No 88 (2025)

Integrative research occupies an important place in the field of humanities discourse. The first attempts to identify ways of interdisciplinary collaboration in solving educational challenges date back to the mid-20th century. Grigory Rosenblat (1909-1963) played a significant role among the pioneers in exploring the integration of visual arts into the study of literature. He authored the first theoretical and practical works that laid the foundation for the integration of painting and literature in the educational process. This article analyses the published works and manuscripts of Grigory Rosenblat. The main stages of his academic career are identified: studying the issues of teaching literature at school (1945-1950), researching the problem of visual aids in teaching literature at school (1950-1955), and developing a methodology and techniques for using visual arts in literature classes (1955-1963).

This article examines contemporary Russian glassmaking and explores how specialists interpret the legacy of the Soviet art industry. The relevance of this research stems not only from the growing attention paid to the Soviet artistic and industrial heritage. The study shows that modern domestic industries continue not only to rely on the experience of the Soviet industry, but also often follow the traditions that have strengthened in a particular region. The focus of the study was on the following modern Russian industries: the art glass workshop “RUSVUZDIZAIN” (Saint Petersburg), “Bakhmetyevskaya Artel”, “Nikolskie Crystal Workshops” (Nikolsk), Gus Crystal Factory named after A. Maltsov (Gus-Khrustalny), “Dyatkovo Crystal Factory Plus” (Dyatkovo). As a result of the comparative analysis, three main groups were identified, demonstrating the variants of interaction of modern authors with the Soviet heritage of the art glass industry: 1) reminiscences (associated with the reflection of the influence of works of Soviet enterprises on the modern art industry, most often manifested in the stylistic features of the works); 2) reinterpretations (variants of reinterpretation of recognisable objects); 3) reconstructions (reproduction of works of art glass of the past).

The article focuses on the potential of printmaking techniques for the visual design of animated films. The examples show that since the early 20th century artists have been using the techniques of printmaking or its imitation for animated films. The emergence of a new kind of visuality in contemporary culture calls for a more complex visual language in audiovisual works and implies the prospects of applying authorial techniques in the creation of an animated film.

The article examines the vocal ensembles of Jin Xiang’s opera “The Savage Land” from the standpoint of the influence of the European tradition on the Chinese academic opera school, and analyses their role in contemporary Chinese opera as important elements of musical dramaturgy that carry semantic weight in the development of the plot. It identifies a tendency to reduce spoken dialogues and the assimilation of speech fragments into ensembles based on the equal mutual influence of verbal and musical components. It also notes the emergence, at the turn of the 20th-21st centuries, of a new type of ensemble - the vocal-speech ensemble - which implies a synthesis of Western European operatic traditions and China’s national vocal traditions.

The article is devoted to the features of interaction between authorial creativity and mass production in the formation and development of the Soviet art industry. The focus is on the problem of transformation of artistic culture and identification of the features and principles of decorative and applied art, which formed the basis of a new method of mass production. Using Leningrad’s decorative and applied art as a case study, three modes of object-based creative practice are identified - authorial unique work, authorial serial work, and art-industrial manufacture - together with the structures of its institutional organisation: educational, production, experimental, expert, and authorial venues.

The article is devoted to the period of the academic career of the Soviet art critic J. Ioffe, founder of the theory of art synthesis, from 1922 to 1927. Using the materials of the Central State Archive of Saint Petersburg, the author describes the institutions in which Jeremiah Isaevich taught, analyses the curricula and staffing of the Herzen Pedagogical University for the 1924-1926 academic years and describes the training courses taught by the scientist. The conclusion is made about the prerequisites for the formation of scientific art studies at the Herzen Pedagogical University.

The study focuses on the period when the principal modes of interaction between enterprises of the textile and art industries and state institutions began to take shape. The directions of development of artistic textiles are outlined, and the methods of applying designs to fabric are listed. The conclusions noted that in the 1930s and 1940s, factory- made and industrial textiles contributed to the advancement of the Soviet system. The role of textiles in the interior design of public buildings was identified and the foundations for monumental propaganda were created.

Guo Zurong is one of the greatest Chinese composers of the late 20th - early 21st centuries. This article is the first attempt to specifically address his Piano Sonata No. 3 (1951). This is one of the most artistically significant and valuable works of the composer in terms of repertoire, bringing the history of the Chinese piano sonata to new frontiers. As the analysis shows, the composer asserts the type of non-programmatic sonata in national music, deviates from the canonical interpretation of the cycle, introduces bright tragic emotionality and subjectivity of tone into Chinese piano creativity. The sonata became a reaction to the events of the composer’s life, musical impressions and creative passions of the early 1950s. It can be considered as a diary of the personal and creative development of the young composer and, at the same time, as one of the most striking phenomena in the evolution of the Chinese piano sonata.