста та видатні діячі, які зробили помітний внесок у світове мистецтво, науку та літературу.

The word "show" has long and firmly established itself in the modern media space and our everyday life. The scientific discourse uses not only constant expressions like show business, but also fairly new ones, including show industry, show politics, show discourse, show civilization, show content, show didactics. All these "doubles" imply the active introduction of show technology into the relevant social-cultural spheres.Most researchers trace the show's historical path from ancient sights, and its biological prerequisites boil down to "social imprinting" — an innate tendency to copy the behavior broadcast by a leader. Let's agree that traditional sights have always shown a form of mass communication, and therefore directly related to the mass consciousness of the participant-viewer.Researchers choose different criteria to define the concept of "show": characteristic features of any spectacle in general, postmodern specificity, communicative component, sociocultural features, ontological dimensions. Such a panorama of approaches testifies not only to the magnitude and versatility of this phenomenon, but also to its deep penetration into all spheres of society. This is due to the show technology mentioned above.Undoubtedly, the leading broadcasting channels are television and the Internet, as they show the highest degree of visualization of retransmitted information. Even those art shows, which are filmed in stage (concert) conditions and are already spectacular in their origin, acquire in their screen embodiment new powerful features of interactivity, emphasized expressiveness.Show-technology, which allows to manipulate the attention of the viewer, involves the temporary distraction of the viewer from the pivotal, main theme due to the shift of emphasis towards minor elements, phenomena, events. Such clique of the show is determined by its structural fragmentation, a peculiar "injection of novelty" from everywhere, a kaleidoscopic impression, a constant violation of "unbreakable" rules. An interesting paradox is observed: in order to keep the viewer's attention, the show must always divert it from the bar to additional, parallel levels, but to do so with an increased degree of expressiveness. Such expressiveness is provided by media resources, using the maximum degree of visualization, outrageousness, sensationalism, simulation. In fact, a media frenzy, boom, information fever is created around people or events that do not attract attention by themselves.A successful, popular show becomes such because it shows the viewer unmet needs — in love, respect, self-esteem, involvement in social-cultural activity, awareness of belonging to a certain social group, self-expression, rest and entertainment, emotional relaxation — and satisfies them.In its highest manifestation, this "viewer orientation" turns into a powerful show-anchoring technology. This psychological term means a conscious or, more often, unconscious, installation that engages a person (the anchor itself), fixing in it a strong conditional reflex connection. In an art show, it is often a forced memorization of certain images or symbols, the repetition of which will cause the person a specific emotional response that the manipulator needs. It is clear that such anchoring makes it possible for the anchor viewer to control it further. Using powerful methods of psychological influence on the audience of the show, such as suggesting, imitating, pressure under the guise of persuasion, show technologies thus become a powerful means of shaping the viewer's worldview and perception, the leverage of manipulating his consciousness and affection.The whole set of show technologies (discussed above and others) in action can be represented as a conditional scheme of the process, the leading feature of which will be increased manipulability at each subsequent stage: information about — popularization — advertising — propaganda — information terror.The global penetration of show technology into almost all spheres of public life that we are witnessing today makes the scientific discourse around the phenomenon of showmanship possible.The fast pace of showmanship and the powerful activation of show production are explained by two interdependent factors: on the one hand, show technologies are aimed at manipulating the viewers and making certain changes in the minds of the communication subjects (through "addicting" the viewer to a particular TV show), on the other — the viewers themselves manipulate the makers of the television product in some way (with their interest, lively interactive participation, high viewing rating), stimulating the continuation of their favorite shows in the coming seasons and creating new ones. Such interdependence leads to the fact that the entertaining and hedonistic functions of the art show gradually lose their primacy, and the stage involves managing the consciousness of the viewers and the multi-vector manipulation of their interests and appraisals, emotions and mood, and in general — the public position. ; В статье рассмотрено экранное художественное шоу в контексте эстетических и коммуникативных приоритетов. Проанализирован научный дискурс понятий «шоу», «шоу-технологии», «шоуизация». Определена высокая степень манипулятивности современного шоу. ; У статті розглянуто екранне мистецьке шоу у контексті естетичних та комунікативних пріоритетів. Проаналізовано науковий дискурс понять «шоу», «шоу-технології», «шоуїзація». Визначено високу міру маніпулятивності сучасного шоу

