On March 20-22, 2013, the Institute of Music of the Russian Academy of Sciences hosted the XVI Grigoriev Readings¹, organized by the Department of China of the Institute of Music of the Russian Academy of Sciences in cooperation with the Moscow Music Society. This year, under the auspices of the readings, the All-Russian scientific and Practical Conference "The Influence of the East on Art and Science in the World" was held, dedicated to the memory of V. E. Yeremeyev2. About 30 reports were read, and the conference participants represented an extremely diverse range of scientific, educational and cultural institutions.

The conference opened with an introductory speech by the widow of V. Y. Grigoriev, I. D. Grigorieva, and the head of the Department. A. I. Kobzev's Department of China and Information Technology of the Russian Academy of Sciences. Then a musical composition by S. Slonimsky "Dedication to V. Y. Grigoriev" was performed, performed by M. Margorina (violin), Sayano Takahashi (piano). Welcoming remarks were made by the BB. Khabarov, Deputy Chairman of the Moscow Music Society, and K. V. Zenkin, Vice-rector of the Tchaikovsky Moscow State Conservatory.

A. I. Kobzev presented the report "World-historical significance of Chinese culture". Of the oldest world cultures that have survived to this day, the most distinct are Western (European-Mediterranean in origin) and Chinese. Their mutual polarity has deep anthropological, social, historical and cultural roots, different linguistic worldviews, psychotypes, etc. Contrary to the understandable desire of countries and peoples for multipolarity, the world of geopolitics, like the globe, always strives for bipolarity, and one of its poles was almost the entire history of mankind-and in the XXI century. Once again, it becomes China. If it was not subject to external aggression or internal turmoil, it was always economically superior, was the richest and strongest state in the world, and until the XV century. the most advanced in science and technology. In the eighteenth century, European enlighteners saw China as the ideal state of philosophers. The image of poor and hungry China emerged in the 19th century, when all the major Western powers, along with Japan and Russia, forcibly turned China into a semi-colony.

Only Chinese society in the Middle Ages could organize such large scientific enterprises as geodetic measurement in the eighth century under the leadership of the Buddhist monk and scientist Yi-xing and the astronomer Nanchong Yu of the meridian arc with a length of at least 2.5 thousand km from Indochina to Mongolia or an expedition of the eighth century to East India to observe the starry sky of the southern hemisphere. The Chinese were the first in the world to introduce decimals and an empty position to indicate zero, building decimal metrology, thanks to which even in the first century BC artisans used calipers with decimal calibration. By the beginning of the XIV century. the triangle

¹ "Grigoriev Readings" are dedicated to the memory of Vladimir Grigoriev, mathematician, musician, cultural historian, professor of the Moscow Conservatory. Conducted since 1998.

² Sinologist, historian of science. For more information, see: Kobzev A. I. Nrsmssv Vladimir Evstsnssvich (9.4.1953-7.7.2011) / / XLII scientific conference "Society and State in China". Scientific Notes of the China Department. Issue VI. Vol. I. Moscow: IV RAS, 2012, pp. 5-10.

Pascal (1623-1662) was considered here as an ancient way of solving equations. Such cases of copyright infringement by Chinese discoverers and inventors are not uncommon. The Cardano suspension (1501-1576) is more correctly called the Dichuan suspension (II century). Chinese astronomers were the most persistent and accurate observers of the pre-Renaissance period, creating an excellent cosmology describing the sky using modern coordinates, without a telescope they recorded solar and lunar eclipses, comets, humanities, meteors, sunspots and other celestial phenomena, data on which relevant to this day. Thanks to a high level of engineering, they created such astronomical instruments and devices as an equatorial installation and a clock drive.

Among the physical disciplines in traditional China, optics, acoustics, and the theory of magnetism were most developed, while in the West, with relatively greater development of mechanics and dynamics, almost nothing was known about magnetic phenomena. The lack of atomistics did not prevent the discovery of the hexagonal structure of the snowflake, which in Europe was found out many centuries later (And. Kepler), and lay the foundations for the knowledge of chemical affinity in the treatises of the Tang, Song, and Yuan eras (VII-XIV centuries). China was the birthplace of 32 world-historical discoveries, and only 4 of them came from the medieval West to the Far East. Today, China, which has abandoned the introduction of civilizational models alien to Chinese culture, is again naturally increasing its influence in world politics and culture.

