Works Of Fine Art Research Articles

Das Imaginäre als Teil des Fremdsprachenunterrichts

"The Imaginary as the Part of the Foreign Language Education. Inner images (visual mental representations) undoubtedly constitute an intrinsic part of our personal world. They are independent of external visual stimuli and they are stored in the brain. Associative relations – as part of the speaker's individual lexicon in his semantic memory – are evoked in one’s memory as ready-made units. Instead of a purely cognitive transfer of materials, they serve – together with visual mental representations – as a support for sensory-reflexive and imaginative-creative processing of themes. The recall of these units in the memory can be supported by works of art. It is the figurative-iconic process of storage in the memory – which takes place in the educational process in parallel with the linguistic-conceptual one – that significantly contributes to a deeper and more permanent consolidation of the learning materials. The integration of works of art into foreign language education thus not only supports the development of language competence, but also the aestheticization of the learner. The article presents new didactic procedures in teaching German as a foreign language through works of fine art. Keywords: visual mental representations, associative relations, works of art, foreign language education, aestheticization "

Miniature as a Source of Information about Russian Shipbuilding Culture of the 15th—17th Centuries

The article is devoted to the study of images of boats in Russian chronicles and hagiographic miniatures of the 15th—17th centuries. Shipbuilding is an important component of Russian culture. Thus, the emergence and evolution of water transport contributed to the development of fishing, trade relations and various cultural and historical processes. Over the centuries-old history of navigation and shipbuilding, the image of a ship has acquired a sacred meaning for human. Ship motifs were at the centre of many outstanding works of fine art, literature and music. Images of ships and boats were widespread in chronicle and hagiographic miniatures. They contain a huge layer of visual information for the study of shipbuilding culture. It is visual information that is the main one for studying shipbuilding, which determines the relevance of the issue.The inclusion of miniatures in the context of the study of shipbuilding makes it possible to obtain information about the methods and technologies used in the manufacture of a water vehicle, an idea of the external appearance of the vessel, what changes it has undergone, what watercrafts were typical for a particular area in a certain period of time, etc.The novelty of the research solution is in the fact that the author, having carried out the detailed analysis of the images of ships and boats presented on Russian miniatures of the 15th—17th centuries, revealed the design features of the depicted vessels and established that the prototypes for the images were real ships that sailed in the 15th—17th centuries.The article examined water vehicles presented in the miniatures of the Koenigsberg (Radziwill) Chronicle of the 15th century, the Illuminated Compiled Chronicle of the 16th century, the Illuminated Collection of the Lives of the Vologda Saints of the 17th century, the Hagiography of Anthony of Siya of the 17th century. Moreover, the last two sources were involved in the study of the shipbuilding tradition of Russia for the first time. The author established that the images of ships in miniatures can be used as sources for studying the technologies of construction of ships of various types that existed in Medieval Russia, as well as for reconstruction of ancient ships.

The study of the influence of perception of different information sources on the mnemic processes of students

In the modern world, the role of information and digital technologies on our lives is so great that it is difficult to deny their influence on the psychological characteristics of people. The problem of the influence of various information sources used by modern people (from classical printed sources to smartphones) on their cognitive functions, including memory processes, seems very relevant. Mnemic processes help us navigate information flows, quickly find the material we need to make a rational decision. This article attempts to study the influence of the type of information source on the quantitative characteristics of mnemic processes. A brief analysis of scientific research on the problem under consideration (Sparrow B., Leu D.J., Dutko N.P., Davydovsky A.G., Pishchova A.V., etc.) showed that there are certain correlations between mnemic processes and modern digital information technologies. In an experimental study conducted by us and described in this article, we studied the quality of memorization and reproduction of scientific and artistic text, works of fine art, provided they are perceived from printed and digital sources (smartphone). It is shown that the perception of information from a smartphone affects to a greater extent the quality of memorization of scientific and educational text.

