The main idea of the article is to address the phenomenon of creative heritage as an independent basic concept of modern socio-humanitarian research. Having analyzed a certain corpus of works in the field of memorial cultural practices, the authors came to the conclusion that there is no instrumental distinction of the concepts “cultural memory”, “artistic heritage”, “creative heritage” in this discursive field. The novelty of the study lies in analyzing the specificity of the concept “creative heritage”, as well as its role in contemporary socio-humanitarianism in general and art history in particular. Since the field of applied interest of the authors lies in the sphere of a specific art form — dance, practical conclusions are drawn in relation to it. It is emphasized that along with the generally accepted methods of research in a given discursive space — typological, structural, functional, biographical — the method of humanitarian blockchain and the concept of “artistic code of the epoch” proposed earlier by one of the co-authors can be used to study the creative heritage of a person (creative group) in the history of art. Emphasis is placed on the relevance of this research policy in connection with the current geopolitical agenda, the practices of “culture of cancellation” being implemented before our eyes, and, accordingly, the need to develop effective projects in the sphere of state cultural policy, forming the working contours of cultural memory and national identity. The problem of identifying, studying and preserving the creative heritage as part of the cultural heritage acquires special relevance in the realities of the modern historical stage — the “early digital era”, accompanied by the rapid development of digital technologies, including destructive ones such as deepfake. The practical potential of the development of this concept is particularly noted, which allows for the consistent preservation of traditions and innovations in artistic activities, to use both the formed array of cultural heritage of different levels and the potential of creative cultural industries.

The article substantiates the expediency of using domestic philosophical heritage in the development of concepts and other normative documents of Russia’s cultural policy in the current situation. At present, Russian society has gained an understanding of the need to abandon the strategy of catch-up modernization and to implement socio-cultural development on the ways of deepening the country’s traditional spiritual values and its own historical vision of the multipolarity of the world. The ideas of the Russian religious philosopher L.P. Karsavin concerning such fundamental aspects of cultural policy as the peculiarities of the development of state ideology, the design of culture and state cultural programmes, the vocabulary and language of cultural studies are considered. Special attention is paid to Karsavin’s understanding of Russian culture as having Orthodox origins and developing on the basis of Orthodoxy. Attention is drawn to the importance of ensuring the unifying and living, creative character of Russian culture, the conditions of equality of different cultures and, at the same time, the presence of a hierarchy of interpenetrating cultural spheres. The development of some of L.P. Karsavin’s ideas by his followers is outlined, including the need to clarify the Christian meaning of atheism and to overcome the “irreconcilable” antagonism between religious and atheistic worldviews. The study outlines a line of enrichment of cultural theory with little-known works by L.P. Karsavin and A.A. Vaneev, which, according to the authors of the article, opens prospects for further development of new approaches to understanding the essence of cultural policy.

The article is devoted to the current state of regional cinema development in the Russian Federation and draws on the authors’ extensive practical experience in the development of regional cinema in Russia.A brief historiography of the issue is given, and approaches to the definition of “regional cinema” are considered. The authors explore models of regional cinema development in contemporary Russia by analyzing key areas in different regions. For generalization and modelling, the methodology for analyzing the region’s activity in the sphere of film development, which includes 10 areas, developed in 2018, is taken as a basis. This methodology allowed us to isolate several models that are based on a certain dominant factor. These include attracting external film crews to the region and supporting them through a regional film commission (the Kaliningrad model); the prevalence of authentic ethnic issues in cinema, which form the content basis of regionally produced products and are primarily oriented towards the internal regional distribution market and domestic audiences (the Yakut model); and the creation of a workshop for higher specialized film education programmes in a particular region (the Kabardino-Balkarian model). The authors also suggest a mixed model, which does not have a clear dominant development direction and is common in most regions of the Russian Federation. The authors also draw attention to models of regional cinema development that may become promising in the future.

