For centuries, Turkic peoples have lived in close interaction, which contributed to the formation of similar cultural traditions, languages and customs. This has made them a unique and distinctive historical and cultural area on the map of Eurasia. The study of the interpenetration of cultural codes of the CIS countries of the Central Asian region becomes particularly relevant, as it allows us to identify the main trends and patterns of interference of interacting cultures.

The novelty of the study lies in the methodological approach to the analysis of cultural codes of nations, according to which the interference of cultural codes is considered here as an instrument of cultural interpenetration, which reveals the specific relationship between cultural codes and national identity, as well as identifies the reasons for the universalization of cultural codes of border cultures.

The purpose of this paper is to explore precisely those features of cross-border cultural interaction that fall under the description of cultural interference in its original sense, which implies spontaneous, uncontrolled cultural interpenetration resulting in the strengthening of some characteristics and weakening of others, in the absence of a dominant culture and deliberate influence on the qualitative characteristics of each of the interacting cultures. This publication offers an analysis of the spontaneity and uncontrollability of civilizational transformations of border cultures, acting as a natural process of interference of cultural codes. The research material is the cultural practices of the CIS countries of the Central Asian region.

The main study measures used are conceptual and phenomenological analysis, axiological and analytical research techniques, method of classification analysis, etc.

The study of the CIS countries of Central Asia revealed a number of coinciding elements of culture of these countries, indicating the presence of their common national cultural and civilizational identity, which stem not only from the cultural roots common to these peoples, but also a consequence of cultural interference and integration in the process of centuries of coexistence in the neighboring territories.

New technologies, including the use of generative models, are beginning to actively influence design decisions in the decoration of metro stations. The study of the possibilities of using generative artificial intelligence as an art design tool in the decoration of metro stations is relevant, because it can significantly accelerate the design process, reducing time and labour costs for the development and optimization of projects. The novelty of the article lies in the fact that for the first time the process of interaction between the designer and software and hardware of large generative models is considered in detail on the example of designing the interior of a metro station on the theme “ocean”.

The problem of creation of original design project in conditions of generative models at the moment is not solvable without direct control on the part of a human, as this technology, for lack of human perception, first of all orientate on expressive means contained in training databases. Therefore, when designing metro stations using generative models, images generated through text often lose the semantic and emotional meanings that the designer put into them. As a result, the generated design project does not fully conform to the designer’s intent and requires further manual adjustment and optimization. Thus, as long as there is a need for conscious and purposeful communication of ideas and feelings through art and design, the problem of endowing a work with meaning using generative models will require human involvement.

At the same time, it should be noted that in the artist’s work, the use of generative pre-trained transformers is manifested in the ability to easily create realistic visual effects, to execute images in different styles, focusing on the creative individual manner of famous masters, and to improve design ideas. The advantage of this technology is that it can reduce the designer’s workload while improving the efficiency and accuracy of the design.

The purpose of this article is to identify the forms of representation of military culture in computer games. In the course of the research, six types of interpretations of military culture were presented on the basis of a systematic approach, which made it possible to formulate a more general, broad concept that served as a basis for the subsequent discovery of its aspects and representations in computer games developed since the 2000s. The representation of aspects of military culture in games is reflected in four forms of representation: through game theme, individual game elements and stories, game genre, and game mechanics. The first one takes into account that the military theme is revealed in computer games in several forms of relation to reality: military-historical games; games thematically related to the modern army and modern military conflicts; games modelling military conflicts of the near future; fantasy games representing the army or armed forces of the distant future; fantasy games. The second demonstrates that mechanical elements and plot moves related to military culture can be present in games of almost all genres. The third defines genres related to military culture, the division of which is along the lines of personalized participation in military actions/simulation of a certain command and operation level, and each of them has its own aspects. The distinctive feature of the above forms is a limited representation of military culture, subjective focus on individual aspects. The fourth form of representation assumes a positive forecast of the development of computer games about military culture. It is expected that a simulator of everyday activities of servicemen will appear, which would make it possible to take a new look at military games and reflect the requirements of Russian legislation in the field of defense. This will help, among other things, to shape the directions of the state cultural policy for the development and preservation of the spiritual and moral foundations and traditional values of Russian culture embodied in modern forms and genres of art.

