Issue 58 (2025, 2) Summary

ARTICULT #58 (2-2025) April-June

SUMMARY

THEORY OF ART

COSTUME AS A KINETIC CATEGORY
Research article
UDC 7.01+7.038.3
DOI: 10.28995/2227-6165-2025-2-5-13
Received: December 24, 202?. Approved after reviewing: May 03, 2025. Date of publication: June 30, 2025.
Author: Shapiro Bella Lvovna, Dr. of Culturology, PhD in History, professor, Chair of the Cinema and Contemporary Art Studies, Russian State University for the Humanities (Moscow, Russia), e-mail: b.shapiro@mail.ru
ORCID ID: 0000-0001-5616-8898
Summary: The research focuses on the evolution of the kinetic approach to costume design. Movement as one of the most important means of artistic expression of costume is considered through the prism of interaction of kinetics with optical art, deconstructivism and technological art. Each episode of interaction assigned to one of the cultural-historical periods (1955–1970s, 1980–1990s, and 2000–2020s) when it was most active. The issue considered in the background of developments in the theory of kinetic garment construction and kinetic body theory. The result of the research is the conclusion: costume gravitates towards movement and reveals its specific properties in movement. In all cases considered, the outcome of the kinetic approach is a new imagery. Consequently, kinetics is a powerful impetus for the development of both costume design and contemporary artistic culture.
Keywords: art theory, art history, costume history, optical and kinetic art, postmodernism, physicality

For citation:
Shapiro B.L. “Costume as a kinetic category.” Articult. 2025, no. 2(58), pp. 5-13. (in Russian) DOI: 10.28995/2227-6165-2025-2-5-13

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HISTORY OF ART

“PETITE SOLFEGE ILLUSTRE” BY PIERRE BONNARD: ARTISTIC AND GRAPHIC INTERPRETATION OF NEW APPROACHES TO CHILDREN’S MUSIC EDUCATION AT THE TURN OF THE 19TH-20TH CENTURIES
Research article
UDC 75.056+ 769.2
DOI: 10.28995/2227-6165-2025-2-14-29
Received: January 13, 2025. Approved after reviewing: March 18, 2025. Date of publication: June 30, 2025.
Author: Steppe Ekaterina Mikhailovna, MA student at the Faculty of Art History, Russian State University for the Humanities (Moscow, Russia), e-mail: birds-of-dorian@yandex.ru
ORCID ID: 0009-0009-7509-2812
Summary: This article is dedicated to the music illustration by Pierre Bonnard, taking as an example “Petite Solfege Illustre”, a manual for children for studying music theory. In this artifact of art of book the artist reconsiders graphic approach in the context of music theory for the purpose of creating an entertaining and easily adapted for children handbook. Having at hand decent references in the field of book illustration for children, Bonnard, nevertheless makes a step a side fr om tradition and finds his own graphic language, authentic style, distinction of a line and original approach to execution of an idea. Specific fantasy feature of the images of “Petite solfege illustre” is given by this undistinguished word «petite». It revials Bonnard's own desire to rediscover things and keen urge to get close to a child's perception of the world. The willingness to see the world through child's eyes let Bonnard inspire playfullness and effortlessness into traditional French education. A the same time Bonnard combines music theory and images of family values making the maternity subject a leading-idea of the book.
Keywords: Pierre Bonnard, postimpressionism, Nabis, graphic art, musical illustration, solfeggio, music theory, musical manual, childhood, children's music education, maternity

For citation:
Steppe E.M. “"Petite Solfege Illustre" by Pierre Bonnard: artistic and graphic interpretation of new approaches to children's music education at the turn of the 19th-20th centuries.” Articult. 2025, no. 2(58), pp. 14-29. (in Russian) DOI: 10.28995/2227-6165-2025-2-14-29

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“THE LEGISLATOR OF PROPORTIONS.” NIKOLAY SUETIN AND THE STATE LOMONOSOV PORCELAIN FACTORY IN THE LATE 1920S – EARLY 1950S
Research article
UDC 7.071.1+738.1
DOI: 10.28995/2227-6165-2025-2-30-46
Received: March 18, 2025. Approved after reviewing: May 27, 2025. Date of publication: June 30, 2025.
Author: Shik Ida Aleksandrovna, PhD in Art Studies, associate professor, Chair of the Theory and History of Art, Russian State University for the Humanities (Moscow, Russia), e-mail: ida.shik@bk.ru
ORCID ID: 0000-0002-7953-6283
Summary: In the article, the researcher examined Nikolay Suetin’s creativity in the late 1920s – early 1950s and his work as a chief artist of the State Lomonosov Porcelain Factory in Leningrad. His design of new shapes was distinguished by classical clarity combined with avant-garde experimentation. Nikolay Suetin’s figurative post-Suprematist compositions in porcelain had metaphysical spirit and related to the historical context of the era. In abstract compositions, he continued the line of the early Suprematist porcelain and created new trends. Many of them can be interpreted as examples of international Art Deco style. As the chief artist, Nikolay Suetin has made a significant contribution to the formation of the Leningrad porcelain style and the creative individuality of young authors. Suprematism has become an integral part of the “genetic code” of St. Petersburg porcelain. Its ideas received a “second life” in the porcelain of the “Thaw” and in applied art of the following years. For contemporary porcelain artists, Nikolay Suetin’s legacy also remains a subject of reflection and conceptual interpretation.
Keywords: soviet porcelain, The State Lomonosov Porcelain Factory, Suprematism, Post-Suprematism, Nikolay Suetin

