Cephe Tasarımında Sembolizm ve İsmailiye Sarayı Cephesindeki Değişim Süreci

Author(s): Didem Erten Bilgiç,Zeyneb Tahirli / Language(s): Turkish Issue: 2/2021

Symbolism, used in all areas of life, is preeminent in architecture. This study elucidates the use of symbolism in facade design, which is one of the most important parts of a building. The correlation between the political and religious influences along with symbolism in the pre and post-restoration of the Ismailiye Palace's facade, amongst the significant structures in Baku, the capital of Azerbaijan, has been examined. The purpose of the study is to analyze the traces of symbolism present in the facade design of the Ismailiye Palace by providing exemplars. In this regard, the reflections of symbolism in facade design on the architectural design through exemplars have been demonstrated. Ismailliyya Palace, which was built by Musa Nagiyev between 1908-1913, has witnessed various historical events. The building, which was looted and set on fire by the Armenians during the events of March 1918, was almost destroyed. Although the USSR decided to demolish the building a few years later, restoration was commenced due to the objection of locals. The Soviet government has restored the building, however made changes in the palace by leaving their trace. In the study, the situation of the building before the fire was compared with its situation after the fire and was examined using the quantitative comparison method, a quantitative-scientific research method. This article regards how the facade of the Ismailiye Building has changed during history on political and religious aspects, with comparative drawings and pictures. Consequently, it is possible to see how effective symbolism is in architecture.

Recaizâde Mahmut Ekrem’in Tiyatroları

Author(s): Selda UYGUR GÜRBÜZ / Language(s): Turkish Issue: 18/2021

Recaizâde Mahmut Ekrem (1847-1914), one of the most important names of Tanzimat literature, was one of the leaders of the period of renewal. Ekrem, who is accepted as the teacher of the Servet-i Fünun generation. Recaizâde Mahmut Ekrem has produced works in various genres such as poetry, theater, story, novel, essay, art and literature. Although he mostly worked in the field of poetry, theater is one of the genres that Ekrem could not remain indifferent to. Published in 1870, Afife Anjelik was published chronologically before all these genres, poems with a large volume, so that Ekrem’s literary activities began with the genre of theater. In the study, the author’s theaters will be analyzed in detail, and it will be emphasized that the theater works should also be taken into consideration while evaluating the writer’s literary identity as a whole.

Lex Non Scripta. Primjena pravila za prepisivanje Kur’ana u Bosni tokom 17. i 18. stoljeća

Author(s): Haris Dervišević / Language(s): Bosnian Issue: 1/2021

Statistically speaking, in terms of the number of manuscripts transcribed during the Ottoman period in Bosnia, manuscripts of the Qur’an certainly prevailed. This demanding project was undertaken by scribes of all categories – ordinary scribes but also calligraphers. In addition to following the spelling rules, it was presumed that the scribes of the Qur’an followed special rules for transcribing the Holy Text. In order to gain an insight into the extent to which and what transcription norms were known in the Ottoman-era Bosnia, a list of rules for copying the Qur’an published and critically interpreted by the eminent professor Jan Just Witkam have served as a basis. In order to gain a broader picture, the mushafs of the 17th and 18th centuries from the collection of Gazi Husrev-bey’s library in Sarajevo were analyzed. After the examination of 22 mushafs from this collection, it was concluded that the rules for Qur’an copying were known in the Ottoman Bosnia as early as the 17th century, as well as that that these rules were known to Bosniak scribes.

POČECI GRAĐANSKOG SLIKARSTVA U BOSNI I HERCEGOVINI

Author(s): Ljubica Mladenović / Language(s): Croatian,Serbian Issue: 1/1963

Građansko slikarstvo u Bosni i Hercegovini dalo je svoje prve zrele plodove tek početkom dvadesetog vijeka, tj. u vrijeme kada je ono u naprednijim jugoslovenskim zemljama - Srbiji, Hrvatskoj i Slovenačkoj već imalo određenu tradiciju. Što se ovako kasno razvilo, uzrok treba tražiti u izuzetno teškim društvenim i političkim prilikama koje su u XIX vijeku vladale u ovim krajevima, a koje nisu stvarale nimalo povoljne usiove za kulturni i umjetnički procvat, pogotovo što građansko društvo, koje je trebalo da naslijedi feudalizam na umoru, još nije bilo ono pogodno tle u kome će da proklija nova umjetnost. Iako su rani kapitalistički odnosi u njem u već izbijali, ono je, još uvijek stegnuto feudalnim okvirima, vezivalo svoja vjerska i umjetnička osjećanja i zadovoljavalo se nakaškim radovim a i kupovinom ikona zanatske proizvodnje sitnih domaćih i stranih majstora, jer je veliko doba stare umjetnosti bilo prošlo.

