Культура и искусство最新文献

{"title":"Jianzhi art in the works of Chinese artist Ku Shulan (analysis of the creative method on the example of the work \"The Goddess of Paper Cutting\")","authors":"Feng Jin, Natalya A. Fedorovskaya","doi":"10.7256/2454-0625.2024.4.70404","DOIUrl":"https://doi.org/10.7256/2454-0625.2024.4.70404","url":null,"abstract":"\u0000 The subject of this article is the study of the work of the famous Chinese master of folk crafts Ku Shulan (1920-2004), which demonstrates the trends in the modern development of the Chinese folk art of paper cutting (jianzhi). Particular attention is paid to the analysis of the collage technique of Ku Shulan, the identification of its creative method, the features of the technological process, the formal-stylistic and figurative-symbolic content of the carved paintings. The paper analyzes one of the most famous works of Qu Shulan \"The Goddess of Paper Cutting\", which demonstrates the characteristic features of her author's style. The key methods used in this study are historical-cultural, historical-comparative, and historical-biographical, which made it possible to show the work of Ku Shulan in the context of traditional jianzhi art. Also, to study the creative method of Ku Shulan and identify the figurative and symbolic specificity of the work under consideration, formal-stylistic and semiotic analysis was used. The novelty of the research lies in the fact that a detailed analysis of the technological process of creating works according to the method of Ku Shulan is carried out, revealing the specifics of her work with the jianzhi technique and the creative method itself. On the basis of the traditional technique of paper cutting, Ku Shulan created her own technology - she added collage, cutting, gluing and lining, thereby opening up new opportunities for the development of the art of jianzhi. The main conclusion of the study is that in the context of modern globalization, the art of paper cutting by Ku Shulan acts as a rich source of ideas for the preservation, development and popularization of Jianzhi folk art both in China and in the world.\u0000","PeriodicalId":508990,"journal":{"name":"Культура и искусство","volume":"139 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140787091","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Reflection of Aesthetic Concepts of Russian Realism in Chinese Visual Art","authors":"Weisai Su","doi":"10.7256/2454-0625.2024.4.70482","DOIUrl":"https://doi.org/10.7256/2454-0625.2024.4.70482","url":null,"abstract":"\u0000 This paper examines the impact of Russian realism on Chinese visual art, focusing on how Chinese artists have adapted and reinterpreted Russian aesthetic concepts. The study highlights the role of cross-cultural exchanges in enriching both traditional Chinese art and the broader understanding of realism. Through a detailed analysis, the author explores the reflection of Russian realism's social criticism and humanistic ideals in Chinese artistic practices, and how these influences have fostered new artistic forms and themes within China.The research employs comparative analysis of artworks and artistic traditions alongside historical and cultural contexts of both Russia and China. This approach underscores the importance of international artistic exchanges in creating a more diverse and multicultural art world. The study's novelty lies in uncovering the mechanisms of cultural integration and innovation through artistic exchanges between the two countries, detailing how Russian realism has not only shaped Chinese art but also spurred the creation of unique forms that reflect contemporary societal and cultural demands.Significantly, the fusion of Russian realism and traditional Chinese aesthetics has led to a new artistic direction in China that melds global artistic trends with local cultural values. This synthesis has facilitated deeper cultural dialogues and mutual understanding, enriching the artistic traditions of both Russia and China. Artists have been provided with new opportunities to explore innovative ideas and forms, thus strengthening cross-cultural ties and expanding the boundaries of artistic interaction. The paper emphasizes the transformative power of this artistic merger in enriching the global art space and fostering a more inclusive and varied artistic milieu.\u0000","PeriodicalId":508990,"journal":{"name":"Культура и искусство","volume":"247 ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140762257","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"\"Mercury and Argus\" by P. I. Sokolov: aesthetics of the painting, search for an artistic image, perception by contemporaries","authors":"E. G. Zhelnova","doi":"10.7256/2454-0625.2024.4.70302","DOIUrl":"https://doi.org/10.7256/2454-0625.2024.4.70302","url":null,"abstract":"\u0000 Purpose of this article is analysis of painting by P. I. Sokolov (1753-1791) «Mercury and Argus» (1776) in context preferences of era. Objectives of study: analyze preparatory drawings and picture; study archival sources, artist reports; reveal process of painting; represent aesthetic ideals of epoch and perception