Artistic Taste Research Articles

“To awaken of an artist in every musician”… : to the 120th anniversary of the birth of I. S. Shteiman

“To awaken of an artist in every musician”… : to the 120th anniversary of the birth of I. S. Shteiman

Organizacja rzemiosła i handlu w gminie ormiańskiej w Stanisławowie w XVII i XVIII wieku

Organization of crafts and trade in the Armenian commune inStanisławów in the 17th and 18th centuries “Orientalization” of artistic taste, which could be observed in 17thcenturyPoland, contributed to the development of crafts and trade in Stanisławów.The owners of the city, the Potocki family, were aware of the benefits that the Armeniansettlement carried. In the second half of the 17th and throughout the 18thcentury, a dozen or so Armenian merchant families from Stanisławów occupiedthemselves with trade in Wallachian and Moldavian farms. Both of these countriesplayed a significant role in the transit of goods from the East. In the last decadesof the 17th century, Stanisławów to some extent replaced in oriental trade KamieniecPodolski, which was then under the Turkish rule. In the 18th century, themain subject of trade for Stanisławów Armenians became oxen and horses, importedfrom Moldova via Pokucie, and then driven to markets in Lublin, Warsawand Gdańsk, or to Silesia. Several Armenian families from Stanisławów also tradedin dried fish from the Danube, morocco leather, silk and wine imported fromHungary. In the second half of the 18th century, trade in textiles and products of Armenian furriery in Stanisławów regressed due to being cut off from the marketsafter the first partition of Poland.

THE THREE KEYS TO A MUSICAL TREASURE

The role of music in the upbringing of a harmoniously developed generation is invaluable. Unlike other forms of art, music is a miraculous tool capable of activating a person’s most delicate feelings, emotions, and rich emotional reserves in a person. This article presents the pedagogical aspects of the formation of personality in the lessons of music culture, suggestions on the use of national melodies, the opportunities of our musical heritage, and suggestions on the use of Uzbek classical music in the development of artistic taste of future music teachers. The three aspects of musical activity, namely the ability to listen to music, musical taste, and musical sensitivity, are analyzed as factors that determine the extent to which a music listener or performer’s overall artistic taste has developed. Keywords: music, sound, aesthetic education, piece of music, listening to music, musical taste, musical perception, rhythm, timbre, artistic taste.

Istoricheskoe stanovlenie russkoj detskoj literatury

In the context of the modern information society, it is difficult to overestimate the educational and cultural potential of children’s books. A carefully selected children’s book is always a strong effective means of mental education and the formation of artistic and aesthetic preferences and tastes of the child. Children’s literature can be used in the process of moral, economic, and environmental education. Children’s literature is created specifically for children (preschool, primary school and secondary school age) and includes the best classical, folk, poetic and prose works.

The exchange of art, images and artistic techniques between China and Europe in the 17th and 18th centuries

The European Age of Discovery witnessed the initiation of frequent communication between Europe and East Asia. Transported via the trade routes of trading vessels, Chinese artworks, including Chinese porcelain, textiles, furniture, popular paintings, woodblock prints and wallpaper, drew major attention from European audiences over several centuries. The imported Chinese artistic products were used as luxury house decorations and collected as personal treasures by those who came from high class families and affluent social backgrounds. The original Chinese art products in Europe contained a large number of popular artworks which were heavily influenced and informed by the texts of ancient Chinese classics, philosophies and religions. These pieces inspired European local artists who produced imitations of Asian motifs on chinoiserie designs which were firmly rooted in both Eastern and Western traditions, having a profound influence on European art taste and social culture. Among the various imported artworks from China, paintings and woodblock prints of beautiful women figures became particularly fashionable. This article takes Suzhou beauty prints and Guangzhou paintings as examples to highlight the reciprocal nature of artistic exchange between Chinese and European art. It traces the process by which popular types of Chinese art entered Europe and influenced the creative processes of local European artists. The similarities and differences between the depictions of female figures in the original Chinese works and some chinoiserie pieces demonstrate the ways in which European artists made use of Chinese models to create a unique new style. It goes on to consider those Suzhou prints and Guangzhou paintings which were influenced by European artistic techniques and examines the reception of such artworks in Europe. Pieces of art from collections located in museums and institutions in Europe will be selected to demonstrate the key features of interest. Examples are also drawn from similar collections of the British Museum, private collectors, and examples of wallpaper from palaces in Germany, Austria and England, which were produced during the eighteenth century.