Постчернобыльское искусство как работа горя

Author(s): Bożena Żejmo / Language(s): Russian Issue: 172/2020

The objective of the paper is to give an overview of and to analyse the Post-Chernobyl Art, which not only is perceived as an artistic comment on the Chernobyl tragedy but, most of all, as a way of working through the social trauma. The Post-Chernobyl Art is a remarkable panorama of the post-apocalyptic culture (both high and low) oriented toward a reflection on what happened; it is also a story about victims of the tragedy and a warning to the future generations.

Przykłady znakowania książek w zbiorach Muzeum Miejskiego w Wadowicach

Author(s): Joanna Pytlowska-Bajak / Language(s): Polish Issue: 24/2021

Przegląd tematyczny opracowań kandydackich i doktorskich bizantynologii rosyjskiej. Część II (rok MMXVII)

Author(s): Błażej Cecota / Language(s): Polish Issue: 1/2020

The article is an effect of observing the phenomenon of omission of Byzantine scientific literature in Russian language in the works of Polish researchers, especially the younger generation. Due to the need for sharing the basic findings of Russian Byzantine scientists to a wider group of Polish readers I decided to commit this text, which was planned as part of the cycle including the analysis of Russian candidate and doctoral dissertations available in free access, owing to a well-developed database of such studies in Russia. Subjects of papers included in my article relate primarily to literary and philosophical issues, history of art, as well as military, historical and political issues of the Byzantine Empire.

TARİHİ YAPILARIN YENİDEN İŞLEVLENDİRİLME SÜRECİNDE CAM KULLANIMI: TRABZON KIZLAR MANASTIRI ÖRNEĞİ

Author(s): İzzettin Kutlu,İrem Bekar / Language(s): Turkish Issue: 13/2021

Developing technological data in our era also affects the field of building materials and the emerging high-tech materials provide great opportunities to the designer. In this context, different contemporary building materials have started to be used in the restoration processes of historical buildings. Contemporary glass material discussed in this study is a transparent and fragile building material that is often used with traditional materials in historical building restorations. Glass is a material that does not prevent original materials, can adapt to the original condition of the buildings thanks to its transparent feature, and can be recycled according to its use and it has an important place in terms of its potential to be used as a restorative material in the preservation of historical buildings. In this study, it is aimed to determine the architectural compatibility of the glass used in the restoration of historical buildings and to reveal the advantages and disadvantages of the use of glass. In this scope was discussed the Kizlar Monastery, located within the borders of Trabzon province in the Eastern Black Sea region. The study consists of three stages. In the first stage, a theoretical framework on the subject was formed through literature research. In the second stage, the data related to the study area were obtained and the current situation features of the buildings were examined with the field studies and archive documents. In the third stage, glass usage areas were analyzed in the restoration and re-using process in the Kizlar Monastery and processed on plan, sections, elevation and 3D models. The research can be considered as an archival document for the Kizlar Monastery, which has important historical values, and as a contribution to the field of impact assessment of the cultural heritage. In the findings of the study, it was seen that the interventions made for the Kizlar Monastery to connect the past and the future of the building greatly contributed to the original value of the building. As a result, it has been determined that the interventions made by taking care to preserve and maintain the original space flow of historical buildings contribute to the preservation and sustainability of the values contained in the structure.

