scholarly journals A Study for Transition of Korean, Japanese and Chinese Modern Art Education

2018 ◽  
Vol 53 (null) ◽  
pp. 1-24
Author(s):  
Yi,Sung-Do ◽  
김혜숙
Keyword(s):  
Art Education ◽  
Modern Art ◽  
Chinese Modern Art

Achimota School

2018 ◽  
Author(s):  
Rhoda Woets
Keyword(s):  
Teacher Training ◽  
Art Education ◽  
Modern Art ◽  
Art Teachers ◽  
Gold Coast ◽  
Visual Artists ◽  
Art Forms ◽  
New Ideas ◽  
Modern Artists ◽  
Training Department

The majority of Ghana’s modern art pioneers received their art education at Achimota School on the Gold Coast, now Ghana. Achimota School contributed in an important way to the formation of modern art in Ghana. Students trained at the Achimota Teacher Training Department spread new ideas about art and art education at the schools where they later worked. The discursive fields, in which modern visual artists came to discuss their work following independence, were embedded in a colonial past where European art teachers at Achimota had positioned African tradition as both preceding and opposed to modernity. Just like the art teachers at Achimota, modern artists deeply admired "primitive art" and considered local art forms to have roots stretching into a timeless past. Modern artists were, in this regard, influenced by their education at Achimota School as well as by nationalist ideologies that fostered pride in an African cultural past. Among the school’s most notable students are Oku Ampofo (1908–1998), Ernest (Victor) Asihene (1915–2001), Amon Kotei (1915–2011), Saka Acquaye (1915–2007), Kofi Antubam (1922–1964), Theodosia Akoh (1922), and Vincent Kofi (1923–1974).

Roy, Jamini (1887–1972)

2018 ◽  
Author(s):  
John Xaviers
Keyword(s):  
Art Education ◽  
Modern Art ◽  
Art Object ◽  
Folk Traditions ◽  
Collection Process ◽  
Colonial Art ◽  
Art Collection ◽  
Multiple Copies ◽  
Modern Artists

Jamini Roy is considered one of the most important modern artists of pre-independent India. While proficient in Western academic realism, he completely rejected the style to adopt folk traditions such as the Kalighat patua. He mass-produced his folk-like paintings in a guild or kharkhana in order to reject the uniqueness of the modern art object, and to democratize the art collection process (he rejected bourgeois taste and buying habits). Roy invented his own folk-inspired form as an anti-colonial visual idiom. While an agnostic, he deliberately painted Indian religious or mythological themes as an antidote to the ideas of colonial art education. Adamant about the use of homegrown art materials, Roy often used tempera with tamarind glue as a binder. Roy painted Christian themes to test his ideas, and to see if the folk schema that he developed in his workshop could be used successfully in non-Indian religious contexts. Roy simplified his curvilinear painting method to such an extent that the indexical mark of his brush strokes could be replaced with the reproducibility of a schema in an art workshop. Such simplification has resulted in an upsurge of Jamini Roy replications. This, however, is a problem largely in the eyes of collectors, who hold the very bourgeois art ethos that Jamini Roy rejected while mass-producing multiple copies of his works.

scholarly journals Ontopsychological aspects of artistic communication in the context of paradigmal changes within the system of modern art education

2019 ◽  
Vol 2019 (2 (127)) ◽  
pp. 47-52
Author(s):  
Zaytseva Alla ◽  
Kozyr Alla
Keyword(s):  
Art Education ◽  
Modern Art ◽  
Synthesis Method ◽  
Educational Process ◽  
Humanistic Psychology ◽  
Joint Work ◽  
Theoretical Concepts ◽  
Ontological Dimension ◽  
State Of Research

The article is devoted to the problem of improving the quality of the training aimed at future teachers of Art disciplines in the context of paradigmatic changes within the system of modern art education. Based on the methods of theoretical analysis, generalization and abstraction, the state of research of the scientific problem has been clarified; the viewpoints of some researchers in this regard have been determined and connected with the ontological content of artistic communication. There have been considered scientific conceptual directions for defining the essence of the “artistic communication” and “ontological aspects of being” phenomena in the context of: philosophical concepts (M. Bakhtin, M. Buber, M. Kahan, V. Frankl et al.), ontological conditions of communication in the hermeneutic paradigm (H.-G. Gadamer, P. Ricœur); ontological ideas of the philosophers-existentialists, representatives of humanistic psychology (A. Maslow, K. Rogers, R. May), theoretical concepts of the ontological dimension of the “being” intended for the subjects of the artistic and educational process (N. Huralniuk, O. Yeremenko, O. Mykhailychenko, O. Oleksiuk, V. Orlov, G. Padalka, O. Rebrova, O. Rudnytska, V. Fedoryshyn, O. Shcholokova et al). The synthesis method enabled us to make a deliberate formulation of the author’s definition. The phenomenology of communication in the artistic and educational projection as a vector of humanistic orientation of the subjects of interaction with an art to the awareness and correction of their own subjective development has been presented. The author emphasizes the implementation of the existence-centred and reflexive approach, which makes it possible to achieve coherence between ontological positions of the teacher and the student in the process of communicating with arts. The author’s position, according to which communication is determined by the deep onto-psychological connection between two individuals oriented to meeting the other type of existence and involves the achievement of a spiritual unity between them in the joint work, has been grounded. Keywords: higher Art education, future teacher of Music, the existence-centred and reflexive approach, onto-psychological aspects, values, meanings, artistic communication.

