Dialogue of the Artist With the Audience: the Communicative Possibilities of Fine Arts

2015 ◽  
Vol 4 (5) ◽  
pp. 51-53 ◽  
Author(s):  
Бастрыкина ◽  
T. Bastrykina
Keyword(s):  
Creative Thinking ◽  
Fine Arts ◽  
Communication Studies ◽  
Aesthetic Idea ◽  
Artistic Image ◽  
The Web

The article deals with the problem of communication studies in the visual arts, as well as the issues of transformation of the scope of knowledge and aspects that determine the creative thinking and perception of various forms of art. Aesthetic idea of art as a specific artistic image, in which and through which the artist as a representative art expresses its relation to reality, enters into a conversation with the destination. Concludes the reader, viewer or listener. This is the deepest essence of the communication, which is implemented as media through the web, created by the artist.

scholarly journals Diagnostics of development of creativity at future educators of children of preschool age

2019 ◽  
Vol 65 (2) ◽  
pp. 101-106
Author(s):  
Angelika Ivershin
Keyword(s):  
Creative Thinking ◽  
Fine Arts ◽  
Preschool Age ◽  
Global Changes ◽  
Creative Development ◽  
Creative Person ◽  
Self Actualization ◽  
Creative Abilities ◽  
The Individual ◽  
Artistic Image

Modern global changes related to rapid scientific and technological progress, change in living standards, revision of standards of life, set the task of higher education for the formation of a person with developed creative abilities, the desire for constant self-education, creativity. Developing of creative personality traits is of fundamental importance in meeting the challenges of economic development. New ideas, innovation and ingenuity in the development of products and services are increasingly important to the economic competitiveness of companies, and of countries. The development of the future educator as a creative individual is important because it is from the creative potential of teachers that the creative development of the pupils depends. For a creative person, such personal qualities are important that allow you to operate effectively in situations of uncertainty, go beyond the predictable, show spontaneity. A creative person has a developed intellect that allows you to create something new, previously unknown. Important for a creative person is also activity, an understanding of the value of creativity and development, the desire to create something new, change oneself and change the world around oneself. According to our impression, the creativity of future educators of preschool children is the quality of the individual, which is based on the needs for self-actualization, characterized by flexibility and originality of thinking and manifested in the ability to creative activity. The author of the article proposed the structure of creativity of future educators, which consists of the following components: motivational, emotional and cognitive, reflective. A diagnostic methodology was selected to determine the degree of development of the components of creativity of future educators and an ascertaining experiment was conducted to determine the level develop the creativity of students. A study of the components of creativity of future educators showed the following problems: low self -esteem of the creative abilities of students; undeveloped creative thinking in categories of fluency, flexibility, originality. Students showed low and medium results; noted a weak understanding of the artistic image. The weak development of artistic perception, the lack of a theoretical basis make it impossible to understand the of style and artistic manner of a work of art. We intend to carry out further work on the development of students’ creativity in the study of the subject of «The Basics of Fine Arts».

scholarly journals 4. Knowledge and Valorisation of the Plastic Language and of the Folk Decorative Motifs in the Artistic Education Study Process

2017 ◽  
Vol 14 (1) ◽  
pp. 151-158
Author(s):  
Olimpiada Arbuz-Spatari
Keyword(s):  
Creative Thinking ◽  
Fine Arts ◽  
Language Theory ◽  
Education Students ◽  
Artistic Creativity ◽  
Education Study ◽  
Textile Art ◽  
Decorative Motifs ◽  
Study Process ◽  
Art Course

Abstract The framework and the reference objectives of the ‘Textile art’ course signal priority of the student’s initiation in the fine arts language theory. It is essential to discover new possibilities to study and apply of fine arts language elements for the purposes of triggering students’ creativity. For this purpose, at the course of “Textile art”, we will examine the necessity of studying fine arts language, synthesis of creative forms when essentially determining the contents in the process of development of artistic creativity to fine arts education students. In the process of development of artistic creativity in students it is important to study the language elements by selecting and processing artistic elements of nature. The study of the elements of fine arts language contributes to educating and informing the creative personality while choosing and processing the reality in the context of a methodical creative thinking - along with compositional regularities of scale, rhythm, movement and fine arts forms.

