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Flat design as visualization of flat ontologies 平面设计是平面本体的可视化
Pub Date : 2023-07-01 DOI: 10.7256/2454-0625.2023.7.43587
A. Pankratova
The object of this research is design as a semiotic embodiment of the modern worldview, the quintessence of which are flat ontologies. The subject of the study is parallelism in the philosophy of flat ontologies and modern flat design. The purpose of this study is to explicate the philosophical problem of modern design, which is a consequence of the unconscious expression by designers of the philosophy of flat ontologies. The philosophy of flat ontologies struggles with anthropocentrism, insisting that a person should not have a privileged ontological status compared to other objects. In the philosophy of flat ontologies, a machine or a neural network are agents of action in the same way as a person. Modern flat design is an expression of this position, since the modern visual information environment is less and less adapted to human organs of perception, more and more transhumanistic. Both flat design and flat ontologies are a consequence of the horizontally oriented, materialistic line of philosophy, which forms the worldview of modern society. Thanks to the explication of the problem of flat design, it can be understood that the horizontally oriented line of philosophy is problematic for the further existence of man. The main conclusion of the study is that the horizontally oriented line in philosophy – materialism and positivism – in their logical development lead to the philosophy of flat ontologies, which postulates the same ontological status for human and non-human agents. Such a position is antihuman and transhumanistic, and this becomes evident in the philosophical analysis of modern design. The main stylistics of modern design is a flat design, which uses fourth-order simulacra as the main type of signs. The use of simulacrum signs in design creates an environment that is increasingly less adapted to human organs of perception, a transhumanistic environment.
本研究的对象是作为现代世界观符号学体现的设计,其精髓是扁平本体。本研究的主题是平面本体哲学和现代平面设计中的并行性。本研究的目的是阐明现代设计的哲学问题,这是设计师无意识地表达平面本体论哲学的结果。扁平本体论的哲学与人类中心主义斗争,坚持认为一个人不应该比其他物体有特权的本体论地位。在扁平本体论的哲学中,机器或神经网络和人一样,都是行动的代理。现代扁平化设计就是这种立场的一种表现,因为现代的视觉信息环境越来越不适应人类的感知器官,越来越具有超人性。平面设计和平面本体论都是水平取向的唯物主义哲学路线的结果,它形成了现代社会的世界观。通过对平面设计问题的解释,我们可以理解哲学的水平方向对于人类的进一步存在是有问题的。本研究的主要结论是,哲学的水平取向线——唯物主义和实证主义——在其逻辑发展中导致了扁平本体论哲学,它假定人类和非人类主体具有相同的本体论地位。这种立场是反人类和超人类的,这在现代设计的哲学分析中变得明显。现代设计的主要文体学是扁平化设计,以四阶拟像作为标志的主要类型。在设计中使用模拟符号创造了一个越来越不适应人类感知器官的环境,一个超人类主义的环境。
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引用次数: 2
The Russian tradition of religious tolerance perception in the works of Russian thinkers of the XIX-XX centuries and modern realities 十九至二十世纪俄国思想家作品中的宗教宽容观念与现代现实
Pub Date : 2023-07-01 DOI: 10.7256/2454-0625.2023.7.43513
Evgeniia Mikhaylovna Zhukova
The subject of the study is the ethical principle of religious tolerance. The aim was to study the Russian tradition of perception of the principle of religious tolerance and to build a theoretical model of religious tolerance, reflecting both historical experience and ideas. The work uses ethical, culturological and logical-methodological approaches. The first two allow us to consider religious tolerance as an ethical principle and as one of the important components of a person's spiritual life. The latter contributes to the disclosure of the principle of religious tolerance in its entirety. The scientific novelty consists in the fact that an ethical and cultural approach to the study of the principle of religious tolerance is proposed; the Russian tradition of perception of religious tolerance is revealed, a theoretical model of religious tolerance is built; a logical and methodological analysis of religious tolerance as an ethical principle is carried out, which allowed to reveal its structure and interrelated elements; the dynamics of the appeal of domestic authors to the topic of religious tolerance is demonstrated on the materials of the National Corpus of Russian language. The results of the study coincide with the scientific novelty. The relevance of the study is due to the possibility of its use in the development of the national idea of Russia. The practical significance lies in the possibility of applying the results in the field of education and socio-humanities, in legislative, as well as internal and foreign policy activities of Russia.
