Suchergebnisse

The article examines the historical and cultural aspects of the processes of formation of artistic tradition in Russian decorative and applied arts and folk crafts from the XI to the middle of the XV century. Using the example of outstanding pieces of various types and directions of decorative art, the main periods and stages of the formation of the general stylistics of the masters' creativity and the ways of spreading similar artistic and figurative solutions are determined. The examples given by the author touch upon issues directly related to the processes of integration of Russian traditional crafts and decorative art with the creativity of Byzantium, Scandinavia, Central Europe and the culture of the peoples of the European part of Russia, which were subjected to the expansion of the Northern Slavic tribes. The author defines the development of the Russian artistic tradition as the active introduction of individual elements and figurative solutions of various sources into the basic Slavic culture, based on the preserved monuments of architecture, art and printed writing. The research is based on the works of archaeologists, art historians and artists, which are fundamental works on the history and theory of decorative and applied arts (A.N. Kirpichnikova, M.A. Orlova, B.A. Rybakov, etc.). A comparative analysis of the current state of certain types of Russian decorative and applied arts, traditional and folk crafts, taking into account the influence of technological transformations on authentic techniques and materials. The author's conclusions are based on many years of experience in studying decorative and applied arts as a factor in the development of professional competencies of students of art universities and institutions of additional education in the process of becoming independent masters and artists.

The purpose of the article is to research and analyse the development of marketing technologies in the fine art market from the ancient times to the beginning of the 21st century. The research methodology consists in the application of comparative, empirical, and theoretical methods. This methodological approach allows analysis of the formation process and the history of the development of fine art marketing, conducting a research of marketing processes during the promotion of works of art on the art market at different periods of human history. The scientific novelty consists in expanding ideas about the fine art market. The article explores for the first time marketing processes on the art market from the ancient times to the beginning of the 21st century. The article analyses for the first time the problems that were formed and overcome during the history of the emergence and development of marketing in the field of culture and art. Besides, for the first time, the theoretical foundations of fine art marketing and the ways of their practical implementation are analysed. Conclusions. The conducted analysis allowed us to determine that even before the emergence of the modern art market as an element of the general capitalist market, the movement of works of fine art already thousands of years ago, in the ancient times contained elements of marketing approaches and technologies. This movement was caused by the processes of sale and purchasing, exchanging, and collecting works of art. In particular, we are talking about the precursors of marketing approaches and technologies aimed at a kind of satisfaction of the demand for works of fine art in society; organisation of classification and collection of works of fine art; examination of their quality and originality; determining the methods of works of art promotion in society. All these methods were already available at that time. In general, we can talk about the existence before the emergence of the modern art market of works of fine art, the so-called «wild market», which in a certain way "regulated" the processes of the movement of works of art in society.
Key words: art marketing, art market, works of art «wild market», marketing technologies.

The article discusses the Talysh national culture and its decorative-applied art. The author dwells on issues connected with the Talysh people's history and the Talysh language's peculiarities, on the history of the study of Talysh culture and decorative-applied art. It is pointed out that the decorative-applied art of the Talysh people is rich, original, and quite imitative. The author enumerates the world museums where samples of Talysh decorative-applied art are exhibited. The author also pointed out the spheres of handicrafts in which Talysh craftsmen stood out. So, Talysh craftsmen were brilliantly proficient in carpet weaving (including pile and pileless carpets, hesirs and buriya), decorating swords and daggers, embroidery, wood-carving, stone-carving, and many others. Besides, the Talysh traditions in other spheres of art are also mentioned. For instance, everyday dishes, articles made from clay, various items, utensils of everyday and ritual purpose, and artistic ceramics are also mentioned in the article. The author points out that all items made by Talysh craftsmen were always in great demand, but large-scale production did not mean degrading their quality. Talyshes were jewellers of the highest level and created very interesting products, real masterpieces. It is not occasional that samples of Talysh decorative-applied art are considered a very interesting cultural phenomenon. So, the materials discovered during archaeological excavations and their comparison with modern products prove that rich traditions of Talysh decorative-applied art are saved, are continued nowadays and are enriched by new achievements.