scholarly journals Painting as a prayer of the spirit

2020 ◽  
Vol 16 (4) ◽  
pp. 113-132
Author(s):  
Petr Dobrolyubov
Keyword(s):  
Fine Arts ◽  
Work Of Art ◽  
General Process ◽  
Russian School ◽  
Russian Art ◽  
Short Period ◽  
The World ◽  
Artistic Images ◽  
Moscow School ◽  
Artistic Image

The article is devoted to the work of the Russian painter Dobrolyubov Vladimir Petrovich, who in 2020 marks the centenary of his birth. Special attention is paid to the presentation of his ideals, which inspired the artist to create wonderful paintings depicting the world around him, landscapes and landscapes, urban environment, monuments of ancient Russian architecture, decoration and interiors of the oldest churches from Moscow to Yaroslavl, Pereslavl Zalessky, Staraya Ladoga. From the Russian North to the Crimean mountains and Tsemeskiy Bay. Vladimir Petrovich Dobrolyubov (05.07.1920-24.02.1975) - a student of I.I. Mashkov, N.P. Krymov, G.G. Ryazhskiy, K.F. Yuon, V.V. Krainev, P.I. Kotov, V.I. Finogeev, K.G. Dorokchov. Dobrolyubov V.P., was the veteran of the Great Patriotic war (1941-1945), - the 75th anniversary of the Victory which we celebrate this 2020 year. The author analyzes the paintings of V.P. Dobrolyubov - a natural colorist, nugget, artist, philosopher and citizen of his country. His thoughts on the art of painting based on the beauty and traditions of the Russian school of iconography were the Foundation, the spiritual platform, for all of his painting, created in a short period of life. The author's paintings Dobrolyubov V.P. is of well-deserved interest for art studies and make a worthy, significant contribution to it not only by their high appreciation of color, color spot, and lyrical appearance, but also as works of the history of Russian painting and in particular, the Moscow school of painting, 30-60-ies of XX century, of which he was a representative. Also noteworthy is his understanding of art, his creative pictorial, original, author's handwriting, and also an amazing vision of color and color spot, his own, individual. As well as the interpretation of personal perception, the attitude and understanding of the fundamental foundations of realism in the domestic and world fine arts, expressed and approved in their own, no one repeats, coloristic pictorial language. Dobrolyubov V.P. considered icons, the Russian icon, as a work of art, which following the tradition of Byzantine masters of iconography, undoubtedly constitutes the core of the soul of the artistic creative process, and especially the work of iconographers such as Andrei Rublev, Theophanes the Greek, Vladimir-Suzdal, Moscow, Yaroslavl school of icon-painting as an objective reality of the world of spiritual images in their own work. Artistic creativity, in his opinion, as a representative of the Moscow school of painting, is not an abstract search and self-expression of the artist's beliefs and ideas, but the result of a deep, divine transformation of the soul, its path to truth and to the foundations of realistic art, through the perception of artistic images. Russian iconography of the XIV-XVII centuries, brought to Russia from Byzantium, Dobrolyubov V. P. considered the Russian school of iconography the main, unsurpassed, imperishable Foundation and a masterpiece of Russian fine art. Everywhere in his memories, in his understanding of the basics of art, the artist renounces the concept of copying the image and the icon for him is like a conditional historical symbol, indicating the spiritual image of past centuries. An artistic image is born in the soul of the painter and of course exists outside of iconography, but then it can appear in the minds of other people who contemplate the master's canvases, in which the image of the universal universe and the beauty of the universe is encoded, if you want, encrypted in the very deep images of Russian iconography. Therefore, the icon itself, its image and composition, as a work of art created once in the depths of past centuries, is personified in the mind of the author, as grace and inspiration sent from heaven. Dobrolyubov V.P. confirms the aesthetic and spiritual platform created for any person. Therefore, Russian icons created as spiritually and artistically perfect, self-sufficient works of Russian culture are inextricably linked to the General process for Russian art history, its ability to testify to its highest level in the hierarchy of world art. For the artist Dobrolyubov, Russian iconography is an inseparable part of his spiritual platform, and his works of painting – and, temple art, in conjunction with ancient Russian architecture, with the interiors of churches and their decoration, as well as the sacrament of divine services, baptisms, weddings and funerals, and are the most essential foundation, being, as the very artistic image of all his art work and now, in 2020. Today, 45 years after his death in 1975, his artistic paintings are just as beautiful and heartfelt.