Art-photography is a form of contemporary art that marked itself in the early 1960s. Its historical evolution has not been sufficiently studied. At the same time, it provides an opportunity to identify and understand the logic of the internal development of art-photography and its relationship with the external cultural context. The cultural and aesthetic dynamics of art-photography is associated with three historical stages: early, mature and late postmodernism (meta modernism) and the corresponding forms of contemporary art. The first stage (1960—1970) saw the realization by contemporary artists of the conceptual possibilities of photography. It was mainly the photographic documentation of process-action forms of contemporary art. The same period saw the birth and formation of the main artistic strategies and creative methodologies of art-photography: adherence to documentaries, the use of staging (directing), the introduction of seriality (typology), the combination of word and image. The second stage (1980s — 1990s) of art-photography functioning is characterized by further development and enrichment of established artistic tendencies and the emergence of new practices in which photographic material expands its subject matter and claims the role of a text that problematizes (thematizes) the represented reality. The development of art-photography at the third stage (2000s to the present) is determined by two main factors: the processes of digitalization and oscillation of contemporary culture and art, which leads to the transformation of the “mode of truth” of the photographic image and the strengthening of the importance of the aesthetics of the individual photographic frame. At the level of practice, this is expressed in the creation of photographic pictures where reality and fantasy images merge into a single whole and become indistinguishable. This effect was reinforced by printing photographs of enormous size and exhibiting them in museum spaces and galleries. Nowadays, art-photography, while remaining a form of contemporary art, seeks to go beyond it and acquire signs of aesthetic self-sufficiency.

Modern sociological research demonstrates the need to comprehend the transformation of the organizational principles of museum work, which implies the intensification of interactivity in various forms and the provision of opportunities for individual involvement and for the activities of public associations. The development of museums presupposes a combination of two factors: firstly, the articulated symbolic value of objects, and secondly, different types of capital of actors who make up a one-time or permanent audience. Museums in provincial cities have difficulties with these factors, as their inhabitants, due to their habitus, are limited in resources and the cultural value of the practice of visiting museums is not obvious to them. In addition, provincial museums as a rule do not have information about the composition of their visitors and their cultural needs. The aim of the article is to determine the structure of the museum audience on the example of two cities of the Udmurt Republic — Izhevsk and Votkinsk. The empirical basis of the research is based on the data of a qualitative study with the staff of museums in Izhevsk and Votkinsk(n = 25), supplemented by surveys in Izhevsk (n = 600) and Votkinsk (n = 330). In accordance with L. Lotina’s typology, five forms of cultural engagement were identified: public, audience, visitors, users (regular visitors), and participants. The analysis of such categories as public and audience allows us to define the place of going to museums as a form of leisure. Differences in leisure preferences of residents of Izhevsk and Votkinsk are related to commercial forms of leisure. Regular visitors of museums and other cultural institutions, among whom middle-aged women, pensioners and families with children predominate, demonstrate a high degree of satisfaction with the content and level of work of these institutions. At the same time, there are difficulties associated with the transition of regular visitors to the category of active participants, which are caused by staffing, resource and organizational limitations of museums, as well as the existing level of differentiation of the museum audience.

