Fine Arts Research Articles

Research on the Impact of Development-Oriented Financial Aid on Labor Education of Poverty Alleviation Students—A Perspective from Fine Arts and Design

Research on the Impact of Development-Oriented Financial Aid on Labor Education of Poverty Alleviation Students—A Perspective from Fine Arts and Design

ИЗУЧЕНИЕ ФОЛЬКЛОРНЫХ ТРАДИЦИЙ РОДНОГО КРАЯ В КОНТЕКСТЕ ПРИОБЩЕНИЯ СТУДЕНТОВ К ИСТОКАМ НАЦИОНАЛЬНОЙ КУЛЬТУРЫ

Upbringing the younger generation on the basis of national traditions contributes to the spiritual and moral enrichment of society. The article is devoted to the problem of introducing students — future teachers — to the origins of national culture through folklore, which has a great educational potential. The author focuses on the study of folk tales in the educational process as a direction related to the preservation of traditional folk culture, the formation of a meaningful attitude to the national artistic heritage. Karelian fairy tales are valuable folklore material with educational potential in the development of aesthetic and moral qualities, instilling love for the native land, glorifying its beauty and unique traditions. The author pays attention to the artistic representation of the characters of Karelian fairy tales, reveals their mythological basis and artistic traditions of embodiment. The article describes the experimental work carried out by the author in the academic year 2023/2024 at the Department of Technology, Fine Arts and Design of the Petrozavodsk State University and the Petrozavodsk Specialized School of Arts. Plunging into the world of folklore traditions of their homeland, the students comprehend the need to implement a national and regional component in university and secondary education. The study of folklore traditions helps to introduce students to the origins of national culture, the formation of ethno-cultural and civic identity, and the ability to carry out practical activities.

Modern Chinese Oil Painting on “Tibetan Themes”

Chinese fine art has undergone a long and painstaking history of the formation of classical writing techniques. However, the globalization processes, which also affected the spheres of artistic activity, influenced the themes of works, techniques and techniques of oil painting in China. Meanwhile, the existential and religious flavor of Tibetan painting, untouched by world trends, has preserved many unique traditional principles of existentialism and worldview concepts that have absorbed the virginity of the spiritual and semantic identity of the people. This phenomenon has attracted a lot of attention from professional artists and collectors of fine art. At the same time, the storehouse of unique Buddhist values and the foundations of the existence of the people of historical Tibet began to attract researchers and artists relatively recently. Namely, since the middle of the last century, eminent masters of the brush have only discovered this “art residence”, instantly capturing the market of connoisseurs of high culture and lovers of painting with their works, gaining their love for Tibetan chronography reflected in modern Chinese oil paintings. The canvases represent the value potential for the historiography of the ancient people, conglomerating the foundations of ontological, ethnic, regional, national and religious traditions of the original style, which determine the semantic value-forming core of Chinese culture. This phenomenon contributes to its continuity and self-identity, despite the influence of Western artists. The development of Chinese oil painting has undergone many collisions, ranging from Westernization, Russification and the consequences of the war with Japan, ending with the discovery of the value potential of the worldview system of the Tibetan people. The recognition of Chinese sovereignty over Tibet allowed China to integrate into its “art workshop” the spiritual and social perspectives of the national identical Tibetan culture, which conquered the art world with its identity. In the process of the formation of oil painting, artists subjected it to nationalization and Sinification, which, through the prism of depicting the realities of Tibetan life, allowed to form an original style of creating works.

Virtual Reality Enables the Dissemination and Preservation of Early Works of Art

Abstract With the rapid development of digitalization and information technology, virtual reality (VR) technology has shown unique potential in disseminating and conserving early works of fine art, changing people’s traditional ways of appreciating and conserving fine art. The article examines the use of virtual reality technology in disseminating and preserving early works of art. The objective is to improve the accessibility and conservation efficiency of art works by using digitization methods. The study uses VR technology to digitize works that are more vivid and easy to disseminate in terms of visual communication, with a 35% increase in audience acceptance, and digital protection effectively reduces the rate of work attrition to about 20%. Through empirical analysis, it has been found that the digital platform that relies on VR technology improves art works’ dissemination effect and protection efficiency. Virtual reality technology is effective at protecting and disseminating early works of fine art, promoting the public’s appreciation and understanding of art, and providing a new method for the digital transformation of fine art works.

Creative pursuits for mental health and well-being.

