scholarly journals DEVELOPMENT OF CREATIVITY AND IMAGINATION OF SCHOOLCHILDREN IN FINE ARTS CLASSES

2021 ◽  
Vol 02 (05) ◽  
pp. 55-61
Author(s):  
Botir Boltabaevich Baymetov ◽  
◽  
Laylo Misoatova ◽  

The article describes how visual activity contributes to the development of abstract thinking and specific, sensory experiences in schoolchildren, and in the process of the image, the child selects from the integral visual image proportions, color, silhouette, line as general and constant characteristics of the reality visually perceived by it.

Author(s):  
Botir Boltabaevich Baymetov ◽  
Shoxidahon Odiljonovna Botirova

2021 ◽  
Vol 7 (3B) ◽  
pp. 158-167
Author(s):  
Tatiana Vasilevna Portnova
Keyword(s):  

The study’s goal is to give reasons and scientific credence for Benois’s creation in context of synthesis with fine arts and graphics in Ballet Theater of the end of XIX–beginning of XX century. The study objectives are to reveal phenomenon of arts synthesis in Benois’s method of work on performances and roles on ballet stage, to analyze peculiarities of poetics of a visual image in easel and stage works devoted to dance and created for ballet. The paper investigates artist’s creative method, defines techniques underling most of his works and revealing specific features of artistic, graphic, and theatrical heritage.


Author(s):  
Лі Янь

The article reveals the connection between the teaching of oil painting and the spiritual and intellectual development of future teachers of fine arts. Classes in oil painting harmonize the inner world of a young person, cultivate his aesthetic taste, evaluative judgments. The best oil paintings by Chinese artists have gained recognition.


Author(s):  
Olga Kovalevska

The omnipresence of modern technologies and free access to information granted to general public facilitated demythologization of our history, refutation of ingrained archaic stereotypes and propagation of historical knowledge and better understanding of intellectual and cultural heritage. However, lack of systemic approach to processing of the information found, partial coverage of disparate topics and blatant ignorance of how the source interpretations evolved, repeated public indoctrination with second-hand interpretations (i.e. referring to previous interpretations) without explanation of the original semantics of text or image, as well as pathological graphorrhea of certain authors promoted by facilities and resources of numerous social networks, all result in profanation of the epistemological process. In certain cases, this situation is aggravated by the controversy embedded in the written or visual source itself, as well as by the intentional or unintentional bias against a certain historical figure described or depicted by the source, that is smothered in the current confrontation between different myth-making systems or information war. This article exposes the core and sources of the so-called "Hippolytus legend" and its visualization in the XVII-XIX paintings. It puts under scrutiny when and under what circumstances this work of ancient literature transformed into "the Legend of Mazepa". It also exposes the evolution in ХІХ - ХХІ centures of the new edition of the romantic legend presented by the literature, works of fine arts and decorative and applied arts. Various versions of traditional visual interpretations have been analysed along with the underlying reasoning and causes for the emergence of contemporised visual presentation of the well-known image of Mazepa tied to the horse’s croup. The semantic modifications of so-called distorted images of "modern Mazepas" have also been exposed. The historical figures had been most often branded as "modern Mazepas" have also been put under scrutiny. Such a detailed analysis of both Mazepa's literary and visual image and the peculiarities of the emergence and subsequent interpretations of the "Mazepa's lore" are crucial for understanding of the ancient texts and images that are not always correctly interpreted nowadays, thus spawning numerous new fabrications and myths.


Author(s):  
Ismatov Ulfat Shuhratovich

This article discuses technology used to develop graphic material in fine arts classes. The purpose of fine arts classes is to teach students to draw on a variety of graphic materials; to teach them to see, comprehend, understand and appreciate the beauties of being and art; to develop aesthetic and artistic taste, to expand the scope of artistic thought; to develop artistic creativity and imagination, to help them find their own style, their own way of creativity.


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