For citation:
Shik I.A. “"The Legislator of Proportions." Nikolay Suetin and the State Lomonosov Porcelain Factory in the Late 1920s – Early 1950s.” Articult. 2025, no. 2(58), pp. 30-46??. (in Russian) DOI: 10.28995/2227-6165-2025-2-30-46

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CONTEMPORARY ART

THE HIERATIC AND PSALMIC WORD IN THE GRAPHIC ART OF MICHAEL SHVARTSMAN
Research article
UDC 7.071.1+76.01
DOI: 10.28995/2227-6165-2025-2-47-58
Received: March 18, 2025. Approved after reviewing: June 02, 2025. Date of publication: June 30, 2025.
Author: Zhitenev Aleksandr Anatolyevich, Doctor in Philology, professor, Chair of Publishing, Voronezh State University (Voronezh, Russia), e-mail: zhitenev@phil.vsu.ru
ORCID ID: 0000-0002-6365-4138
Summary: The article deals with the religious and philosophical foundations and aesthetic functions of the word in M. Shvartsman’s graphic art. The perception of the word in Shvartsman’s mind is paradoxical; on the one hand, the artist considers his experience of the ‘hierat’ inexpressible and any expression of it in verbal form (for example, in the title of a work) inauthentic and deliberately false; on the other hand, he appeals widely to the word in his practice of self-explanation (in his art theory and teaching practice) and uses it in his graphic art. But this word is not any word but a poetic, hieratic, or psalmic word. The article comments on the contexts of using only two variants of the word: hieratic and psalmic. The psalmic (‘divine’) word connects the graphic sheet with the act of ‘theurgy’, is used to deepen its content as revelations of religious experience about the structure of the world. The hieratic (‘human’) word is an author’s commentary, an improvisational theory of ‘hieratic’ art, which reveals a performative dimension in graphic art. In the space of the graphic sheet these two types of words can neighbour by indicating the circumstances of the work’s creation, its situationally experienced meaning and its metaphysical content.
Keywords: Mikhail Shvartsman, graphics, hieratic art, contemporaneity, contemporary art

For citation:
Zhitenev A.A. “The Hieratic and Psalmic Word in the Graphic Art of Michael Shvartsman.” Articult. 2025, no. 2(58), pp. 47-58. (in Russian) DOI: 10.28995/2227-6165-2025-2-47-58

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CINEMA

THE FUCTIONS OF COLOR IN RUSSIAN DRAMATIC FILMS 2000-2024
Research article
UDC 791.43-2
DOI: 10.28995/2227-6165-2025-2-59-75
Received: May 10, 2025. Approved after reviewing: May 31, 2025. Date of publication: June 30, 2025.
Author: Muzipova Leyla Khalimovna, MA in Art History, Russian State University for the Humanities (Moscow, Russia), e-mail: leila.muzipova@gmail.com
ORCID ID: 0000-0002-4254-2946
Summary: The article is devoted to the functions of color in Russian dramatic films of 2000-2024. Initially, the functions of color were identified through the study of theoretical material. Further, the functions of color were studied on the material of thirty Russian contemporary dramatic films: “Moscow”, “The Return”, “Roads to Koktebel”, “Euphoria”, “Cargo 200”, “Mermaid”, “Morphine”, “Yuri's Day”, “Oxygen”, “How I Ended This summer”, “Silent Souls”, “Elena”, “Angels of Revolution”, “Yes and Yes”, “A film about Alexeev”, “Zoology”, “Arrhythmia”, “How Viktor “the Garlic” Took Alexey “the Stud” to the Nursing Home”, “Closeness”, “Acid”, “Leto”, “The Man Who Surprised Everyone”, “Fidelity”, “Beanpole”, “The Imagined Wolf”, “Danube”, “Captain Volkonogov Escaped”, “Off-season”, “The Flood”, “Frau”. As a result of the work done the nature of the use of color functions in Russian dramatic films of 2000-2024 was revealed.
Keywords: functions of color, color, Russian cinema, color in cinema, contemporary Russian cinema

For citation:
Muzipova L.Kh. “The functions of color in Russian dramatic films 2000-2024.” Articult. 2025, no. 2(58), pp. 59-75. (in Russian) DOI: 10.28995/2227-6165-2025-2-59-75

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HISTORY AND THEORY OF CULTURE