本文研究的主题是宗教宽容的伦理原则。目的是研究俄罗斯传统对宗教宽容原则的认识,并建立一个既反映历史经验又反映思想的宗教宽容理论模型。这项工作使用伦理、文化和逻辑方法论的方法。前两点使我们能够把宗教宽容看作是一项伦理原则,是一个人精神生活的重要组成部分之一。后者有助于全面揭示宗教宽容的原则。科学的新颖性在于,提出了一种伦理和文化的方法来研究宗教宽容原则;揭示了俄罗斯宗教宽容观念的传统,构建了宗教宽容的理论模型;对宗教宽容作为一项伦理原则进行了逻辑和方法分析,从而揭示了其结构和相互关联的因素;国家俄语语料库的材料显示了国内作者对宗教宽容主题的诉求的动态。这项研究的结果与科学上的新发现不谋而合。该研究的相关性是由于其在俄罗斯国家理念发展中的应用可能性。其现实意义在于,这些成果有可能应用于俄罗斯的教育和人文社会领域、立法以及内外政策活动。
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引用次数: 0
Reception of Soviet painting in the art of mainland China in the first half of the 20th century 20世纪上半叶中国大陆艺术对苏联绘画的接受
Pub Date : 2023-07-01 DOI: 10.7256/2454-0625.2023.7.43570
Jieru Bai
The realist ideas and revolutionary concepts characteristic of Russian oil painting were of special significance for the development of art in China in the 20th century. In particular, in the 1950s, the leaders of the Chinese Communist Party praised and promoted Russian and Soviet painting at the state level, which greatly contributed to the formation of the idea of realist painting and the scientific system of teaching oil painting in Chinese society. This paper examines the core values of socialism embodied in Russian oil painting and their derivatives; traces the development of oil painting in China; records the significant role of socialist features in the development of oil painting from different perspectives; and explains the influence of the Soviet art education system on the development of oil painting in China. This paper comprehensively examines the positive impact of Soviet painting on the development of Chinese art education, which contributed to the development of modern Chinese art in terms of artistic creativity, artistic organization and the construction of a system of art education.
俄罗斯油画所具有的现实主义思想和革命观念对20世纪中国艺术的发展具有特殊的意义。特别是20世纪50年代,中国共产党领导人在国家层面对俄苏绘画的推崇和推广,极大地促进了中国社会现实主义绘画思想和油画教学科学体系的形成。本文考察了俄国油画及其衍生作品所体现的社会主义核心价值;追溯油画在中国的发展历程;从不同角度记录了社会主义特征在油画发展中的重要作用;并阐述了苏联美术教育体制对中国油画发展的影响。本文全面考察了苏联绘画对中国艺术教育发展的积极影响,苏联绘画在艺术创作、艺术组织、艺术教育体系建设等方面为中国现代艺术的发展做出了贡献。
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引用次数: 0
The theme of the family in Soviet and Chinese woodcuts of the 1930s-1950s. 20世纪30年代至50年代苏联和中国木刻作品中的家庭主题。
Pub Date : 2023-07-01 DOI: 10.7256/2454-0625.2023.7.43628
Guanwen Wu
The article examines the features of the image of the family theme in the woodcuts of China and the USSR of the 1930s-1950s. The subject of the study are Soviet and Chinese woodcuts of the 1930s-1950s. The focus is on the analysis of the processes of interaction and mutual influence of graphic art of the two countries, special attention is paid to the study of expressive means and techniques used by artists to convey images of people within the family theme. The reasons for the appeal of the masters of engraving of the time under consideration to the theme of family, the embodiment of eternal universal values in the works, which became a common feature and trend of graphic art of the two countries in the middle of the twentieth century, are revealed. The scientific novelty lies in the introduction into scientific circulation and analysis of the works of woodcut of Russia and China, the identification of common and different features in the subject of Chinese woodcut and Soviet engravings of the 1930s-1950s. The study shows and substantiates the significant influence of Soviet realistic art on the work of Chinese masters, reveals the patterns of development of Chinese woodcut art in the period under review. In conclusion, the gradual appeal of Chinese artists to their own national heritage and the strengthening of the national identity of Chinese art in the middle of the twentieth century is noted, the causes of these processes in the artistic life of the country are revealed.
