TASVIRIY SAN'ATDA MANZARA CHIZMASINING NAZARIY ASOSLARI Текст научной статьи по специальности «Искусствоведение»

INTER EDUCATION & GLOBAL STUDY

Original paper

© M.Y. Rahimova1H_

1Namangan davlat universiteti, Namangan, O'zbekiston

Annotatsiya

KIRISH: tasviriy san'at insoniyat tarixida katta ahamiyatga ega. Insoniyat shunday yaratilganki, uning hayotida tasviriy san'atning ilk belgilari paydo bo'ladi. Tasviriy san'at rassomdan katta bilim va mahorat talab qiladi. Mavzu materiali asosida tasviriy san'at darslarining samaradorligini yanada oshirish uchun etyud ko'rsatiladi. Shuningdek, ilmiy -tadqiqot ishlarimiz talabalar uchun yordamchi manba bo'lib xizmat qiladi, darslarni mustaqil o'zlashtirishlariga yordam beradi.

MAQSAD: tasviriy san'atda manzara chizmasining nazariy asoslarini o'rganish orqali tabiiy muhitni estetik va realistik tarzda tasvirlashda qo'llaniladigan prinsiplarga aniqlik kiritish. Bu jarayonda quyidagi maqsadlar ko'zda tutiladi: 1. Perspektiva va Kompozitsiya: Manzarada to'g'ri perspektiva va kompozitsiya qo'llanilishi orqali chuqurlik, hajm va dinamikani samarali tasvirlash. 2.Rang va Yorug'lik: Ranglar va yorug'lik yordamida manzaraning vizual ta'sirini oshirish va atmosfera yaratish. Bu maqsadlar san'atkorlarga tabiiy manzaralarni aniq va jozibador tarzda tasvirlashda yordam beradi, shuningdek, san'at asarining estetik va emotsional ta'sirini oshiradi.

MATERIALLAR VA METODLAR: bo'limi manzara chizmasining nazariy asoslarini o'rganish va amaliy mashg'ulotlarni o'tish uchun kerakli vositalar va usullarni belgilashda yordam beradi. Kompozitsiya va perspektiva chiziqli perspektiva: Manzaraning uch o'lchamli ko'rinishini ikki o'lchamli yuzada tasvirlash uchun chiziqli perspektiva texnikalarini qo'llash. Bir nuqtali, ikki nuqtali va uch nuqtali perspektiva variantlarini o'rganish. Atmosferik perspektiva: masofadagi ob'ektlarni yengilroq va kamroq aniq tasvirlash orqali chuqurlikni yaratish. Ranglar va tonlarni qanday qilib atmosferik ta'sirni yaratishda qo'llash.

MUHOKAMA VA NATIJALAR: bo'limi tasviriy san'atda manzara chizmasining nazariy asoslarini o'rganish jarayonida erishilgan natijalarni va olingan ma'lumotlarni tahlil qilishga bag'ishlanadi. Ushbu bo'limda metodlar va amaliy mashg'ulotlardan olingan natijalar muhokama qilinadi va bu natijalar asosida xulosalar chiqariladi. Muhokama va natijalar bo'limi orqali manzara chizmasining nazariy asoslarini o'rganish va amaliy qo'llash jarayonida erishilgan natijalar tahlil qilinadi. Ushbu natijalar san'atkorlarga manzara chizmalarining nazariy va amaliy jihatlarini yaxshilash imkoniyatini beradi va san'at asarlarini yanada mukammalroq yaratishga yordam beradi.

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XULOSA: tasviriy san'atda manzara chizmasining nazariy asoslarini o'rganish va amaliy metodlarni qo'llash san'atkorlarga tabiiy muhitni realistik va estetik tarzda tasvirlashda yordam beradi. Perspektiva, kompozitsiya, rang, yorug'lik, tekstura va struktura kabi nazariy tamoyillar manzara chizmalarining sifatini oshirishga xizmat qiladi. Innovatsion va ijodiy yondashuvlar, shuningdek, guruh munozaralari yordamida san'atkorlar o'zlarining ijodiy salohiyatlarini yanada rivojlantirishlari mumkin.