КИТАЙСКАЯ НАРОДНАЯ КАРТИНА НЯНЬХУА – ФЕНОМЕН КУЛЬТУРЫ XX ВЕКА

Chinese folk painting nianhua (literal translation, “New Year’s picture”) is a kind of Chinese graphic art, which received a wide popularity in the late XIX – early XX centuries. On the eve of the New Year in China everywhere decorated interiors of living rooms with colorful pictures containing New Year’s greetings, they were pasted on windows, doors, gates. Decorative pictures had a utilitarian and cultic purpose: images of mythological characters and gods symbolized happiness, longevity, prosperity, protected from disasters and misfortunes. At the beginning of the 20th century, nianhua was produced in the woodcutting shops in a woodcut way, since the middle of the 20th century have been used modern technologies, including printing. New Year’s paintings significantly different from national academic painting. The philosophical concept of New Year’s painting was to reflect the spiritual life of the people, moral values, and artistic tastes. The images were built on the basis of folklore motifs, a rhythmic combination of bright colors created a decorative effect, so nianhua is a valuable material that demonstrates the aesthetic representations of the Chinese people, their folk traditions and symbols. The themes of the New Year’s paintings are extremely diverse and includes the following: scenes from classical literature, religious and symbolic and benevolent drawings, genre art painting, calendars depicting 12 cyclic signs of animals, agricultural calendars and advertising pictures. During the history of its existence, the New Year’s picture plays an important political and ideological role. Traditional paintings propagated the foundations of the orthodox Confucian ideology about social and ethical relationships, including hierarchy in the family and society: “Wu lun – the five principles of relationships”, “Xiao – filial piety”, “Ren – patience”. In the second half of the XX century, the New Year's picture is developing as an agitational poster. Under the influence of European painting and modern political processes in Chinese society, artists began to use a new artistic method - revolutionary realism on purpose to illuminate sociopolitical events, propagandize government tasks and resolutions. The basic principles of painting the New Year’s picture are the decorative character (the brightness of colors, the rhythmic combination of color spots), the hyperbolism and idealization of images, the folklore basis of plots and the conventional symbolic-metaphoric language.

تفعيل دور المشاركة المجتمعية بين الهيئة العامة لقصور الثقافة والتعليم الثانوي العام للارتقاء بالذوق الفني في صعيد مصر Activating the Role of Community Participation between the General Authority for Culture Palaces and Educational Institutions to Enhance Art appreciation in Upper Egypt

The aim of this Activating the role of participation between the General Authority for Cultural Palaces andGeneral Secondary Education to improve artistic taste in Upper Egypt, which will be reflected on the school and locallearners by showing artistic taste in various aspects of life.

Methods of teaching students to work independently in performing musical instruments

This article tells about the interest of the younger generation in our national musical heritage -the art of music, and how to work on them independently. As one of the important means of educating the younger generation in the spirit of national and moral values, it is important to introduce them to the musical art of the national musical heritage in order to develop them in all aspects of aesthetic and artistic taste. The student should be able to express his or her personal opinion on an issue through performance, rather than blindly following his or her teacher's instructions and opinions. A teacher-led lesson is important, but it does not negate the importance of the student's independent work. It is important to make sure that the student does not waste time on independent study.

