The subject-thematic picture as a component of the cultural landscape (on the example of painting by Barnaul artists)

The artist, creating a work of art, inevitably completes the reality, creating a cultural landscape of the territory associated with this artwork. This fact is most clearly manifested in urban landscape painting, as it is partially and natural landscape, both man-made and associative. The subject-thematic picture is aimed more at creating an associative terrain landscape, but can also reflect the cultural landscape in its entirety. The cultural landscape is represented through plot-thematic painting, taken in an unusual perspective. A specific property of painting is its musicality, understood as the presence of musical characteristics of all attributes of a pictorial work. Any landscape also contains a sound component, so the accentuation of the musicality of a work of art does not contradict the required completeness of the cultural landscape being formed. The genre of the plot-thematic picture allows you to reflect the action, movement, directly related to the physical nature of the sound phenomena, which is musical in its basis. In addition, this genre combines the possibilities of musicality of the landscape and the musicality of the portrait, which makes the musicality of the subject-thematic picture a vivid and obvious phenomenon. The best result is possible in the analysis of those picturesque works, the subjects and themes of which have obvious connections with the musical art. Therefore, the musicality of the subject-thematic paintings devoted to the depiction of any ritual actions was chosen, since initially the sound in the ritual had a full meaning and emotional load. Sound is most sensitive to the translation of the intention of the living space, its rhythmic state and as a consequence of a certain position in the world. Presumably, sound even before it becomes a bearer of signs and meanings, can already be a carrier of vitality or mortality. The absence of sound (silence) is also an acoustic phenomenon, which is difficult to reproduce absolutely, so silence, more often than not, is perceived as a relative lack of sound. Moreover, silence can be a phenomenon (before) and post-sound, with an impressive amount of sound characteristics (tempo, rhythm, meter, size, dynamic characteristics, etc.). As a consequence, the result of ignoring these properties of sound is the disappearance of a feeling of fullness of being and creative potential. That is why the hierarchy of the languages of the ritual action, as a rule, varies from rite to rite, or within one rite. A striking confirmation of the careful attitude to sound phenomena is still the traditions of the kamlaniya of the Altai shamans, depicted in the works of Yu.Yu. Nikityuk Yu. B. Brulgina, N.V. Ostritsova, V. Chukuev.

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