Tungus-Manchu Traditional Beliefs. Part 2: Zoomorphic Complex

This article describes the zoomorphic complex of Tungus-Manchu beliefs refl ected in mythology, ritual practices, shamanism, and decorative and applied arts. Those beliefs are regarded as a coherent whole within the cultural system. The typology of the zoomorphic complex shows that the key fi gures were the serpent-dragon, the deer, the bear, and the tiger. In traditional worldviews and rituals, they were related to cosmogony, ancestor cult, hunting and fi shing rituals, healing, and initiation shamanic complexes. The semantics of animal images depended on their place in the cultural system, religious ritual, and artistic communication. Comparative analysis demonstrates both ethno-cultural specifi city and universal archetypal characteristics, as well as connection with ancient regional beliefs. The Tungus- Manchu zoomorphic complex originated within the East Asian traditions, having been infl uenced by cultures such as the Old Chinese, Korean, and Jurchen.

SCIENTIFIC RESTORATION OF WORKS OF DECORATIVE AND APPLIED ART IN THE SYSTEM OF HIGHER ART EDUCATION

The article is devoted to the issues of scientific restoration of works of decorative and applied art in the system of art education at the National Academy of Fine Arts and Architecture. The processes of formation and improvement of the experience of the artist-restorer for the preservation of historical and cultural monuments are defined. The importance of solving the cultural and professional development of the future artist-restorer in the field of restoration of works of decorative and applied art is emphasized. The topic studied by the author raises a number of issues of the methodology of studying works of decorative and applied arts in the research work of future artists-restorers. The purpose of the study is to develop and substantiate basic theoretical know­ledge in the field of research, restoration, conservation and storage of works of decorative and applied arts from metal, ceramics and organic materials. Training of restoration specialists is carried out in various educational and scientific institutions of Ukraine. At the present stage of development of scientific restoration, this industry needs innovative approaches and updating of old methods. Thus, at the National Academy of Fine Arts and Architecture you can get a specialty artist-restorer of monumental painting, artist-restorer of sculptures and decorative arts from metal, ceramics, organic materials (fabrics, leather and bone). Restoration occupies the most important place in museum work and combines a set of knowledge and skills that provide storage of works of art made of metal, ceramics and organic materials. Disciplines on the restoration of sculpture and works of decorative and applied art are part of the training of specialists in the specialty «Restoration of works of art» within the acquisition of practical skills in research, restoration, conservation and storage. Training of future artists-restorers in the system of higher professional education taking into account modern requirements of conservation and restoration is based on such principles as scientific, connection of theory with practice should be carried out on authentic monuments — museum exhibits that promotes formation of professional competences, acquisition of professional experience, responsible attitude to historical and cultural monuments. The obtained results deepen the idea of research methods, restoration and conservation of works of decorative and applied arts from metal, ceramics and organic materials. Theoretical provisions are important at the problem-theoretical level, because the training of restorers requires a strong scientific and methodological base.

Effective Use of Remote Learning in Sustaining Teaching and Learning of Fine and Applied Arts in COVID-19 Era in Colleges of Education

The study determined how remote learning we can use effectively in sustaining teaching fine and applied arts in colleges of education in Benue State, Kogi State, and Enugu State, Nigeria. We adopted a cross-sectional survey for the study. We used a sample size of 218 respondents for the study. We used a structured questionnaire for the study. We used frequency percentage and Chi-square analysis. We planned and tested four hypotheses. The finding of the study showed that the ICT devices are not available; respondents do not use the effective technique for teaching fine and applied arts in remote learning. The respondents found out that there are challenges concerning the use of technology in the teaching fine and applied arts, and respondents agree on the solutions in mitigating the adverse effect of COVID-19 lockdown on teaching fine and applied arts. We highlighted the educational implications of the findings and the recommendations. We also made some limitations of the study and suggestions for further studies.

THE ATTIUDES OF THE ACADEMIC STAFF IN THE DEPATMENT OF ‎APPLIED ARTS AT KADOORIE UNIVERSITY TOWARDS ADMISSION ‎POLICIES AND THEIR ROLE IN ACHIEVING THE QUALITY OF ‎OUTPUTS

This is study aimed to identify the attitudes of the academic staff in the Department of Applied ‎Arts at Kadoorie University towards admission policies and their role in achieving the quality of ‎outputs,‎the admission policies of the Department of Applied Arts at Palestine Technical University- ‎Kadoorie have adopted several criteria for accepting students based on their high school grades, in ‎addition to their passing an abilities test. Based on these policies been adopted for students’ ‎admission and the diversity of criteria; this study used to know the attitudes of the members of the ‎academic staff in the Department of Applied Arts at Palestine Technical University- Kadoorie ‎toward these policies and their role in achieving the quality of outputs. The researcher followed the ‎qualitative approach through the use of the focus group that was applied to a sample of members of ‎the academic staff in the Department of Applied Arts at Kadoorie University consisting of (8) ‎members, and the results of the study showed that the trends of the focus group varied between ‎positive and negative, with reservation on some of the procedures followed in students’ admission, ‎the response of the focus group on the relationship of admission policies with the quality of outputs ‎was positive and with the approval of the majority, and many proposals were submitted to develop ‎them and develop programs in the department, several recommendations were also made, the most ‎important of which are: That the admission policies for the Department of Applied Arts at Palestine ‎Technical University- Kadoorie should be reviewed since the results of this study showed that some ‎of the current adopted policies do not contribute in achieving the quality of outputs‎.