Фестиваль в большом городе: к вопросу о роли фестивализации в городской культурной жизни

The article analyzes the theoretical aspects of urban festivals as well as their implementation in practice, aimed at forming the image of the city. Urban festivals are cultural events that consolidate a community that shares both the values and meanings conveyed by the festival, giving them a sense of belonging to each other and to the location in which the cultural event takes place. Urban festivals influence the culture of citizen participation, contribute to the emergence of new cultural practices, have a positive impact on the area, the appearance of the city, etc. The article shows that the festivals leave a “trace” in the symbolic, informational and cultural space of the city; they act as a tool for designing the urbanistic image, as well as a kind of “magnet” for tourists. Due to festivalization, the city becomes a place of touristic cultural consumption, and at the same time, acting as an object of investment in the service sector. The festivals create conditions for regulated and safe human interaction with the city. During the festivities, the urban space is filled with diverse and multi-genre cultural events, while some other aspects of urban life become unseen because of the festival activity. The author concludes that the city festival forms a specific type of urban citizen. Another feature of the city festival is that it helps to “revive” the place where it is held (the city), to activate the creative potential of young artists and cultural workers, to increase the attractiveness of cultural institutions (concert halls and other venues) among the citizens, in particular, the new audience, to educate the artistic and aesthetic taste of young people.

NATURAL FORMS OF MINERALS IN JEWELRY BY ANDRY KOMAROV

This article offers readers to get acquainted with one of the most interesting tendencies in contemporary jewelry art – the use of minerals of natural forms, with minimal interference of processing. For many centuries, the natural forms of crystals were leveled, destroyed as a result of the cut and give them standard silhouettes. The article gives examples of the rings of the young Ukrainian jeweler Andriy Komarov, during the creation of which the master was based on the harmony of natural forms, structures and colors, selecting the settings that would best complement the inserts, without interfering with their perception by the viewer. The artist uses one of the oldest jewelry techniques – filigree, creating artistically perfect compositions that reveal the natural potential of selected minerals. Different variants of the solution of rings on the basis of identical materials are considered. He works with the most diverse forms, colors and structures of minerals, he often uses filigree techniques. Extreme talent and high artistic taste give birth to unique concepts of products in which all elements are subject to a single, coherent design; and the plan, in turn, is based on the shape, structure, color and texture of the selected mineral. The master jeweler develops a sketch based on existing material, creating for him an ideal framework. The ornaments of Andrei Komarov are full members of the jewelry composition: they not only hold the inserts, they complement them, contrast them, effectively shade or interweave into a single synthesis, repeating the silhouette or structural lines of minerals.

Forming young people's sense of patriotism- Didactic principle in literature classes

Knowledge, skills and abilities formed on the basis of pedagogical principles and professional skills allow applying the general didactic principles of patriotic upbringing in the system of continuing education. Through literature lessons, students connect their knowledge with life, through its educational impact, understand the nature of events in the environment, and develop artistic taste, independent creative thinking, reading culture, responsibility for the fate of the Motherland, a sense of patriotism.

The concept of the aesthetherapy in the artistic-practical competence development of primary school pupils

The article reveals the reasons for the need to include aesthetherapy techniques in the early and primary education of children. It is summarized the range of dangerous factors, which can be prevented grace to the basic level of artistic and practical competence developed in the personality. Aesthetic therapies affect not only the artistic taste of primary school pupils but also their inner world. Having an interest and motivation for artistic and practical activities, children dedicate their free time to useful activities. The obtained positive results (products, paintings, illustrations, decor) bring positive emotions, give a feeling of happiness, which eliminates depressive states caused by various reasons. Younger pupils and children of early adolescence due to acceleration get inappropriate information to their age. They perceive it warped, which causes negative mental and physical consequences: suicidal thoughts (sometimes even attempts), perverted pedophiles, or homosexual actions, underestimation and self-esteem, depression. To create a child's social norms and moral values, it is necessary from an early age to engage pupils in aesthetic education and training. If necessary, apply aesthetic therapy techniques to overcome the consequences of the lack of a basic level of artistic and practical competence and aesthetic and cultural vision and perception of themselves and their environment. The article describes the effectiveness of the use of art therapy in the development of the artistic and practical competence of pupils. The urgency of using art as an instrument of positive influence on the consciousness of a child is emphasized. The priority directions of further scientific and practical developments on the possibility of aesthetic therapy in work with adolescents and adults are determined.