ЗРИТЕЛЬСКОЕ ВОСПРИЯТИЕ ХУДОЖЕСТВЕННОГО ОБРАЗА: ОТ СОЗНАТЕЛЬНОГО К БЕССОЗНАТЕЛЬНОМУ И ОБРАТНО

The author relies on psychological and philosophical concepts underlying the understanding and interpretation of fine art. This article is dedicated to a multifaceted analysis based on the psychological studies of the visual arts developed by renowned authorities such as Dui Tran Hoang Le, Paul Schrader, Julie C. Garlen, and Jennifer A. Sandlin. Based on these concepts, any work of fine art, be it a painting, a cartoon, or a stylized drawing, is considered a magic mirror that allows the viewer to look at the object from two different positions — internal and external, while also looking into themself. According to these psychological theories, a work of fine art is, in many ways, like such a mirror — a window into the inner world. Animation is the sharpest window, giving the most prominent and clear image, and the author gives insight into the historical background of such a unique and brilliant visual art form that has combined art with cinema for many generations. There is also emphasis placed on animation artists and aspiring animation-style artists whose practices are well-aligned with this skill that allows an art piece to enable deep reflection that allows an individual to look inward and then outward, and vice versa. These practitioners also utilize such a skill to convey the emotional background inherent in an art subject, which largely determines the perception of the creation by the viewer.

ВЫСТАВКИ В БАРНАУЛЕ, ПОСВЯЩЕННЫЕ 100-ЛЕТИЮ СО ВРЕМЕНИ ОБРАЗОВАНИЯ СОЮЗА СОВЕТСКИХ СОЦИАЛИСТИЧЕСКИХ РЕСПУБЛИК

The Union of Soviet Socialist Republics existed from December 30, 1922 to December 26, 1991. During this period of time, significant successes were achieved in industry, agriculture, science and culture, and a victory was won over the Fascist conquerors was won in 1945. To the 100th anniversary of the formation of the USSR in Barnaul, there were exhibitions: “Soviet Porcelain” and “The Country of the Soviets” (the State Art Museum of the Altai Territory); “The USSR in the Mirror of Art” (exhibition hall of “Museum “City”); “Art that has become History” (“Shchetinins Art Gallery”); “Greetings from the USSR” (Altai State Museum of Local Lore). The exhibitions displayed photos, works of fine and decorative art, and items of material culture created in the 1920s-1980s. The purpose of the exhibitions is to expand visitors’ knowledge of the history of Russia, form a positive image of the USSR in the minds of the younger generation and improve the patriotic mood of the citizens.

Literary Magazines Na Postu and Na Literaturnom Postu about art exhibitions and artistic creativity of the first post-revolutionary decade

The article analyzes the reviews of book graphics published on the pages of the magazines “Na Postu” and “Na Literaturnom Postu”, reviews of exhibitions of sculpture and painting that took place during the restoration period before the beginning of the reconstruction era (1923‒1927). The process of developing a conceptual apparatus by proletarian art criticism, designed to serve as a description and interpretation of the class content of works of fine art, is shown. The author notes the parallelism of the literary and artistic critical ideological tools formed in the first half of the New Economic Policy (1921–1928). The dependence of proletarian art critics on the ideological agenda of literary critics of the Na Postu magazines is explained by the urgent task, which was the need to create art and science suitable for the perception and cultural education of the broad working masses.

THE PLASTIC AND SYMBOLIC INDICATIONS BETWEEN CHILDREN’S DRAWINGS AND PRIMITIVE ART DRAWINGS

The research sheds light on the plastic and symbolic indications between children's drawings and rock paintings of primitive art, through the expressive methods and the distinctive features of each of them. The research aimed to reveal the similarities between children’s drawings and those of primitive rock art in the period from the Paleolithic and New Age and BC -30,000-2500 and to examine the employment of those drawings in new works of art. The research sample consisted of 20 children of the age group (7-9) years. The descriptive approach was adopted, and the data were collected from children’s drawings and primitive art drawings. The plastic and symbolic indications in children’s drawings and primitive arts were described and analyzed by clarifying their similarities and differences. The results revealed a relationship between the children’s drawings and the primitive drawings on rocks in the methods of expression and the symbolic meanings of the topics that express feelings. Contemporary artists can draw inspiration from their expressive symbols to reach innovative works of art, by analyzing some drawings of primitive arts and children. The research recommends conducting more theoretical and practical studies on the methods of drawing inspiration from children’s drawings and primitive rock paintings in creating fine artworks in various fields of art. Keywords: Plastic Indications, Symbolic Indications, Symbol, Children’s Drawings, Primitive Arts DOI： https://doi.org/10.35741/issn.0258-2724.58.1.31

