Suchergebnisse

The article presents a philosophical and art analysis of three paintings by the Norwegian artist E. Munch, namely "Melancholy" (1891–1892), "Separation" (1896), "The Dance of Life" (1899–1900), included in the "The Frieze of Life" cycle. The purpose of the analysis was to uncover the artistic ideas of each of the selected works and to identify the general conceptual basis of the artist's work. As a result of the methodological analysis of the paintings, it was substantiated that the work of E. Munch, firstly, is fundamentally consistent, in the sense that each work should be considered as part of the painter's holistic art world view; secondly, the dominant compositional features of the works, relating them to the style space of Areo-romanticism, are highlighted; thirdly, such a characteristic of E. Munch's creativity as a programmatic approach is revealed, which is expressed in the embodiment of the deep meanings of human life through the sign-symbolic forms of works

The Yenisei river occupies a significant place both in the sphere of regional identity and in paintings and graphic works of Krasnoyarsk artists, since it forms the image of Krasnoyarsk and is a connecting link of the Yenisei Siberia. The article analyses paintings and graphic works of Krasnoyarsk artists to identify the features of the image of the Yenisei in regional art. The study is based on the theoretical principles of the modern theory of visual arts and on the analysis of the selected paintings and graphic works of Krasnoyarsk artists of the 20th and 21st centuries from the collection of the Krasnoyarsk Art Museum named after V.I. Surikov. A wide range of sources, including studies of ethnocultural identity, the specific features of artistic culture and the characteristics of Krasnoyarsk landscapes is considered. In the process of comparing the analysis results, it has been revealed that for Krasnoyarsk artists the Yenisei is not only the embodiment of endless natural forces, but also a connecting and harmonising link between the human world and the natural world, at the same time representing a special identity of Siberians (Amosova, et al., 2019)

The article analyzes the originality of the ethnocultural dynamics of the Krasnoyarsk Territory in the context of artistic practice. The general dynamics of ethnic groups inhabiting the Krasnoyarsk Krai from the early 17th century to the early 21st century is shown. At the same time, within the framework of this dynamics such stages pre-Soviet, Soviet and post-Soviet were identified. A general characteristic of the creativity of Krasnoyarsk artists who worked in the selected periods is given. Within the framework of the philosophical and art history analysis, the works of D. I. Karatanova, Yu. P. Ishkhanov and S. E. Anufrieva as the most representative for each period and, at the same time, allowing to consider creativity in its various forms (painting, sculpture and ceramics) were selected and studied in detail. As a result, it was concluded that these works most clearly reflect the changes of a person living in these territories and his/her relationship with nature and historical roots

This study examines the peculiarities of traditional religious beliefs of indigenous peoples of the Krasnoyarsk Krai — Dolgans, Nganasans, Nenets and Enets. The authors use comparative historical and historiographical methods, as well as rely on the results of field research conducted by employees of the Department of Cultural Studies at the Humanitarian Institute of Siberian Federal University in the territory of compact residence of these peoples in Krasnoyarsk Krai from 2010 to 2018. The study provides an overview of the main features of the traditional religious beliefs of each of the designated indigenous minorities with the definition of their current state. The results of the study make it possible to determine the general and specific features characteristic of the religious beliefs of Dolgans, Nganasans, Nenets and Enets who live in the Krasnoyarsk Krai, both in their traditional form and in their present state

The article discusses the main features of the urban architecture of Krasnoyarsk, the specifics of public transport and the availability of urban space for residents, the problems of public safety in the city; features of parks and public recreation areas; the peculiarity of urban management and the involvement of citizens in the processes of city management. The study is based on modern approaches to the consideration of the urban environment as a result of the interaction of residents and city government. The article is based on a wide range of sources: modern studies of the urban environment in Russia and abroad, official sites of the administration and city services, statistics, modern studies of the urban environment of Krasnoyarsk conducted by scientists of the Siberian Federal University. The results of the study reveal the transitional state of the urban environment of Krasnoyarsk, its rich potential and indicate the main problems and prospects for further development

The article scrutinizes the problem of understanding and presenting the ethnocultural identity of the indigenous peoples in the works of art. The authors describe the features of the image visualization regarding the indigenous peoples of the North in the works of artists of the Krasnoyarsk Krai. For this purpose there was made a thorough analysis of the most representative works in painting and graphics, namely, Konstantin Voynov's painting "The Madonna Beyond the Polar Circle" (2009), Andrei Lekarenko's painting "The Girl from Taimyr" (1959) and Valery Kudrinsky's picture "The Northgirl" (1985). The analysis was based on the constructivist approach to identity and the principles of the modern theory of the fine arts stated by V. I. Zhukovsky and N. P. Koptseva. As a result, the researchers identified 1) three key stages of the Krasnoyarsk artists' interest in painting the indigenous peoples of the North (starting from the beginning of the 20th century and ending at the beginning of the 21st century); 2) two main approaches to depicting the lifestyle of the indigenous peoples of the North (documentary-ethnographic and philosophical ones)

The main features and challenges of the ethnocultural space of one of the largest and most varied in its ethnic composition regions of the Russian Federation are studied in the article based on research material of the current state of culture of the indigenous minorities of the north living in the territory of Krasnoyarsk Krai (the Selkups, the Nenets, the Enets, the Dolgans, the Nganasans, the Evenks, the Kets and the Yessey Yakuts). The study is based on modern approaches to the consideration of the mechanisms of sociocultural changes, such as the concept of "cultural trauma" of the Polish sociologist Piotr Sztompka. The article is based on the results of numerous field studies conducted by the scientists of Siberian Federal University. Preference of mass culture and replacement of traditional with pseudo-traditional are emphasized among the main challenges of the current state of the ethnocultural space of Krasnoyarsk Krai

The article is devoted to the study of the concept of the mammoth in regulatory documents and cultural practices. The analysis of both Russian and international experience allowed to generalise the existing legal provisions regarding the regulation of mammoths, as well as to determine the role of mammoths in the world and Russian culture, including the culture of the indigenous peoples of the North, Siberia and the Far East. The methodological basis of the study is represented by the comparative analysis of sources and materials, historical-comparative and chronological methods, the historiographic method, as well as methods of philosophical and art history analysis. The study revealed the fact that in the field of legislation and legal regulation of extraction and sale of mammoth ivory in the world, the issue of the status of mammoths is raised only in connection with a discussion of the survival of rare species of elephants. Measures to prevent extermination of elephant population, encompassing a ban on trade, including trade of mammoth ivory, cause heated discussions and are controversial for craftsmen, antique dealers and art collectors. The issue of legal regulation in this area is particularly acute for the Russian Federation, due to the lack of a finalised legal and regulatory framework, both at the federal, regional and municipal levels. The image of the mammoth in the world and Russian culture is embodied in a number of visual practices. These are heraldry, animation, book graphics, sculpture and fine art. Sign and symbolic forms of the mammoth embody religious and mythological characteristics of the animal, demonstrating its significance in people's worldview, as well as indicating of the "living" memory of it in the modern world