The article is devoted to the views on church painting of one of the Slavophile leaders A.S. Khomyakov. In 1845, Alexander Ivanov, an artist working in Rome, influenced by the “Slavophile” atmosphere of meetings with F.V. Chizhov, N.M. Yazykov and N.V. Gogol, attempted to use an icon as a model for the image of the Resurrection of Christ for the Moscow Cathedral of Christ the Saviour (for the first time in the history of the Russian academic school). It is doubtful that Khomyakov could have unreservedly welcomed this endeavor by Ivanov. Although he believed that for Russia’s return to nationality it would be sufficient only to revive the old in consciousness and life, he did not at all understand this return as a revival of the authentic forms of Old Russian art or as a stylization of these forms. Khomyakov’s negative attitude to stylizations is evidenced by his sharp criticism of the eclecticism of Bavarian art. In Russia, he believed, the link with tradition had long been severed and therefore Old Russian art could not serve as a basis for a modern art school. Not in Ivanov’s traditional icon-oriented sketch of the Resurrection of Christ, but in his painting The Appearance of the Messiah, Khomyakov recognized, even before he saw it with his own eyes, evidence of the beginning of the revival of truly Russian life and Russian thought. In his opinion, the artist sought in the painting to eliminate personal artistic manner, to become a kind of transparent medium through which the holy image would be imprinted on the canvas. The German Nazarene artists tried to capture the Christian phenomenon in the artistic contemplation of the spirit, but they could only teach it, they themselves were incapable of it. Ivanov, a graduate of the Imperial Academy of Arts, who had perfectly mastered the craft of an artist, was at the same time, according to Khomyakov, a pupil of icon painters, who created a great work of church wall painting. The history of the Russian art school of the second half of the 19th — early 20th century fully confirmed the validity of this assessment of the painting The Apparition of the Messiah. It laid the foundation for the God-seeking direction of Russian painting, on which Russian art blossomed in the work of I.N. Kramskoi, V.M. Vasnetsov, M.V. Nesterov, N.N. Ge, as well as atheists — V.D. Polenov and V.V. Vereshchagin. Although not all the works of this trend were honored to be accepted into the bosom of the Orthodox Church, most of them allow us to be deservedly proud of the Russian art school.

The issues of art synthesis, which were deeply comprehended by theorists in the 20th century, with a new urgency arise before the researchers of the 21st century. The concept of “synthesis of arts” implies the creation of a qualitatively new artistic phenomenon that is not reducible to the sum of its components. At present, new facets of the interaction of arts have emerged, demonstrating the strengthening of the processes of internal and external integration, thinking in breadth and depth, with the involvement of non-artistic phenomena. It has been established that the nature of synthesizing processes in art depends on the ways of artistic thinking, changing throughout the history of culture.

The creativity of the composer of the late 20th and early 21st century Alexander Bakshi, working in the direction of experimental orientation, naturally grows as a reflection of complex synthetic processes, developing at the points of contact between music and theatre, literature, sculpture, new forms of actionism. In A. Bakshi’s compositions we can distinguish three models based on the synthesis of arts in the context of the specifics and features of instrumental theatre: instrumental scenes of dramatic character, the model of the Theatre of Sound, and the model of ritual and mystery. The nature and methods of synthesis are realized in each model on the basis of dialectical interspecies relations. The most striking musical-theatre projects give an idea of the evolution of his thinking in the field of diverse techniques of combinatorics and transformations of musical and sound material. It is concluded that synthesis is the defining specificity of A. Bakshi’s work, allowing him to create highly artistic, vivid and original works. Experimentation, developing along the path of synthesis, significantly expands the possibilities of music.

Productive analysis of the language of choreographic art in order to determine the specifics of dance expressiveness requires the solution of three main tasks. Firstly, to explain the mechanism of functioning of the kinetic language; secondly, to highlight the expressive possibilities of dance, mime and plasticity; thirdly, to understand the ontological foundations of human motor activity in dance. It is not possible to solve the set tasks within the framework of cultural or semiotic approaches only. In this way, the phenomenon of dance is interpreted according to its representation in artistic culture, in the context of its functioning in the process of semiosis, and dance movements are initially endowed with communicative properties. The solution of the set tasks was carried out at the level of philosophical reflection. It was determined that a human being, as a result of the association of ideas and impressions in his consciousness, is peculiar to endow all objects and phenomena of reality perceived by him with meaning. Thus, the association of ideas and impressions in the human consciousness is the functional basis of kinetic language. But absolutely any manifestation of human motor activity can be endowed with meaning in a similar way. That is why dance, pantomime and plasticity — three related expressive means using human body movements as a material — were singled out in the kinetic language. Since it is impossible to understand the nature of dance movements on the basis of their external features, a hypothesis was proposed according to which these features themselves are conditioned by the inner state of mind of the dancer. Dance was defined as a type of human motor activity genetically connected with the “affect of joy” and aimed at maintaining and preserving its action. The conclusion is made: the specificity of dance expressiveness lies in the translation of a unique human state of mind, which is characterized by the feeling of unity of the rise of the body’s vitality and the increased ability of the soul to feel and perceive life in its fullness.