A. M. Valuev (Moscow State University, MIPT) delivered a report entitled "The influence of the political culture of Medieval China and the Ottoman Empire on Russian statehood and Public Thought". The foundations of statehood and political culture in Russia were formed in the pre-Mongol era from Slavic, Norman and Byzantine elements. During the period of dependence on the Golden Horde, its influence on the development of Russian statehood indirectly included significant elements of the state traditions of China. The political thought of medieval Russia also tried to comprehend the experience of the Ottoman Empire (see The Legend of Magmetesaltane by Ivan Peresvetov).

The report of V. K. Sedov (Music School at the Tchaikovsky Moscow State Technical University, GABT) was devoted to the problem of mutual understanding between the West and the East. The fundamental difference in the thinking, religious systems, and social organization of the East and West has been examined countless times by researchers and observers. However, for example, in the system of teaching and upbringing of ancient China, you can learn a lot of valuable and quite acceptable for our psychology and social organization. In the music of European composers from the time of Mozart, one can trace not just an interest in the East, but also the embodiment of the images of the East by "European" musical means. For Mozart himself, this is both "Abduction from the Seraglio" and the clavier "Rondo alla Turca". Puccini, not only in his "oriental" operas ("Madame Butterfly" and "Turandot"), but also in the thoroughly Parisian "La Boheme", uses identical frets and melodic means. In "Turandot" Puccini managed to get so imbued with Eastern psychology that in the very unfolding of musical thought, a different, non-European system of thinking is clearly felt-unhurried, but not frozen, moving in its "coordinate system". In the East-West system, from the speaker's point of view, there is something that resembles a system of magnetic poles, which not only can co-exist, they cannot but co-exist.

E. M. Tarakanova (State Institute of Art Studies) made a presentation on oriental motifs in the works of Mozart and Wagner. The interaction of "Western" and "eastern" in European musical culture takes place in accordance with the dialectical law of unity and struggle of opposites. World religions originated in the East, and with them spiritual chants, antiphonal and responsory choral performance penetrated Europe. Many musical instruments came from the East (various percussion instruments, harp, oboe, violin, according to one version derived from Arabic stringed instruments). The musical and poetic art of the knights (troubadours, trouvers, Minnesingers) developed against the background of the Crusades to the East and acquaintance with local artistic traditions. Mozart's Oriental theme was embodied in the unfinished singspiel Zaida (1779), The Abduction from the Seraglio (1782) and The Magic Flute (1791), as well as in some instrumental works. R. Wagner in the opera Parsifal (1882) contrasts Christianity and paganism (the Holy Grail and the Magic Gardens Klingsor). The opera "Trlstan and Isolde" (1865), according to the composer's secret confession, is associated with Buddhist ideas about the origin of the world from a light cloud.

The conference continued with the report of the poet V. M. Ismieva (Moscow) " Semantics of stone in the culture of East and West. Aspects of interpretation". The eidos of stone and its derived forms in modern culture has numerous and unidentified connotations. The article describes universal semantic fields in European and Eastern archaic cultures and cults, in which the stone was considered as a sacred value within the framework of the sacred profane dichotomy. The symbolism of the stone, with all the differentiation of its ingrained meanings, can be reduced to more universal representations. In the light of these ideas, derived forms, such as tombstones, stelae, and obelisks, acquire new possibilities for interpreting meanings in comparison with those assigned to them in modern culture.

Message from V. D. Uvarov (Moscow State Financial and Industrial University) Synergy University) was devoted to the problems of applying the principles of traditional Chinese Feng Shui geomancy in modern design. The Oriental style in the interior is perhaps the most striking, exotic and rich, which allows it to stay firmly on the wave of popularity. The interior in Chinese and Japanese styles strives for harmony of space, in which each element is located in accordance with the rules of Feng Shui teaching. Japanese aesthetics is guided by the principle of " everything superfluous is ugly." The basis of the Japanese interior is emptiness, which emphasizes the internal elegance of the little that is in the house. The speaker reviewed the works of tapichie artists Tomoko Ishida, Shihoko Fukumoto and Asako Ishizaki, which, from his point of view, embodied many of the key lines of modern oriental design. The authors are based on the principles of harmony between man and the surrounding world, seek to emphasize the exclusive role of man in the universe, which is mentioned in the Buddhist tradition, and find ways to further develop human civilization. The unique author's techniques developed by them are rooted in traditional craft and artistic techniques of the East. The use of feng shui principles in the organization of the subject-spatial environment of the interior can bring undoubted benefits in the design of art objects and become widespread.