of personality. Our focus will be on artistic process of creation historical picture in second half of XVIII century on example of work by P. I. Sokolov «Mercury and Argus». Research subject is role of sketches from nature, sketch composition in work of P. I. Sokolov on picture «Mercury and Argus». Author considers of visual technique, graphic-plastic composition, preparatory graphic, identifying process of working on picture based on academic education system. Citing quotes from letters, reports and writings of second half of XVIII century author analyses what was typical for art of period under study, what tasks artist set for himself, what conditions were necessary for expressiveness of visual image and idea of picture as well as her positive evaluation by her contemporaries. During study were applied: formal, formal-stylistic, art criticism analysis. Author comes to conclusion that work on historical painting in second half of XVIII century included a large systematic creative process dictated by academic education system at Imperial Academy of Arts. Analysis showed that execution of sketches and drawings from nature became basis for subsequent search for better image. Historical painting of second half of XVIII century reflected aesthetic views and ideals of era, being an artistic embodiment of ideas of theoretical treatises aimed at improving visual image. Novelty of research lies in considering painting not only as part of artistic heritage, but also as a reflection of academic education system at Imperial Academy of Arts in second half of XVIII century and aesthetics of educational classicism.\u0000","PeriodicalId":508990,"journal":{"name":"Культура и искусство","volume":"251 ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140775136","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Between Kochel and Kalmunz. Early plein airs by Gabriele Munter at the school \"Phalanx\" by Vasily Kandinsky.","authors":"Daria Stanislavovna Matyunina, Maria Aleksandrovna Semyonova, Alevtina Sakmarovna Habibova","doi":"10.7256/2454-0625.2024.4.70387","DOIUrl":"https://doi.org/10.7256/2454-0625.2024.4.70387","url":null,"abstract":"\u0000 The subject of the study of the proposed article is the early plein-air works of the German expressionist artist Gabriele Munter, later a member of the Blue Horseman art association, a student and friend of Vasily Kandinsky. The authors of the article aim to review and introduce into scientific circulation a number of Munter's sketches created by her during summer trips to the plein air in 1902-1903 to the Alpine towns of Kochel and Kalmunz with the Munich art school \"Phalanx\", headed by Kandinsky. The article also examines the picturesque plein-air works by Kandinsky, created by him in the same years there, in Bavaria - mainly landscapes and sketches of figures in the landscape. The authors of the study see as their task to trace the influence of Kandinsky's artistic manner and his role as a teacher on the formation of a Munter painter.  The research methodology includes formal stylistic, comparative methods of art criticism analysis, as well as a comprehensive historical and biographical approach. The relevance of the study is due to its scientific novelty: the authors of the article for the first time in Russian-language art history literature describe the pre-expressionist works of Munter during the period of joint plein-airs with Kandinsky, trace the formation of her artistic vision and picturesque manner, the influence of Kandinsky on her formation. The development of the impressionistic technique common to Munter and Kandinsky in the early 1900s, according to the authors of the article, is combined with individual searches for expressiveness of form and color. The first experiments of plein-air oil painting in a special \"spatula technique\" under the guidance of Kandinsky were accompanied by the successful search for Munter in the field of graphics, mastering the technique of printing color woodcuts. The authors of the article come to the conclusion that the formation of the original manner of Munter was equally influenced by both pictorial emancipation through sketching practice in oil, as well as their own experiences in drawing and engraving.\u0000","PeriodicalId":508990,"journal":{"name":"Культура и искусство","volume":"72 26","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140794755","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The spiritual essence of Chinese seascape art","authors":"Yue Li","doi":"10.7256/2454-0625.2024.3.70121","DOIUrl":"https://doi.org/10.7256/2454-0625.2024.3.70121","url":null,"abstract":"\u0000 The article \"The Spiritual Essence of Chinese Seascape Art\" explores the evolution and specifics of seascape in Chinese painting, in the context of the spiritual and cultural life of China. The genre of seascape in Chinese art began to form relatively late, at the end of the 20th century, and became significant for modern landscape painting. The article pays special attention to the rarity of the depiction of the sea and ocean in traditional Chinese painting, due to philosophical and aesthetic grounds. The changes in the perception of the sea element are analyzed, which reflect the fundamental transformations in the thinking of Chinese society. The research covers the historical period from the end of the XX century to the beginning of the XXI century, revealing the contribution of individual authors and the influence of Western art on the development of the genre. The presented analysis demonstrates how, through the study of marine painting, a unique combination of traditional Chinese and Western aesthetics is revealed, forming a new artistic language and approach to the perception of nature and the sea element.  