The Main Stages of the Development of Incense Culture in China

The article provides an overview of the main stages and trends in the development of the incense culture of China from antiquity to the present day. It covers religious and magical rituals, sanitary and hygiene, traditional medicine, a set of spiritual, healing, artistic, and game practices and rituals of Taoist-Buddhist and Confucian character. In China, over several millennia, a colossal experience has been accumulated in terms of the use of aromatic raw materials of plant, mineral and animal origin: thousands of treatises and reference books have been written, the properties of individual incense and their combinations have been studied, detailed classifications have been drawn up and principles of religious cults and ritual practices have been developed. Along with the applied value of incense, an aesthetic attitude toward incense aromas also developed, which repeatedly ensured periods of rapid flourishing of incense culture in antiquity, the Middle Ages and on the cusp of the New Age. Currently, the traditional aromatic culture in China is experiencing a period of upsurge and revival. This provides ample opportunities for its study in various fields of knowledge, which indicates the relevance and multidimensional nature of the study of this topic.

THE CONCEPT OF THE CREATIVE METHOD. FEATURES OF THE ARCHITECT'S CREATIVE METHOD

The problem of method in architecture, as a subject of research, always appears as a result of the development of artistic life and new aesthetic needs. Each new stage of artistic development reveals the insufficiency of the previous one not because it has become irrational, but because it no longer corresponds to new ideas about social relations and the nature of the human activity. Therefore, the theoretical development of the question is closely related to certain time cross-sections in the evolution of architecture, the consideration of which allows us to build a complete retrospective picture of the development of ideas about the method. The concept of the creative method is very broad and multifaceted. This is not only a set of certain geometric proportions and compositional techniques that are systematically repeated. The creative method is the result of an original cognitive ability to solve tasks using our intellectual search, which is aimed at developing a unique product. For the first time, the concept of an artistic method was formed in the 20–30s of the XIX century. The creative method in architecture and art is defined as a system of principles that control the process of creating a work of art. Artistic methods are designed to reflect the development of reality itself and the development of public consciousness in a specific way – in an aesthetic form. The complexity of the aesthetic characterization of methods lies in the fact that most often their features are considered from the cognitive side outside of the artistic and aesthetic features of art. However, it is from the period of formation of artistic methods that the artist's aesthetic attitude to the world is established. The method is a synthesis of the artist's worldview and the originality of his artistic thinking. The main components of the creative method are: the environment, which is a constant in the creative method of the architect, socio-economic conditions, ideology and worldview of society in a certain historical era, personal characteristics of the architect, culture of project thinking, theoretical foundations of the designer, practical activity of the architect. It is established that the creative method is formed by a) a set of principles of ideological and artistic knowledge and imaginative reproduction of the world; b) a creative approach to solving the set of architectural problems; c) the results of creative activity that is expressive and unique; d) the natural repeatability of architectural techniques that become the architectural rules of the architect; e) a set of certain geometric proportions, compositional techniques and planning features; f) the creation of an architectural object taking into account the influence of the social and cultural development of the architect; g) overcoming the usual techniques and traditions; h) creating own rules.

Postmodern Trends in Teaching Painting to Preschoolers in the Post-Soviet Space

The article presents theoretical generalization and offers new solutions to the problem of developing creative skills in preschoolers in painting classes, taking into account the postmodern tendencies which are becoming increasingly common in the post-Soviet countries. The relevance of the article lies in the need to reform today’s education system in the post-Soviet space and develop pedagogical technologies to enhance the effectiveness of preschool education and reveal the creative potential of each child in the context of the postmodernism and the latest achievements in psychology of creativity. The paper aims to develop and theoretically justify a technology for developing creative skills in preschoolers in painting classes in educational institutions for the postcolonial democracies on the example of Ukraine based on the analysis of relevant scientific sources and teaching placement. The article also substantiates the technology for developing creative skills in preschoolers in painting classes, which is defined as a model for organizing artistic and aesthetic activity of preschoolers aimed at expanding their cognitive experience and emotional perception of the world, as well as cultivating their aesthetic attitude to its objects and ensuring creative self-expression of each child. The article proves the validity of the open performative postmodernist approach, according to which playing activities, perception and enjoyment from creativity act as the main drivers of the creative activity of primary school children.

Story and Transformation in a Reading Laboratory for the Elderly in Pandemic Times – An Experience Report

Literature is one of the finest ways to express the human art and creativeness, therefore, is a path to reach the understanding of human nature. In this article, we will discuss the use of literature in group debate of elders which participated in a seniorprogram of a Brazilian university as a resource to stimulate a personal discovery of inner resources to deal with this challenging period of life during the Covid 19 pandemic in 2020. Our participation started in 2017 with a group formed by men and women above 60 years old attending this program. Until 2019, there were 65 participants in a yearly program, but in 2020 there was a variation between 40-70. The experience to be discussed derives from an aesthetic attitude, starting with literary reading followed by a group discussion in order to stimulate affective social bonds among the participants. Further discussed themes were the impact of the online version and the use of technology in a senior group.