S. A. Eisenstadt (Far Eastern State Academy of Sciences He made a presentation on the influence of Confucianism on the piano culture of East Asian countries. Confucian traditions, which permeate the entire structure of East Asian societies, have a huge impact on various spheres of social life in the region. Most researchers of the piano art of China, Korea, and Japan recognize the influence of Confucian values on the promotion of piano art in East Asian countries. Hwang Ok On, analyzing the problem of the spread of piano education in the Republic of Korea, comes to the conclusion that this phenomenon is largely due to the proximity of some of the postulates of ethics and educational methods characteristic of Confucianism to a number of principles underlying the teaching of European musical art. According to the researcher, one of the main pillars of the Confucian moral code - loyalty to superiors and filial obedience-finds analogies in the sphere of European academic performance in the relationship between teacher and student, where obedience, strict adherence to the instructions of the teacher (and even imitation of him). they are more relevant than in many other European academic disciplines. According to Hwang Ok On, the Confucian worship of the past as a model and spiritual support and the veneration of ancestors has a parallel in the exclusive attention that European classical music pays to genealogy, an awareness of the spiritual connection with the traditions of the art school to which the student and his teacher belong. According to the speaker, the cult of hard work inherent in Confucianism is embodied in the rare complexity of teaching academic music. The researcher also sees analogies in specific teaching methods - first of all, in the great importance of repetition and memorization. This method, which was the most important in the Confucian pedagogical practice of the past, is not so widely used in most areas of European education. At the same time, he is very much in demand when teaching European musical art.

According to the author of this report, we should agree with the conclusions of Hwang Ok On and extend them to music education in other countries of the East Asian region with strong Confucian traditions - China, Taiwan, and Japan. From the speaker's point of view, the dramatic rise in piano education in East Asian countries, which was marked in the second half of the XX century, is largely due to the fact that it was during this era that the development of piano culture in the West began to show an increasing affinity for Confucian spiritual and educational values.

Post by M. N. Drozhzhina (Novosibirsk State University) Glinka Conservatory (Academy) was dedicated to the study of Oriental, primarily Persian, influences in Russian music. Eastern influences have always been strong in Russian culture. At the same time, in Russian music, the Arab-Turkish component acted as a generalized refraction of fairy-tale and mythological traditions, while the Persian culture - close, real, smoothly flowed through the Caucasus and Central Asia, with which it had no distinct cultural border. Perhaps that is why the phenomenon that can be described as "musical persiana" is gradually forming in Russian culture, growing out of the Persian chorus of M. I. Glinka's opera "Ruslan and Lyudmila".

The report presented an attempt to reconstruct the historical interaction between Russian and Eastern musical cultures. The discussion focused on the details discovered in the course of the research, which focused on the use of an authentic Oriental melody in the Persian choir from M. I. Glinka's opera "Ruslan and Lyudmila", which the composer heard from the secretary of the Persian envoy. It is less well known that M. I. Glinka successfully studied Persian with Professor Mirza Jafar Topchibashev (1790-1867). The author suggested that the relationship between Glinka and the professor continued after the end of the course. Confirmation of this can be found in the diaries and memoirs of that time.