本文考察了20世纪30年代至50年代中国和苏联木刻作品中家庭主题形象的特点。此次研究的主题是20世纪30年代至50年代的苏联和中国木刻。重点是分析两国图形艺术的相互作用和相互影响的过程,特别注意艺术家在家庭主题中传达人物形象的表现手段和技术的研究。揭示了20世纪中叶两国版画艺术共同的特点和趋势,即以家庭为主题,体现永恒的普世价值,在作品中引起当时版画大师的共鸣的原因。科学的新颖性在于将俄罗斯和中国的木刻作品引入科学的流通和分析,找出20世纪30年代至50年代中国木刻和苏联木刻题材的共同点和不同点。研究显示和证实了苏联现实主义艺术对中国大师作品的重大影响,揭示了中国木刻艺术在回顾时期的发展模式。最后,我们注意到中国艺术家在20世纪中期对自己民族遗产的逐渐诉求和中国艺术的民族认同的加强,并揭示了这些过程在中国艺术生活中的原因。
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引用次数: 0
Comments on S.G.Semenova's introductory article "Russian Cosmism" (changing the optics of comprehension) 评谢苗诺娃的导论文章《俄罗斯宇宙主义》(改变理解的光学)
Pub Date : 2023-07-01 DOI: 10.7256/2454-0625.2023.7.43621
V. Rozin
The article discusses two main topics: Russian cosmism and the attitude towards it of Svetlana Semenova, who wrote the introductory article to the book "Russian Cosmism". Interesting considerations are given regarding the Russian cosmism of the philosopher A.P. Ogurtsov. The author problematizes the statements of Semenova, who distances herself from the views of cosmists and shares these views. He sees a similar ambivalent attitude in the polemic of I. Kant with the great scientist and esotericist of the XVIII century Emanuel Swedenborg. An analysis of the esoteric Christian teaching and the personality of the latter shows that Swedenborg simultaneously accepted two realities of spirit and nature, removing contradictions, bringing them into line with each other; at the same time, his psyche changed under the influence of work confirming the new picture of the world he had built. The author suggests that, like Swedenborg, cosmists and Semenova built a reality in which their dreams, intentions and actions received a place and meaning.   He believes that in order to properly understand this type of creativity, a turn is needed to the problems and aspirations of the individual, to the built reality in which these problems are resolved (albeit in virtual terms for now), to the historical tradition of thinking. In his opinion, cosmists, Semenova and some modern ideologists like A. Dugin or Yu. Gromyko continue to move in line with the Russian tradition, outlined by Chaadaev, Dostoevsky and Russian religious philosophers. Another tradition characteristic of the creativity of these thinkers is esoteric, which allows you to create realities, omitting the problems of realization, following one ‒ constructing the world for your own personality.
