Title of the article:



Nikolay P. Beschastnov

Irina V. Rybaoulina

Alexandra S. Dembitskaya

Information about the author/authors

Nikolay P. Beschastnov — Doctor of Arts, Professor, A. N. Kosygin Russian State University (Technology. Design. Art), Sadovnicheskaya St. 33, 117997 Moscow, Russia. E-mail: npb.art@mail.ru

Irina V. Rybaulina — PhD in Technology, Associate Professor, A. N. Kosygin Russian State University (Technology. Design. Art), Sadovnicheskaya St. 33, 117997 Moscow, Russia. E-mail: irina_rybaulina@mail.ru

Alexandra S. Dembitskaya — Lecturer, A. N. Kosygin Russian State University (Technology. Design. Art), Sadovnicheskaya St. 33, 117997 Moscow, Russia. E-mail: alex.dembitskaya@mail.ru.


History of Arts




Vol. 55


pp. 272–286


November 15, 2019

Date of publication

March 28, 2020



Index UDK


Index BBK



Тhe study identifies and describes the main ways and forms of existence and development of domestic arts and crafts, including folk crafts, at the end of 20th in the first decades of the 21st century. Briefly, drawing on individual examples the authors highlight the features of experimental work in the system of national ornamental creativity and professional art with active use of traditions of national culture. A significant part of the text addresses achievements in the field of decorative and applied art of domestic art colonies “manor type”: “Abramtsevsky circle” in the estate of S. I. Mamontov and workshop of Princess M. K. Tenisheva in Flenovo as the results of the activities of these colonies continue to influence domestic substantive work to this day. The paper determines the place that Pavlovo ‑ Posad shawls and headscarves hold in the art of the second half of 20th – early 21st century, i.e. during the period of their active introducing into artistic processes of project type creativity. Particular attention is paid to the principles of the use of national motifs in the art of postmodernism, as well as to the application of innovative technologies. The study showed that the external denial of artistic traditions and aestheticization of chaos in postmodernism did not eliminated the use of ancient ornamental forms from modern design practice. Destructiveness, irony, manifestation of metonymy is used to conduct a constant dialogue with the heritage of traditional art. This dialogue often acts as a basis for semantic dynamics of project searches. The traditional ornament in contemporary art frees itself from semantics of the motive associated with its place of existence in canonical subject creative work, and designers transfer it to objects created in the culture of the late 20th – early 21st century. The authors suggest the possibilities and methods of citing the ornaments of the past in a new environmental culture, provide examples of the use of high technologies in imitating traditional materials and aestheticizing of ancient technological methods and report about a gradual return of interest in the fundamental nature of ornament on the path of spiritual renewal of society.


ornament, Canon, fabric, costume, shape, motif, composition, color, decorative and applied, design, postmodernism, deconstruction, innovative technologies. 


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