The word "show" has long and firmly established itself in the modern media space and our everyday life. The scientific discourse uses not only constant expressions like show business, but also fairly new ones, including show industry, show politics, show discourse, show civilization, show content, show didactics. All these "doubles" imply the active introduction of show technology into the relevant social-cultural spheres.Most researchers trace the show's historical path from ancient sights, and its biological prerequisites boil down to "social imprinting" — an innate tendency to copy the behavior broadcast by a leader. Let's agree that traditional sights have always shown a form of mass communication, and therefore directly related to the mass consciousness of the participant-viewer.Researchers choose different criteria to define the concept of "show": characteristic features of any spectacle in general, postmodern specificity, communicative component, sociocultural features, ontological dimensions. Such a panorama of approaches testifies not only to the magnitude and versatility of this phenomenon, but also to its deep penetration into all spheres of society. This is due to the show technology mentioned above.Undoubtedly, the leading broadcasting channels are television and the Internet, as they show the highest degree of visualization of retransmitted information. Even those art shows, which are filmed in stage (concert) conditions and are already spectacular in their origin, acquire in their screen embodiment new powerful features of interactivity, emphasized expressiveness.Show-technology, which allows to manipulate the attention of the viewer, involves the temporary distraction of the viewer from the pivotal, main theme due to the shift of emphasis towards minor elements, phenomena, events. Such clique of the show is determined by its structural fragmentation, a peculiar "injection of novelty" from everywhere, a kaleidoscopic impression, a constant violation of "unbreakable" rules. An interesting paradox is observed: in order to keep the viewer's attention, the show must always divert it from the bar to additional, parallel levels, but to do so with an increased degree of expressiveness. Such expressiveness is provided by media resources, using the maximum degree of visualization, outrageousness, sensationalism, simulation. In fact, a media frenzy, boom, information fever is created around people or events that do not attract attention by themselves.A successful, popular show becomes such because it shows the viewer unmet needs — in love, respect, self-esteem, involvement in social-cultural activity, awareness of belonging to a certain social group, self-expression, rest and entertainment, emotional relaxation — and satisfies them.In its highest manifestation, this "viewer orientation" turns into a powerful show-anchoring technology. This psychological term means a conscious or, more often, unconscious, installation that engages a person (the anchor itself), fixing in it a strong conditional reflex connection. In an art show, it is often a forced memorization of certain images or symbols, the repetition of which will cause the person a specific emotional response that the manipulator needs. It is clear that such anchoring makes it possible for the anchor viewer to control it further. Using powerful methods of psychological influence on the audience of the show, such as suggesting, imitating, pressure under the guise of persuasion, show technologies thus become a powerful means of shaping the viewer's worldview and perception, the leverage of manipulating his consciousness and affection.The whole set of show technologies (discussed above and others) in action can be represented as a conditional scheme of the process, the leading feature of which will be increased manipulability at each subsequent stage: information about — popularization — advertising — propaganda — information terror.The global penetration of show technology into almost all spheres of public life that we are witnessing today makes the scientific discourse around the phenomenon of showmanship possible.The fast pace of showmanship and the powerful activation of show production are explained by two interdependent factors: on the one hand, show technologies are aimed at manipulating the viewers and making certain changes in the minds of the communication subjects (through "addicting" the viewer to a particular TV show), on the other — the viewers themselves manipulate the makers of the television product in some way (with their interest, lively interactive participation, high viewing rating), stimulating the continuation of their favorite shows in the coming seasons and creating new ones. Such interdependence leads to the fact that the entertaining and hedonistic functions of the art show gradually lose their primacy, and the stage involves managing the consciousness of the viewers and the multi-vector manipulation of their interests and appraisals, emotions and mood, and in general — the public position. ; В статье рассмотрено экранное художественное шоу в контексте эстетических и коммуникативных приоритетов. Проанализирован научный дискурс понятий «шоу», «шоу-технологии», «шоуизация». Определена высокая степень манипулятивности современного шоу. ; У статті розглянуто екранне мистецьке шоу у контексті естетичних та комунікативних пріоритетів. Проаналізовано науковий дискурс понять «шоу», «шоу-технології», «шоуїзація». Визначено високу міру маніпулятивності сучасного шоу