Kalit so'zlar: tasviriy san'at, rang uyg'unligi, rangtasvir, landshaft uslubi, syujet-mavzuli rangtasvir, real yoki xayoliy, tabiat manzarasi, inson qiyofasi, milliy va uslubiy xususiyatlar

ТЕОРЕТИЧЕСКИЕ ОСНОВЫ ПЕЙЗАЖНОГО РИСУНКА В ИЗОБРАЗИТЕЛЬНОМ ИСКУССТВЕ_

© М.Я.Рахимова1И

1 Наманганский государственный университет, Наманган, Узбекистан_

Аннотация

ВВЕДЕНИЕ: изобразительное искусство имеет огромное значение в истории человечества. Человечество было создано таким образом, что в его жизни появились первые признаки изобразительного искусства. Изобразительное искусство требует от художника больших знаний и мастерства. На основе предметного материала будет показан этюд для дальнейшего повышения эффективности уроков изобразительного искусства. Также наша научно -исследовательская работа служит вспомогательным ресурсом для студентов, помогает им усваивать уроки самостоятельно.

ЦЕЛЬ: уточнить принципы эстетического и реалистического изображения окружающей природной среды путем изучения теоретических основ пейзажного рисунка в изобразительном искусстве. В этом процессе преследуются следующие цели: 1. Перспектива и композиция: эффективно изобразить глубину, объем и динамику пейзажа посредством использования правильной перспективы и композиции. 2. Цвет и свет. Использование цветов и света для усиления визуального воздействия сцены и создания атмосферы. Эти цели помогают художникам точно и привлекательно изображать природные сцены, а также усиливать эстетическое и эмоциональное воздействие произведений искусства.

МАТЕРИАЛЫ И МЕТОДЫ: раздел помогает определить необходимые средства и методы для изучения теоретических основ пейзажного рисунка и проведения практических занятий. Композиция и перспектива. Линейная перспектива: использование методов линейной перспективы для изображения трехмерного вида ландшафта на двухмерной поверхности. Изучите варианты перспективы с одной, двумя и тремя точками. Атмосферная перспектива: создание

Iqtibos uchun: Rahimova M.Y. Tasviriy san'atda manzara chizmasining nazariy asoslari. // Inter education & global study. 2024. №7. B.436-444.

Ilmiy-nazariy va metodik jurnal Научно-теоретический и методический журнал Scientific theoretical and methodical journal

INTER EDUCATION & GLOBAL STUDY

глубины за счет того, что удаленные объекты кажутся более светлыми и менее резкими. Как использовать цвета и тона для создания атмосферного эффекта.

ОБСУЖДЕНИЕ И РЕЗУЛЬТАТЫ: раздел посвящен анализу результатов и данных, полученных в ходе изучения теоретических основ пейзажного рисунка в изобразительном искусстве. В этом разделе обсуждаются методы и результаты, полученные в результате практических занятий, и на основе этих результатов делаются выводы. Посредством раздела «Обсуждение и результаты» анализируются результаты, достигнутые в ходе изучения и практического применения теоретических основ пейзажного рисунка. Эти результаты дают художникам возможность совершенствовать теоретические и практические аспекты пейзажного рисунка и помогают создавать более совершенные произведения искусства.

ЗАКЛЮЧЕНИЕ: изучение теоретических основ пейзажного рисунка в изобразительном искусстве и применение практических методов поможет художникам реалистично и эстетично изображать природную среду. Теоретические принципы, такие как перспектива, композиция, цвет, свет, текстура и структура, служат для улучшения качества пейзажных рисунков. Благодаря инновационным и творческим подходам, а также групповым дискуссиям художники могут и дальше развивать свой творческий потенциал.