19. YÜZYIL SAVUNMA YAPILARI: TRABZON TABYALARI ÜZERİNE BİR İNCELEME

Author(s): / Language(s): Turkish Issue: 13/2021

Trabzon maintained its importance and strategy throughout history because of its geographical position and harbour. The defense of the city against attacks and threats has been an important issue since it is an important location of Silk Road trade, which serves as a gateway to Europe and Russia by sea and a passageway to the inner parts of Anatolia, Caucasus and Iran. The city has witnessed the construction of a bastion which has changed the military architecture with the invention of firearms and emerged as a new type of building. The spatial organization of the local, which is now Kalepark/Ganita, has brought the castle to the fore and it became the military committee and command center. Trabzon and Çömlekçi bastions were built to protect especially harbors, coasts and regions where is concentrated active trade, including the main bastion in Güzelhisar. Hagia Sophia, which is the most important structure of the city and has many ideological and symbolic meanings, is located quite far from the city walls so it had to be defended against the attacks and dangers from the sea. For this reason, a bastion was built in front of Hagia Sophia. Also, another basiton was built in Polathane Harbour. Polathane Harbour, which was used in both commercial and military purposes, had been a strategic point especially in the 19th centruy as it was the first defence point in the sea aganist to Trabzon. So there were built Kireçhane and Sargana bastions due to Russian invasion to protect for harbour in the 19th centruy. Within the scope of the current study, a research was carried out regarding the bastions situated in Trabzon, and their importance was explained. This research employs archival material from Presidency of The Republic of Turkey Directorate of State Archives - Ottoman State Archives and Ottoman and French maps and plans. Bastionss are discussed in the light of archive documents in the context of repairs and reconstructions, budgets, construction decisions and architectures. Some financial difficulties in the construction of the buildings, have security problems caused by the location of bastions and sent from the central authority in the organization of the construction works and assist the city administrators were determined in the study.

SANAT ELEŞTİRİSİ İÇERİKLİ DERSLERİN ATÖLYE UYGULAMA SÜRECİNE YANSIMASINA İLİŞKİN ÖĞRENCİ VE ÖĞRETİM ELEMANI GÖRÜŞLERİ

Author(s): Rıdvan Arslan,Suzan Duygu Erişti,Necla Çoşkun / Language(s): Turkish Issue: 2/2021

Art education process includes a theoretical and practice based holistic approach. The basis of the holistic approach is the integration of many theoretical infrastructures such as art history, art criticism, aesthetics, visual culture, interdisciplinary relations, multiculturalism based on the art discipline with practice-based process. Art education process in Turkey includes theory and practice-based interaction in general. However the students had some troubles to interact theory and practice. In this context, in this study, it is aimed to reveal students' views on the possible interactions between art criticism based content and studio art process, based on the interaction of theory and practice in the art education process. The research has been structured within the framework of a case study based on qualitative research method. The participants of the study are 7 students and 3 instructors who conduct art criticism and studio art classes at Anadolu University, Faculty of Education, Arts Education Department in the fall semester of the 2018-2019 academic year. Research data were collected by semi-structured interview method. Descriptive analysis was used to analyze the research data. The results obtained based on the findings of the research are as follows: It can be indicate that art criticism, which aims to develop students' critical perspectives on artistic processes, reflects positively on practice based fields. Students who develop artistic processes with a critical viewpoint can reflect themselves better. Based on the opinions of the instructors, it is emphasized that art criticism, which has an important place in the social lives of individuals, is important in raising individuals with high awareness. The difficulties that students encounter in the process of interconnecting art criticism and studio art classes is also an important point that emerges in the research results. The fact that students have awareness of art criticism as well as some prejudices and generalizations is also emphasized according to the research results.

ÇAĞDAŞ SANATTA İFADE UNSURU OLARAK DİJİTAL ENSTALASYON

Author(s): Gültekin Akengin,Asuman Aypek Arslan / Language(s): Turkish Issue: 2/2021

A work of art includes a process that is shaped in the artist's dream world, continues with the participation of the audience, and sometimes continues with technological formations, can change, terminate or continue its existence in an endless process. Digital art takes place in the contemporary art process as the formation of art by human experience by pushing the boundaries of concepts, technology and the world of perception. Art has crossed all borders because it is one of the few things that the viewer can only define meaning. Advances in digital technology allow the artist to create a work that can now be seen and appreciated all over the world. Digital art has not only broadened the definition of art, but also increased the accessibility of art to the world. Artists tend to be more involved in the process than the outcome, and approach the creation of a work of art both experimentally and evolutionarily – something that's especially true for digital artists. The site-specific production of the installation enables the installation to be more closely related to other contemporary art forms such as video installation and performance. The expression, material and strategy possibilities offered by the installation to the artist have enabled many innovations and original works to be revealed. Digital installation is integrated with technology and offers its audience the opportunity to be directly involved in art by offering an interactive art experience. In this research, it has been concluded that the digitalization in art and the presentation of installation with digital opportunities, the artists successfully reflect this situation with their productions and the process will continue with innovations.