The article is devoted to the study of human metaphysical experience through cinema art. The material of the study is widely known fantasy films (“The Lord of the Rings”, “The Matrix”, “Harry Potter”, “The Chronicles of Narnia”, “Avatar”), in which the sacral space is realized as a magical fairy tale or a dream, and the hero acting in it is identified with the concept of “soul” or “consciousness”. The aim of the study is to semantically and cognitively analyze the visual image of transition through death, which is offered to the viewer by cinematography, and to model the director’s concepts included in it. The author’s concept of transition is based on the works of M. Eliade, A. van Gennep, C.G. Jung, M.P. Hall and is revealed as a multi-phase process of soul transformation in the conditions of spiritual or perceptual crisis. It is established that the transition scenario in the films considered includes an “entry point” into another world, a series of initiations and an “exit point”. In this context, death and resurrection are the climactic phase and have different symbolic connotations, their essence depending on the prototype that the hero imitates. As it has been revealed, the imitation of cyclical forces of nature (solar, agrarian deities) by contemporary directors is interpreted by them as a long stage of soul maturation, which is no longer opposed to, but naturally precedes the imitation of the “divine archetype” (in the Christian tradition, Christ the Saviour). The axis of transition from forced submission to the endless cycle of renewal to the evolutionary stage of spiritual maturity is the act of “awakening” expressed in the willingness to voluntarily sacrifice oneself out of love and compassion for others. Death and resurrection in this case manifest the metaphysical transformation of the soul aspect into the spiritual one. At the same time, in the process of studying the film material, a tendency of a transgressive nature was detected, namely the replacement of the concept “soul” by the concept “brain”. As a result of identifying the functions of the human brain with the functions of a computer in the mental space, there is a danger of substitution of the divine image by artificial intelligence, which can provoke the blocking of the channel “soul – spirit” and the involutionary turn from spirit to matter.

Fantastic film worlds give the viewer a new experience of understanding and living in space – combining different locations, establishing and overcoming boundaries, transitions into a fascinating other reality. This article examines the spatial patterns that create arenas of action for characters in Russian films and series of fantasy-mystical content shot in the 2020s. Analyses of worldbuilding in science fiction are related to philosophical ideas about possible worlds and are most represented by discussions of fantasy literature, whereas film fiction and the spaces it depicts await research attention. The authors dissect spatial patterns in sci-fi cinema as a reflection of current social conflicts/divisions and solidarities/convergences; reflecting on how spatial configurations encode the unprecedented mediation of modern technologies and normalize futuristic spatial practices. The focus is on the recurring film-to-film emphasis on the permeability, hybridity and tunnelling of space, on the phantasmagoria of non-releasing places. Russian cinema responds to an ontological philosophical agenda by visualizing the permeability of boundaries and the co-presence of man and other beings. The analysis shows that the portals and roads linking dream and reality, Soviet and modern Moscow, the cyber village on Mars and other planets of the solar system bear a significant plot load. The movement of the characters in an extraordinary space reproduces the archetypal test of the road and provides an opportunity to discuss social and attitudinal issues relevant to the Russian present. Particular attention is paid to the pattern of non-releasing space, which concentrates the fear of isolation characteristic of the established culture of mobility. Science fiction in cinema immerses viewers in worlds inhabited by unusual creatures, filled with artefacts, infrastructure, often through plot tension, frightening hints, visual effects draws attention to significant problems and challenges, including in the discussion of images of the future.

Images of people from different countries in their traditional costumes as a genre emerged in the second half of the 16th century and actively existed in the form of prints until the first fashion magazines appeared in the late 18th century. The article attempts to build a chronology of iconic examples of costume prints of the 16th — early 18th century on the basis of a number of sources of theoretical, historical and pictorial nature. The functions it fulfilled as a kind of graphic art in its time and artistic and technological features of its creation are defined. The study considers the works of artists and engravers from Germany, the Netherlands, England and France, since it is in these countries that the art of costume engraving was most developed. Not being for the most part highly artistic works of art, having no portrait resemblance to the depicted characters, protomod illustrations did not attract close attention of art history, which regarded them as one of many ordinary sources, as elements of applied creativity, which largely prevented their detailed analysis. However, these numerous costume prints (woodcuts and etchings) are worthy of attention as examples of graphic art that give an idea of the fashion of the time. The decline in the popularity of costume prints in the middle of the 18th century, despite the development of printing technologies and the growth of population in cities, which implies the demand for products of this kind, is connected, in our opinion, with the absence of a descriptive part — text as an explanation to the picture. For in the epoch of the formation of fashion journalism in the 18th century, costume engravings were revived as part of women’s magazines, acquiring the form of fashionable pictures-illustrations that would exist throughout the 19th — first half of the 20th century.

Soviet fine art contains a large number of works with industrial themes, including those devoted to the great construction sites of socialism. The construction of the Baikal-Amur Mainline (BAM) influenced the country’s development not only in economic and social aspects, but also had a direct impact on the cultural background, giving a new impetus to the activity of creative unions and the emergence of works of various types of art. The BAM theme is talentedly reflected in the creative field of Soviet fine arts. The appearance of numerous pictorial, graphic, sculptural, decorative and applied works was facilitated by the travelling format of artists’ work — creative business trips. Artists travelled to BAM construction sites, witnessing and participating in everyday life and holidays. Thanks to their inclusion and immersion in the environment, the masters of fine arts created works of various genres that accurately and vividly reflected the moments of the construction of the railway. Subsequently, the works were presented at various exhibitions. Nowadays, preserved in museum and private collections, they are an invaluable aesthetic and historical contribution to understanding the spirit and character of that era. The study of the activities of the Union of Artists of the USSR (as a whole as a regulator) and its branch represented by the Irkutsk Organisation of the Union of Artists of the RSFSR (as one of the local executors) is essential for understanding the effective mechanism of fulfilling the social order related to the representation of the global events of the 1970s for the Soviet state. The Irkutsk organisation of the RSFSR Union of Artists was territorially connected with the western section of BAM, and the archival documents provide an opportunity to comprehend the peculiarities of the microstructure’s activity in the conditions of the targeted work of the entire Union of Soviet artists on the BAM theme.