Aspetti semioforici della Bibliotheca Sartoriana

The Wrocław patrician Thomas Rehdiger (1540-1576), during his Wanderjahre, amassed a rich collection of books, manuscripts, coins, precious stones, and works of art. In his will, he bequeathed this collection—gathered mainly during his stays in Padua, Bologna, and Venice—to his hometown, thus giving rise to the first public library in the Wrocław metropolis. In 1589, the Bibliotheca Rhedigeriana was established in the Auditorium Theologicum of St. Elizabeth’s Church. In his youth, Rehdiger was educated in the school operating at the church; almost 100 years later, the school’s teacher, Daniel Sartorius (1612-1671), gathered a large collection of music prints, which were published in that period in Venetian publishing houses. This unique collection, stored together along with the Rhedigeriana Library, was later merged with the library’s content. What was the significance of this collection in the culture of 17th-century Wrocław? This collection, undoubtedly, was assembled based upon inspiration from the Humanistic period, which had been promoted in that Elizabethan school at least as of the times of Laurentius Corvinus. It was supposed to serve the teaching at the Elisabethanum and shape the artistic tastes of its students, who performed state-of-the-art Italian music during school activities or afternoon recess. Attempts were made to introduce the carefully collected repertoire into the liturgical practice of a nearby church, using the technique of contrafactum that was popular at the time. The Sartorian Library’s semiophoric function, however, was to define a new form of cultural memory for the Wrocław elites and to outline the original profile of their identity, which was oriented by the same ideals that guided the composers of the Italian Seicento.

ARTISTIC AND CREATIVE ACTIVITIES IN WORKING WITH PRESCHOOL CHILDREN

The development of children’s creativity is an urgent problem of modern pedagogy. The main goal of the educational system is to educate the younger generation of a creative approach to transform the world around them, active and independent thinking, to contribute the achievement of positive changes in the life of society. The formation of the child’s personality serves as a direction of the pedagogical process, which creates favorable emotional conditions for each child, ensures spiritual development and contributes to the formation of artistic and creative abilities of preschool children. The article deals with the problem of the development of children’s creativity by means of musical and theatrical art. The importance of cognition of musical art by preschool children is given. The structure of musicality and the ways of its research are revealed. It is noted that the child develops in the process of musical activity under the influence of the values of musical art, communication between music and adults. It was found that listening to music contributes to the development of artistic taste and the formation of value judgments. Exactly music enables the child to see the world around him in a new way because the diverse content of musical works arouses imagination, develops memory, perception, creativity, and enriches vocabulary. The article presents classification of one of the specific types of children’s activity. It is theatrical activity associated with dramatization and play, contains a creative principle and is a kind of artistic activity. Theatrical activity reveals the creative potential of the child, fosters a creative personality, teaches the child to notice interesting ideas in the world around him and to impersonate them, to create his own artistic image. It is noted that theatrical-play activity contributes to the child’s study of human feelings, fosters will, develops dreams, ideas, initiative of speech, creates a positive attitude, relieves stress, teaches how to solve conflict situations due to play. These types of art education’s activities in preschool age form the personality of the child, develop his creative abilities, direct the child’s manifestations to evaluative and control actions intuitively.

SIMILARITIES AND DIFFERENCES BETWEEN VIETNAMESE CULTURE AND LAO CULTURE THROUGH THE MOTIF OF BUILDING ORPHAN CHARACTERS IN THE MAGICAL FAIRY TALES OF TAM AND CAM AND THE GOLDEN TURTLE

Sharing the sources of Southeast Asian folklore and folk literature, magical fairy tales of Vietnam and Laos have many similarities in a motif of building orphan characters. Applying structural theory in fairy tales with immutability and changes, the structure of the story is described by a series of events “signs help to make a schematic comparison of the structure of various tales,” (Propp, 1968, p.25) the article studies the magical fairy tale Tam and Cam of Vietnam and the Golden Turtle of Laos to see the similarities and differences in the motif of building orphan characters. The similarities in the motif of building orphan characters such as: story structure, character system, incarnation motif, unique object motif, magical force motif show the common cultural space of the region. However, the difference in the situation of the story and the use of magical forces and elements in the story show the customs, belief characteristics, artistic tastes and cultural identity of each nation.