本文主要讨论了两个主题:俄罗斯的宇宙主义和斯维特拉娜·谢苗诺娃对它的态度,她是《俄罗斯的宇宙主义》一书的引言作者。关于哲学家A.P. Ogurtsov的俄国宇宙论,给出了有趣的考虑。作者对Semenova的陈述提出了质疑,她与宇宙主义者的观点保持距离,并分享这些观点。在康德与十八世纪伟大的科学家和神秘主义者伊曼纽尔·斯威登堡的论战中,他看到了类似的矛盾态度。对基督教深奥教义和后者个性的分析表明,斯威登堡同时接受了精神和自然的两种现实,消除了矛盾,使它们彼此一致;与此同时,他的精神在工作的影响下发生了变化,这证实了他所建立的世界的新图景。作者认为,像斯威登堡一样,宇宙学家和塞门诺娃建立了一个现实,在这个现实中,他们的梦想、意图和行动都有了一席之地和意义。他认为,为了正确理解这种类型的创造力,需要转向个人的问题和愿望,转向解决这些问题的构建现实(尽管目前是虚拟的),转向思考的历史传统。在他看来,宇宙学家、谢苗诺娃和一些现代思想家如杜金或余。格罗米柯继续与俄罗斯传统保持一致,这些传统是由查达耶夫、陀思妥耶夫斯基和俄罗斯宗教哲学家概述的。这些思想家创造力的另一个传统特征是深奥的,它允许你创造现实,忽略实现的问题,遵循一个-为你自己的个性构建世界。
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引用次数: 0
Masters of decorative and applied art of the Spassky Factory of artistic ceramics in search of a unique style 斯帕斯基艺术陶瓷工厂的装饰和应用艺术大师在寻找一种独特的风格
Pub Date : 2023-06-01 DOI: 10.7256/2454-0625.2023.6.38189
A. Chernova, E. Vasileva, N. Fedorovskaya
The significance and artistic results of the Far Eastern ceramic productions launched in the second half of the XX century and liquidated at the beginning of the XXI century, as well as the creativity of the masters and artists who worked for them, are currently insufficiently studied In the Primorsky Territory, this is largely due to the general decline of the industry, the complexity of collecting primary information, the lack of reliable data, the problem of attribution of products etc. The subject of the study is the activity of master artists who worked at the art ceramics factory in the city of Spassk-Dalny, Primorsky Krai. The research was carried out using a set of theoretical and empirical methods, including comparative-historical, biographical, formal-stylistic, as well as interview methods and included observation, which allowed to identify the key figures of the masters who influenced the formation of their own unique style characteristic of this plant. As a result of the study, it was found that the formation of the creative team was carried out both from visiting specialists with specialized education and from local artists. Among the most significant masters of the Spassky Art Ceramics Factory are E. E. Skurikhin, A. I. Gornich, S. V. Danilyuk, Z. H. Zhelandinova, V. A. Lavrenova, A. A. Lupey, N. B. Ovchinnikova, L. Y. Skrynnikova, O. Timofeeva. These artists have made a significant contribution to the improvement of molding technologies and decoration of utilitarian and highly artistic products. The results of the activity of master ceramists led to a significant evolution of the forms and types of decoration of the products of the Spassky Art Ceramics Factory, creating their own style based on ethnic and regional flavor. The presented information can be used for attribution of ceramic products, studying the specifics of the author's artistic ceramics of the XX – XXI centuries, forming a general picture of the evolution of Russian decorative and applied art.