Описано становлення українського декоративно-прикладного мистецтва в системі позашкільної освіти. Доведено його позитивний вплив на процес формування національної культури молоді в сучасних умовах. Приділено особливу увагу проблемам формування національної культури на тлі відчуття краси в учнів в умовах сучасного українського суспільства. Акцентовано на фундаментальних дослідженнях у галузі мистецького розвитку, теоретичних підходах до цієї проблеми. Проаналізовано літературні джерела, присвячені проблематиці творчого розвитку молодого покоління та формуванню української національної культури. Доведено, що прагнення до творчості завжди базується на здібностях та талантах, а мистецтво неможливе без розвитку художніх умінь. Згідно з фундаментальними умовами, естетичний саморозвиток молодого покоління потребує звернення до національних джерел культури. Системно розкрито особливості діяльності та процес становлення позашкільної мистецької освіти. Подано теоретичні узагальнення і нові рішення завдань щодо формування національної орієнтації українського мистецтва в сучасній системі художньої позашкільної освіти, яка охоплює художні школи, палаци, гуртки та студії. ; The article describes the formation of Ukrainian decorative and applied arts in the system of additional education. Its positive influence on the process of formation of the national culture of youth under the modern conditions is proved.The aim of this article. Special attention is paid to the problems of formation of national culture against the background of students' feelings of beauty under the conditions of modern Ukrainian society. The special features of the activity and the process of formation of out-of-school art education are systematically revealed.Research methodology. The emphasis is placed on the basic research in the field of artistic development, on the theoretical approaches to this issue. Theo-retical generalizations and new solutions to the problems of forming the national orientation of Ukrainian art in the modern system of art extracurricular education, which includes art schools, palaces, clubs and studios, are presented.Results. Under the modern conditions of revival of national culture in our country the demand of youth for additional educational experience increases. It is insulting to note, however, that Ukraine did not have its own statehood for a long time, our history was written by the occupiers, the art was deeply regulated and politicized, which destroyed the creative search, hence many artists were afraid to express and show their creativity. The issue of the functioning of extracurricular art education in Ukraine was previously considered in part, so it remains to some extent unfinished. The education of patriotism, national culture of Ukrainian youth takes place in the process of forming a certain system, its artistic values, tastes and ideals, which helps to form the main national features of the present Ukrainian art.Novelty. The national idea of art must become the ideological basis of the process of the state, the building of a democratic society. The Ukrainian education system must be based on the national principles. Therefore, the search for ways to implement this system is a multifaceted process of national and cultural development. Rich legal state documents define the strategic objectives of reforming this education: the revival and development of the national education system as a guarantee of the formation of the national culture of the patriots of Ukraine; the formation of creative education, reproduction and transmission of culture and spirituality in all the variety of national and world artistic masterpieces; bringing extracurricular education in Ukraine to a decent level of education in the developed world by reforming and improving it.The practical significance. The research has important implications for the study of the functioning features, the development of the system of out-of-school art education institutions in the western regions of Ukraine. The obtained results can be used in the system of humanities education, in the development of training courses in art history and cultural studies.

Описано становлення українського декоративно-прикладного мистецтва в системі позашкільної освіти. Доведено його позитивний вплив на процес формування національної культури молоді в сучасних умовах. Приділено особливу увагу проблемам формування національної культури на тлі відчуття краси в учнів в умовах сучасного українського суспільства. Акцентовано на фундаментальних дослідженнях у галузі мистецького розвитку, теоретичних підходах до цієї проблеми. Проаналізовано літературні джерела, присвячені проблематиці творчого розвитку молодого покоління та формуванню української національної культури. Доведено, що прагнення до творчості завжди базується на здібностях та талантах, а мистецтво неможливе без розвитку художніх умінь. Згідно з фундаментальними умовами, естетичний саморозвиток молодого покоління потребує звернення до національних джерел культури. Системно розкрито особливості діяльності та процес становлення позашкільної мистецької освіти. Подано теоретичні узагальнення і нові рішення завдань щодо формування національної орієнтації українського мистецтва в сучасній системі художньої позашкільної освіти, яка охоплює художні школи, палаци, гуртки та студії. ; The article describes the formation of Ukrainian decorative and applied arts in the system of additional education. Its positive influence on the process of formation of the national culture of youth under the modern conditions is proved.The aim of this article. Special attention is paid to the problems of formation of national culture against the background of students' feelings of beauty under the conditions of modern Ukrainian society. The special features of the activity and the process of formation of out-of-school art education are systematically