CC BY
0FEATURES OF ARTISTIC-IMAGE COGNITION ACKNOWLEDGMENTS MEANS OF SCULPTURE
AND DRAWING FOR THE ARTIST-TEACHER
Chen Tong
Shanghai Institute of Visual Arts. Shanghai China
Abstract
The article raises the problem of improving the quality of training of future artists and their creativity through learning artistic image in sculpture and drawing.
Keywords: sculpture, drawing, artistic image, teacher of arts.
At the present stage of the evolutionary development of society, where the study and active use of digital and computer technologies become dominant, the sensual cognition and study of the world through art, which is peculiar and necessary to man for the formation of moral, ethical and aesthetic qualities, often fades into the background. The task that faces artist-teacher, to reveal the artistic way of knowing the reality surrounding entrusted to him wards. This article raises the problem of disclosing the features of artistic and imaginative knowledge by means of sculpture and drawing, the conciseness of the means of expression of which allows us to concentrate all attention on the profound imagery of their works, that promotes education, instills subtle taste and promotes understanding of art. The artist-teacher should think, think with images that humanity derives from the surrounding real world. Students should form a need to communicate with art: to visit museums, exhibition halls, carefully study and get acquainted with works of high art. N. V. Tomsky writes: "Communication with art, like communication with nature, enriches you spiritually, broadens your horizons, teaches you to feel more thinly" [1, p. 6].
Shorokhov defines art as "a specific area of knowledge of real reality" [2, p. 45]. Specificity of such knowledge lies in the fact that art reflects the world in a special form - in the form of artistic images. Like art in general, the artistic image is the most complex product of man's creative activity. The question of studying the essence and features of the artistic image is of interest for philosophy, aesthetics, the theory of art, and the practice of artistic activity. The image is studied from the point of view of its cognitive meaning, this is scientific knowledge about life and from the point of view of sensory cognition in all its diversity, reflected in the categories of aesthetics and the psychology of artistic creativity. Combined on the basis of all these positions, the idea of an artistic image enhances the professionalism of the artist-teacher. In the philosophical encyclopedia [3], artistic cognition is defined as: 1) the cognition of objective and subjective reality by a person possessing an innate ability to visualize the world and perceive the world in a "beautiful shell", as subjectively expressive; 2) knowledge of the world of art, conditional, imaginary, requiring the author's artistic talent, professional education and mastery. Between the surrounding world and the world of art lies a certain distance, expressed in a certain organization of the work, emphasizing its out-of-place to the subject of perception and preserving at the same time the illusion of his reality. The image of art is also defined as an aesthetic category, characterizing a special way, unique to art, and a form of mastering and transforming reality. The artistic image in the broadest sense acts as a cell, the
first principle of art that absorbs and crystallizes in itself all the main components and features of artistic creativity in general. The image is not just a reflection of reality, but its artistic generalization, it is a created, man-made product of idealization or typification of real facts, events or characters. In the aesthetics of Hegel, "art depicts a truly universal, or idea, in the form of a sense existence, an image" [4, p. 412].
The formula of art as "thinking in images" has become synonymous with the realistic method, emphasizing the cognitive function and social purpose of artistic creation. OL Golubeva defines the artistic image as "the expression of the creator of his" I ", his sensation, the personal vision of the object, the phenomenon, the world around him. This inner state, the spiritual spirit of the artist, keenly feeling, letting through himself and conveying to us, the audience, his understanding of reality "[5, p. 7], as well as "the form of reflection, the reproduction of objective reality from the position of a certain aesthetic ideal in art" [5, p. 7]. Thus, the artistic image is an inseparable, interpenetrating unity of objective and subjective, logical and sensual, rational and emotional, abstract and concrete, general and individual, necessary and accidental, part and whole, essence and phenomenon, content and form. Thanks to the merging in the creative process of these opposites into a single, holistic artistic image, it becomes possible to create a bright, emotionally expressive work. The painter should be able to teach to understand and perceive the artistic image, which leads to the pupils' ability to receive a deep aesthetic pleasure from art, awakens the feeling of beauty that they will carry through their whole life. For reading some artistic images, additional special knowledge is needed, when the image is expressed by a symbol belonging to a particular culture or epoch. But there are works of art, images of which, regardless of the time of their creation, are understandable to the whole of mankind. In the process of professional training of an artist-teacher, special educational disciplines, sculpture and drawing must contain two main directions - literacy and expressiveness. This division into components is conditional, since in practice it is difficult to separate fine and non-pictorial means, artistic imagery and the scientific basis of the image. Literacy in sculpture and drawing is the interconnection of common for all types of images creation knowledge, skills, skills necessary for all kinds and genres of fine arts. The literacy of sculpture and drawing is the exact transmission of the form. As VK Lebedko says: "Touch," feeling, "contributes to a better concept of the complex form, the volume of this form" [6, p. 12]. Also, V. K. Lebedko notes: "Even without being an expert in the field of the psychology of sensory cognition, one can almost graphically represent the difference between the pictorial images formed in the process of drawing
or modeling. It is clear that in one case the image carries more clearly some spatial characteristics - color, in others the volume, silhouette, etc. »[6, p. 6].