The article uses an integrated approach, including historical and comparative analysis, stylistic interpretation, to explore the evolution of the seascape in Chinese painting and its spiritual and philosophical and aesthetic content. The article explores the spiritual essence of Chinese seascape art, describing its development as a late phenomenon in comparison with Western art and as an important element in modern Chinese painting. Special attention is paid to rethinking traditional artistic methods and approaches to depicting the sea, considering it as evidence of fundamental changes in the spiritual life of Chinese society. The article discusses how the seascape reflects philosophical and aesthetic changes, especially in the last third of the 20th and early 21st centuries. The authors analyze the works of Chinese artists seeking to find unique artistic languages by integrating traditional and Western elements. The novelty of the research lies in a deep analysis of the impact of socio-cultural changes on the formation and development of the seascape in Chinese painting, which allows for a better understanding of the uniqueness and dynamics of this genre in the context of global artistic and cultural trends.\u0000","PeriodicalId":508990,"journal":{"name":"Культура и искусство","volume":"60 ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140273773","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Olga Leonidovna Nekrasova-Karateeva: a study of the functions of an artist, teacher, scientist and public figure","authors":"E. P. Stalinskaya","doi":"10.7256/2454-0625.2024.3.69774","DOIUrl":"https://doi.org/10.7256/2454-0625.2024.3.69774","url":null,"abstract":"\u0000 The material of this article is the life and work of a representative of St. Petersburg culture, combining different areas of personal manifestation in art, science and social activities. The author analyzes the features of the author's work; pedagogical and cultural and educational activities of O. L. Nekrasova-Karateeva; her experience in practical pedagogy: in the artistic development of children, in the professional education of students, in the scientific orientation of graduate students, in the support and additional qualifications of practicing teachers. The relevance of this work lies in the need to generalize the unique pedagogical experience for a modern understanding of the role and importance of art education in the humanitarian education of children, youth and adults. The purpose of the study is to determine the personal merits and contribution of O. L. Nekrasova-Karateeva to the scientific study of the psychological characteristics of aesthetic perception, understanding of art and the development of creative abilities for artistic activity at different age stages of maturation of a creative personality.   The research methodology consists of a factual and systematic analysis of Olga Leonidovna's creative and pedagogical life. The analysis of the cultural and historical context allows us to understand more deeply not only the personality of Olga Leonidovna herself, but also her significant contribution to the development of Russian culture, science and art. The novelty of the research lies in a comprehensive approach to the analysis and study of her personal creative and pedagogical experience. The importance of scientific publications by O. L. Nekrasova-Karateeva in the field of psychology of children's drawing, principles and methods of teaching the basics of composition in DPI, methodology of art criticism, organization and participation in scientific conferences is noted. The article presents for the first time the early creative works of Olga Leonidovna, describes the artistic and cultural features of her multifaceted activities, notes the theoretical, methodological and pedagogical aspects of art education conducted by her in St. Petersburg.The importance of the publication is necessary as an example for modern young art teachers in personal participation and in maintaining a high level and developing culture and art in our country. In conclusion, it is noted that in various aspects of personality-oriented activities, the importance of her contribution is great.