Things As Yet Unknown : A Finding Aid For Selected 8 x 10 Negatives From The Roger Mertin Archive

This thesis and project centers on a portion of the 8x10 inch negatives of the Roger Mertin Archive at George Eastman House, International Museum of Photography & Film, in Rochester, New York. Roger Mertin, a once‐prominent photographer, came of age artistically during a turning point in photographic history—he widespread “cademization”of the field. Sorely under‐researched, Mertin’ work remains a critical example of an aesthetic attitude exhibited by a number of influential photographers from his generation. Since taking custody of the Archive, GEH has kept it in storage, relatively undisturbed. Throughout most of 2012, an item‐level spreadsheet was compiled and the objects were catalogued and given accession numbers. In satisfaction of the requirements for a Master’ degree in Photographic Preservation and Collections Management from Ryerson University, this thesis outlines, discusses and defends my methodology. The resulting finding aid also includes appendices thought to be useful to current and future researchers.

Things As Yet Unknown : A Finding Aid For Selected 8 x 10 Negatives From The Roger Mertin Archive

This thesis and project centers on a portion of the 8x10 inch negatives of the Roger Mertin Archive at George Eastman House, International Museum of Photography & Film, in Rochester, New York. Roger Mertin, a once‐prominent photographer, came of age artistically during a turning point in photographic history—he widespread “cademization”of the field. Sorely under‐researched, Mertin’ work remains a critical example of an aesthetic attitude exhibited by a number of influential photographers from his generation. Since taking custody of the Archive, GEH has kept it in storage, relatively undisturbed. Throughout most of 2012, an item‐level spreadsheet was compiled and the objects were catalogued and given accession numbers. In satisfaction of the requirements for a Master’ degree in Photographic Preservation and Collections Management from Ryerson University, this thesis outlines, discusses and defends my methodology. The resulting finding aid also includes appendices thought to be useful to current and future researchers.

THE FORMATION OF THE AESTHETIC ATTITUDE OF JUNIOR SCHOOLCHILDREN TO FOLKLORE MEANS THE INTEGRATION OF THE ARTS

The need to form the artistic and aesthetic attitude of children to folklore and to cultivate a love of popular culture actualizes the topic of the article.The purpose of the article is a theoretical justification for the possibility of integrating the arts as a means of forming the aesthetic attitude of junior schoolchildren to folklore; the development of a diagnostic apparatus (criteria, diagnostic techniques and levels) of the formation of the aesthetic attitude of children to folklore, the definition of the arts used in the training and their integration links.The authors propose the structure of the aesthetic attitude of children to folklore, the criteria of its formation (motives and needs of children to study folklore, imagery, verbalization, аbstraction, symbolism, metophorization describe the results of empirical research of the original level, the exact knowledge of which will contribute to an effective change in the aesthetic attitude of junior schoolchildren to folklore.The study is based on an analysis of philosophical and psychological-educational sources; empirical methods (pedagogical experiment, questionnaire, testing) and Methods of diagnosis of figurative and verbal development рersonality theory.The article provides examples of the judgments of junior schoolchildren, which led to the conclusion that, that children of experimental (EG) and control groups (KG) in general, show interest in the integration of arts and are at an average (61.5% EG, and 69.2% -KG) (23.1% - EG and 19.2% (KG) or low levels of the formation of aesthetic attitude to folklore. The findings suggest that further work is needed to develop this phenomenon.

An Intellectual and a Peasant in Gleb Uspensky’s Cycle “Peasant and Peasant Labor”: Dynamics of Interaction in Context of Idea of “Merging with People”

The cycle of essays by G. I. Uspensky “The Peasant and the Peasant Labor” in the aspect of the actual for Russian literature of the second half of the XIX — early XX centuries problems of relations between the people and the intellectuals are analyzed in the article. The crisis in the study of the “peasant” cycles of Uspensky, caused by the predominance of ideological interpretation, is stated. It is argued that Uspensky finds the key to understanding the peasantry not in the socio-economic conditions of his life, but in the field of aesthetics. The point of convergence, in which the peasant and the intellectual appear as equal subjects of communication, is, according to Uspensky, the aesthetic attitude to work. An implicit correspondence is established between peasant labor and the creative effort of the artist. Therefore, the intellectual turns out to be a necessary mediator in the process of the peasantry acquiring its own “voice”. It is proved that the aesthetic utopia in the cycle “Peasant and Peasant Labor” was crushed by the ethical maximalism of the writer. The peasant economy is represented by the Uspensky reasonably organized order, the anthroposphere, in which the working peasant was likened to the monarch and the Creator. In turn, the intellectual was declared an impostor, marked by the “antichrist” seal. In Uspensky’s creative consciousness, the aesthetic and ethical found themselves in a tragic and hopeless contradiction, and the prospect of “merging with the people” was illusory.

The Art Through the Media in the Conditions of the COVID-19 Pandemic

In kindergarten and primary school, the aesthetic perception and aesthetic attitude to the world, as components of aesthetic culture are formed through a cycle of artistic and aesthetic activities. children's audience in the context of the COVID-19 pandemic The question is answered, what do we need to know about the media in order to be able to live in accordance with the modern information society? It is pointed out that the task of media pedagogy is to specify where the interactions between the media and people - especially children, intervene by educating, educating and advising, orienting and informing despite the new conditions of the COVID-19 pandemic.