The schoty (abacus) as the phenomenon of Russian accounting

The Russian abacus (the schoty [счёты]) is a unique Russian counting device that has no comparable counterparts anywhere in the world. It was developed when a decimal system was introduced in Russia in the sixteenth century. The Russian abacus took its familiar form in the eighteenth century, and it is still used for arithmetic calculations and for teaching maths at school, as an example of decimal calculations. The widespread use of the Russian abacus in business activities made it an integral part of entrepreneurship and accounting. The Russian abacus became more associated with Russian merchants and accountants than ledgers, and it was depicted in works of fine art. This article describes the history of the schoty, evidence about them from Western historians and mathematicians, the principles for its use as well as its role in accounting, and the descriptions of the schoty in literature and art.

ИТОГИ НАУЧНОГО СЕМИНАРА «ТЕОРИИ И ПРАКТИКИ ПРИКЛАДНЫХ КУЛЬТУРНЫХ ИССЛЕДОВАНИЙ» 23 СЕНТЯБРЯ 2022 ГОДА (СИБИРСКИЙ ФЕДЕРАЛЬНЫЙ УНИВЕРСИТЕТ, КРАСНОЯРСК)

This text presents a summary of the work of the educational, scientific and methodological seminar "Theories and Practices of Applied Cultural Research" (September 23, 2022, Krasnoyarsk, Siberian Federal University). The seminar was devoted to the presentation of topical art studies in accordance with memorable dates for the world of culture and art: 1) Art studies of works of fine art for the anniversaries of the artists Marc Chagall, Pavel Korin, Ivan Aivazovsky, Vladimir Borovikovsky; 2) Research of animation art for the 140th anniversary of the birth of Vladislav Starevich; 3) Current research on works of Russian cinematography dedicated to the 70th anniversary of the birth of Karen Shakhnazarov; 4) Studies in the history of theatrical art, for the 160th anniversary of the birth of Maurice Maeterlinck; 5) The art of book illustration in Alexander Koshkin’s works.

Magnetic Levitation Technology As An Object Floating Technique In Wooden Craft

Research and application of magnetic levitation have been expanded in electric motors, generators, radar monitoring systems, car-door central locks, and metal object towing devices. In the operation, the objects do not touch each other. The use of a magnet-based system that floats objects is called a levitation system. In earlier times, fine art had been comfortable with its structure. Consequently, it is not prepared to deal with electromagnetic technology systems. Magnetic levitation technology is the process of floating objects with a gravitational force that rejects or counteracts each other in a magnetic field. This research aims to provide innovations in applying magnetic levitation in designing fine artworks in Indonesia, mainly wooden crafts. The work was designed with eco-design methods. The magnetic levitation techniques have been widely applied in woodcraft art today. The process of floating objects in the air has the property of rejecting each other's components, while the use of permanent magnets sets the object's position stable. Wood material as an object medium is formed to resemble a flying bird stabilized by magnetic levitation techniques. This wooden crafts experiment featured objects spinning and hovering when exposed to the wind.

Leaves Embossed in the Expression of Artwork

This MBKM Independent Project report, bearing the title "Leaves Timbul in the Expression of Fine Artwork" departs from an embossed tree located in the studio of Kaki Bisma Batan Timbul which inspired the writer to create works of art. The problem is how to visualize the leaves appearing in each work. In visualizing the author uses methods and techniques obtained from the MBKM process. The purpose and benefits are to develop the writer's creativity in expressing imaginary forms as well as images/photos that are edited according to the needs of the author in the work process, the author chooses I Ketut Budiana himself who is a favorite artist and uses his creation method which includes several stages, namely, reflection, research. foundation, exploration, experimentation, execution, completion. From this process the author produced 6 works entitled: 1) "Life", 2) "Science", 3) "Mother Earth". 4) "Ngangon Kebo", 5) "Faithful Animals", 6) "Sidakarya Mask". It can be concluded that the author created works based on his interest in embossed leaves, with ideas originating from phenomena captured in the Kaki Bisma Batan Timbul studio and reading reference sources from the internet. campus, To be realized in the form of 2 dimensions and 3 dimensions From all these processes, it is expected to find identity in the work.