The paper "From Ruins to the Decorative and Applied Arts Museum" reflects the complicated path passed by the outstanding monument, a pseudo-gothic style - mezzanine - "New Cavalry House"-
designed by the architect of German origin - Albert Zaltzmann. Based on scientific research, the work presents content and functional loading possibilities for the new Decorative Applied Arts Museum building and its outer space. One of the main goals is to replace the Russian narrative with European content.
The European-style architecture Museum, located in the centre of the popular Georgian Spa resort Borjomi, with displayed decorative and applied arts collections belonging to the royal family, will be interesting for all visitors. Accordingly, it will be in demand and profitable. It has been noted that the museum is of an extraordinary, unusual nature, and it stands out from the rest of the similar museum institutions in Georgia thanks to the peculiar architecture, content, and collections displayed here.
The paper describes the mission of the future museum, its content, and the vital role it has to play in the context of educational and economic development, promoting the region and the whole country.

Municipal involvement in the finance of fine arts museums raises the question: Just which market failure serves to rationalize this public subsidy? Two contenders are prominent in the literature: decreasing costs and education externalities. The relationship of price to marginal cost provides an operational test to distinguish among the two rationales. Scattered data from the 1880s and 1890s as well as contemporary discussion indicate that, implausible as it may seem now, education externalities constituted the operational justification for the public subsidy.

This article synthesises diverse material to discuss both state use of the arts for the purposes of controlling prisoners and the broader public, and the use made of the arts by prisoners and portions of the broader public as tools of resistance to penal states. The article proceeds with an analysis of the politics surrounding and underpinning the philosophy, formation, operation, effectiveness, and research evaluation of arts-in-prisons programmes in the contemporary Anglo-American world. It argues that arts-in-prisons programmes and pertinent evaluation research are often employed as means to a variety of latent ignoble ends, with 'decorative justice' – the function of masking the injustices and painful nature of imprisonment behind claims of fairness, benevolence and care – chief amongst these ends.

The article is devoted to the construction of the concept of "textile as a type of decorative and applied arts" in Russian art history. An accurate and fully formulated definition helps to build a coherent scientific theory. The need to develop a theory of textiles is long overdue, due to its significant role in the life of society. The difficulties of definitions of textiles as an object of research are related to its interdisciplinary nature and the need to take into account all qualitative characteristics. In the course of the work we analyzed groups of domestic and translated bibliographic sources: reference editions, works of theorists and historians of decorative and applied arts and art textiles. It has been revealed that domestic publications have not yet formulated a universal concept of textile, which would reflect its essential qualities. The methodological argumentation, with the help of which definitions are constructed, has not yet been applied to textiles as a type of decorative and applied arts. In order to form a universal concept, we propose to turn to the proven methodological tools of the method of two-level triadic decoding of categories of the theory of dynamic information systems, which has already shown its heuristics in different fields of knowledge. Identification, comprehension and structuring of fundamental aspects of textile as a kind of decorative and applied arts in the course of consistent application of this method allowed us to formulate the following definition: textile as a kind of decorative and applied arts in the format of dynamic information system is an object or a set of objects of a certain purpose (utilitarian, symbolic, decorative), made of fiber (natural, artificial, synthetic) by means of technology (manual, industrial). The full definition of the category expands and deepens the formal-logical definition that existed earlier in the scientific literature. The present study allowed not only to construct a conceptual apparatus, but also to identify the main categories of the definition, to designate the elements and subsystems of the phenomenon for a more detailed study and formation of the theory of textiles.

The design of Contemporary theaters are very vital in simulating the producer vision, decorative design, play text, and viewers.
Most of contemporary theaters designers in Kurdistan Region and Iraq in general have no clear understanding to the modern theatrical decorative design. In this paper, the authors highlighted the different types of schools of arts and its influence on the theatrical decorative design.
The research approach used analytical descriptive method to fulfill the outcomes of the research. The authors investigated the different theatrical design in KGR and Iraq; those designs are not related to any schools of decorative theatrical design. The research introduced clear comparison between different schools of theatrical decorative design in the implementation of colors, unit's distribution on the stage, play text, producer vision.
The outcome of the research is to uncover the theoretical and practical aspects of schools of arts which is implemented the theatrical decorative design. This work can benefit researchers, students, academics and theatrical designers regionally and globally.