Ancient Greek Sculpture in the 20th Century Western Art

Author(s): Sibel Almelek İşman / Language(s): English Issue: 62/2021

Ancient Greek art and culture had served as a significant guide for Western civilisation for centuries. Greek philosophy, literature and mythology as well as art and architecture had a major impact on artists especially in the periods of Renaissance and Neoclassicism. It is interesting to see that Ancient Greek sculpture has still been inspiring for the 20th century western painters, sculptors and performance artists. This article will focus on the visual representations of four statues -Apollo Belvedere, Venus of Milo, Nike of Samothrace and Sleeping Ariadne- in the imagination of artists working in various styles. Depictions of aforenamed statues and their novel and distinctive interpretations had been the subject of this descriptive research. 20th century creations have been scanned for traces of Ancient Greek sculpture. These timeless paragons of Classical and Hellenistic periods acquired a fresh life thanks to the 20th century art world’s admiration and respect for the Ancient Greek sculpture. It can be concluded that by juxtaposing classical and contemporary imagery, artists created memorable and engrossing works.

Erol Deneç ve Ernst Fuchs’un Eserleri Üzerine Bir Karşılaştırma

Author(s): Rabiye Can Göl,Tuğba Güngör / Language(s): Turkish Issue: 62/2021

Fantastic Realism, rising from the surrealism movement, started with the Vienna Fantastic Realism school, which was founded in 1945 by Rudolf Hausner, Ernst Fuchs, Wolfgang Hutter, Anton Lehmden and Arik Brauer after World War II. Famous critic Prof. Johann Muschik named this core group "Fantastic Realists" due to the religious, mysterious subjects and symbolist approaches, that they dealt with in his works. In this research, the works of Ernst Fuchs (1930- 2015), one of the world's leading representatives of the fantastic realist art movement, "The Cross (1950)" and the "Human, Horse, Eagle Trio (1991)" by Erol Deneç (1941-…) are analyzed by using E. B. Feldmann’s "investigative art criticism" method, which is included in the discipline-based art education. E. B. Feldmann's method of "investigative art criticism"; consists of description, analysis, interpretation and judgment sub-titles. After examining the works individually, they were compared in terms of their similarities and differences. Despite the subject and technical richness of fantastic realism, the comparative analysis of the works of two artists who come from different lives and cultures, produced with similar characteristics, emphasizes the importance of the study, and it is thought that it will contribute to art education and shed light on the researchers who are interested in the field.

Budist Sanatta ve İkonografide Buda’nın Temel Mudraları ve Fiziksel Özellikleri

Author(s): Ali Gül / Language(s): Turkish Issue: 2/2021

Iconographic elements are among the important sources of the history of religions as well as the history of art. From these works, extensive information about religious persons, teachings and narratives can be obtained. The Buddhism we will be working on is an extremely rich religious tradition in terms of iconography. Buddhist art, built on ancient Indian art, influenced by Persian and Greek art and incorporating the cultural color of the lands it has spread to, has produced very rich iconographic works throughout history. The key element of Buddhist iconography is Buddha. Buddha's personality, life and teaching are depicted by Buddhist artists in these works. One of the prominent points in these depictions is hand gestures called mudra. Mudras, which are evaluated by considering the general posture of the body, reveal very valuable information in terms of Buddha and the Buddhist tradition. The article in your hand, accompanied by visual elements, will focus on the basic mudras, their meaning and importance, and some prominent physical features of the Buddha in Buddhist art, and will try to reveal the importance of Buddhist iconography in conveying the Buddhist tradition and doctrine. While doing this, the study will deal with Buddhist art and iconography with perspective of history of religions, not with history of art.

BŁAZEN I HOMO STUPIDUS. O NIEKTÓRYCH ASPEKTACH WSPÓŁCZESNOŚCI

Author(s): Olga Płaszczewska / Language(s): Polish Issue: 1/2021

The main purpose of the essay is to investigate the meaning of the figure of a jester in contemporary culture. The starting point for analysis is provided by the literary images, inspired by Jan Matejko’s paintings, of Stańczyk, the most famous Polish jester of the Renaissance (Stach Ostrożka depicted by Henryk Sienkiewicz in Potop [The Deluge] and the jester portrayed by Stanisław Wyspiański in Wesele [The Wedding]). The recognizability of those figures is interpreted as an indication that a given society succeeds in preserving their own identity. According to Vittorino Andreoli, an Italian psychiatrist and thinker, our civilization is heading for self-destruction due to the degeneration of human abilities to reason and to make connections between ideas. The figure of a jester, seen as a component of culture, remains significant as long as there is an intelligent audience, skillful in recognizing symbols, irony, and other tools used by a jester. The opposite of a jester is a modern homo stupidus who, having squandered the ability to use reason, is no longer capable of understanding his own culture and identity.