ТЕАТРАЛЬНА ЕСТЕТИКА ПЕТЕРА ШТАЙНА

The purpose of the article is to reveal the specifics of P. Stein’s direction in the context of the master’s experiments with various types of theatre aesthetics in a historical retrospective on the examples of the performances of The Oresteia by Aeschylus, The Three Sisters by A. Chekhov, Faust by J. Goethe, etc. Research methodology. Making fair sense of the stated issue, the article applies the method of historicism and the problem-chronological method to study the development of the P. Stein’s directing method in the historical retrospective; the method of comparative analysis, the purpose of which is to compare the techniques and methods of P. Stein’s directing in the process of staging multi-layered plays; the systemic method, which helped to consider director’s theatre of P. Stein as an integral artistic system; the method of art history analysis and genre-typological method to identify the features of the director’s methodology and the use of expressive means by the master in the process of working on performances, etc. Scientific novelty. The article has studies the aesthetic aspects of P. Stein’s theatre directing in the context of the dynamics of the development of the artist’s idiom. Theatre direction by P. Stein is considered as a unique type of aesthetic activity, one of the attributes of which is “the aesthetics of thinking” (according to M. Mamardashvili), which provides the perception culture of dramatic material and the artistic taste of the staging. Conclusions. The study revealed that P. Stein’s work is characterised by theatrical aesthetics like ancient theatrical art, medieval mysteries, Renaissance art, Elizabeth Theatre, W. Shakespeare’s plays, psychological realism by K. Stanislavski, plays by A. Chekhov, as well as postmodern structures of drama. Aesthetic reorientation of P. Stein’s work is manifested in the tendencies of attitudes towards the textual basis, the strengthening of the polysemantic and polyphonic components of the performance, ambiguity and understatement, despite the clarity and thoughtfulness of stage decisions, the interpretation of classical theatrical works. In the 21st century, P. Stein has transformed the traditions of naturalistic theatre and “new drama” into the energy of total stage mastery.

The art fairs in the context of the modern stage of art market development

The article deals with the value-semantic, communicative and cultural aspects of the phenomenon of the art fair being defined as a space for updating the works of contemporary artists and the exchange of ideas and senses, considering historical preconditions for appearing of the art fair. It analyzes art fairs as the most various level of the modern stage of art market development. Based on Art Basel study, it identifies substantial changes of contemporary art fairs which contributed to the formation of a new model of the art market at the beginning of the 21st century. The new role acquired by the art market due to its unifying nature has been noted. The author reviews the cultural specifics of art exhibitions, galleries, the value of art works, the formation of artistic tastes of people as well. The importance of studying and considering of the art fairs for understanding of the new model of art market development is substantiated. The article outlines perspective directions of further culturological research of the art market and art fairs. The performed analysis of the international art fair Art Basel shows the approval of the fair model of the art market due to the globalization processes, the formation of a new leisure culture and the need for a new way of art actualization.

Development of Creative Abilities in Children Preschool and Younger School Age

The article examines art education for children of preschool and primary school age as being the most effective tool for the formation of a full-fledged future personality. In modern preschool institutions and in elementary schools, art lessons are an integral part of the educational process, since the development of the creative abilities of the next generation from childhood is one of the top priority tasks of the domestic education system. Drawing is one of the children's most beloved activities. Children begin to draw before they can speak. While engaging in visual arts, they depict everything that they see; the more that they engage their imagination, the better their imagination and abstract thinking get, and their artistic taste is being formed. This article discusses the views of foreign and domestic experts – educators, psychologists, art historians and artists – on how children's personalities are successfully formed and developed in the process of artistic creation, and what accompanying conditions are needed. The current pedagogical experiment of the Children's Studio of Fine Arts and Design, in the Department of Design and National Arts of Kazan Federal University, was described; it is aimed at revealing the natural talents of children through teaching creativity. The results of the experiment will allow us to recommend the methodology of the Studio for use in schools, child care facilities, art studios, clubs, and art classes.