This clinical practice guide traces the role of art and creativity in mental health and well-being. This is a difficult task since the evidence from research spans a wide variety of fine art forms and different aspects of creativity. Hence, we have tried to combine both evidence-based research as well as our clinical experience and practice in the field of arts in utilizing creative pursuits as a life skill and a well-being initiative. The focus of the guidelines is preventive and promotional with relevance to mental health. We also hope that this should be a beginning in encouraging psychiatrists in India to use art-based therapies in their clinical practice. This will further our knowledge of how arts can be a therapeutic intervention as well as a well-being tool. It will also build on the evidence base on how art impacts our mental health. Creativity is undeniably one of humanity's most valued traits; the capacity to produce new ideas, innovations, and art is perhaps the most striking characteristic of the human brain. "Art" has evolved, and what is art, has been redefined over human history. The domain of "art" refers to the diverse range of activities that often use imagination to express ideas and feelings. Whilst the boundaries of what constitutes art or creativity may sometimes appear esoteric, we still can identify a range of creative pursuits: visual, musical, verbal, literary, dance, or creative pursuits related to our body movements and a range of forms of newer integrated forms and those that use technology are recognized as art forms. As in most ancient traditions, in India, we have a plethora of fine art traditions many of which have a highly systematic practice around their learning. We believe this is an asset that we need to nurture and celebrate. We begin by tracing the footsteps of Indian fine arts being a mental health promotional tool in ancient India. We then proceed to describe the scope of creative pursuits for different populations and its relevance in school and child mental health. We offer suggestions as to how creative art forms can be utilized in a practical way in daily life, schools, and care of the elderly. It is to be noted that the entire focus here is the process of creativity and not the completed product or the achievement related to the same. Hence, it is relevant to each one of us and to anyone who wishes to be healthy.

On universality of perception of movement and time in the artworks

The article examines the issue of perception of movement and time in works of fine art. The perception of works of art is not only related to perceptual processes and the cognitive sphere of a person, but is a personal and worldview issue, as it is related to the system of personality stereotypes - cognitive phenotypes formed in the process of life and professional experience. The conventional view on the perception of movement and its intensity in visual arts, which was considered as universal for a long time, was that the perception of movement from left to right is more natural and fast, and movement from right to left, respectively, is complicated, slow and less intense. These provisions became the basis for an experimental study of the perception of movement and time in works of art, in which two groups of respondents participated. The experimental group (N=38) consisted of people who are not closely familiar with the art and rules of composition arrangement. The control group (N=30) consisted of students professionally studying art history and visual arts. Both groups only included people whose first language had left to right writing. As experimental material, the subjects were offered to answer how they see the intensity of movement in paintings by famous artists. Each picture was presented in an original and a flipped image, where the movement was reflected in the opposite direction. The results of the study analyzes using the Kolmogorov-Smirnov λ statistical test, which demonstrates the presence or absence of regularities in the subjects' choice of picture numbers that correspond to forward or reverse movement in the picture. With the help of this test, a gender comparison of the features of perception of movement and time in works of art was also carried out. The results of the experimental study question the universality of the perception of movement and time in fine art and require verification in further research.

“Making Sense” of Art through Design: Towards a Multisensory Theory of Reception Aesthetics

According to the dominant Western paradigm of aesthetic reception, what distinguishes works of art from everyday objects is that they offer an aesthetic experience exclusively through the privileged sense of sight. Correspondingly, theories of reception aesthetics in the fine arts, which seek to understand the ways in which works of art engage viewers in the process of meaning-making, traditionally focus on visual perception. However, contemporary works of art engage so-called “viewers” in increasingly multisensory ways that warrant not only a revision of the outdated and contentious privilege of the ocular in aesthetic reception, but correspondingly, a contemporary theory of reception aesthetics that considers multisensory forms of perception. Therefore, this article asks: how might the design of everyday objects ­– which engage users in visual as well as tactile, proprioceptive, auditory, olfactory, and gustatory ways ­– contribute to a theory of reception aesthetics that can illuminate and inform the ways in which sensory works of art engage audiences in the process of meaning-making? Drawing on Wolfgang Kemp’s theory of reception aesthetics on the one hand and Donald Norman’s theory of design on the other, this article proposes a methodology for analysing the impact of artistic productions in design terms (namely, affordances, constraints, signifiers, feedback, mapping, and conceptual model). Subsequently, it offers a “keyhole” comparison of an everyday object (a Rubik’s Cube) and a multisensory work of art (Lygia Clark’s Critter [1960]), whereby the interaction analysis of the former illuminates the multisensory ways in which the latter engages its audience in the process of meaning-making.