Ключевые слова: изобразительное искусство, цветовая гармония, живопись, пейзажный стиль, сюжетно-тематическая картина, реальный или воображаемый, природный пейзаж, человеческая фигура, национально-стилевые особенности.

Для цитирования: Рахимова М.Я. Теоретические основы пейзажного рисунка в изобразительном искусстве. // Inter education & global study. 2024. №7. С. 436444.

THEORETICAL FUNDAMENTALS OF LANDSCAPE DRAWING IN FINE ARTS

© Rahimova Y. Madina1®

1Namangan State University, Namangan, Uzbekistan_

Annotation

INTRODUCTION: fine art has a great significance in the history of mankind. Mankind was created in such a way that the first signs of fine art appeared in its life. Fine art requires great knowledge and skill from the artist. Based on the subject material, a sketch will be shown to further improve the effectiveness of fine art lessons. Also, our research work serves as an auxiliary resource for students, helping them to learn the lessons on their own.

AIM: to clarify the principles of aesthetic and realistic depiction of the natural environment by studying the theoretical foundations of landscape drawing in fine art. The following objectives are pursued in this process: 1. Perspective and Composition: To

© intereduglobalstudy.com 2024, ISSUE 7

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effectively depict the depth, volume and dynamics of the landscape through the use of proper perspective and composition. 2. Color and Light. The use of colors and light to enhance the visual impact of the scene and create an atmosphere. These objectives help artists accurately and attractively depict natural scenes, and enhance the aesthetic and emotional impact of works of art.

MATERIALS AND METHODS: this section helps to identify the necessary tools and methods for studying the theoretical foundations of landscape drawing and conducting practical classes. Composition and perspective. Linear perspective: Using linear perspective methods to depict a three-dimensional view of the landscape on a two-dimensional surface. Explore variations of one-, two-, and three-point perspective. Atmospheric perspective: Creating depth by making distant objects appear lighter and less sharp. How to use colors and tones to create an atmospheric effect.

DISCUSSION AND RESULTS: this section is devoted to the analysis of the results and data obtained during the study of the theoretical foundations of landscape drawing in fine art. This section discusses the methods and results obtained as a result of practical classes and draws conclusions based on these results. The Discussion and Results section analyzes the results achieved during the study and practical application of the theoretical foundations of landscape drawing. These results enable artists to improve the theoretical and practical aspects of landscape drawing and help create more perfect works of art.

CONCLUSION: studying the theoretical foundations of landscape drawing in fine art and applying practical methods will help artists to depict the natural environment realistically and aesthetically. Theoretical principles such as perspective, composition, color, light, texture and structure serve to improve the quality of landscape drawings. Through innovative and creative approaches, as well as group discussions, artists can further develop their creative potential.

Key words: fine art, color harmony, painting, landscape style, plot-theme painting, real or imaginary, natural scenery, human image, national and stylistic features

For citation: Rahimova Y. Madina (2024) 'Theoretical fundamentals of landscape drawing in fine arts, inter education & global study, (7), pp. 436444. (In English).

As in all types of art, visual art (painting, pencil drawing, sculpture) is expressed in various genres. The division into genres is more clearly visible in the picture. Dividing works of fine art into genres is usually based on what is depicted in the picture. Accordingly, painting works can be divided into genres such as landscape (depicting nature), still life (depicting objects), portrait (depicting a person), plot-theme painting (depicting life events). Landscape is a French word that means nature. In fine art, a work (landscape) dedicated to reflecting the real or imaginary appearances of nature is called a landscape. A landscape can also be created in pencil drawing or sculpture. However,