THE ROLE OF ARTISTIC DEFORMATION IN CHILDREN’S FINE ARTS

2021 ◽  
Vol 12 (1) ◽  
pp. 186-190
Author(s):  
Elitsa Alexandrova ◽  
Keyword(s):  
Creative Thinking ◽  
Fine Arts ◽  
Deformation Characteristic ◽  
Creative Imagination ◽  
Children's Art ◽  
Stimulation Of

The artistic deformation in children’s art is done unconsciously. It is observed in the change in the shape, proportion and color of an object or object. This is due to the exceptional desire of the child to convey greater expressiveness of his drawing, emphasizing the most important image for him. The deformation characteristic of this age period conveys a uniqueness and uniqueness of the children’s drawing. The use of specific methods of fine arts contributes to the stimulation of creative imagination and the manifestation of individual inclination to different ways of deformation. Stimulation of creative thinking increases the expressiveness of children’s fine arts. appearances.

scholarly journals Image of Kumgang Mountains (Geumgangsan) in Korean fine arts: tradition and modernity

2021 ◽  
pp. 102-117
Author(s):  
Ю.И. Гутарёва
Keyword(s):  
18Th Century ◽  
Fine Arts ◽  
Mountain Range ◽  
Korean Art ◽  
Traditional System ◽  
Central Image ◽  
The Republic ◽  
Definition Of ◽  
Far Eastern ◽  
Artistic Image