Citation in works created by the creative industries

Key words: citation, quotation, free use of works, creative industries, copyright, intellectualproperty
 Citation,i.e. the use in the work of small fragments of other works with reference to them, belongsto the traditional copyright exceptions and limitations that contribute to the developmentof science and culture, and free dissemination of information. The Ukrainiansystem of copyright exceptions and limitations is characterized by an exhaustivelist of such cases, so only actions expressly provided by law are allowed. Therefore,free and uncoordinated with the author citation of the work is allowed only in compliancewith the requirements provided by the law.First, the work from which the quotation is used must be lawfully made public, i.e.disclosed to the public with the permission of the author. Citing an unpublished or illegallypublished work constitutes a deviation from lawful conduct and qualifies ascopyright infringement.Second, the length of the passage used must be appropriate to the purpose, whichmay include explaining one's statements or referring to another author’s opinion. Thelimit of the size of a citation, such as the maximum number of words, signs, or secondsof duration, is not established by law. Therefore, the volume of the citation should correspondto the purposes of expressing a particular opinion, providing certain informationor data. Works of fine art, photography and other small works can be cited in partor in full if it is justified by the goal. The use of such works must be absolutely targetedand have a direct connection with the information contained in the work in whichthe citation is given.Third, the excerpt from the work must be given in an authentic formulation thatcorresponds exactly to the original. If a quotation is translated from a foreign language,its use does not require permission but the translation must be correct and accuratelyconvey the author’s thought.Fourth, a quotation can be included only in a work of a critical, polemical, scientific,or informational nature. It should be taken into account that, under Ukrainianlaw, articles and programs of the media are always considered informational objects,so the media can quote other works regardless of the genre of their particular articleor program.Fifth, when citing, it is obligatory to indicate the name (pseudonym) of the authorand the source of borrowing. If the work is published anonymously, it is sufficient tocomply with this requirement by indicating the source of borrowing. Without specifyingthe work and its author(s), the use of a fragment of the work will not be considered citation, and therefore, even if all other requirements are met, the user’s actionswill be regarded as copyright infringement.In general, when quoting, it should be remembered that it must be carried out instrict accordance with the requirements established by law. Users are not given theright to determine which of these requirements may not be met because only theircombination determines the boundaries of permissible and allowed behavior in thefree use of works.

The bassoon as a monument of musical culture: source studies

The article for the first time in Ukrainian historiography, museology and monumentology considers works of European fine art, where there is an image of a wind wooden musical instrument bassoon. Works of painting, graphics, works of monumental art (sculpture) are analyzed. This is a characteristic of the collections of bassoons in museums in Western Europe, the USA and Canada. Publications stored in the funds of the Vernadsky National Library of Ukraine, Yaroslav Mudryi National Library Of Ukraine, the National Historical Library of Ukraine, the National Scientific and Research Restoration Center of Ukraine were used. The expositions of the Bohdan and Varvara Khanenko National Museum of Arts (Kyiv), the Museum of Theatrical, Musical and Film Art of Ukraine (Kyiv), the State Yagotynsky Historical Museum (Yagotyn, Kyiv Region), as well as Internet resources of collections of wind instruments of a number of museums in Europe, the USA and Canada are analyzed. Materials from the personal archive and musical collection of the bassoonist, teacher in the class of wind musical instruments, soloist of orchestra V. Kepin (Kyiv) were involved. Based on the analysis, it was concluded that the Flemish artist Dеnis van Alsloot can be considered one of the first in European painting, which brought to our time the composition of wind musical instruments characteristic of the musical culture of Western Europe of the XVII century. In Ukraine, one of the oldest copies of the bassoon (1730s) is stored in the Museum of Theatrical, Musical and Film Art of Ukraine (Kyiv).