Київський театр класичного балету: історичний та мистецький аспекти діяльності (1981–1998)

Author(s): Olha Sergeevna Bilash / Language(s): Ukrainian Issue: 4/2021

The purpose of the article is to learn the pattern of the artistic activities of the troupe "Theatre of Classic Ballet" in the context of the historical development of Ukrainian choreographic art of 1980th and 1990th. The methodology of the work contains using such research methods as general-historical, comparative-historical, analytical, etc. The scientific novelty of the publication lies in the exploration of the work of the troupe of "Theatre of Classic Ballet" its historical and artistic aspects for the first time in history. Conclusions. The activity of the artistic group has been connected with the work of famous Ukrainian ballet masters of the second half of the 20th century, such as V. Vronsky (1981-1986), V. Rybiy (1986-1988), and V. Kovtun (1989-1998). V. Vronsky has formed the principal cast of the troupe, create a basic repertoire, which included masterpieces of the world and Ukrainian classics. Also, the team has been popularized because of the cooperation with the leading theatres of the USSR. V. Rybiy has extended the concert programs of theatre with the help of the works of Soviet and European ballet masters. He has gained an ability to show those works in any theatrical conditions, using a minimum of stage designs. However, V. Kovtun has introduced in the repertoire big choreographic forms and, in order to implement them - he has expanded the troupe to 45 people. He has also invited famous Kyiv performers to take part in the program and has developed abilities for young artists to enter the troupe.

Продюсер в кіно: Європейський культурний контекст

Author(s): Sergey Vitalyevich Lavreniuk / Language(s): Ukrainian Issue: 3/2021

The purpose of the article is to identify the specifics of the development of the producer's activity in cinema in the context of the European cultural space and to outline the vectors of mutual influence of the producer's activity in the countries of the Eurospace and Ukraine. Methodology. In elaborating the topic, the historical method was used to identify the peculiarities of the origin and development of the profession of film producer under the influence of sociocultural, economic, political factors, in particular, in Ukraine; analytical method and methods of scientific analysis, comparison, generalization, which came in handy in the process of establishing artistic, production, organizational, managerial, financial and economic features of the film producer in the European cultural space. For the sake of art history and culturological aspects of studying the problem, methods of systematization and analysis were used. The scientific novelty of the study is that the origin of the profession of producer in cinema is considered in the context of both European and Ukrainian cultural space, and has become the subject of a special multi-vector study; the content of the concepts of "film producer", "production system" as specific unique integrity and unity of interconnected elements is argued and clarified; the expediency of using the comparative method to study and manifest the peculiarities of production in the filmmaking process of European and domestic cultural space is proved. Conclusions. Acquaintance with the materials of this study enriches the arsenal of knowledge about the origins of the film producer in the culture of film production in European countries and Ukraine and provides a scientific basis for their use in courses on theory and history of culture, including filmmaking, production and directing.

Мистецтвознавчі та культурологічні аспекти знаків і символів в образотворчому мистецтві

Author(s): Anastasiіa Vitalievna Varyvonchyk,Igor Savich Bondar,Andriy Kulik / Language(s): Ukrainian Issue: 3/2021

The purpose of the article is to introduce into art historical and cultural discourse of theoretically processed, generalized, analyzed information regarding the understanding of the meaning of symbols and signs in cultural studies and art historian scientists; Clarification of the root causes of the occurrence of basic concepts in cognitive anthropology. The methodology is based on the method of critical analysis of cultural, art historical, and literary sources; semiotic method; induction and deduction methods; historical, logical, and method of interdisciplinary synthesis. Scientific Novelty. Intrutded to the past experience of scientists, philosophers, art historians, culturalologists bring the need to pay attention to the meaning of symbols and signs in art history and cultural studies. The origins of the origin of the basic concepts of cognitive anthropology are found out. The author's vision of the badge and symbolism of the non-verbal language is set out, which is assimilated through the mastery of the national culture and requires intellectual efforts, corresponds to the N. Chomsky hypothesis, according to which the nature of knowledge, its use, material or physical mechanisms, the formation of the knowledge base and its application are associated with cognitive ability man in general. A modern approach to discuss issues on perceptual, security-indexed, subject-functional and other codes in the perception of reality are considered. The newest achievements of foreign and domestic researchers in the definitions of semiotic terminology, logical justifications of symbols and signs in cultural studies, and art historian examination were studied and analyzed. Conclusions. The results of the study of literary sources on this topic provided the opportunity to draw conclusions that in the analyzed editions of many authors was given insufficient attention to the origin of the terms of cognitive anthropology in the presentation of scientific material.