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the possibilities of the landscape genre are fully expressed in the art of painting. The emergence of the landscape genre goes back a long way. The wide distribution of landscape images can be seen in the examples of objects found in archaeological excavations in the territory of the ancient Eastern states and on the islands of Crete. The depiction of natural scenes appeared in Chinese art in the 6th century. In European art, the landscape genre has developed as an independent genre since the 17th century. It was especially widespread in Dutch painting. It should be noted that until the 17th century, views of nature served only as a background for thematic photos or portraits. Although the landscape genre was formed as an independent genre, sometimes you can find a human image in it. However, in the composition of the landscape, the image of a person, as well as small event scenes, do not play a decisive role, but serve to fill the landscape and make the image vivid. This situation can be observed in A. Plastov's "First snow" and O. Tansikboev's Issykkol evening paintings. The works of fine art, including the works created in the genre of landscape, reflect the artist's impressions of existence, ideological and emotional attitude to the event. The socio-historical, national and methodological characteristics of the artist's worldview and perception of nature are expressed in the depiction of natural scenes. Accordingly, in the works of famous artists, one can find interpretations of landscape motifs, such as Shishkin's magnificent painting of Dawn in the Pine Forest), lyrical (A. Savrasov's painting Black crows flew), or socio-philosophical (I. Levitan's paintings Mangu sleeping). The landscape genre has its internal division and genre views, which can be rural landscape, urban landscape, industrial landscape and landscape-marina views. The painting is based on the laws of the color structure of the haqqani form. Studying painting is a way of looking for the proportions, structural construction, size, spatial structure of the colored form on the plane. Based on this, every artist should be able to perfectly describe the structural structure, spatial arrangement, proportion, and size of objects and objects based on the laws of perspective. In a painting, the harmonious combination of color and tone in a single whole is a real painting. The painting must be perfect, otherwise different paints simply do not represent the structure and size of the object. Even colorful brushstrokes on fabric, which represent subtle changes in color depending on the perspective of the air, cannot by themselves show spatial breadth. shows. If the landscape is depicted without following the rules of perspective, the role of color representing the width is insignificant. Painting and pencil drawing are 100% dependent on each other. The role of pencil drawing in the attractive output of a painting is incomparable, but a skilled artist can depict the work with paints without using a pencil. In the process of research, the artist feels that the painting is directly related to the pencil drawing. That is, the spatial location of objects, the accuracy of proportions, the correctness of colors, and the completion of the work as a whole depend on the artist in many ways. If we can conclude from the information presented above, mastering the technique of landscape painting requires a lot of diligence and hard work from a young artist. A large distance separating natural landscapes from the observer, the variety and abundance of light and shadow

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reflexes, the rapid change of light shadows, the change of weather and seasons all complicate the work of an artist who wants to create a landscape. Therefore, it is impossible for young landscape artists to create works that capture the viewer's heart without learning the theoretical foundations of the landscape genre. The theoretical foundations of the landscape genre of fine art were explained in the course work. The information presented in this coursework can be a useful resource for young landscape painters.

After we prepared a sketch of the composition "Landscape" and determined its composition, we started the process of printing the sketch on canvas. Fabric-canvas is the most convenient traditional material for painting. When applying the image to the canvas, it is necessary to prime the canvas first. Priming must meet several requirements: that is, it must close the holes of the fabric, not crack, have flexibility, cover the surface with the same thickness, not affect the color of the paint, and be preserved in case of decay. It is important for every artist to understand priming, its component, and be able to use it in practice. There are several methods of fabric priming. When using carpenter's glue, the glue should be soaked in cold water for several hours. Then it is put into a smaller pot with water glue soaked in it, and this pot is put into a bigger water pot and boiled on fire. in this case, the water in a large pot boils, the pot with glue heats up without touching the fire, and the glue melts. in the process of melting, it should be mixed with wood chips. Melted glue is cooled in a container. With the help of a spatula, it can be applied to the surface of the fabric in the thickness of the cream. Applying with a spatula, it is necessary to make sure that the glue adheres to a thin thickness on all levels when closing the holes of the fabric. This process can also be done using a stiff woolen cloth or shoe brush. After the glue application process is completed, it is dried under natural conditions. After the surface of the fabric is dry, the small digital bird is smoothed by rubbing with paper. Then the second glue application process is performed as before. In the next process, white zinc powder is mixed with the glue and an emulsion is formed and painted.

