Abstract
This article is dedicated to the studio of fine arts and temple culture in the context of the history of the National Academy of Fine Arts and Architecture. Analyzed was the educational program of the studio’s founder,M. Storozhenko. Discovered were the methodological analogies between the studio of monumental painting and templar culture of NAFAA, M. Boychuck’s art workshop and the icon-painting studio of the Kyiv Pechersk Lavra. It was proved that an analysis of historical experience can be useful in the educational process and in the upbringing of the modern painters of sacred (religious) art.
Highlights
This article is dedicated to the studio of fine arts and temple culture in the context of the history of the National Academy of Fine Arts and Architecture
Changes in the structure of National Academy of Fine Arts and Architecture (NAFAA) that took place during the years of Independence are corresponding with the spiritual needs of the modern times and are connected with the improvement of the educational process
The relevance of this study is conditioned by the absence of thorough research of the historical development of NAFAA that would include the history of the faculties, academic studios, study of the pedagogical activity of many famous artists and their educational methods
Summary
The construction and restoration of religious buildings revealed the urgent need for the training of arts personnel who would be professionally prepared to create new and restore old temples, in order to keep the traditions of visual art in general and religious art culture in particular This task was faced by architects and by artists of monumentalism. The teachers of the workshops see the irprimary tasks in the revival of the abandoned traditions of temple painting, the studies of the sacred art history(Byzantium, Kievan Rus, the Ukrainian Baroque), the mastering of the academic program (drawing, painting, composition) and copy-religious program (copying works of religious painting), which is fixed by the practical work of students. Combination of national, in particular — baroque traditions with innovations of Ukrainian art of the beginning of 20th century allowed M Storozhenko to develop his pedagogical system, his method of artist’s education, to create his school of sacred art professionals. Storozhenko’s school is certain soundness of thinking and ideological principles, that are multiplied by a high skill of craftsmanship and methods of continuous self-improvement
Sign-in/Register to view highlights & summary Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a call