revealed.Research methodology. The emphasis is placed on the basic research in the field of artistic development, on the theoretical approaches to this issue. Theo-retical generalizations and new solutions to the problems of forming the national orientation of Ukrainian art in the modern system of art extracurricular education, which includes art schools, palaces, clubs and studios, are presented.Results. Under the modern conditions of revival of national culture in our country the demand of youth for additional educational experience increases. It is insulting to note, however, that Ukraine did not have its own statehood for a long time, our history was written by the occupiers, the art was deeply regulated and politicized, which destroyed the creative search, hence many artists were afraid to express and show their creativity. The issue of the functioning of extracurricular art education in Ukraine was previously considered in part, so it remains to some extent unfinished. The education of patriotism, national culture of Ukrainian youth takes place in the process of forming a certain system, its artistic values, tastes and ideals, which helps to form the main national features of the present Ukrainian art.Novelty. The national idea of art must become the ideological basis of the process of the state, the building of a democratic society. The Ukrainian education system must be based on the national principles. Therefore, the search for ways to implement this system is a multifaceted process of national and cultural development. Rich legal state documents define the strategic objectives of reforming this education: the revival and development of the national education system as a guarantee of the formation of the national culture of the patriots of Ukraine; the formation of creative education, reproduction and transmission of culture and spirituality in all the variety of national and world artistic masterpieces; bringing extracurricular education in Ukraine to a decent level of education in the developed world by reforming and improving it.The practical significance. The research has important implications for the study of the functioning features, the development of the system of out-of-school art education institutions in the western regions of Ukraine. The obtained results can be used in the system of humanities education, in the development of training courses in art history and cultural studies.

The late 19th and early 20th century was unique time in art history. Discoveries made in mathematics and physics, development of new philosophical concepts, and social and political disturbances laid the foundation for a fundamental shift in artistic ideals and objectives of art.Changes brought to the perception of art, and two-dimensional art in particular, during the early 20th century were explored based on the theoretical works by the artists and philosophers of the avant-garde era — including Western Europe's Futurists and Cubists Umberto Boccioni, Carlo Carrà, Luigi Russolo, Giacomo Balla, Gino Severini, Albert Gleizes, and Jean Metzinger, philosophers Henri Bergson, Edmund Husserl, Oswald Spengler; Ukrainian and Russian avant-garde artists Oleksandr Bohomazov, Kazimir Malevich, Vasyl Kandinsky, Oleksandr Rodchenko, Naum Gabo, and Natan Pevsner, Ilia Zdanevich, and Mykhailo Larionov, art theorists PavelFlorensky and Alexander Gabrichevsky.The article focuses on analyzing the works by the theorists of Ukrainian and Russian avant-garde covering the perception of a line as one of the primary forming elements of art, its expressive potential and features. The article defines the role and importance of line in different kinds of avant-garde art. It explores the background of a generalized understanding of dimensional works of art, paintingand graphics in particular, by avant-garde artists, defines the influence the theory of avant-garde had on the development of drawing as the art of line, and describes the major areas of researching the further development of drawing during the 20th and 21st centuries. ; Кінець ХІХ — початок ХХ століття є унікальним періодом в історії світового мистецтва. Відкриття, здійснені у галузі математики та фізики, становлення нових філософських концепцій, соціально-політичні зрушення утворили умови для ґрунтовного переусвідомлення художньо-естетичних ідеалів, цілей і завдань мистецтва.На основі вивчення теоретичних праць митців та філософів періоду авангарду — західноєвропейських футуристів та кубістів Умберто Боччоні, Карло Карра, Луїджі Руссоло, Джакомо Балла, Джино Северіні, Альбера Глеза та Жана Метценже, а також філософів Анрі Бергсона, Едмунда Гуссерля, Овальда Шпенглера; українських і російських авангардистів Олександра Богомазова, Казиміра Малевича, Василя Кандинського, Олександра Родченка, Наума Габо й Натана Певзнера, Ільї Зданевича й Михайла Ларіонова, теоретиків мистецтва Павла Флоренського та Олександра Габричевського — досліджено зміни, які відбулися в сутності мистецтва першої третини ХХ століття, зокрема, в царині нарисних мистецтв. Основну увагу в статті приділено ґрунтовному аналізу досліджень теоретиків українського та російського авангарду щодо розуміння лінії як одного з первинних формотворчих елементів мистецтва, трактування її виражальних можливостей та характеристик; виявлено роль, місце ізначущість лініїу різних видах авангардного мистецтва. Також проаналізовано причини узагальненого тлумачення авангардистами сукупності творів мистецтв, виконаних на площині, зокрема, живопису та графіки. З'ясовано вплив теорій авангарду на розвиток рисункаяк мистецтва лінії, окреслено основні напрями дослідження його подальшого розвитку у ХХ–ХХІ століттях.