From the Franco-Russian Alliance (1894) to the Franco-Soviet Treaty on Mutual Assistance (1935): Two Rounds of Acquaintance with the Fine Art of the Ally

This article considers the emergence of mutual interest in the art of France and the Russian Empire in the period from the conclusion of the Franco-Russian Alliance in 1894 to the Franco-Soviet Treaty of Mutual Assistance in 1935. The author of the article singles out two stages in the appeal to the fine arts of a friendly state: the turn of the twentieth century and the period following 1924 after the recognition of the USSR by France. Describing the first period of interest in the fine arts, the author refers to events that took place in the Russian Empire and in France, organised with the cooperation of French and Russian cultural and art figures. It is concluded that the organisation of numerous art exhibitions in both countries testified to the mutual desire of the parties to get acquainted with the novelties of the art genre of the other, as well as comprehend the episodes of common history (in particular, the war of 1812). Describing the new round of acquaintance with the culture of France and the USSR after 1924 and drawing on sources from the funds of the Russian State Archive of Literature and Art, the author proves that both in France and in the USSR, interest in the fine arts of each other remained and was fueled by the desire of the People’s Commissariat of Education of the RSFSR to cooperate with France. The work focuses on the fact that it was the smaller exhibitions through which the complementarity and commonality of cultures of both countries were recognised and which were the main place of cultural interaction. The author concludes that despite the different political systems in France and the Russian Empire / USSR, cultural ties between the two countries played a significant role, both at the turn of the century and in the 1920s–1930s, when cultural ties between them became a new impulse due to their respective revolutionary past.

The embodiment of the image of the People's Artist of the USSR Anegina Ilyina in Yakut fine arts and literature

The article is devoted to the embodiment of the image of the Yakut opera singer, People's Artist of the USSR Anegina Ilyina in the Yakuts visual arts and literature. For the first time, this article discusses issues related to the disclosure of the theme of an outstanding contemporary woman - famous figure of musical art as a carrier of creativity. The subject of the study is the image of a talented Yakut vocalist captured in the best works of fine art (L.M. Neofitoff, V.R. Vasilyeff, A.N. Ossipoff, L.D. Sleptsova) and literature (Semen Daniloff, E. Neimokhoff, I. Gogoleff, L. Popoff P. Kharitonoff). The object of the study is the work of Yakut artists and writers of the second half of the 20 - 21 centuries. For the first time, the article explores a previously unexplored aspect of their work. The descriptive, comparative, iconographic, historical-biographical methods are applied, which allow us to reveal the topic most effectively. This image presents the ideas of female beauty and natural talent inherent in the national consciousness of the people, which indicates that in the 1960-1980 in the perception of the Yakut society traditional ideas based on the mythology and folklore of Sakha were quite strong and stable. Thanks to her natural talent, studying in the class of the People's Artist of the USSR, professor of the Moscow State Tchaikovsky Conservatory N.L Dorliak A.E. Ilyina was able to take place as an outstanding master of Russian academic vocal performance and herself as a creative personality had a great influence on the creative inspiration of many writers, artists and the development of Yakut art in the Sakha Republic (Yakutia) in the second half of 20 centuries. This article is the first experience in studying of this scientific problem.

Peculiarities of Formation of Key Competences in Students of Higher Education Institutions for the Purpose of Preparing Future Teachers to Teach the Subject “Fine and Decorative Arts

Peculiarities of Formation of Key Competences in Students of Higher Education Institutions for the Purpose of Preparing Future Teachers to Teach the Subject “Fine and Decorative Arts

Особливості вивчення колірної гами та колірної тональності зі студентами мистецьких ЗВО

The article is devoted to the actual problem of training specialists in fine and decorative arts, in particular, the study of painting and color science by students of higher primary institutions. The author examines such basic concepts of visual literacy as color gamut, color tonality and the peculiarities of their study by future artists. It was found that the problem of studying the characteristics of color by students of art universities is not sufficiently presented in modern science. However, in teaching painting and color science, it is important to form a holistic perception of color in students, to understand tone, the shape of objects through color, the ability to create color harmonies, mastering the plane of the work, and the ability of students to convey their ideas to the viewer by means of color. It is emphasized that in painting classes, students of art universities get acquainted with the basic concepts of color science – color gamut and color tonality – from the very first classes. Various characteristics of color, common and different in the concepts of “color gamut” and “color tonality” have been studied. Examples of practical tasks are given that contribute to the best possible study of the color gamut and color tonality by future artists. It is emphasized that the color scale and color tonality are one of the main tools for creating an image in artistic works and are used by artists depending on the author's intention. It is emphasized that the variety of color gamuts and tonalities in painting depends on the saturation, lightness, lighting of objects, arrangement of colors in the composition, etc. It was found that solving the issues of color contrast, the harmonious system of color series, the ratio of colors in color gamuts, and color tonality by students of art universities will help in the future in practice to use the acquired knowledge for the high-quality performance of one’s own artistic works.