Training in drawing is a consistent solution of problems in mastering the convention of the fine language. The main goal in this process is to cognize and comprehend the patterns of change in the visible images of objects, depending on their rotations and removal relative to the viewer's eye. Yu. V. Novoselov notes that "in practice this means learning to see the planar projection image of an object in order to translate the visual language visible to the sign system, that is, to learn to see the perspective of form" [7, p. 3]. According to EI Ignatyev, every artist, especially a teacher, "must perfectly master a full-fledged, as it were movable manner, by means of which it would be possible to depict an object in sketches in any given position or turn" [8, p. 69]. For an artist, you need a knowledge of the subject that would give you the opportunity to master the ability to portray it freely on the idea. "The artist," writes EI Ignatiev, "should be able not only to represent the subject on the presentation in a sketch, in one form, but also, if necessary, change its position, turn in the right direction, light it in different ways it, etc. "[8, p. 69]. AA Vorohob wrote in his dissertation: "The three-dimensional form uses tactile sensations that are impossible in other kinds of fine art, and, consequently, on their basis new associative connections are created that participate in the process of image formation" [9]. A complex image, suitable for a full-fledged drawing on the idea, EI Ignatiev regards as a guarantee of artistic, creative success. In this regard, it should be noted that the literacy of sculpture and drawing is half the solution of the image problem. NV Tom-sky writes: "Literacy, after you master it, makes it possible to create, completely without thinking about it" [1, p. 111]. With strong professional knowledge, the artist can direct all his creative forces to create a deep artistic image. Speaking about literacy and expressiveness, EA Burdel writes: "The work, which was the fruit of deep thought and long labor, seems easy and immediate" [10, p. 46]. The history of art convincingly proves that there are certain artistic means of expression used to create works. This form, volume, silhouette, color, texture, etc. The expressive means of sculpture and drawing can include a composition, rhythm, silhouette, space, contrast, emotional subjective interpretation. Professional and competent use of these tools helps to achieve the greatest expressiveness in the creation of artistic images. The artistic effect of the drawing consists in a peculiar conflict between the plane and the space, between the three-dimensional image and the white, empty plane of the paper sheet.
Expressiveness is the aesthetic disclosure of objects and phenomena of reality from certain characteristic aspects, which manifests itself in the selection of features and structure of image means, based on personal attitude and evaluation. Expressiveness is manifested through the expression of objective logic and the content of reality. Artwork, before taking shape in a
specific image in the author's view, arises in his mind. At the same time, the completeness of the correspondence between the sensations, the design and the embodiment of the work itself is of great importance, since the artistic image represents an integral formation. The above mentioned concepts vary greatly in the way of thinking: sensations are a sensory category, the idea has a rational beginning, the embodiment has a technical character. The artist-teacher should perfectly master all this arsenal, that is why great importance for their formation has the learning process, as well as the role of the instructor-teacher. Future artists-teachers should not only competently sculpt and draw, but also clearly present the methodology for performing the work. Therefore, the teaching of sculpture and drawing should be structured so that students perform each task in a strictly methodological sequence. Only an artist-teacher who has passed a good school of literate images in sculpture and drawing can become a real professional in his field. The artist-teacher should be able to competently perform the work, be able to bestow his creative work "the most important - the inner spiritual life" [1, p. 64], to possess "real skill to correctly choose and solve the topic of the future work" [1, p. 64]. The future artist-teacher must learn to reflect in his works the high and noble. And in this he should be an example for those who will have his education. In connection with this, at present, the faculty of art and graphic faculties of pedagogical universities and institutes is tasked not only to teach students a professional literacy, but also to educate in each of them freedom of thought, which forms creative potential.
References
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8. Ignatiev EI The formation of a complex image, suitable for a full-fledged drawing on representation // Psychology of drawing and painting. M., 1954.
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