ФРОНТОВИЙ РИСУНОК УКРАЇНСЬКИХ МИТЦІВ ПЕРІОДУ ДРУГОЇ СВІТОВОЇ ВІЙНИ

Author(s): Yuliya Maystrenko-Vakulenko / Language(s): Ukrainian Issue: 40/2021

Purpose of the article. During World War II, hundreds of Ukrainian artists were at the front. The drawings they created were a powerful source of propaganda for the Soviet regime. At the same time, in the general unity of the fullscale front-line drawing the individual features of artists of great artistic skill are clearly traced. The aim of the article is to determine the circle of leading Ukrainian artists who during the Second World War were in the troops of the Workers 'and Peasants' Red Army (RSCA) and worked in the field of drawing; to study the genre, artistic and stylistic structure, as well as materials and techniques of frontal drawings; identify the features of the reproduction of space-time in the front-line drawing of Ukrainian artists. Methodology. The study is based on the principle of historicism, a combination of historical and cultural, contextual methods, art history image and stylistic and system-comparative analysis. Scientific novelty. Peculiarities of human psychology of perception were clearly manifested in the drawing of frontline artists. The compression of the time field in the drawings of frontline artists is due not only to the doctrine of socialist realism, which was based on spatial three-dimensionality, but also to the peculiarities of human perception of time and space in stressful conditions. This also explains the difference of time display in the drawings created by the artists in the conditions of the front and evacuation. Artists, whose period of study coincided with the years of the avant-garde, the introduction of formal foundations of art in educational institutions, have achieved a much deeper and broader interpretation in the drawing of temporal and spatial categories. Conclusions. Frontline sketches were pictorial diaries: notes, sketches that were intended to be triggers for memories, for further writing of pictorial "memoirs" - paintings on the theme of war. This theme of Soviet propaganda will become a pass for future decades in all artistic spheres, both artistic and literary, musical, film and theater, etc., ensuring the favor of party leaders and the respect of the average Soviet man. Drawings of Serhiy Hryhoriev, Zinovy Tolkachov, Vasyl Ovchynnikov, Anatol Petrytsky, Georgy Melikhov, Anton Komashko and other prominent Ukrainian artists are distinguished by the ability to give the passage of events the meaning of epic generalization, elevation above the simplified goal of capturing the moment.

АНТРОПОЛОГІЧНИЙ ПОВОРОТ У МУЗИЦІ ХХ СТОЛІТТЯ

Author(s): Viktor Stepurko / Language(s): Ukrainian Issue: 40/2021

The purpose of the article is to determine the cultural and historical determinants of the anthropological turn in the music of the twentieth century when the civilizational desire to create an artificial environment led to the invention of new forms of compositional structures (twelve-tone system, aleatorics, etc.). The methodology consists of theoretical and interpretive models of analysis of mechanisms of cultural creation to determine their narrative orientation, systemic and comparative approaches to determine the specifics of the musical reality of modern culture to understand the interconnectedness with world social processes. The scientific novelty is to reveal the features of the interaction of social perceptual and artistic image in music at the turn of the XIX-XX centuries as a reality of musicological reflection, as well as to characterize the interaction of globalization processes and ethnic background in the music culture of late XX - early XXI centuries. Conclusions. The musical culture of Ukraine of the twentieth century is becoming one of the priority factors in the dialogue of cultures of both the post-totalitarian "Soviet" space and world music culture, due to the intensification of the search for new ways of human development. Expansion of spheres of interaction, integrative and globalization tendencies are not fixed as restoration of cultural-historical potential, on the contrary, polystylism as a general platform of formation is presented by appeals to Ukrainian baroque culture, the renaissance of sacred music, the revival of the ethnic component in art, search for new ones.