Ключевые слова: Художественный рынок, художественные общества, выставки, художники, большевики, Новая экономическая политика.

Keywords: the Art market, art societies, exhibitions, artists, the bolsheviks, New economic policy.

Summary: In Autumn of 1917, when Bolshevism was istablished in Russia, the development of art-market in Petrorad witch achieved apogees in pre-revolutionary decade came to the end. The traditions of exhibitions and commercial practice in the sphere of art were interrupted. The catastrophe of the art-market was the logical consequence of nationalization of immovable property and fi nancial capital, repressions towards representatives of former ruling class, aristocracy and merchants. In the article the situation of Petrorad art-market in the first years of Bolshevism is analyzed. The problem of the fi nancial support of the artists is investigated and the attempts of collective self-organization of the artists are described.

Ключевые слова: искусство, природа, человек, единство, советская художественная культура, индустриальный пейзаж, изобилие.

Summary: This article is devoted to research of peculiarities of comprehension and fi gurative embodiment of nature in art of two creative companions P.Kuznetsov and M.Saryan of the 1930th years. The painters’ sense of environment’s harmonious integrity represents in extending of their’ pictures topics (industrial landscape, «abundance» theme) with remaining of high professionalism and deep philosophical level in the hard conditions of the party regulation of the art. Correlation of the masters’ implementation of nature with various art phenomenons and contemporaries views actualizes their aesthetic and outlooking searches in the problematics of the soviet artistic culture of that period.

Keywords: art, nature, man, unity, soviet artistic culture, industrial landscape, abundance

Ключевые слова: татарский театр, татарский дом, сценография, интерьер\

Summary:The connections of interior theatre with decoration of Tatar house are revealed in the paper in different aspects (in arrangement of space, role behaviour, disposition of details, specifi city of a costume). Thisallowed the author to explain quite a number of peculiarities of the Tatar national theatre especially its aspiration for life-likeness (at different levels of theatrical aesthetics).

Keywords: Tatar theatre, Tatar house, scenography, theatricality, interior, plastic thinking

Ключевые слова: Македония, ювелирные украшения, браслет, змея, Сабазий, культ, культ героя, предок.

G.N. Inshakova

Summary: Researchers notice that jewels, decorated images of snakes, were especially popular in territory of Macedonia and Thrace. Studying of images allows to establish that on subjects there are two versions of snakes. Feofrast writes: «Having seen at home a snake, he calls for Sabazy, if this snake - parey, but if this a sacred snake immediately constructs a chapel to the hero». We see that cults of gods were accompanied by various kinds of snakes. From thereof we can draw a conclusion what this division denote distinction of functions of revered gods.

Keywords: Macedonia, Macedon, jewellery, bracelet, bangle, snake, Sabazy, Sabasy, cult, the cult of Hero, ancestor.

Ключевые слова: Эллора, Натьяшастра, индийское искусство, индийский театр, Натараджа, гандхарвы, апсары, ганы.

Summary: In this paper author talks about performance as refl ected in temple sculpture, about connections between this two arts, that have had the same mythological base and the same aesthetical principles. There is no doubt that performances had inspired Indian artists, who have created temple’s sculpture. Certainly, there was a set of laws in iconography of sculpture, but these laws were not too detailed, and this makes us believe that sculptors have drawn some of their inspiration from visual experience, like images of gods, seen on the stage. As a result, main deities have obtained some attributes of actors. Also different minor beings depicted in sculpture had their parallels in ancient theatre: apsaras and gandharvas to members of orchestras, ganas to theatrical clown vidūshaka. One the one hand, sculpture images can reveal some peculiarities of ancient Indian theatre. On the other hand, the only way to understand the meaning of some relief details is to learn theoretical works on theatre.

Keywords: Ellora, Natyasastra, Indian Art, Indian theatre, Nataraja, Gandharvas, Apsaras, Ganas.