\u0000","PeriodicalId":508990,"journal":{"name":"Культура и искусство","volume":"42 5","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140406497","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Youth \"Hanfu culture\" in the context of the subcultural perspective of the development of Chinese street fashion","authors":"Wenshan Wang","doi":"10.7256/2454-0625.2024.3.70086","DOIUrl":"https://doi.org/10.7256/2454-0625.2024.3.70086","url":null,"abstract":"\u0000 The development of the Hanfu Culture youth movement in China has been going on for more than ten years. The purpose of this study is to clarify the importance of the historical influence of ancient fashion on modern Hanfu costume and its perception by the youth of the country. The object of the study is social relations. An empirical survey using the example of young residents of Chengdu showed that fans of the \"Hanfu culture\" make up the absolute majority, and these are mainly women of a wide age range and Han youth with a higher cultural level with a good education. The author proves that the main goals of the Hanfu youth movement are: inheritance, dissemination and popularization of Hanfu culture; development and innovation of Hanfu culture. Based on the conducted surveys and tests, the author concludes that the rise of the youth \"Hanfu culture\" is mainly due to the following reasons: the awakening of national identity, inspired by the ongoing development of globalization; the increase in national consciousness caused by the emphasis on historical consciousness in domestic policy towards ethnic minorities.   The following methods and methodology were used in the research process: Analysis of historical sources: historical documents, images, artifacts and literature; Questionnaires: among various population groups; Personal survey; Comparative analysis. The methodology included a comprehensive approach to the study of the historical context and its impact on modern fashion. The presented article explores the historical influence of ancient fashion on modern street fashion, taking into account questionnaires, personal survey and analysis of historical time periods and forms of Chinese Hanfu costume. The main conclusions of the study are to identify the significant influence of ancient fashion on modern street fashion trends, as well as to understand the importance of preserving historical heritage in modern fashion. A special contribution of the author to the research of the topic is an integrated approach to the analysis of historical data and opinions of various groups of society, which allowed us to get a more complete picture of the influence of ancient fashion on modern culture. The novelty of the research lies in the use of a combination of questionnaire methods, personal survey and analysis of historical forms to study this topic, which allowed us to obtain unique results and a deep understanding of the evolution of fashion.\u0000","PeriodicalId":508990,"journal":{"name":"Культура и искусство","volume":"91 4","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140275789","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Can the puma Messi, the cheetah Gerda, the panther Luna, the wolf Kira be considered pets? (man in culture and the animal world)","authors":"Vadim Markovich Rozin","doi":"10.7256/2454-0625.2024.3.69503","DOIUrl":"https://doi.org/10.7256/2454-0625.2024.3.69503","url":null,"abstract":"\u0000 The article discusses a new trend to have wild animals (big cats, foxes, ferrets, etc.) in some homes, and it turns out that since they have been raised since childhood, loved and cared for, they behave like pets (dogs and cats). The question is whether these animals can still be considered domestic or not. To solve this problem, characteristics are given that make it possible to distinguish between wild and domestic animals, and the question is raised whether they can be applied to this case. To understand this new class of animals, the concept of \"anthropomorphic\" is introduced and it is shown that their psyche differs from that of wild animals, it is closer to domestic ones. An explanation is offered for the experiments of geneticist Dmitry Belyaev on the domestication of silver foxes.   The author argues that the evolution of foxes was influenced by two factors, not only genetic selection, as Belyaev believed, but also the impact of the environment created by man, an environment conducive to the formation of anthropoids. Attention is drawn to the fact that humans continue to crowd large wild animals. Humans increasingly need land for goats, cows, horses, pigs, poultry, and agricultural land. The paradox ‒ our big cats of anthropoids are fed the meat of these pets. At the end of the article, Belyaev's hypothesis, according to which we are \"self-domesticated\" monkeys, whose innate psychological tendencies, behavior and social structure have radically changed under the influence of selection for reduced aggressiveness, is compared with the author's hypothesis about the role of signs in human origin. He shows that domestication occurred as a result of the transition of hominids to \"paradoxical behavior\", which required the creation of a sign based on a signaling system. The latter allowed the hominids to act contrary to biological evidence at the command of the leader. A necessary condition for this was the imagination conditioned by signs, which helped to invent the first tools.