КЛАССИФИКАЦИЯ ИНТЕРТЕКСТУАЛЬНЫХ СВЯЗЕЙ ПРОИЗВЕДЕНИЙ ИЗОБРАЗИТЕЛЬНОГО ИСКУССТВА ОТНОСИТЕЛЬНО СТАТУСОВ ХУДОЖЕСТВЕННОГО ОБРАЗА

Researchers of artistic works of art use mainly theoretical and empirical research methods, as well as conceptual provisions of the theory of fine art. These methods are used in comparative historical, formal, iconographic and structural analyses. In addition to these methods, another approach to the study of both individual works of art and the history of art as a whole is proposed. The article describes one of the main methods used by artists of various eras, but most vividly in modern art, in modernism, post- and metamodernism - is quoting, which the authors of the article define as intertextual links between works of art. The concept of intertextuality is more developed in literary studies and linguistics, but since a work of fine art is also a text, the use of this concept is applicable to it. The formalization of intertextual connections of works of art is necessary in order to theorize one of the important theoretical methods of studying a literary text — intertextual analysis. To simplify the work of researchers, various types of intertextual connections were classified according to the statuses of the artistic image of the theory of fine art by V. I. Zhukovsky. This classification will help researchers of the artistic image in the analysis of works of art to distinguish intertextual analysis into a separate stage of research. In addition, this classification can be used as the basis for the principle of studying the history of art, especially the art of modernism, postmodernism and metamodernism, as opposed to the generally accepted chronological system of constructing the history of art.

Культурна спадщина України: до питання дослідження її стану в контексті наслідків військового вторгнення

The article is dedicated to the topical issues of the state of historical and cultural heritage during the full-scale invasion of Russia on the territory of Ukraine in 2022. The problems of new realia and aspects of the research raised in the article consist in the creation of the impartial scientific analysis of the state of significant oblects of the national historical and cultural heritage by the way of study and systematization of the lost or partly ruined immovable monuments – architectural buildings of various purpose in the synthesis with the works of monumental and fine arts as well as the movable monuments – the works of decorative art in the museum collections of Ukraine during the full-scale Russian armed aggression on the territory of Ukraine in 2022. Urgent necessity of the fixation of damaged and ruined artistic monuments is explained by the exigency to raise question on the reparations and their renewal after the victory of our people in Russian-Ukrainian war.

REALISTIC AND CONDITIONAL SPACE PAINTING IN THE CONTEXT OF AN ARTISTIC IMAGE

The purpose of the article is to analyze, identify the general and particular in the organization of the compositional space of painting in order to most accurately display the artistic image. The object of the study is the three-dimensional space in the visual arts. The subject is the basic laws of the organization and construction of realistic and conditional space in the visual arts. The analysis of the main types of space in the composition of painting is given. A fundamental division into realistic and conditional space in the solution of the artistic image of fine art is proposed. The concept of an artistic image is defined and the main means of conveying its expressiveness in a composition are identified, namely: format, space, compositional center, symmetry and asymmetry, balance, rhythm, dynamics and statics, color, texture, and so on. The article deals with the basic concepts, techniques and principles of the organization of space on the picture plane in the visual arts. It is determined that the compositional features of the organization of three-dimensional space are due to the use of linear, inverse, perceptual, spherical and light-air perspectives in the construction of both individual elements and the entire structure of the composition of a work of art. The role of different types of space in creating an artistic image within the framework of realistic and conventional painting is analyzed. The results of the work can be used in the educational and creative processes of creating works of fine art, in educational and methodological work, art studies. The proposed systematization of the spatial solution of the image allows us to consider the possibilities of realistic and conventional painting in order to fully reflect the idea and ideological position of the author of the work of art. In the process of analyzing and comparing the organization of the space of realistic and conventional images of the artistic image, the authors of the article came to the conclusion that the principles and techniques of working on the composition have a general and particular. The basic laws of composition, such as the organization of the center, balance, rhythm, movement and static, nuance and identity, from perspective – light-air, work equally for realistic and conventional images. The difference is marked by the use of the laws of different types of perspective (for the realistic solution of the artistic image and the space of the composition, linear, perceptual and light-air perspectives are used; for the conditional solution of the composition, the inverse, spherical perspective and axonometric methods of constructing a shape in space are used), as well as different ways of working with color and shape.