In the autumn of 1829, the composer heard a Persian song composed by Khozrev Mirza^{'s secretary.} An analysis of archival and contemporary materials suggests that Mirza Mustafa Aoshar is the most likely of the three secretaries participating in the mission. Another member of the embassy is Fazil Khan Sheida (1783 or 1784-1852), a poet at the court of Abbas Mirza, teacher of his children, mentor of the prince. It was with him that A. S. Pushkin had a conversation on the Georgian Military Road (near Kazbek), having met the mournful mission equipped by the Shah of Persia. As for the question of what specific melody is in question, a significant literature is devoted to this problem; however, researchers could not come to a common opinion. Special attention should be paid to the Central Asian version, which is based on the marching melody widely known in Central Asia and distributed there under various names ("Persian March"," Bukhara March "in Bukhara," Badakhshan March "in the Pamirs," Kokand March " in Kokand, etc.). They are performed as a right wing by an ensemble of wind and wind instruments. percussion instruments and belong to the field of professional (court) music. The considered variants of the ancient march of Persian origin are close in many ways to the M choir.I. Glinka. Probably, the prototype of the theme that sounds in the Persian chorus of the opera "Ruslan and Lyudmila" was some very widespread Persian court march.

The conference was attended by the artist-painter M. Y. Syurna (Moscow), who read the report "Mirror images of Japanese culture in Western art". The speaker spoke about the significant influence of the aesthetics and philosophy of the Land of the Rising Sun on the culture and art of European countries, Russia and America in the late XIX - first half of XX centuries, in particular on the formation of French impressionism and Russian cubofuturism. Parallels were drawn between prominent artists and poets of the East and West, for example: Katsushika Hokusai and his theory of "Hohenron" in 1812 and Kazimir Malevich and his "birth of Suprematism" in 1913, the anthology of Japanese poetry "Collection of Myriad leaves" of the VIII century. and the collection of poems "Leaves of Grass" by Walt Whitman in 1855. on the indispensable mirroring of the Western mind's perception and reflection of Eastern aesthetics and ethics, as well as in the East's perception of Western ideologies and culture.

The message of the artist A. M. Ranu (Moscow) was devoted to the issues of perception in Russian and world culture. The conference was continued by the report of A. S. Kharitonov (Russian State Social Service). un-t) "Mathematics of harmony in Europe and the East".

The report of K. I. Bakhtiyarov (Goryachkin Moscow State Agroengineering University) was devoted to the study of the "Book of Changes". According to the speaker, it is promising to consider parallelisms between trigrams and hexagrams of the ancient Chinese "Book of Changes" and the genetic code.

V. N. Yunusova (Tchaikovsky Moscow State Conservatory) made a report on the study of Oriental music in Russia. Russian music science has always shown a great interest in the study of music.-

³ Khosrsv / Khosrsv Mirza - Persian prince (1813-1875), who headed the redemptive mission sent to Russia to apologize and repent for the murder of A. S. Griboyedov, to settle a diplomatic scandal.

although she did not declare musical Oriental studies as an independent scientific field. From the very beginning, it was of a complex nature, combining both special musical (theory, history of music, ethnoorganology, musical folklore studies), as well as philological and cultural methods and approaches. The formation of Russian musical Oriental studies took place within the framework of the tradition established in Russian science to combine "European scholarship with Asian scholarship". In European countries, the study of Oriental cultures took place within the framework of ethnomusicology (comparative musicology in Germany, musical ethnography in Poland). In the 1980s, the world "alignment" of ethnomusicology as a new discipline in name, but not in essence, came to an end. It is important to note that in the West, ethnomusicologists are trained at universities, which provides a close connection with other humanitarian areas; in Russia, they are trained at conservatories, which has its own strengths (a higher level of special musical training), and weaknesses-a certain isolation of musical Oriental studies from its other areas.

For a long time, musical Oriental studies developed within the framework of ethnomusicology, adjacent to musical folklore studies, which, in turn, dealt not only with folklore itself, but also with professional music of the oral tradition. It is from folklore studies that musical Oriental studies borrowed methods of fieldwork, recording, recording musical material, cataloging, and methods of understanding the music of the oral tradition as an intrinsic phenomenon of world culture that is not necessarily associated with a certain stage in its (cultural) development. Gradually, musical Orientalism concretized the area of research and the specifics of the approach. As a result of the process of separating scientific schools in Russia and the former Soviet republics, research interests shifted from the musical cultures of the Soviet East to those of far-abroad countries. At the same time, some musicologists-Orientalists turned their attention to extra-European traditions within the Russian Federation itself. Studies have been published on the musical traditions of Islam in the Volga region, the Urals, Siberia, and the North Caucasus; Buddhist music in Kalmykia, Tuva, and Buryatia; and shamanic rituals in Siberia. Many of these traditions are now at the stage of extinction, which increases the relevance of their research. Defining the characteristic features of schools of musical Oriental studies, we can note the predominance of music-theoretical problems in the Far Eastern and, partly, in Novosibirsk schools, ethno-instrumental studies - in St. Petersburg, and a broad musical and cultural studies from the archaic to the present day-in the Moscow school.