意义和艺术的结果远东陶瓷产品在XX世纪下半年启动清算在二十一世纪初,以及创造力的大师和艺术家为他们工作,目前在滨海地区的研究不足,这主要是由于行业的普遍下降,收集的主要信息的复杂性,缺乏可靠的数据,归因的产品等的问题。该研究的主题是在滨海边疆区Spassk-Dalny市艺术陶瓷厂工作的艺术大师的活动。本研究采用了一套理论和实证方法,包括比较-历史、传记、形式-风格、访谈和包括观察在内的方法,从而确定了影响这种植物形成自己独特风格特征的大师的关键人物。研究结果发现,创作团队的组成既有受过专门教育的来访专家,也有当地艺术家。在斯帕斯基艺术陶瓷厂最重要的大师是E. E. Skurikhin, A. I. Gornich, S. V. Danilyuk, Z. H. Zhelandinova, V. A. Lavrenova, A. A. Lupey, N. B. Ovchinnikova, L. Y. Skrynnikova, O. Timofeeva。这些艺术家对实用性和艺术性很强的产品的造型技术和装饰的改进做出了重大贡献。陶艺家的活动结果导致了斯帕斯基艺术陶瓷厂产品装饰形式和类型的重大演变,创造了基于民族和地区风味的自己的风格。所提供的信息可用于陶瓷产品的归属,研究作者的艺术陶瓷的具体情况的XX - XXI世纪,形成俄罗斯装饰和应用艺术的演变的总体图景。
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引用次数: 0
The role of women in Chinese society and culture 女性在中国社会和文化中的角色
Pub Date : 2023-06-01 DOI: 10.7256/2454-0625.2023.6.40983
D. N. Belova
The author analyzes various aspects of the role of women in the society and culture of China of the late XX-early XXI centuries, a special place is occupied by the analysis of family relations, education and artistic creativity of women. The subject of the study is women, the transformation of their status in society and culture, in particular, in the modern pictorial art of China. It is emphasized that at the end of the XX century there is a reassessment of values, the motivation of young people in the family sphere changes, the traditional importance of the family is lost due to state regulation of family relations. Comparative historical and iconographic research methods based on culturological, philosophical and art-historical scientific materials were used. The relevance of the topic is due to the increased interest in Chinese culture and the changing attitude towards women in society and culture. The novelty of the study is an attempt to trace the impact of modernization on the status of Chinese women, taking into account the availability of higher education, gender imbalance in society and culture. It is concluded that obtaining higher education, career development, personal freedom, participation in business, in the socio-political and cultural life of society, becomes a priority for a woman, putting marriage and family values at risk. It is revealed that the negative influence of mass culture leads to the decline of morals, psychological disorders, social infantilism. In contemporary art, Chinese female artists use unconventional artistic techniques to express their "I" in painting, but innovative methods of self-expression are less recognized than those of male artists, as well as defending their point of view and philosophy. The intertwining of cultural heritage and modern values have shaped the path of development of Chinese women's art.
作者分析了20世纪末至21世纪初中国社会和文化中女性角色的各个方面,其中对女性的家庭关系、教育和艺术创造力的分析占据了一个特殊的位置。研究的主题是女性,她们在社会和文化中的地位的转变,特别是在中国现代绘画艺术中。文章强调,在20世纪末,人们对价值观进行了重新评估,年轻人在家庭领域的动机发生了变化,由于国家对家庭关系的规范,家庭的传统重要性正在丧失。采用了基于文化学、哲学和艺术史科学资料的比较历史和肖像学研究方法。这个话题的相关性是由于对中国文化的兴趣增加,以及社会和文化中对女性态度的变化。这项研究的新颖之处在于,它试图追踪现代化对中国女性地位的影响,同时考虑到高等教育的可获得性、社会和文化中的性别失衡。结论是,获得高等教育、职业发展、个人自由、参与商业、社会政治和文化生活成为妇女的优先事项,使婚姻和家庭价值处于危险之中。揭示了大众文化的负面影响导致道德沦丧、心理障碍、社会幼稚。在当代艺术中,中国女性艺术家在绘画中使用非常规的艺术手法来表达“我”,但创新的自我表达方式却不像男性艺术家那样得到认可,也不像男性艺术家那样捍卫自己的观点和哲学。文化遗产与现代价值的交织塑造了中国女性艺术的发展路径。
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引用次数: 0
M. RAVEL'S SPANISH RHAPSODY: TO THE QUESTION OF THE GENRE ORIGINALITY OF THE COMPOSITION 拉威尔的西班牙狂想曲:论作曲的体裁独创性问题
Pub Date : 2023-06-01 DOI: 10.7256/2454-0625.2023.6.40565
G. Cheremnykh, Svetlana Ivanovna Miagkova