\u0000","PeriodicalId":508990,"journal":{"name":"Культура и искусство","volume":"88 9","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140406789","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Neognostic Myth in Cyberspace","authors":"Alexey Pozharov","doi":"10.7256/2454-0625.2024.3.70016","DOIUrl":"https://doi.org/10.7256/2454-0625.2024.3.70016","url":null,"abstract":"\u0000 The subject of the study is the functioning of the neognostic myth in cyberspace. Such aspects of the topic as the relationship between religion and the Internet from a non-instrumental point of view on technology are considered in detail. Digital and network technologies are seen as a modern repository of religious beliefs, and not as tools for proselytizing or proclaiming the good news. With the help of an archaeological approach to technical media, the author proposes to determine the deep times of the digital disclosure of technological mysticism, depending on a specific technical materiality characterized by wireless networks and mobile devices. Currently, there are trends in world culture towards the construction of a syncretic myth, which contains elements of the dying Christian paradigm and trends introduced into it from the outside or emerging again. The categorical apparatus developed in the discourse of postmodern aesthetics makes it possible to apply such methods as phenomenological, discursive, hermeneutic and archetypal analysis to the analysis of visual culture. In the study of visual neognostic myth, the concepts of archetypal models, plots, cliches, the theory of the evolution of symbols, general cultural positions of psychoanalysis and the concept of myth are used. The main conclusions of the study are as follows. Gnostic epistemology underlies the imagination of cyberspace. There is a constant in the history of the West that Eric Davis calls \"techno-gnosis.\" In this regard, cybergnosis would be only the latest incarnation of a profound phenomenon. In the world of cyberculture, technognosis manifests itself in hacker ethics, cyberpunk literature, science fiction films and video games. With the help of an archaeological approach to technical media, the deep moments of the digital are determined, showing that there is a technological mysticism in video games that depends on a specific materiality. The new metamodern perception of the world recognizes not only the possibility of perceiving various logical and irrational paradigms of the world order and gaining knowledge about it, but also gives a positive connotation to pluralism itself, when diversity becomes more desirable than truth, which is characteristic of cyberspace. The novelty of the research lies in the fact that the research is the basis for the formation of a clear conceptual understanding of the phenomenon of the neognostic myth in its visual form (as opposed to verbal) as a dynamic cultural model generated by digital art strategies and implemented today in media culture.\u0000","PeriodicalId":508990,"journal":{"name":"Культура и искусство","volume":"24 11","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140083783","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Absurdism and its relation to faith in Beckett's play \"Waiting for Godot\"","authors":"Anastasiia Ponomareva","doi":"10.7256/2454-0625.2024.3.39307","DOIUrl":"https://doi.org/10.7256/2454-0625.2024.3.39307","url":null,"abstract":"\u0000 The aim of the work is to pose the problem of the relation of absurdism to faith, considered by the example of the text of S. Beckett's literary work \"Waiting for Godot\". Research objectives: to give a philosophical analysis of artistic images, to reveal the specifics of the attitude to God among existentialist authors. The object of the study is the text of the play \"Waiting for Godot\", the subject is the connection of absurdism with the theological and providentialist attitude. The philosophy of the absurd is considered as bringing existentialist thinking to its ultimate foundations. The absurd, as the antipode of the theory of providentialism, represents a pole in the thinking of a religious person who is desperate to find cause-and-effect relationships in the world. According to the author, absurdism as a philosophical trend is rooted precisely in the religious worldview. The author tries to revise the term \"absurdism\" and find an answer to the question of what place the search for God occupies in absurdism. Examining the work of S. Beckett \"Waiting for Godot\", the author seeks to prove that one of the sources of absurdism is the awareness of abandonment by God (in the variation \"God died\" or \"God turned away\"), which is necessarily associated with attributing to God the function of giving meaning to things, processes, phenomena. The author's main contribution to the research of the topic is to identify the theological attitude as the basis for philosophical trends that position themselves as atheistic.\u0000","PeriodicalId":508990,"journal":{"name":"Культура и искусство","volume":"77 2","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140282432","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}