No 87 (2025)

The study of academic biographies is an important component of the humanities today. Determining the key stages of a person’s life and building a research profile of scientists who have contributed to the development of Russian science is part of this process. The article is based on archival materials from the Central State Archive of Saint Petersburg and the Personnel Archive of the Herzen State Pedagogical University. It presents the academic biography of Grigory Rosenblat (1909-1963), a philologist, teacher, and developer of the concept of integrating visual arts into the study of literature in schools. It is shown that the scientist’s scientific activity is inextricably linked with the Herzen Leningrad Pedagogical Institute as an emerging centre for studying the problems of art education in the context of interdisciplinarity.

The outstanding contribution of A. B. Goldenweiser to the development of musical culture is largely due to his unique achievements in the field of composition, clearly manifested in the piano cycle “In a Child’s Life”. For the first time, the article reflects the basic characteristics of these principles using the example of the cycle “In a Child’s Life,” which are the embodiment of the creative appearance of the composer and pianist. It is emphasised that it is not only an example of the composer’s style, reflecting the performing principles of A. B. Goldenweiser, but also a valuable methodological and practical material for the professional formation of novice musicians. A detailed performing and theoretical analysis of the work is significant for comprehending the creative nature of the wonderful composer, pianist and teacher-thinker.

The composer’s piano opuses are examined in this article from historical, genrestylistic, and performing perspectives. The article explores the relationship between Tchaikovsky’s piano music and the socio-cultural context of his time, as well as the demands of his audience and the traditions of Russian folk music and urban folklore. A comprehensive analysis of each of the miniatures is provided. The purpose of this work is to draw the attention of contemporary performers, teachers, and students to this area of Tchaikovsky’s piano legacy, which has not yet gained the recognition it deserves. The context of the study includes elements of comparative analysis of performing interpretations, in particular, the interpretations of K. Igumnov, S. Richter, V. Tropp, M. Pletnev, and others, in their comparison, which proves the possibility of multiple performing interpretations of Tchaikovsky’s piano opuses under consideration

The article examines the methods of artistic decoration of porcelain products in the creative heritage of the masters of the Leningrad Porcelain Factory named after M. V. Lomonosov during the thaw. It is concluded that the formation of the artistic language of Leningrad porcelain was influenced by artists: N. P. Slavina, who executed the image using overglaze polychrome painting and silkscreen printing, I. V. Bessonova, who experimented with gilding in the framework of overglaze and underglaze painting, and E. G. Firsova, who introduced overglaze monochrome decal into artistic practice.

This article examines the practice of proskynesis in classical Greece based on historical, dramatic, and philosophical sources. The author analyses the etymology and usage of the verb προσκυνέω, emphasising its original meaning as a religious act of worship toward the gods, particularly chthonic deities. Through an analysis of works by Aeschylus, Sophocles, Aristophanes, and other authors, it is demonstrated that the Greeks accepted proskynesis only when directed at deities, considering it humiliating when addressed to mortals. Particular attention is paid to episodes in which proskynesis is depicted as a symbol of subservience and denial of freedom, especially in the context of Greco-Persian relations. The article highlights that the refusal to perform proskynesis was both a religious and political-ethical act for the Greeks. In conclusion, it is proposed that proskynesis in Greek culture was not a specific gesture, but a set of ritual non-verbal acts expressing reverence, whose meaning evolved under the influence of historical circumstances and cultural interactions.

The article examines the institutional mechanisms of the cultural transmission of Soviet visual arts in China during the 1950s. Using historical analysis and case studies, three key dissemination channels are identified: large-scale art exhibitions, educational programmes (training of Chinese students in the USSR and Professor K. Maximov’s activities), and translation of theoretical literature. Particular focus is placed on the reform of the art education system, including the adoption of Soviet pedagogical standards and the establishment of teaching-research groups. The findings reveal the dual impact of Soviet influence: while contributing to the formation of China’s academic art system, it also led to the dominance of ideological themes and reduced artistic diversity. The study enhances understanding of the role of state institutions in cultural exchange and offers new perspectives for analysing the synthesis of global and national artistic traditions.