The study examines the specificity of the use of zoomorphic, ornithomorphic, and teratological motifs in the facade decoration of architectural structures from the Art Nouveau period in a provincial city, using the example of Astrakhan. The author sees the relevance of this topic in the fact that in the conditions of modern individual construction, these images of Art Nouveau can be in demand by customers, designers and art researchers. It is stressed that despite the innovative nature of Art Nouveau – with its pursuit of new forms, materials, and tech-nologies – the style did not eschew engagement with artistic heritage as a source of imagery and symbolism. This engagement notably included the use of zoomorphic, ornithomorphic, and teratological motifs in facade ornamentation. Particular attention is paid to the specificity of these motifs’ application through content-related, locational, and semantic perspectives. The study argues for the idea that the deployment of these images was multifaceted and diverse, reflecting not only the religious and philosophical convictions of customers or archi-tects but also the sociocultural characteristics of the Art Nouveau era.
Irina V. Kucheruk (Wed,) studied this question.