В статье исследуются особенности корейской пейзажной живописи, развитие которой с начала XVIII века оказывается неразрывно связано со знаменитой горной цепью Корейского полуострова Кымгансан. Утвердившись как центральный образ в пейзажах «подлинного вида», горы Кымган со временем приобретают значение не только художественного феномена, но и знакового национального символа родной земли в корейском культурном сознании, оставаясь для художников воплощением естественных красот и сплетением разнообразной символики. Цель статьи — определить значимость образа гор Кымган в корейском изобразительном искусстве как выразителя национальной самобытности искусства Кореи и хранителя художественно-ценностных традиций. В статье изложен анализ произведений корейских художников с XVIII столетия и до наших дней. Исследуются произведения ряда современных северокорейских и южнокорейских художников, чьи работы, разные по стилю и технике исполнения, объединяет единство мировосприятия гор Кымган как духовного источника, репрезентируя стремление к этнической аутентичности, возрождение традиций и выражение патриотизма в современном искусстве Республики Корея и КНДР. Предлагается обзор тенденций в корейском изобразительном искусстве, где в данном образе проявился национальный подход, натурное видение природы родной страны и творческое переосмысление открытий великих корейских пейзажистов в контексте адаптации новых художественно-выразительных особенностей в рамках традиционной системы дальневосточной живописи тушью и творческих экспериментов с разнообразными техниками. В заключение делается вывод о важности художественного образа гор Кымган, который, утвердившись в корейском пейзаже в XVIII веке, стал прочной основой для развития корейской живописи современного периода, демонстрируя не только приверженность традициям, но и способность к новациям как в приобретении новых символических оттенков в его прочтении, так и в расширении творческих поисков для выражения его эстетического идеала в картине мира современности. The article examines the features of Korean landscape painting, the development of which since the beginning of the 18th century is inextricably linked with the famous mountain range of the Korean Peninsula Kumgangsan (Diamond Mountains). Having established itself as the central image in landscapes of “true appearance”, the Kumgang Mountains over time acquire the significance of not only an artistic phenomenon, but also an iconic national symbol of the native land in the Korean cultural consciousness, remaining for artists the embodiment of natural beauties and the interweaving of various symbols. The purpose of the article is to determine the significance of the image of the Kumgang Mountains in Korean fine art of past and present eras, as an exponent of the national identity of Korean art and a keeper of artistic value traditions. The main objective of the article is to study the image of the Kumgang Mountains based on the analysis of the works of Korean artists from the 18th century to the present day, with the definition of its role and place in the contemporary fine arts of Korea. The article analyzes the works of a number of modern North Korean and South Korean artists, different in style and technique of execution, but similar in perception of the Kumgang mountains as a spiritual source, representing the desire for ethnic authenticity, the revival of traditions and the expression of patriotism in contemporary art of the Republic of Korea and the DPRK. The article provides an overview of trends in Korean painting, where this image manifests a national approach, a natural vision of the native country and a creative rethinking of the discoveries of the great Korean landscape painters in the context of adapting new artistic and expressive features within the traditional system of Far Eastern ink painting and creative experiments with various techniques. It is concluded that the artistic image of the Kumgang mountains is important as it has established itself in the Korean landscape in the 18th century, and become a solid foundation for the development of Korean painting in the modern period, demonstrating not only adherence to traditions, but also the ability to innovate, both in acquiring new symbolic shades, and expanding artistic and expressive means to display its aesthetic ideal in the picture of the world of our time.

scholarly journals The Image of the Goddess Umay in the Contemporary Fine Art Culture of Kazakhstan

2021 ◽  
Vol 13 (1) ◽  
Author(s):  
Malik F. Mukanov ◽  
◽  
Gulfiya T. Meldesh ◽  
Ayaulym M. Hurbekova
Keyword(s):  
Visual Culture ◽  
Doctoral Students ◽  
Art Criticism ◽  
Fine Arts ◽  
Teaching Staff ◽  
Artistic Practice ◽  
Artistic Images ◽  
Artistic Image ◽  
Cultural Experts ◽  
Contemporary Artists

The article examines the ethnographic and art-history aspects of the reflection of the artistic image of the ancient Turkic goddess Umay in the modern visual culture of Kazakhstan. The image of this goddess is one of the most widespread in the work of modern Kazakhstani artists, who refer to the symbolism of Tengrian culture in their works. Each of the masters, due to their individual worldview and creative style, interprets it in their own way, thereby enriching the modern visual culture of independent Kazakhstan. It is also necessary to mention that the embodiment of symbols and artistic images of the ancient Turkic Tengrian culture by contemporary artists of Kazakhstan in the visual arts reflects the desire to preserve and rethink the national identity in the context of globalisation processes. The study is an attempt at art criticism analysis based on the application of the hermeneutic methodology of numerous author’s interpretations of the artistic image of the goddess in the fine arts of modern Kazakhstan. The study of the problem of finding and embodying artistic images of the Goddess Umay, reflecting the sacred and mythological aspects of the Tengrian worldview, traditional for the nomadic peoples of the Great Steppe, in the visual culture of modern Kazakhstan, has an important theoretical and educational and methodological value. The conclusions of this study can be used and continued not only in the historical and theoretical works of art historians, cultural experts but also in research and educational-methodical works, when creating courses on the history and theory of fine and applied arts, scientific projects of the teaching staff, students, undergraduates and doctoral students, as well as in the artistic practice and creative activity of contemporary artists.

scholarly journals C. Orff. stage cantata «Carmina Burana»: grotesque as a means of creating an artistic image of the Fried Swan

