From technological features to the understanding of artistic intention (on the example of works by l. R. Tsesyulevich).

This study presents a comprehensive examination of the paintings of Leopold Romanovich Tsesyulevich (1937–2017), one of the most distinctive representatives of the Altai artistic school of the second half of the 20th century. The research aims to identify the technological features, artistic techniques, and semiotic interpretations of his works, as well as to attribute paintings from different periods of the artist’s career. The authors employ an interdisciplinary approach that integrates methods of art history, semiotics, and advanced technological analysis of painting structure and techniques. The study utilizes ultraviolet and infrared imaging, macro and micro photography, photodocumentation, and cross-section analysis of paint layers. The focus is on two key works by Tsesyulevich: the triptych People-Bogatyr (1969) and the painting Altai Roses (1974). The triptych is analyzed as a complex semiotic system in which formal elements (geometricized forms, contrasting color schemes, and dynamic textures) are interwoven with profound symbolic meanings reflecting the ideas of historical continuity and national identity. The painting Altai Roses is examined through the prism of its unique technique of optical color mixing, which creates an atmospheric haze effect and symbolizes the harmony between humans and nature. Technological analysis confirms the artist’s consistent use of multilayered painting, a technique rooted in the traditions of medieval and Renaissance art. The identification of this distinctive technological method within Tsesyulevich’s body of work suggests that it is an inherent component of his creative process. Consequently, the presence of such characteristics in unattributed paintings may serve as indirect evidence of their authorship and provenance. The study contributes to the expansion of methodological frameworks in art history by integrating humanities-based and scientific approaches. Furthermore, it deepens the understanding of Tsesyulevich’s artistic legacy as an essential part of Altai’s cultural heritage. The authors argue that the combination of visual-semiotic analysis with modern technological methods enables the discovery of new aspects of the artist’s creative intent and technical mastery. The findings of this research can be applied in further studies of Tsesyulevich’s oeuvre, as well as in comparative analyses of Russian and international artistic schools. The methodology and technological insights derived from this research hold significant potential for applications in art conservation, museum studies, expert authentication, and artwork attribution. Additionally, the study provides valuable perspectives for examining the artistic practices of Siberian and Russian painters of the 20th century within an international context.