Issue No. 1 (40) of “The Arts of Eurasia” journal is dedicated to exploring the enduring influence of artistic schools on the evolution of art. This edition provides a comprehensive analysis of masters and seminal works spanning from the Middle Ages to the 21st century. The articles examine the formation of the 12th-century Novgorod pictorial tradition under the influence of Byzantine and Kievan masters, as well as the development of 17th-century Kostroma iconography in dialogue with metropolitan schools. A study of the “Embriachi workshop” challenges the prevailing myth of a singular Italian bone-carving school in the 14th and 15th centuries, offering a revised perspective on the organization of production and the role of individual masters in shaping the artistic crafts of the Late Middle Ages and Early Renaissance. Furthermore, the influence of Netherlandish schools on Westphalian painting is illustrated through the example of Johann Koerbecke’s Marienfeld Altarpiece. Moving into the Early Modern period, Claude-Joseph Vernet is highlighted as a pre-eminent figure of the 18th-century French school of marine painting. The 19th century is represented by the work of George Wekler, a master of micromosaic, and the Achenbach brothers, alumni of the Düsseldorf Academy. Particular attention is paid to the study of Jan Ciągliński and his pupils, elucidating an innovative pedagogical system that served as a “bridge” between academic tradition and the avant-garde, profoundly influencing the Russian avant-garde movements of the early 20th century. Additionally, Vasily Polenov’s cycle “Ghosts of Hellas” is presented as a programmatic work, in which the artist engages in a polemic with contemporary theories of antique polychromy.

This issue also includes research on the collection of the Geser epic visual arts in the National Museum of the Republic of Buryatia, an investigation into the miraculous icon “Skete-Abalak Mother of God of the Sign”, and the history of the metallic decor of the Transfiguration Church at the Alexandrovsky Plant in the Perm Province. The volume further explores folkloric figures in the works of Tuvan stone-cutters and the pursuit of a patriotic artistic image in the graphic works of Sergei Timokhov. Additional topics include the classical traditions of Russian porcelain in the works of Tatyana Afanasyeva, the creative method of Evgeny Klimov, the visual language of the photographic avant-garde, the history of the Votkinsk foundry, and the art of Limoges enamel. This issue offers an insightful immersion into cultural contexts and artistic traditions, underscoring their historical significance and evolution.