The subject of the study is Maurice Ravel's "Spanish Rhapsody" arranged for two pianos. The purpose of this article is to consider the genre features of the work, based on the refraction of the principles of rhapsody and suite. The performing means used by the composer in the implementation of the program idea of the work are also of research interest. The methodology of this study was made up of holistic and comparative approaches to the study of a musical composition. The novelty of the article lies in the fact that the study generalizes and concretizes the features of form formation in the work, which contributes to the study of the composer's creative method, the study of his peculiarities of working with cyclic forms. In the course of the study, the author comes to the conclusion that in M. Ravel's "Spanish Rhapsody" the features of directly rhapsody are reflected, expressed as a comparison of contrasting folklore layers in a single whole, features of suite, expressed in a generalized interpretation of Spanish imagery on the one hand and the composer's appeal to the genre models of a baroque dance suite, on the other. In addition, the suite principle in the structure of the form of the work is embodied in a specific impressionistic refraction of the genre features of Spanish dance folklore in each of the parts of the form. The obtained results of the work will contribute to the conscious interpretation of M. Ravel's "Spanish Rhapsody" arranged for two pianos from the point of view of the principles and laws of shaping and pianistic means of impressionistic expressiveness in the expression of Spanish images in music.
这项研究的主题是莫里斯·拉威尔为两架钢琴改编的《西班牙狂想曲》。本文的目的是在对狂想曲和组曲原则进行折射的基础上,探讨该作品的体裁特征。作曲家在实现作品的纲领思想时所使用的表演手段也是值得研究的。这项研究的方法论是由整体和比较的方法来研究一个音乐作品。本文的新颖之处在于对作品中曲式形成的特点进行了概括和具体化的研究,有助于研究作曲家的创作方法,研究他使用循环曲式的特点。在研究过程中,作者得出结论:拉威尔的《西班牙狂想曲》体现了直接狂想曲的特点,表现为对一个整体中不同民俗层次的比较,表现为组曲的特点,一方面表现为对西班牙意象的概括解读,另一方面表现为作曲家对巴洛克舞曲组曲类型模式的诉求。此外,作品形式结构中的组曲原则体现在形式的每个部分对西班牙舞蹈民俗类型特征的具体印象主义折射中。本文的研究结果将有助于从西班牙音乐形象的塑造原则和规律以及印象派表现力的钢琴手法的角度,对拉威尔的《西班牙狂想曲》进行有意识的解读。
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引用次数: 0
Music as an existential phenomenon and the main trends of its understanding in the history of culture 音乐作为一种存在现象及其在文化史上理解的主要趋势
Pub Date : 2023-06-01 DOI: 10.7256/2454-0625.2023.6.40836
Darya Dmitrievna Odintsova
The article outlines two directions of comprehension of the existential phenomenon of musical art (cataphatic and apophatic) throughout the history of culture within the framework of the Christian-Eurocentric tradition. The basis of methodological research includes Christian-idealistic and Christian-anthropological positions. These provisions of objective idealism contain a part of the Creator's Plan in the realization of his Image. The presentation of the main trends is presented in a contrasting ratio, which is characteristic of musical compositional thinking. The discourse of the problem is expressed in a cataphatic-preaching form. In the process of considering this phenomenon, the method of synthesis of ideas about music was applied as a reflection of the human being of such domestic thinkers as A. S. Klyuev, A. F. Losev, V. V. Medushevsky, M.O. Orlov, O.V. Leontieva and foreign philosophers R. Ingarden, A. Schopenhauer, F. England, D. Turner. The author makes an attempt to update the musical discourse from the perspective of Eurocentric Christian traditions by including the language of theology in it. Research in a given direction reveals the deep foundations of musical creativity, which arouse interest in the social significance of the master creator, leveled by post-industrial society. The scientific novelty of the research is contained in the choice of sources that reveal the European understanding of the existential essence of musical art as a historically formed part of the musicological discourse. According to the results of the study, it can be concluded that, unlike other types of art, music remains irreconcilably resistant to various forms of evaluation and paraphrasing, explanation and description. The essence of human existence is fully reflected in the musical art.
