Objective. To assess the prevalence of hypertension (HTN) in the population of the Nizhny Novgorod region and its relationship with hyperuricemia (HU) and other cardiovascular risk factors. Design and methods. We examined 2501 people aged 35–74 in the population of the Nizhny Novgorod region, selected by the stratified multi-stage random sample. All respondents underwent a laboratory study of the following parameters: total cholesterol, low-density lipoproteins (LDL), high-density lipoproteins, triglycerides (TG), fasting glucose, creatinine, uric acid, highly sensitive C-reactive protein (Hs-CRP) and fibrinogen. We also calculated body mass index (BMI), visceral obesity index with Amato formula and glomerular filtration rate with CKD-EPI formula. Binary logistic regression method was used to construct a predictive model for the risk of HTN. Statistical analysis was performed with IBM SPSS Statistics 26 software (USA). Results. HU was identified in 29,3 % of respondents with HTN. The mean uric acid level in this group was 345,1 [285,6; 410,55] µmol/l and significantly differed from the same indicator in residents without HTN — 297,5 [249,9; 351,1] µmol/L (p < 0,001). In the multiple logistic regression model, the most significant factors associated with HTN were age over 53 years (odds ratio (OR) 2,954, 95 % confidence interval (CI) 2,456-3,554 p < 0,001), abdominal obesity (OR 2,112, 95 % CI 1,663-2,730, p < 0,001) and HU (OR 1,709, 95 % CI 1,341–2,177, p < 0,001). A lesser contribution was made by such factors as the respondents’ BMI over 25 kg/m2 (OR 1,634, 95 % CI 1,262–2,117, p < 0,001), elevated TG level (OR 1,567, 95 % CI 1,289–1,906, p < 0,001), male gender (OR 1,553, 95 % CI 1,281–1,883, p < 0,001), elevated Hs-CRP (OR 1,498, 95 % CI 1,242–1,806, p < 0,001), elevated LDL (OR 1,277, 95 % CI 1,038–1,570, p = 0,020). Conclusions. The results of the study indicate the widespread prevalence of HU in residents of the Nizhny Novgorod region with HTN: almost every third (29,3 %) had this disorder. In a multiple logistic regression model, HU was found to be highly correlated with HTN (OR 1,709, 95 % CI 1,341–2,177, p < 0,001), along with traditional cardiovascular risk factors such as male gender, age, overweight and obesity, lipid metabolism disorders. The high frequency of HU, its independent correlation with HTN, and the prospects for urate-lowering therapy in the prevention of cardiovascular diseases determine the need for further research.

The article considers the urgent problem of combating cardiovascular diseases (CVDs) in the Nizhny Novgorod region, including the high prevalence of CVDs and the timely identification of risk factors. The changes in mortality from all and individual causes was analyzed. Attention was paid to the negative impact of the coronavirus disease 2019 (COVID-19) pandemic on the health of people suffering from noncommunicable diseases. We also described the necessity to improve healthcare efficiency for CVD patients by improving the complex of managerial and preventive measures.

The study of Russian stone-cutting art remains an important and urgent task of contemporary Russian art history. It is necessary to take a fresh look at this direction of Russian decorative art and find out whether Russian stone-cutting art is an internal phenomenon, or it is based on European borrowing. This article refers to works of stone-cutting enterprises of the Urals and the Altai, i. e. Yekaterinburg and Loktevsk Manufactories, which worked exclusively at the order of the Cabinet. In the late eighteenth century, there was a system for ordering stone products in Russia. To do this, they formed sets of “samples” of natural ornamental stone from Russian deposits and compiled albums of product projects. When sending an order to the factory, they attached a sketch and indicated the number of the stone which the product was to be made of. A complex analysis of Russian stone-cutting art testifies to the fact that it followed European fashion, traditions, and technology. European specialists were invited to Russia in order to organise stone-cutting production. Also, travellers brought elegant artworks made of decorative stone by European masters. By the late eighteenth century, stone-cutting production had come a much longer way in Western Europe than in Russia. The production of works of art made of stone was carried out in Italy, France, England, Sweden, and other European countries. Russian commissioners wanted to obtain similar items, and the masters imitated and reproduced European originals. When comparing designs of decorative vases, one can see an undoubted influence of European analogues. However, if there is an obvious similarity to their decorative design, Russian masters are characterised by the ability to reveal the unique aesthetic properties of the material. At the first stage, the influence of European masters was not to be argued, but later on, Russian stone-cutting art began to acquire its own unique features, although it developed along the lines of the dominating pan-European stylistic trends.

This article studies one of the relevant issues of Russian stone-cutting arts of the turn of the nineteenth century, i.e. the problems of attribution of Altai stone-cutting works. The author carries out a comparison of graphic materials with images of stone-cutting products from the Lokot’ Altai Factory. The author singles out sets of images of stone objects from the Lokot’ Stone-Cutting Factory kept in the funds of the State Hermitage Museum and the Altai State Museum of Local Lore, which makes it possible to get a more comprehensive idea of the history of the development of Russian stone-cutting art, dispel persistent myths, and shed light on the activity of an almost forgotten unique production. Particular attention is paid to the organisation of stone-cutting production in Russia starting with the second half of the eighteenth century, as well as the administration of the Kolyvan’ factories in the management system of the Cabinet of His Imperial Majesty. The author closely examines the system of orders, production, and performance of Russian grinding factories. For the first time in this research field, much attention is paid to the systems of documenting every step of stone-cutting production from the stonecutters to presentation to customers. The author confirms the fact that the Lokot’ Factory used already tested projects of the Peterhof Granite Factory as samples for their production. The article presents drawings of stone objects made during the work of the Lokot’ Polishing Factory in the Kolyvano-Voskresensky mountain district of Altai. The results of this scholarly research may be used to conduct an examination of objects of decorative and applied art. In the course of the study, it is proposed to distinguish between two periods in Altai stone-cutting art: Lokot’ (1786–1799) and Kolyvan’ (1802 — present) and based on the collected graphic materials attribute the works of two stone-cutting enterprises of Altai of the late eighteenth — nineteenth centuries. The graphic materials referred to in the study are an array of historical and archival sources of a high documentary value for the attribution of stone-cutting products made by Altai masters.

исКусствоведение: ПроБлеМы авторства и атриБуЦии Боровкова Наталья Валерьевна кандидат искусствоведения, старший научный сотрудник горного музея санкт-Петербургского горного университета доцент кафедры материаловедения и технологии художественной обработки материалов санкт-Петербургский горный университет 199106, санкт-Петербург, 21 линия в.о., 2