The late 19th and early 20th century was unique time in art history. Discoveries made in mathematics and physics, development of new philosophical concepts, and social and political disturbances laid the foundation for a fundamental shift in artistic ideals and objectives of art.Changes brought to the perception of art, and two-dimensional art in particular, during the early 20th century were explored based on the theoretical works by the artists and philosophers of the avant-garde era — including Western Europe's Futurists and Cubists Umberto Boccioni, Carlo Carrà, Luigi Russolo, Giacomo Balla, Gino Severini, Albert Gleizes, and Jean Metzinger, philosophers Henri Bergson, Edmund Husserl, Oswald Spengler; Ukrainian and Russian avant-garde artists Oleksandr Bohomazov, Kazimir Malevich, Vasyl Kandinsky, Oleksandr Rodchenko, Naum Gabo, and Natan Pevsner, Ilia Zdanevich, and Mykhailo Larionov, art theorists PavelFlorensky and Alexander Gabrichevsky.The article focuses on analyzing the works by the theorists of Ukrainian and Russian avant-garde covering the perception of a line as one of the primary forming elements of art, its expressive potential and features. The article defines the role and importance of line in different kinds of avant-garde art. It explores the background of a generalized understanding of dimensional works of art, paintingand graphics in particular, by avant-garde artists, defines the influence the theory of avant-garde had on the development of drawing as the art of line, and describes the major areas of researching the further development of drawing during the 20th and 21st centuries. ; Кінець ХІХ — початок ХХ століття є унікальним періодом в історії світового мистецтва. Відкриття, здійснені у галузі математики та фізики, становлення нових філософських концепцій, соціально-політичні зрушення утворили умови для ґрунтовного переусвідомлення художньо-естетичних ідеалів, цілей і завдань мистецтва.На основі вивчення теоретичних праць митців та філософів періоду авангарду — західноєвропейських футуристів та кубістів Умберто Боччоні, Карло Карра, Луїджі Руссоло, Джакомо Балла, Джино Северіні, Альбера Глеза та Жана Метценже, а також філософів Анрі Бергсона, Едмунда Гуссерля, Овальда Шпенглера; українських і російських авангардистів Олександра Богомазова, Казиміра Малевича, Василя Кандинського, Олександра Родченка, Наума Габо й Натана Певзнера, Ільї Зданевича й Михайла Ларіонова, теоретиків мистецтва Павла Флоренського та Олександра Габричевського — досліджено зміни, які відбулися в сутності мистецтва першої третини ХХ століття, зокрема, в царині нарисних мистецтв. Основну увагу в статті приділено ґрунтовному аналізу досліджень теоретиків українського та російського авангарду щодо розуміння лінії як одного з первинних формотворчих елементів мистецтва, трактування її виражальних можливостей та характеристик; виявлено роль, місце ізначущість лініїу різних видах авангардного мистецтва. Також проаналізовано причини узагальненого тлумачення авангардистами сукупності творів мистецтв, виконаних на площині, зокрема, живопису та графіки. З'ясовано вплив теорій авангарду на розвиток рисункаяк мистецтва лінії, окреслено основні напрями дослідження його подальшого розвитку у ХХ–ХХІ століттях.

The peculiarities of artistic activity in the context of the Soviet system of planned economy are considered. The institutional system of the art industry of the Soviet era, its functions, the range of priorities and the role assigned to the artist in this model are presented. The legislative and monopolistic influence of the state on the artistic process in the USSR, in particular through the structures of the Union of Artists and the Art Foundation, is highlighted.The centralized policy of the Soviet state in the art industry, carried out through a number of institutions and regulated by the decisions of the government, was motivated by the program's task of carrying "art to the masses". Accordingly, the system formed the specific status of the artist, guided by the slogan "Artist – for production!". The Soviet ideology has formed a corresponding demand – especially on unique works of monumental art for public objects, which was mainly handled by the Art Fundation as well as copied objects of "artistic crafts" for the population that was the departmental branch of "Ukrhudozprom". This increased the need for skilled decorative arts artists, for the preparation of which the state has developed a network of higher, secondary specialized education institutions.The system of the artistic industry of the Soviet model began to form during the 1920's, gained a clear organizational outline in the 1940's and was reformed in the 1960's. At the head of the system was the Union of Artists – the key organ in the hierarchy of the creative industry and the state instrument of centralized management of it. Participation in the Union opened the possibility of career growth through participation in exhibitions, obtaining favorable orders, obtaining honorary titles and awards. The Art Foundation subordinated to the Union performed economic and production functions, and the Artistic Councils, as the main censorship, determined the "ideological and artistic" quality of artistic production and approved the admission to exhibitions, ...