Some terminology features of sculpture reproductions

The paper is devoted to the clarifying research of the terminology surrounding the production and reproduction of sculpture. One of the most common problems is the incorrect application of the terms “copy” and “reproduction”. All these words are borrowed from the other languages and have no semantic equivalents in Russian. Incorrect applications of these words lead us to the errors in determining the artistic value of the sculptures. The copy is created manually in two ways: 1) carving of stone, wood etc.; 2) modelling in clay, plasticine and wax. The technology of molding and casting cannot be considered as an artistic method because of this workflow is carried out by molders and casters. However, the most part of sculpture in a wide variety of materials (metal, plaster, concrete, ceramic, plastic, glass, etc.) produced by using molding and casting technologies is one of the kinds of edition (reproduction). The only exception is the variety of cast made under the sculptor’s direction and finished by him have a special importance. Each of these works is unique and equal in value to the original. Plaster is the most versatile material for replication. Electroplating (galvanoplastics) is one of the main methods of reproduction, so the term “galvanocopy” is wrong. This technique of replication is the most precise but it is suitable exclusively for metal. Russian sculptors and technologists started using the word “reproduction” at the beginning of the 20th century. Therefore we can find a lot similar examples in the historical documents of The Pushkin State Museum of Fine Arts. The newest method of replicating of sculpture is three-dimensional scanning and printing but this technology is not sufficiently advanced yet.

Collection of the Chelyabinsk Regional Art Gallery of the 1930s–1940s: Documentary evidence about the fate of the first collection

The article examines the history of the collection of the Chelyabinsk Regional Art Gallery in the period from 1938 to 1947. The collection was formed in the late 1930s and early 1940s in three ways: through the acquisition of works of art from private individuals, through the city’s existing collection of paintings from traveling exhibitions, and through transfers from major art museums (in particular, from the State Russian Museum). Thus, by the beginning of the Great Patriotic War, the fund of the Chelyabinsk Art Gallery consisted of works of domestic and Western European painting and graphics, objects of decorative and applied art. However, with the closure of the gallery in the summer of 1941, the collection was distributed among city institutions and by the time the museum was restored after the war, a significant part of it had been lost. The research is based on data from archival materials stored in the United State Archive of the Chelyabinsk Region (Chelyabinsk), and also proceeds from the current state of the collection of the Chelyabinsk State Museum of Fine Arts, the successor of the gallery. We analyze archival documents in order to restore the chronicle of losses and acquisitions of gallery exhibits in the 1940s. Based on the lists attached to the acts of transfer and inspection of exhibits from the 1940s, the most complete list of works of art that were owned by the Chelyabinsk Regional Art Gallery before its liquidation in the summer of 1941 was compiled. The article is accompanied by a table indicating the names of the works, their authorship and source of origin, known pre-war registration numbers of the works, and also, if available, the registration numbers of the Chelyabinsk State Museum of Fine Arts.

The Use of Artificial Intelligence Chatbots in Teaching Foreign Languages as an Innovative Interactive Technology

The article explores the didactic potential of the use of artificial intelligence technologies, specifically chatbots, in teaching foreign languages. It delves into the advantages of integrating chatbots into the foreign language learning process, based on the experience of teaching the “Foreign Language (English)” discipline to the first-year students of the 024 Choreography speciality of the Faculty of Musical Art and Choreography, and the 022 Design speciality of the Faculty of Fine Arts and Design at Borys Grinchenko Kyiv Metropolitan University. While highlighting the educational benefits and interactive nature of chatbots, it also addresses their drawbacks and suggests methods to mitigate potential negative consequences such as academic integrity violations and copyright issues like plagiarism. The article offers advice on appropriate usage and adheres to relevant policies. Moreover, it provides practical examples of using chatbots in teaching foreign languages based on the use of Mizou software. The study is a theoretical research article employing general scientific analytic methods such as synthesis, generalization, and systematization. It includes a review of the related literature on the stated problem as well as an overview of the empirical experience of the introduction of chatbots in the “Foreign Language (English)” discipline. The paper defines the didactic potential of the Mizou by providing a general overview of the functions and modes of the aforementioned software and drives a reader through the personalized chatbot process of creation and customization. The provided research highlights the necessity of further investigation of the implementation of artificial intelligence chatbots as an innovative interactive technology with significant didactic potential that should be empirically tested and analysed.