THE PRINCIPLE OF CARNIVALIZATION IN CONSTRUCTING A NEW RITUALITY OF FESTIVE CULTURE (USING THE MASLENITSA HOLIDAY (PANCAKE DAYS) AS AN EXAMPLE)
Research article
UDC 793.2
DOI: 10.28995/2227-6165-2025-2-76-83
Received: August 16, 2024. Approved after reviewing: January 26, 2025. Date of publication: June 30, 2025.
Author: Kaminskaya Elena Albertovna, Doctor of Cultural Studies, Professor, Vice-Rector for Academic and Methodological Work, Professor of the Department of Directing Theatrical Performances and Festival, Institute of Modern Art (Moscow, Russia), e-mail: kaminskayae@mail.ru
ORCID ID: 0000-0003-0529-0601
Summary: Festive culture changes over time under the influence of various objective and subjective circumstances. The rituals accompanying festive events also undergo transformation, which is conditioned not only by the logic of cultural development, but also, among other things, by the absence of a model of the original action. This allows for a multi-variant construction of a festive and ritual action. In modern times, it is more correct to speak of constructing a new rituality within the framework of festive culture. This new rituality organically includes elements of modern culture that are fixed in people's minds as traditional, but, in essence, are not. The article examines the issue of using carnivalization as a principle of such construction, which has a dual character. The example of Maslenitsa shows the transformation of the festive ritual action and the variants of its modern embodiment.
Keywords: festive culture, ritual culture, holiday ritual action, folk culture, folk tradition, carnivalization

For citation:
Kaminskaya E.A. “The principle of carnivalization in constructing a new rituality of festive culture (using the Maslenitsa holiday (Pancake days) as an example).” Articult. 2025, no. 2(58), pp. 76-83. (in Russian) DOI: 10.28995/2227-6165-2025-2-76-83

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PSYCHOLOGY OF CULTURE AND ART

AUTOCOMMUNICATION AND PUPPET THEATER: TO SHAME AND PUDENCY EXPERIENCE IN ART
Research article
UDC 159.9:791.5+792.9+82.37
DOI: 10.28995/2227-6165-2025-2-84-99
Received: March 10, 2025. Approved after reviewing: May 15, 2025. Date of publication: June 30, 2025.
Author: Shtayn Oksana Aleksandrovna, PhD in Philosophy, Associate Professor, Ural Federal University (Yekaterinburg, Russia), e-mail: shtaynshtayn@gmail.com
ORCID ID: 0009-0004-1701-3147
Summary: The article explores the role of autocommunicative practices, tracing shame as cultural intuition, such as puppet theater, buffoonery, and holy foolishness, in Russian culture as elements of carnival tradition, subverting social norms and exposing hidden mechanisms of interactions. The puppet, the jester, and the holy fool act as mediators, unmasking societal vices and transforming worldviews. Puppet theater creates distance between the viewer and the performance, triggering self-reflection – the puppet’s mask reflects the audience’s own contradictions. Autocommunication emerges through the "gap" (Obraztsov’s term) – a space wh ere the viewer, confronted with the artifice of performance, turns inward. The puppet, devoid of its own voice, acts as a mirror: its silence is filled by the viewer’s interpretations, forcing them to reconsider their assumptions.
Keywords: puppet theater, buffoonery, holy foolishness, carnival, autocommunication, mask, shame, power, Petrushka, Obraztsov

For citation:
Shtayn O.A. “Autocommunication and puppet theater: to shame and pudency experience in art .” Articult. 2025, no. 2(58), pp. 84-99. (in Russian) DOI: 10.28995/2227-6165-2025-2-84-99

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METHODOLOGY

THEATRE-CRITICAL PRESS ABOUT THE PERFORMANCE BY YURI BUTUSOV “UNCLE VANYA”. SCENIC DECISIONS, CINEMA DEVICES, PSYCHE
Research article
UDC 792.09
DOI: 10.28995/2227-6165-2025-2-100-109
Received: May 15, 2025. Approved after reviewing: June 10, 2025. Date of publication: June 30, 2025.
Author: Maltseva Olga Nikolaevna, Doctor of Art History, Associate Professor, Leading Researcher, Russian Institute of Art History, Theatre Sector (St. Petersburg, Russia), Professor of the Department of Russian Theatre, Russian State Institute of Performing Arts (St. Petersburg, Russia), e-mail: onmalt@gmail.com
ORCID ID: 0000-0002-9729-2729
Summary: The study is devoted to the problem of the reception of Yuri Butusov's performance “Uncle Vanya” by critics, staged in 2017 at the Lensovet Theatre. The article examines the reviewers' assessments of this performance, their interpretations of its artistic content, as well as their interpretations of the performance's components, primarily the characters created by the actors and the scenography. In addition, it is established that the identification of the type of composition of the performance was on the periphery of most critics' attention; and the peculiarity of the formation of its artistic content precisely as a performance of dramatic theatre, that is, in the form of a contradiction formed in the process of dramatic action, remained outside the field of view of all reviewers. Thus, the type of theatre presented in this performance of the director was not determined.
Keywords: drama theatre, director Yuri Butusov, play “Uncle Vanya”, Lensovet Theatre, theatre criticism

For citation:
Maltseva O.N. “Theatre-critical press about the performance by Yuri Butusov “Uncle Vanya”. Scenic decisions, cinema devices, psyche.” Articult. 2025, no. 2(58), pp. 100-109. (in Russian) DOI: 10.28995/2227-6165-2025-2-100-109

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