THE DESTRUCTION OF UKRAINE’S CULTURAL HERITAGE AT WAR AS A PROBLEM: A PHILOSOPHICAL AND CULTURAL PERSPECTIVE

The article describes the statistics of cultural heritage monuments in Ukraine, which are listed by UNESCO and have been destroyed, ruined and damaged during the armed aggression of Russian forces. The global problem of modernity that emerged from the 2014-2022 Russo-Ukrainian war is the loss of cultural heritage and artistic styles that reflect the historical life of the state through the language of art. Cultural heritage is not only architectural sacral temples, monasteries, theatres, cinemas, museums, exhibition halls, libraries, public buildings, parks, and squares, but also moving monuments of cultural origin: spiritual books, tableware (chalice), icons, frescoes, mosaics, jewellery belonging to the arts and crafts, films, literary works, museum collections, exhibits, works of fine art, artefacts from archaeological finds reproducing one of the areas of artistic culture - the Art. The historical, cultural and spiritual-artistic heritage is a major resource for the strategic development of the state and an important component of Ukrainian culture, defining the civilisation and cultural potential of the nation. There is an apt statement that saving culture is at the same time-saving people, which might suggest that by saving cultural heritage Ukrainians are defending their own national identity.

100 years of Mari fine art: socialist realism (late 1930s – 1980s)

Introduction. The article continues a series of publications dedicated to the 100th anniversary of the Mari autonomy and the emergence of professional fine art among the Mari people. It characterizes the period of socialist realism. From the point of view of the development of the national fine arts of the Mari, socialist realism needs to be comprehended using new methodological paradigms. Materials and Methods. The fine arts of the Mari Region have been analyzed using the author’s cultural and archetypal approach and the methods of historical research. The research materials include works of fine art from the museums of the Republic of Mari El, documents from the State Archives of the Republic of Mari El, media publications, newsletters and catalogs. Results and Discussion. In the history of the Mari art of socialist realism, two stages have been defined. The first one is the period of recovery after repressions and the Great Patriotic War in the late 1930s – 1950s. The second one is the heyday of the fine arts of the Mari ASSR in the 1960–1980s. Socialist realism as an artistic method is indirectly representative of the process of ethno-cultural reflection as the essence of national fine arts, it is focused on showing the achievements of ethnic cultures in the modernization of the economy and culture. V. I. Lenin is represented as a teacher close to the people (by analogy with Kugu Yumo) in the pantheon of political leaders. The cultural hero is typified through the image of a national cultural figure, a machine operator, and historical personifications. The semantics of the image of a war veteran is supplemented by the function of the world tree on the social field. The female archetype is represented by the type of a collective farmer and milkmaid, less often it is represented by a woman engaged in creative or intellectual work. Conclusion. The era of socialist realism is the most important period in the formation of professional fine arts in the Mari Region, also being a national and ethnic phenomenon. The ambivalence of socialist realist artistic practice lies in the fact that, on the one hand, reflection boils down to the use of national ethnographic signs for visual agitation for socialism, to ignoring real mental processes, and on the other hand, a real process of modernization of national culture emerges through an ideologically idealized form. The ambivalence of socialist realistic artistic practice lies in the fact that, on the one hand, reflection boils down to the use of national ethnographic signs for visual agitation for socialism, to ignoring real mental processes, and on the other hand, a real process of modernization of national culture emerges through an ideologically idealized form.

INTERPRETATION OF THE WORK OF RAKHIM AKHMEDOV IN THE ART OF PAINTING OF UZBEKISTAN

Currently, a lot of attention is paid to the wide use of samples of our culture, values, National Art, samples of fine art created by our ancestors and famous all over the world in the education of young people. The reflection of the image of our great compatriots and great scientists living in the past in the works of Fine Art also imposes responsible duties on the people of creativity. Famous artist Rahim Akhmedov is a people's artist who left a bright mark in the fine art of Uzbekistan. His works are distinguished by their own fertility, compositional solution. In this article, opinions and comments will be made about the scientific interpretation of the creativity of Rakhim Akhmedov in the art of painting of Uzbekistan.

X + y: A Mathematician’s Manifesto for Rethinking Gender

x + y: A Mathematician’s Manifesto for Rethinking Gender