On the Emergence of Russian-South African Business Links. Allan Bowe, Faberge’s Business Partner

Allan Bowe, a Cape-born entrepreneur in the Russian Empire, has not been mentioned in literature on the history of Russian-South African contacts. However, his long business partnership with Carl Fabergé should be considered in this context, primarily because it took place when Russia and the territories that are now part of South Africa, apparently, had no trade relations yet. Henry Allan Talbot Bowe, known in Russia as “Allan Andreyevich Bo”, can be rightfully regarded as a South African. He spent his childhood and youth in the Cape Colony, mostly in Namaqualand, a region dominated by native speakers of languages that had originated in Africa. Contrary to the established notion that “the exquisite artistic taste and amazing energy of Carl Fabergé” were the main reason for the international success of this business, it owed much to the work of his companion, A. Bowe. The latter contributed to the development of the largest jewellery company in the Russian Empire and its international reputation in the 1880s–1890s. As a founder and co-owner of the Fabergé Moscow branch, he organised and managed the largest jewellery factory in the country. Bowe also expanded the company’s presence abroad by establishing the London branch (as a joint owner with Fabergé) and building up clientele securing orders for bespoke jewellery pieces in Europe, Southeast Asia and North America. The first arrival of Bowe in Russia was almost accidental, but he became deeply involved in the business life of Moscow – so much so that he returned to that city after he had dissolved his partnership with Fabergé. Being possibly the first successful South African-born entrepreneur in Russia, he deserves a prominent place in the history of relations between our countries. It implies that the emergence of Russian-South African business links can be traced to the 1880s, when Bowe started his business in Moscow.

Hamidiye Suyu Tesislerine Ait Yapıların ve Çeşmelerin Günümüzdeki Durumu ve Koruma Önerileri

İstanbul’un son vakıf suyolu, II. Abdülhamid tarafından şehre ve Yıldız Sarayı’na kaliteli içme suyu sağlamak amacıyla “II. Abdülhamid Han Hamidiye Suyu Tesisleri” adıyla kurulmuştur. Hamidiye Su Tesisleri’nin kurulması ile ilk kez şehre basınçlı su verilmeye başlanmıştır. Şehre getirilen su, ishale hattı üzerinde var olan bazı çeşmelere bağlanarak ya da yeni çeşmeler inşa edilerek halka ulaştırılmıştır. Hamidiye Suyu için inşa edilen çeşmeler son derece özenli çeşmelerdir. Ayrıca Hamidiye Suyu ile özdeşen dökme demirden ve mermerden yapılmış çeşmeler bulunmaktadır. 1901-1902 yıllarında hizmete başlayan tesis ile ilk başlarda 30 kadar sokak çeşmesine su verilebilceği hesaplanmıştır. Ancak zamanla daha fazla yere su sağlamak amacıyla girişimlerde bulunulmuştur. Hamidiye Suyu Tesisleri’ne ait yapılar ve çeşmeler kültür ve endüstri mirasımızın önemli yapılarıdır. Ancak bazı yapılar ve çeşmelerin bir çoğu günümüze ulaşamamıştır. Günümüze ulaşabilenler ise değişen yaşam koşulları sonucu işlevlerini ve geleneksel dokunun değişmesi sonucu çevreleriyle olan ilişkilerini yitirmişlerdir. Dönemin en yüksek sanat zevkine sahip olan Hamidiye Çeşmelerinin bazıları zaman içinde tahrip olarak özgün biçimlerini kaybederken bazılarının ise yerleri değiştirilmiştir. Bunlara ek olarak çevresel koşullar, yanlış malzeme ve kötü işçilikle yapılan hatalı onarımlar ile diğer bilinçsiz müdahaleler gibi birçok etmenin neticesinde çeşmelerin özgünlüğünün kaybolması günümüzde de sürmektedir. Bu çalışma ile Hamidiye Suyu Tesisleri’ne ait yapılar ve tarihi kent dokusunun önemli bir parçası olan çeşmelerin günümüz durumu araştırılmıştır. Günümüze ulaşan yapılar ve çeşmelerin koruma sorunları belirlenmiş, günümüze ulaşılamayan yapılar ile bazı çeşmelerin biçim, malzeme özellikleri ile ilgili bilgi edinilmiştir. Ayrıca zaman içinde yeri değişen, ishale hattı dışına çıkartılarak farklı isimler ile anılan çeşmeler tespit edilmiştir. Elde edilen bulgular doğrultusunda da Hamidiye Suyu Tesisleri’ne ait günümüze ulaşan yapı ve çeşmeler için koruma önerileri getirilmiştir.