Development of creative abilities of the children of the primary school age in additional education environment by means of decorative and applied arts lessons

Освещены вопросы формирования творческих способностей детей младшего школьного возраста на занятиях по декоративно-прикладному творчеству в учреждениях дополнительного образования. Рассмотрены педагогические условия, способствующие развитию творческого потенциала детей средствами декоративно-прикладного искусства.

Ismar David’s Quest for Original Hebrew Typographic Signs

Ismar David was a prolific calligrapher, type designer, graphic designer, and illustrator who also engaged in architectural design and taught calligraphy. He studied applied arts in Berlin, emigrating to Jerusalem in 1932 and to New York in 1952. From the 1930s to the 1990s, he created a wealth of unique designs, most importantly the David Hebrew typeface family. It was the first comprehensive Hebrew typeface family, comprising nine styles that include a true Hebrew italic style and a monolinear style, equivalent to a Latin sans serif. David Hebrew provides an example of how a research-based design process can help negotiate the tension between old and new, leading to an innovative, well-informed design solution. David not only excelled in his groundbreaking approach to Hebrew type design for existing glyphs, but he went a step further, expanding the character set. After David completed the design of his typeface family in 1954, it was partially cast for machine composition by the Intertype Corporation. During that period, David relocated to New York to pursue his creative career.

Memories in memoirs: Mykhailo (Moisey) Fradkin

The artist Moisey Fradkin (1904–1974) was a bright talented person in a brilliant galaxy of Ukrainian artists of the late 1920s – mid 1930s. He was a direct participant in the process of forming a special national “face” of graphic art. His works, which were exhibited at numerous foreign exhibitions in Europe and the United States, were noted as “strong and magical.” However, the further Fradkin’s creative destiny was not triumphant – after a very bright surge of original talent, his art was muted in the Procrustean bed of the Stalinist ideology, from about the end of the 1930s to the 1960s. He did not lose his skills, but only at the end of his life, full of wise experience, Fradkin again acquired bright energy and youthful enthusiasm in his work. Fradkin was a widely educated person, he taught at the Kharkiv Art Institute, was an active illustrator, author of easel compositions and graphic miniatures-exlibrises, worked in the field of industrial graphics for many years, headed the section of decorative and applied arts of the Kharkiv Club of Exlibrisists, collected a huge library. He and his wife, H. Krieger put together a unique collection of paintings, graphics and decorative and applied arts (more than 4000 items), which was later inherited by the Kharkiv Art Museum. The museum’s archives contain scattered sheets with fragments of Fradkin’s memoirs about his years of study at the Kharkiv Art College-Institute, which emotionally describe the time of the rapid reform of art education, which was full of contradictions. The article is based on these, not completely deciphered notes, and on the personal memoirs of the author of the article, who was familiar with the artist in the last four years of his life.

The experience of forming the artistic and design competence of future teachers of professional training by means of ethnodesign

Актуальность статьи обусловлена необходимостью изучения организационно-педагогических условий и опыта формирования художественно-оформительской компетентности средствами этнодизайна у студентов направления подготовки 44.03.04 Профессиональное обучение (по отраслям) (Декоративно-прикладное искусство и Дизайн) и (Сервис). Подготовка педагога профессионального обучения в области этнодизайна отличается тем, что она включает в себя осуществление двух видов профессиональной деятельности: педагогической, с опорой на знание особенностей осуществления теоретического и производственного обучения; дизайнерской, предполагающей приобретение навыков дизайн-проектирования, владение современными технологиями выполнения проектно-художественных работ с использованием этнокультурных мотивов. В статье приводится анализ результатов формирования данной компетентности и положительная динамика полученных экспериментальных данных по исследованию. The relevance of the article is due to the need to study the organizational and pedagogical conditions and experience for the formation artistic and design competence by means of ethnodesign of students areas of training 44.03.04 Professional training (by industry) (Decorative and applied arts and Design) and (Service). The training of a teacher of professional training in the field of ethnodesign differs in that it includes the implementation of two types of professional activities: pedagogical, based on knowledge of the specifics of the implementation of theoretical and industrial training; design, involving the acquisition of design design skills, possession of modern technologies for performing design and artistic works using ethno-cultural motives. The article provides an analysis of the results of the formation of this competence and the positive dynamics of the obtained experimental data on the study.