Authors

Perkhun Vladimir V., Chernykh Dmitry G.
STRUGGLE FOR CULTURAL SOVEREIGNTY IN THE ART AND ART INDUSTRY IN RUSSIA IN THE 19th – EARLY 20th CENTURY

Architecton: Proceedings of Higher Education №1 (61) March, 2018

The article discusses the situation in education, art and art industry in Russia in the 19th – early 20th century. The recovery of unity in the Russian national culture and the Europeanized culture of the educated classes, growth of national self-consciousness and reconsideration of the role of the people in the history of the country gave rise to the historical and cultural phenomenon of the «Russian style». The author studies relationships between art and esthetic problems and socio-economic and political transformations in Russia. Using the methods of historical genetic analysis and synthesis and generalization, the author identifies changes in the world outlook paradigm of the public consciousness over the century. The main idea of the study is the importance of upholding cultural sovereignty as a major component of national security. The article maintains that the guarantee of successful development and competitiveness in national art and art industry in the 21st century is the concept of reliance on the Russian national traditions.

Chernykh Dmitry G.
BANKNOTE DESIGN IN RUSSIA IN THE 18th-21ST CENTURY AS AN INDICATOR OF THE IDEOLOGICAL PARADIGM AND STATE SOVEREIGNITY

Architecton: Proceedings of Higher Education №4 (52) December, 2015

Bank note design is considered over several historical epochs of the 18th – 21st centuries through the prism of dominant ideology at a certain stage of the socio-economic model of society. The research objective is to prove the direct influence of ideology on banknote design and its conceptual and aesthetic properties. The historio-genetic analysis is used to this end, which allows to consistently retrace global changes in banknote circulation in the course of its historical evolution. Examples used are images of coins and banknotes issued in the 18th – 21st centuries in the Russian empire, the USSR, and the Russian Federation. The author concludes that the appearance of the banknote as a product of its time does not only adequately reflect existing reality but is also capable of influencing a historical process. The topicality of the study reflects the existing public demand of the Russian people in the 21st century to defend their national identity, territorial integrity, and state sovereignty on the basis of consolidation of national patriotic forces.

Chernykh Dmitry G.
OLD RUSSIAN SYMBOLS IN BANKNOTE DESIGN AND NATIONAL SYMBOLOGY

Architecton: Proceedings of Higher Education №4 (48) December, 2014

The article briefly reviews the emergence and evolution of Russian family, national and state symbols which are traditionally placed on banknotes and stamps. The evolution of family coat of arms and ethno-cultural symbols into the state heraldry is traced over several centuries along with the impact of political contexts on it. Examples used are images of coins, stamps and banknotes from the 10th to the 21st century. The design of the current national banknotes is sharply criticized, and the need for a responsible approach to banknote and coin design is stated as required from both designers and government agencies responsible for the sovereignty and integrity of the state.

Chernykh Dmitry G.
RUSSIAN GRAPHIC ETHNODESIGN IN THE 20th –21st CENTURY

Architecton: Proceedings of Higher Education №1 (45) March, 2014

The article briefly outlines the history of replacement of the Russian historical style by avant-garde trends in 19th-20th century design and the onset of the era of postmodernism, which by the mid-20th century marked departure from the nihilism of neo-avant-garde and partial return to traditions. The specific features of the use of Russian ethnocultural motifs in 21st century design are identified. The author introduces the concept of "ethnodesign", which is contrasted with the opposing concept of « ethnic kitsch». By way of illustration, a few design projects are described and critically reviewed. The methods and techniques of ethnic kitsch are criticised. The author states the need for social responsibility among designers who develop designs on the basis of traditional culture.