scholarly journals Modern aesthetic education and its further directions

2021 ◽  
Vol 5 (S4) ◽  
pp. 12-21
Author(s):  
Olha Muzyka ◽  
Yurii Lopatiuk ◽  
Tetiana Belinska ◽  
Anna Belozerskaya ◽  
Iryna Shvets
Keyword(s):  
General Education ◽  
Art Education ◽  
Modern Art ◽  
Research Topic ◽  
Aesthetic Education ◽  
Educational Process ◽  
Quality Level ◽  
High Quality ◽  
Level Of Education ◽  
Modern Education

The relevance of the research topic lies in the fact that in the field of modern education there are numerous discussions and study of such an aspect as updating the education methods. The leading task of educational policy is to ensure a high-quality level of education at all stages of education – from preschool to professional. The above also applies to arts education, as it is part of the general education system. The purpose of the study is to study the issue of modern art education, to analyses further possible directions in which it can develop. The main results that can be highlighted in the analysis of aesthetic education at the present time: education in the field of creativity is underestimated in the learning process, although it is an important aspect of the development of a particular individual; artistic and aesthetic education in the context of modern educational activities is not a primary task of society current principles embedded in education provide for the dominance of authoritarian models of regulation art education is insufficiently equipped with a material, technical and personnel base within the framework of the general educational process.

ANCIENT RUSSIAN ART IN THE CONTENTS OF MODERN ART EDUCATION

2019 ◽  
Vol 48 (4) ◽  
pp. 98-104
Author(s):  
I.V. Novikova ◽  
◽  
G.A. Novikov ◽  
A.I. Timofeyev ◽  
◽  
...  
Keyword(s):  
Art Education ◽  
Modern Art ◽  
Russian Art

DEVELOPMENTAL POTENTIAL OF ARTISTIC SYNTHESIS IN THE ART EDUCATION OF A FUTURE TEACHER

2020 ◽  
pp. 61-69
Author(s):  
Olena Malytska
Keyword(s):  
Art Education ◽  
Modern Art ◽  
Modern Society ◽  
Future Teacher ◽  
Developmental Potential ◽  
Artistic Creation ◽  
Methodological Basis ◽  
Works Of Art ◽  
The Arts ◽  
Artistic Training

The synthesis of the arts is not the latest concept, but at the beginning of the XXI century it acquired a unique, compared to other eras, role in the artistic culture of modern society. Modern artistic practices are characterized by new synthetic properties, and therefore approaches to the mastery of modern teachers of modern art forms should take into account the relevant features of perception of works of art and synesthetic features of the process of artistic creation. Updating the technologies of art education and its methodological basis in the context of artistic synthesis is a factor in effectively solving the problems of artistic training of future teachers.

The Effectiveness of Plastic Arts Education Weighted Creative Drama in The Education of Gifted / Talented Children

2019 ◽  
Vol 9 (1) ◽  
pp. 32-37
Author(s):  
Sezer Cihaner Keser ◽  
Pınar Erdem
Keyword(s):  
Art Education ◽  
Arts Education ◽  
Modern Art ◽  
Modern Human ◽  
Effective Field ◽  
Mental Skills ◽  
Creative Drama ◽  
Plastic Arts ◽  
Talented Students ◽  
Interdisciplinary Interaction

Art education is the notion of creativity which is emphasised on educating the modern human in accordance with the requirements of the age. Art education is an effective field that supports and develops creativity with all its fields. Art education provides a better expression and its contribution to other forms of expression and other disciplines cannot be denied. The main purpose of the fields of art, education and science is to serve human development and discover new things by using the concept of creativity. It is possible to say that mental skills, thoughts and intelligence may also be developed through interdisciplinary interaction while the emotions are being trained. In this study, the effectiveness of creative drama in the education of gifted/talented students for plastic arts education was investigated. Hence, drama workshops with a focus on art education were performed with plastic and modern art references. Reactions of talented students were observed during and after workshops. Keywords: Art, education, ingenuity, intelligence, interdisciplinary

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