"On the theme of the landscape, we drew a sketch of the composition on fabric and began to work with watercolors on it. Our main intention was to describe the beauty of spring. For this, we used the specific properties of colors. Color is the main means of expressing a painting. In accordance with the artist's ideological intention and mood during the painting process, the colors brighten, the light and air lead in the landscape, and through this, the artist's mental state can be indicated in the process of painting. The same recommendations were followed in the landscape. This description of the spring season is a rather complicated process. Because psychics admit that the spring season always gives a person the mood of renewal. Sunlight illuminates the depicted objects. This causes the image to become brighter. When talking about color, you should not forget that shadows are also colored. We have worked on the assumption that a color can be seen in the landscape due to light and shadow and can reflect accordingly. The color strokes given in the painting of the landscape play an important role in the

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realization of the artist's intention. In the process of working, the relationship of colors was described as seen in nature. Observing the changes in the effect of light and shadow of landscape objects in different plans and comparing them gave good results in determining the interrelationship of colors with the help of completed sketches. At the same time, the color of the landscape was always taken into account. Its color has become bright. Color is one of the most important aspects that an artist should pay attention to in the process of painting a landscape. Color is one of the tools that ensure the emotional expressiveness of an artistic image in a landscape. Depending on the harmony of colors, it can be warm or cold, light or dark, as well as express calmness or anxiety. In our landscape, the color should be warm and at the same time give a calm mood. In painting, it is known that warm colors give enthusiasm, and cold colors give calmness. Therefore, we used contrast laws. Contrast means opposite. About contrast, Russian artist and scientist N. Volkov says that in general, contrast, contrasting colors in the work is the main style of painters. need Accordingly, the color of the contrast in the landscape was subordinated. During the work of the landscape, we managed to realize our idea of the spring season with the help of colors, to show our feelings about the spring season, its beauty and uniqueness, and we tried to have a harmony and unity of common colors and colors in our landscape. If the overall tone and harmony of colors in the landscape, the lack of unity, creates several different color-color situations. Such a work cannot express the beauty of nature, nor can it affect the emotions of the audience. In conclusion, it should be noted that. For a young artist, observing life, making daily pencil drawings and sketches on the subject is a good thing if he starts doing exercises. The works of the landscape genre, while giving pleasure to a person, awaken the most valuable feeling, such as love for the Motherland. It provides spiritual food for a person, inspires him, brings happiness and joy to life. A composition is a creative, artistic will of the author, a product. Fine art is based on nationalism, and at the same time promotes universal ideals such as goodness, nobility, friendship, solidarity, and spiritual maturity. It is wrong to consider all works that come to our country from abroad as art. In today's globalization process, in the era of rapid information, teaching young people to distinguish white from black, good from bad is one of our main tasks. Therefore, young art teachers should prepare themselves for comprehensive activities from the time they are studying at a higher educational institution.

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MUALLIF HAQIDA MA'LUMOT [ИНФОРМАЦИЯ ОБ АВТОРЕ] [AUTHORS INFO]

^Rahimova Madina Yashnarjon Qizi, Namangan davlat universiteti Pedagogika fakulteti Tasviriy va amaliy san'at fakulteti 3-bosqich talabasi, [Рахимова Мадина Яшнарджон кизи, студентка 3 курса Наманганского государственного университета, педагогического факультета, Кафедра изобразительного и прикладного искусства], [Madina Y. Rakhimova, 3rd year student of Namangan State University, Faculty of Pedagogical Sciences, Department of Fine and Applied Arts]; manzil: O'zbekiston, Namangan sh., [адре^ Узбекистан, г. Наманган], [address: Uzbekistan, Namangan city]; rahimovam613@gmail.com