The Effect of an Educational Program Based on Visual Discourse Psychology for Developing Skills in Painting Creation among Students of the Institute of Fine Arts

The Effect of an Educational Program Based on Visual Discourse Psychology for Developing Skills in Painting Creation among Students of the Institute of Fine Arts

Children Portrait in Golden Age Spanish Painting: Iconographic Types, the Artistic Image Specificity, Development Stages

The article is devoted to children court portraits in the Spanish Art Golden Age. The Spanish children portrait has been unfairly overlooked by researchers. Meanwhile, its development visibly and vividly reveals the specifics of the Spanish art evolution. It also has a number of specific features that are absent in an adult portrait. The study of Philip II letters to his daughters reveals the closeness and warmth of relations in the Spanish royal family, and also shows the richness and diversity of the infantas activities. The images of fine art and the world of Philip letters to his daughters are “not congruent”, what clearly demonstrates the conventionality and canonicity of children representative images. The canon of representation helps to understand the modern didactic works of Erasmus of Rotterdam, Luis Vives, Baldassare Castiglione. Children, and especially royal children, were trained from an early age for their adult roles. Accordingly, there was a rigid canon of representation. It turns out to be the strictest in the era of Philip II. It was then that the first children portraits of infantes appeared. Subsequently, the iconography of children portraits is diversified. Italian Sofonisba Anguissola brought a sense of transience and emotionality to the strict Spanish canon, what would be adopted by Diego Velazquez. In the XVII century second half, the feeling of the variability of life was replaced by baroque bravura, enriched with allegorical figures and royal attributes in the portrait of Carlos II child by Sebastián de Herrera Barnuevo. And in the 18th century first half under the Bourbons the strict Spanish iconography was complemented by bright rocaille colors and glorification in encrypted emblems.

ИНДУСТРИАЛЬНЫЙ ЖАНР В ИЗОБРАЗИТЕЛЬНОМ ИСКУССТВЕ:КУЙБЫШЕВСКАЯ ГЭС В ПРОИЗВЕДЕНИЯХ ЖИВОПИСИ И ГРАФИКИ

The article examines the development and features of the industrial genre in Russian fine art in the context of the work of artists on the construction of the Kuybyshev hydroelectric station. The general features of the industrial genre of the mid-20th century are given, the works of painting and graphics dedicated to the construction of the Kuybyshev hydroelectric station are analyzed, reflecting and preserving the history for the younger generation of the following artists: A.K. Vingorsky, V.G. Gremitskikh, G.V. Filatov. In addition to the artistic analysis of the works, the article briefly presents the biography of the above-mentioned artists, reviews the features of their work, highlights the features of the figurative solution of the industrial genre of the 50s.

Innovative Fine Arts Education Methods and the Cultivation of Students' Creativity

Innovative Fine Arts Education Methods and the Cultivation of Students' Creativity

Analysis of Outstanding Problems and Countermeasures in the Reform of Fine Arts Teaching in China’s Colleges and Universities Based on the VAR Model

Abstract With the development of society, the artistic cultivation requirements for talents are increasing. This paper discusses in depth the main problems in the current reform of art teaching and puts forward targeted solution strategies, aiming to improve the overall quality of art teaching. In the study, the key factors affecting the quality of art teaching in colleges and universities were analyzed using the VAR model, and a multimodal art education knowledge map was constructed using the Viterbi method. Through the ALKPT knowledge tracking model, this paper assessed and scored students’ mastery of art knowledge and incorporated the results into the art classroom quality evaluation module. Based on the scoring data, the art classroom quality features were standardized, and the comprehensive evaluation results were derived through feature fusion dynamic weight assignment. Impulse response analysis showed that the number of returnees who studied abroad to learn about art positively impacted art teaching. The empirical results showed that after the reform of art teaching, the students’ art theory scores increased by 5 points on average, the scores were distributed between 10 and 20 points, and the achievement gap between students was reduced. This study provides a robust strategy and evaluation tool for optimizing art teaching, improving teaching quality and promoting students’ artistic literacy.

On the Positive Impact of Digital Technology Enabling Fine Arts Heritage

On the Positive Impact of Digital Technology Enabling Fine Arts Heritage