Ключевые слова: Барокко, кнорпель, ормушель, галсбант, эгрет, стомашер, Аугсбург.

Summary: The article is dedicated to study of the Russian jewelry style of the 1730-th. The examined pieces demonstrate the domination of baroque style in the art of Anna Ioannovna epoch. The German infl uence is tracked in jewelry’s titles, forms, ornamentation and making technique. The main Customers and jewellers were germans. Empress Anna Lived in Kurland for 20 years, so this culture was familiar to her. The German character of Russian baroque jewelries was conditioned by that whole complex of impacts.

Keywords: Baroque, knorpel, ohrmuschel, halsband, aigrette, stomacher, Augsburg.

Ключевые слова: видение, зрение, плоскость, пространство, рельеф, формообразование.

«Theory of two installations of sights» and education system of art

Summary: The article examines how the special method of teaching of drawing and painting in the art schools of the beginning of 20th century originated and developed. The method has a theoretical signifi cance - defi nition of limits, specifi city of various arts, as well as a practical one – formation of the Soviet art school of the 1920-30s.

Keywords: vision, sight, fl atness, space, relief, formbuilding.

Ключевые слова: метро, стиль, конструктивизм, рационализм, традиционализм, архитектура, Душкин, Ладовский.

Summary: The following work is dedicated to architectural construction of the Moscow metro fi rst line, opened on the 15 of may, 1935. The main idea of the article is to analyze the creation of a special style of all Moscow metro, which in many details was formed under the infl uence of architectural achievements of the very fi rst line of the stations. The style can be considered as one of the main factors, which determined the creation of a well-balanced artistic image of architectural ensemble. In the article are presented the main stylistic trends of the early 30`s in national architecture and are shown their infl uence on the designing of underground and overland structures of Moscow metro. The architecture of these stations is analyzed in the context of the application to any style of that time – constructivism, rationalism, traditionalism. The unique style of the architecture of the Moscow metro fi rst line is also discussed in the article.

Keywords: Metro, style, constructivism, rationalism, traditionalism, architecture, Dushkin, Ladovski.

Ключевые слова: речевое общение, регуляция речи, авторская и чужая речь, субъекты речевого общения, говорящий – квазиговорящий, слушающий – квазислушающий, слышащий или экстракоммуникант – квазислышащий, свойства канала связи, синтаксические способы субъ- ективации персонажей.

Summary: In the article the author dwells on the peculiarities of speech communication in belles-lettres. The analysis of speech communication Московский государственный музей «Дом Бурганова» in belles-lettres is carried out within the theory of the regulation of human communication. The author describes the participants taking part in the process, the existing relations between them and the nature of such relations. When considering some of the factors of the regulation of human communication, special attention is paid to the part of the writer and their characters in the process.

Keywords: speech communication, the regulation of human communication, the speech of the writer and their characters, the speaker – the quasi-speaker, the listener – the quasi-listener, the hearer – the quasi-hearer, the communication channels, syntactic ways of characters’ personalization.

Ключевые слова: слоган, диктема, конструктивная модель, суггестивный фактор.

Е.О. Китаева

Опера «Мазепа» П.И. Чайковского: концепт любовь и трагедия Марии

Ключевые слова: Концепт, любовь, Эрос, страсть, христианская этика, концепция, каритас, катарсис, безумие, трагедия, интонационный комплекс, колыбельная.

Summary: In the article the author explores a religious-philosophical aspect of love’s concept its role in the tragic conception of Tchaikovsky’s opera «Mazepa». Appearance of Maria is considered in the aspect of christian anthropology for the fi rst time. Two states of love of protagonist are marked. They are love-eros and love-karitas. Genre’s semantics of lullaby comes to light in the fi nal scene of Maria’s madness, which symbolized the special form of catharsis.

Keywords: Concept, love, Eros, passion, christian ethics, conception, karitas, catharsis, madness, tragedy, intonation complex, lullaby.