The report of O. V. Zotov (Institute of Oriental Studies of the Russian Academy of Sciences) was dedicated to the greatest Russian military orientalist, Lieutenant-General A. E. Snesarev (1865-1937).

Composer T. B. Buevsky (Moscow) made a report on the famous work of J. R. R. Tolkien. Cage "4 ' 33"". There are different opinions about this composition. Not only do the reviews of those who witnessed the performance of this play differ, but the interpretations of the performers themselves are radically different - from a fun staged play in the genre of instrumental theater to an in-depth philosophical mystical action. Like any significant work of art, " 4 '33" is multi-faceted, so different approaches to the performance of this piece can be justified. As you know, Cage was fond of Zen Buddhism, and I think it is logical to consider this work with this aspect in mind. For the most complete understanding of the composer's idea, it may be useful to get acquainted with the meditative technique, which in Zen Buddhism is usually called zazen-contemplative meditation, "quiet sitting". Interestingly, similar works related to the absence of any sounds were created long before" 4'33" by J. Cage. You can recall the" Funeral March for the funeral of the great deaf man " by Alphonse Alley (1893). By the way, A. Alley anticipated another creation that belongs to a different art form, but is often mentioned in connection with " 4 '33". Twenty years before K. Malevich, in 1893, he painted the painting "The Battle of Negroes in a deep cave on a dark night", which is an analogue of the"Black Square".

The conference was continued by the report of S. V. Golubkov (Moscow State Tchaikovsky Conservatory) "On the quarter fret with an extended second and Schnittke Synagogue Fret". The concept of the synagogue (Jewish) fret in musicology did not exist until recently, because it was recognized as identical to the concept of the Arabic fret and the generalized concept of the Eastern frets, which are related to the ancient Greek and Byzantine frets.

well-known sequence types and used in Symphony No. 4 for Soloists and Chamber Orchestra (1984). The main characteristics of this lada were analyzed in detail by the speaker.

Doctor D. L. Weise (Moscow) introduced the students to his work in the field of visualization of the principles of building a Chinese calendar. The speaker developed a model of the eastern calendar of the 60-year cycle, which links the year number of the cycle with its name. The model is made in the polar coordinate system and uses the regularities of the arrangement of leaves and other form-forming elements on the plant stem (phyllotaxis). As you know, the eastern calendar is based on the periodic alternation of combinations of 10 Heavenly Trunks and 12 Earthly Branches. In the model, the ten Celestial Trunks are depicted as ten spirals twisted in one direction, and are likened to the twelve parastichas of a plant (for example, rows of seeds on the sunflower seedbed). The twelve Branches of the Earth are similarly arranged in twelve spirals, twisted in the opposite direction. Computer animation allows you to draw a calendar in the form of a blooming flower. The years appear in the center and move centrifugal in all directions in the drawing plane. Two sets of spirals, each marked with a corresponding hieroglyph at its peripheral end, rotate in opposite directions.

M. V. Rudakova (IV RAS) made a presentation on intellectual art in Arabic culture. Islam reflected many of the pre-Islamic ideas about the world, the nature of people and things that were characteristic of the Arabs and, more broadly, of the Semitic peoples. First of all, this is the desire to see the inner essence of things, to reveal the signs of fate, and among the Bedouins-to distinguish reality from mirage. The wisdom highly valued by the Bedouins was accumulated through experience and reflection. In the Islamic era, the level of reflection began to cover the spheres of religious and spiritual experience. In this context, the speaker touched upon the phenomenon of Sufism, as well as "typically Islamic" arts such as ornament, calligraphy and architecture. They clearly reflected the doctrine of "explicit" and "secret".