本文概述了在基督教-欧洲中心传统的框架内,在整个文化史上理解音乐艺术存在现象的两个方向(cataphatic和apaphatic)。方法论研究的基础包括基督教唯心主义立场和基督教人类学立场。这些客观理想主义的规定包含了造物主在实现他的形象的计划的一部分。主要趋势以对比的方式呈现,这是音乐创作思维的特点。这个问题的论述是以一种图解式的说教形式来表达的。在对这一现象的思考过程中,国内思想家克留耶夫、洛采夫、梅杜舍夫斯基、奥尔洛夫、列昂捷耶娃以及国外哲学家英加登、叔本华、英格兰、特纳等人运用音乐思想综合的方法对人类进行了反思。作者试图从以欧洲为中心的基督教传统的角度,将神学语言纳入音乐话语中,以更新音乐话语。在一个特定的方向上的研究揭示了音乐创作的深层基础,这引起了人们对后工业社会中大师级创作者的社会意义的兴趣。该研究的科学新颖性包含在来源的选择中,这些来源揭示了欧洲对音乐艺术存在本质的理解,作为音乐学话语的历史组成部分。根据研究结果,可以得出结论,与其他类型的艺术不同,音乐仍然不可调和地抵制各种形式的评价和释义,解释和描述。人类存在的本质在音乐艺术中得到了充分的体现。
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引用次数: 0
Design concept of the exhibition space of the Henan State Museum (China) 河南国家博物馆(中国)展览空间设计构想
Pub Date : 2023-06-01 DOI: 10.7256/2454-0625.2023.6.38496
I. Abbasov, Ifei Du
The Henan Museum is one of the first museums in China which requires modernization of its design. This work is devoted to the development of a new design concept for the Henan Museum space, the hall of musical instruments of the Great Silk Road, in order to develop recommendations for further brand promotion in the field of tourist attractiveness and the development of the local economy. The object of the study is the museum of Henan Province, China, the subject is the influence of the museum brand on the popularization of ancient Chinese culture. The analysis of some Asian museums is given, the stages of the museum's formation are described, the elements of rebranding are developed: logo, booklet, poster, website, advertising products of the museum. The concept of the design of the exhibition hall "Musical Instruments of the Great Silk Road" was proposed, visualizations were made and a video flight of the hall was created, with a visual representation of the exhibits for remote access and viewing. A situational approach to the organization of the environment was used when developing the design of the museum space. The scientific novelty and theoretical significance of the research lies in the rebranding of the Museum of Culture, in the development of a new concept for the design of the exhibition hall of the museum space of the Henan Museum. Some modern trends in the development of museum space design on the example of domestic and foreign museums are discussed.
河南博物馆是中国最早要求设计现代化的博物馆之一。本作品致力于为河南博物馆空间——丝绸之路乐器馆——开发一个新的设计概念,为进一步在吸引游客和发展当地经济领域的品牌推广提供建议。本研究以中国河南省博物馆为研究对象,研究主题为博物馆品牌对中国古代文化普及的影响。通过对亚洲部分博物馆的分析,阐述了博物馆形成的各个阶段,开发了博物馆品牌重塑的要素:标志、宣传册、海报、网站、广告产品。提出了“丝绸之路的乐器”展厅的设计概念,并进行了可视化处理,制作了一个展厅的视频飞行,将展品进行了视觉化的呈现,供远程访问和观看。在开发博物馆空间的设计时,使用了情境方法来组织环境。本研究的科学新颖性和理论意义在于文化博物馆的品牌重塑,在于为河南博物馆博物馆空间展厅的设计发展出一种全新的理念。以国内外博物馆为例,探讨了现代博物馆空间设计的发展趋势。
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Культура и искусство
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