This paper highlights the algorithms for continuing education of music art teachers in the PRC. Also, attention is paid to the difference in the use of the terms "teacher of music» and "teacher of music art", which are used in the terminology of the People's Republic of China. The peculiarity of continuing education of music art teachers in the People's Republic of China is their perception as civil servants, and it regulates the peculiarities of passing qualification courses for a given category of teachers, as well as the content of the courses. The state undertakes to create conditions for the development of teachers` own educational level and the updating of teachers' knowledge. Today, the Chinese government is actively expanding its work on retraining and deepening the knowledge of teachers in order to continuously improve the qualitative characteristics of the entire staff. For teachers of music arts who work in primary and secondary schools, continuing education courses are mainly conducted by pedagogical schools and institutes of different levels, institutes for continuing education of teachers and other retraining institutions, as well as specialized educational institutions (in the form of courses with compulsory qualification in the subject "Education") System of continuing education of teachers is in charge for the further education of primary and secondary schools teachers, including teachers of music art, which includes centers of continuing education attached to 35 universities of the country. According to the normative documents, every teacher of music arts in particular has to undergo a continuing education course every 5 years. The course program consists of 90 hours, its passing is obligatory and on-call, for which the teacher is given a paid leave at the main place of work. The training is carried out at the accredited district consulting center (usually at a pedagogical university or an institution, occasionally – in the administrations of settlements, where the corresponding specialists ...

У статті розглянуто особливості мистецької діяльності в контексті радянської системи виробничих відносин – планової економіки. Представлено інституційну систему художньої галузі радянського зразка, її функції, коло пріоритетів та роль, яку в цій моделі влада відводила митцеві. Висвітлено директивний і монопольний вплив держави на мистецький процес в СРСР, зокрема через структури Спілки художників та Художнього фонду. ; The peculiarities of artistic activity in the context of the Soviet system of planned economy are considered. The institutional system of the art industry of the Soviet era, its functions, the range of priorities and the role assigned to the artist in this model are presented. The legislative and monopolistic influence of the state on the artistic process in the USSR, in particular through the structures of the Union of Artists and the Art Foundation, is highlighted.The centralized policy of the Soviet state in the art industry, carried out through a number of institutions and regulated by the decisions of the government, was motivated by the program's task of carrying "art to the masses". Accordingly, the system formed the specific status of the artist, guided by the slogan "Artist – for production!". The Soviet ideology has formed a corresponding demand – especially on unique works of monumental art for public objects, which was mainly handled by the Art Fundation as well as copied objects of "artistic crafts" for the population that was the departmental branch of "Ukrhudozprom". This increased the need for skilled decorative arts artists, for the preparation of which the state has developed a network of higher, secondary specialized education institutions.The system of the artistic industry of the Soviet model began to form during the 1920's, gained a clear organizational outline in the 1940's and was reformed in the 1960's. At the head of the system was the Union of Artists – the key organ in the hierarchy of the creative industry and the state instrument of centralized management of it. Participation in the Union opened the possibility of career growth through participation in exhibitions, obtaining favorable orders, obtaining honorary titles and awards. The Art Foundation subordinated to the Union performed economic and production functions, and the Artistic Councils, as the main censorship, determined the "ideological and artistic" quality of artistic production and approved the admission to exhibitions, the replication of industrial products or sales in public facilities.The main customer of artistic products was the state. Art became a segment of the Soviet planned economy along with the formation in 1940 of the Art Foundation of the USSR and its republican affiliates. In the department of the Art Foundation of the USSR there were a variety of enterprises – cooperatives, factories, workshops, and executed state orders.The artistic industry was posed by the state among the priority directions of the national economy such as metal rolling, machine building, production of haberdashery products.Features of the functionalization of the system are considered on the example of the development of the sphere of artistic textiles – on the scale of art crafts and individual creativity of artists.