The article is devoted to the 100th anniversary of the birth of the German writer O. Preussler (1923—2013), whose works have gained popularity among children in many countries and have been repeatedly translated into different languages, including the language of fine arts. The most important facts of the jubilee’s biography are listed, the peculiarities of his approach to the genre of fairy tales, to folklore images and plots are characterized, and the master’s statements about children’s literature and his own work are given. The aim of this study is to identify and analyze the most significant and successful illustrations by Russian artists for the writer’s works. The main task is to compare them on the basis of book studies, art history and source research methods. This task, which has not yet been set in Russian book science, seems to be topical, since O. Preussler’s works are still popular among domestic readers and are constantly republished, but the visual range of these publications often leaves much to be desired.

Graphic interpretations of a particularly favorite fairy tale trilogy in Russia — “The Little Water Sprite”, “The Little Witch”, “The Little Ghost” — are considered. The author of the article concludes that the images of the Little Witch and the Little Ghost (whose appearance is not described in the text) are difficult for artists, so their convincing pictorial interpretations are rare. I.I. Kabakov, N.G. Golts, B.A. Diodorov, D.A. Trubin, and E.A. Silina are among the best illustrators of the tales that make up the trilogy. Among the pictorial interpretations of other works by O. Preussler the drawings by L.A. Tokmakov and S.A. Krestovsky for the story “Krabat and the Sorcere’s Mill”, G.K. Spirin for “The Tale of the Unicorn”, V.N. Zuikov and V.S. Lubarov for the book “The Hörbe and His Friend Zwottel” stand out. It is shown how these art works reflect the peculiarities of the author’s intonation and reveal the hidden meaning of O. Preussler’s works. In them, as well as in the writer’s texts, there is no boring edification, but there is a game of liberated imagination, life-affirming humor, sincere empathy with the heroes. Following the author, the illustrators reinterpret traditional folklore motifs, discovering new qualities in them.

The article uses the example of Kazan to reveal the process of organizing and holding exhibitions of artworks from private collections in the Russian pre-revolutionary province. Addressing this topic, which has not been sufficiently studied in the history of Russian art, is relevant because it expands the understanding of the phenomenon of exhibition activity, which is one of the most important aspects of artistic life in Russia. The source base of the present study is the catalogues of four exhibitions of paintings from private collections held from 1873 to 1916, as well as publications in the Kazan press of this period. The peculiarities of the organizational process, selection and exposition of works, and the owners of the works are revealed. It is established that the exhibitions were of charitable nature: their proceeds were directed either in favour of the starving or poor, or in favour of Russian soldiers. The main collectors of art works in Kazan in the second half of the 19th century were predominantly landed gentry and university professors (who came from the families of personal nobles and officials). By the early 20th century, representatives of individual merchant families also had significant art collections. The exhibited works represented the whole variety of genres, but they were dominated by landscapes and portraits, primarily family portraits, suitable for decorating mansions. Catalogues allow us to conclude that local collectors of the second half of the 19th century were primarily interested in foreign art (masters of the Italian, Flemish, Dutch, Belgian, German and French schools, mainly of the 17—18 centuries), as well as (to a lesser extent) Russian academic painting (from V.L. Borovikovsky and D.G. Levitsky to D. Zakharov) and itinerant painters (I.I. Shishkin, N.A. Yaroshenko). By the end of the 19th century, the vector of collectors’ preferences shifted towards contemporary Russian art (works by Makovskys, I.E. Repin, etc. were collected), and collecting works by local artists (K.V. Bardou, L.D. Kryukov, R.A. Stupin, N.I. Zeblov, etc.) began to develop as a special direction.

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