Report by T. S. Sergeeva (Kazan Fed. un-t) was devoted to the analysis of the" musical trace " in Arab-Spanish philosophy. An appeal to the spiritual heritage of Muslim Spain always reveals the process of cultural interaction, since Andalusian culture has become a kind of bridge between East and West. This is clearly demonstrated by the Arab-Spanish philosophy belonging to the direction of Falsafa (i.e., Eastern peripatetism), which was based on the teachings of Aristotle, Plato, as well as the ideas of al-Farabi, the "Brothers of Purity" and others. The speaker elaborated on the figure of the outstanding scholar-encyclopedist Ibn Baji (Awempas) (d. 1136), whose broad knowledge related to philosophy, mathematics, natural sciences, medicine, astronomy, musical aesthetics, theory of poetry, etc. Most of his famous works are not finished (the book Kitab fy-n-nafs, works on logic and natural sciences). Fragments of Ibn Bajji's philosophical writings have come down to us from Hebrew and later Latin translations. He was an outstanding musician, theorist, composer and performer. He is credited with a treatise on musicRisala fi-l-musika, which has not been preserved, but is mentioned in many Andalusian sources and is equated in importance to Al-kitab al-kabir al-Farabi.

Ibn Bajji's philosophical works (especially in Kitab fi-n-nafs) focus on the problem of the possibility of unity of the soul with the divine, which is considered by him as the most exalted human activity and the highest happiness, and moreover exclusively as the final stage of intellectual ascent. He is known to have criticized the Sufis for substituting imaginary knowledge for rational knowledge. As a well-known physician, he paid special attention to the justification of the healing power of music, stating that when a person takes an instrument and performs music, accompanying poetry, his soul plunges into a special world, reaching the depths of his being, being purified and perfected. Ibn Bajja believed that the voice, being the essence of the heart, passes through various vital organs before reaching the mind and bringing peace to the soul. He emphasized the importance of four important points of the body in the process of singing, which, in turn, are associated with the four strings. Offering in his major philosophical work Tadbir al-mutawahhid the idea of" internal migration", the spiritual retreat of a philosopher in an imperfect city, Bajja considers the arts not as an end in itself, but as a condition for achieving happiness. Ibn Bajja holds a place of honor among Arab thinkers, exerting a strong influence on the views of his contemporaries - Ibn Rushd (Averroes) and Ibn Tufayl. However, the" musical theme " in their works was not further developed.

The message of L. P. Chernikova (Bash. GU) was devoted to the life and work of one of the prominent writers of the Far Eastern emigration, Pavel Severny (1900-1981). Once in China, together with the remnants of Kolchak's army, Pavel von Olbrich (this was the real name of the writer) tried many professions, even played in Harbin theaters. By the beginning of the 1930s, Pavel Severny's name was already well known to readers, and his works were published in many Russian-language Harbin and Shanghai magazines and newspapers. At the end of 1931, due to the need to escape from the Japanese mobilization, the writer left Manchuria, deciding in desperation to move on foot to Shanghai. He crossed almost the whole of China, learned a lot about the country and the national life of the Chinese. In those years, Europeans were very rare in the hinterlands, and the rich Chinese were willing to let travelers spend the night on their estates. Later in his books, the writer described much of what he saw. In 1933 Pavel Severny settled in Shanghai. During this period of creativity, the writer turned entirely to the distant past of Russia, wrote essays and books about the formation of Andrei Rublev's work, about the life and tragic death of L. A. Tolstoy.S. Pushkin, about I. S. Turgenev, about the past of the Urals and the Demidovs. At the same time, a whole series of Chinese short stories and novellas came out from his pen, which were successful and published in Russian-language emigrant publications. He returned to his homeland after almost 30 years in a foreign land in 1954. In the USSR, Pavel Severny managed to keep the profession of a writer: first an editor in a publishing house, then a writer. Starting with children's stories, he then moved on to writing books on the history of Russia. The writer has published a number of novels and short stories on Chinese subjects.

In general, the conference was quite unusual, bringing together different people of science and art. Much of it was different from academic scientific forums, but it undoubtedly encouraged the exchange of views in the broadest audience, and not among a narrow circle of specialists, which is often the sin of conferences.

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