New Age church art is one of the most dynamically developing areas of contemporary Russian art history. The constant process of reconstruction and restoration of churches requires a scientific approach and documentary substantiation. The artistic merits of church art in the Classical era are highly appreciated by specialists, but biographies of masters of mural painting and iconography are rarely published and are little known. The study of biographies and works of painters who devoted themselves entirely to temple decoration is important for compiling an objective picture of Russian culture of the 19th century.

Alexander Maximovich Kolchin (1812-1866) was born and grew up in Yaroslavl, was on the staff of the bishop’s house masters, received the title of a non-class artist at the Imperial Academy of Arts (Academy of Arts) in St. Petersburg, worked in six rural and several urban churches in Yaroslavl province, renewed murals in Vologda and painted a new church in Kashin, Tver province. In this article for the first time all available information about the painter, scattered in different editions, is brought together; new archival documents are published and the artist’s work is analyzed in the context of classicism stylistics. Documents from the personal file of A.M. Kolchin from the Russian State Historical Archive are introduced into the scientific turnover, which inform that the master painted portraits from life, the whereabouts of which are still unknown. Although there are few surviving works by A.M. Kolchin, they demonstrate the high skill of the painter, which was documented by the exacting council of the Academy of Arts in 1853. A.M. Kolchin was distinguished by his knowledge of Old Russian sources of church art and full awareness of its theological and liturgical meaning; his fluent mastery of the basics of academic drawing and masterly ability to combine mural painting with architectural forms; a wide range of subject compositions and depictions of individual figures.

The article allows to expand the corpus of information about the artist and his works, and this publication will serve as a basis for further research.

This article precedes a number of publications devoted to the study of cultural and historical interaction of such different, fundamentally not coinciding, not reducible to each other, but not separate from each other phenomena of social life as art and religion, in particular, the church and theatre. This paper uses the material of Byzantine theatre to examine the validity of the hypothesis of the origin of European drama and theatre from liturgical drama through the church antiphon and literary trope. The tendentious categoricity of the erroneous statement, accepted in science as a heuristic hypothesis, about the influence of residual-rudimentary forms of ancient theatre on the formation of the Christian church rite (antiphonal singing) is considered. It is shown that the Christian antiphon cannot be connected with the ancient theatre because of the centuries-old absence of the chorus in the dramatic action. It is argued that church ritual develops from an “inner form” proceeding from the immanent properties and qualities of the divine liturgy. Since this formulation of the question is carried out for the first time, it represents the relevance and scientific novelty of the present study.

The version of the origin of Western European theatre from the literary trope, proceeding from the laws of drama as a literary genre, is established by philological tradition without taking into account the specifics of the dramatic event proper. The conclusion is made that the genesis of theatre does not come from the laws of literary processes, but is connected with them through internal interactions. Historically, Byzantine theatre, an integral and autonomous phenomenon of theatrical culture, ceased to exist in the middle of the 15th century, having failed to realize its dynamic potential of dramatic art. Nevertheless, the relevance of the prospective study confirms the facts of the Byzantine theatre’s indirect influence on the substantive aspects, as well as its direct impact on the formation of a new type of dramatic conflict — “internal”, in the development of Western European and, to a greater extent, Russian theatre.

In the mid-1930s, Walt Disney’s cartoon characters conquered screens all over the world. The Soviet Union was not spared from this fascination. Despite the fact that Soviet animation took its first steps in the mid-1920s and by the time of the Disney craze already had several successful films (e.g., “The Rink”, “The Post Office”, “Black and White”), domestic cartoonists fell under the “Disney hypnosis”. This leads to active borrowing of Disney methods, imitation of the performing manner, copying characters. At the newly established studio “Soyuzmultfilm” with the approval of high film bosses begins work on the creation of “his Soviet Mickey Mouse”. For the basis of cartoon production take the flow method – conveyor, which allows, thanks to the use of celluloid sheets instead of paper, accelerate the production of cartoons. This method of creating cartoon pictures divides artists into supporters and opponents of Disney methods. Some of the opponents are leaving the profession, believing that the conveyor belt method would turn the art of animation into a craft.

However, even uncompromising supporters of Disney animation quickly realize that direct copying of the great master’s tapes leads domestic animation to a dead end, as it becomes obvious that Disney’s tricks, techniques and images cannot be adapted to traditional stories: folk tales, fables. In addition, in the second half of the 1930s, the USSR changed its cultural policy. All this leads to the struggle against “Disney” and the search for their own unique style of Soviet animation.

The article analyses the memoirs of cartoonists N.P. Khodataev, I.P. Ivanov-Vano, A.V. Ivanov, F.S. Khitruk and others, their perception of Disney’s work, their attitude to the borrowing of the master’s creative methods, as well as the experience of creating their own works using Disney technologies.

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