2021 ◽  
pp. 267-272
Author(s):  
Mykhailo Tyshchenko
Keyword(s):  
Middle Ages ◽  
Fine Arts ◽  
Art Nouveau ◽  
Folk Culture ◽  
Carmina Burana ◽  
Characteristic Features ◽  
Carl Orff ◽  
Artistic Image ◽  
The Middle Ages ◽  
The Grotesque

The purpose of the article is to analyze the image of the Fried Swan from the stage cantata of Carl Orff "Carmina Burana" through the category of grotesque - the worldview principle in the culture of the Middle Ages and one of the leading types of artistic imagery in art nouveau. The paper reviews literary and musicological research on the grotesque as an aesthetic category and its application as a method of revealing the artistic image. What is being analyzed: the aesthetics of vagrant poetry, which is the basis of the libretto of Karl Orff's stage cantata; traditions of interpretation of the image of a swan in mythology, folk culture, folklore of different peoples of Europe, Christianity, literature of the Middle Ages, the Renaissance and the New Age, in particular in Romanticism, as well as in the fine arts; features of Latin poetry in general and "Swan Song" from the poetry of vagrants in particular; application of alliteration; a variant of translation into Ukrainian is provided, which is intended for a more accurate understanding of the essence of the image, reveals its new facets and is addressed to the performers of the Fried Swan part in the preparatory period of work on the image, as well as listeners. The image of the Fried Swan is the embodiment of "grotesque realism" (A. Gurevich) of the Middle Ages. The methodology is based on the application of a holistic musicological analysis, which includes philosophical-aesthetic, literary-linguistic and musical-theoretical levels. The scientific novelty of the work lies in the application of the grotesque as a philosophical and aesthetic category for studying, in particular, one of the most original images of K. Orff's work and the concept of modern musical theater in general. Therefore, the artistic and aesthetic interpretation of the figurative sphere of the cantata is considered relevant, and this work is the first such attempt in Ukrainian musicology. Conclusions. The image of the Fried Swan embodies the grotesque, in which the high and the low, the believable and the unreal, the tragic and the comic, coexist. It reflects the mentality of the Middle Ages as a unity of antinomies and at the same time possesses the characteristic features of the culture of art nouveau, where the grotesque is a typical tool for perceiving reality. The image of the Fried Swan can be considered as a kind of "key" for understanding two "artistic mentality" at once - of the Middle Ages and of the Art Nouveau.

scholarly journals The Phenomenon of World Image in Fine Arts

2021 ◽  
pp. 14-17
Author(s):  
Natal’ya L. Varova
Keyword(s):  
Creative Process ◽  
Fine Arts ◽  
Self Awareness ◽  
Modern Times ◽  
The World ◽  
The Creation ◽  
The Mind ◽  
Artistic Image ◽  
Material Form ◽  
World Image

The article shows that the basis of the achievements of the Modern Times art is the formation of the idea of the world in the mind of the artist. The attractor, the assemblage point of the phenomenon is the completeness of the experience of the multidimensional composition of being. The phenomenon of the image of the world is formed in voluntary acts of self-awareness throughout the artist’s life. In the creative process, the development of an ideal artistic image and the creation of a material form of its embodiment occur in relation to the phenomenon of the image of the world.

scholarly journals The Role of Fine Arts Activity in the Development of Artistic Thinking of Schoolchildren

2021 ◽  
Vol 22 (1) ◽  
pp. 186-189
Author(s):  
Aliona Brițchi
Keyword(s):  
Elementary School ◽  
Elementary School Students ◽  
Fine Arts ◽  
School Students ◽  
Graphic Image ◽  
The Creation ◽  
Imaginative Thinking ◽  
Artistic Image ◽  
Tree Image

Abstract This article deals with the development of artistic and imaginative thinking, imagination and the creation of an artistic image in fine arts lessons using a graphic image. An example of a lesson for elementary school students on creating a mysterious tree image is given, which will help the teacher develop the ability of his students to see and creatively realize their ideas.

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