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14ИСКУССТВОВЕДЕНИЕ
Harutyunyan Marine Grigorii
Candidate of Historical Sciences, Institute of History of NAS RA, Senior Researcher
The article was published thanks to a grant from the Armenian General Benevolent Union (AGBU) We express our deep gratitude to the Armenian General Benevolent Union for sponsoring the publication
of the scientific article
THE PROBLEM OF STUDYING OF THE APPLIED ART OF ARTSAKH OF THE 19TH CENTURY ON THE PAGES OF THE EASTERN ARMENIAN ERIODICAL PRESS
DOI: 10.31618/ESSA.2782-1994.2021.4.74.150
Annotation. Thus, our scientific research led to the conclusion that the applied art which originated in the previous centuries continued to develop along with other branches of the culture of Artsakh in the second half of the XIX century and the beginning of the XX century.
In this scientific article, we have presented mainly the following branches of the applied arts of Artsakh: carpet weaving, handicrafts, embroidery, silversmithing, pottery. We have mainly presented interesting information about the branches of the applied art which were covered in the periodicals of the second half of the XIX century and the beginning of the XX century. Noting about the carpet weaving of Artsakh, we emphasized that the carpets of that region of Artsakh stood out with their color structure, richness of ornaments, technical mastery. We highlighted the role of handicrafts in the life of Armenian women, emphasizing that this form of the applied art was developed in Artsakh in the Middle Ages. In this article, we also presented a number of pottery samples found during excavations by foreign archaeologists.
The applied art of Artsakh continued to develop in the following years.
Аннотация. Таким образом, наши научные исследования привели к выводу, что прикладное искусство, зародившееся в прошлых веках, продолжало развиваться вместе с другими отраслями арцахской культуры во второй половине XIX - начале XX века.
В этой научной статье мы в основном представили следующие отрасли прикладного искусства Арцаха: ковроткачество, ручная работа, вышивание, серебряное дело, гончарное дело. В основном мы представили интересную информацию о тех отраслях прикладного искусства, которые освещались в периодических изданиях второй половины XIX - начала XX века. Говоря о ковроткачестве Арцаха, мы подчеркнули, что ковры этого региона Арцаха отличаются цветовой структурой, богатством орнаментов и техническим мастерством. Мы подчеркнули роль ремесел в жизни армянских женщин, подчеркнув, что этот вид прикладного искусства был развит в Арцахе в средние века. В этой статье мы также представили ряд образцов керамики, найденных при раскопках зарубежными археологами.
Прикладное искусство Арцаха продолжало развиваться и в последующие годы.
Key words: "carpet weavmg","handicrafts", "embroidery", "silversmithing", "pottery", "theater", "music", "fine arts", "architecture", "applied arts",
Ключевые слова: "ковроткачество", "ручнаяработа", "вышивание", "серебряное дело", "гончарное дело ", "театр ", "музыка ", "изобразительное искусство ", "архитектура ", "прикладное искусство ".
The scientific novelty and purpose of the study:
Various branches of centuries-old Armenian culture have been studied by a number of prominent scholars for centuries but this field of Artsakh culture has been little studied by Armenian and foreign historians. The scientific novelty of the article is that the information about applied arts is presented mainly on the basis of scientific materials published in the Eastern Armenian periodical press. The purpose of the publication of the article is to inform the foreign audience about the indisputable facts of Artsakh's applied art which will refute the spread of false information about this branch of Artsakh's art.
Content:
The Armenian culture stands out with its aesthetic features in the centuries-old history of the Armenian people. Sometimes, the one served to preserve the Armenian people for centuries together with the Armenian Church in the absence of Armenian statehood. The culture of Artsakh stands out with its
unique uniqueness in the centuries-old history of the development of Armenian culture.
The second half of the 19th century and the two decades of the 20th century are important periods in the centuries-old history of Armenian culture. The preconditions for the development of culture of that period had their own unique impact on the development of Armenian culture. A period of search for new creative ways of art began in Eastern Armenia where various socio-economic, political and spiritual transformations took place since the 1850s. Social and political movements and the development of culture in Eastern Armenia also influenced the development of Artsakh's art (theater, music, fine arts, architecture, applied arts, etc.) which reached the level of aesthetic requirements of the time. During that period, the applied art also developed which was in line with the requirements of the local historical and social life.
The applied art of Artsakh developed in two directions: rural-folk, urban-craft. Values of applied
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arts have been created in villages, cities, monasteries and elsewhere. Unlike examples of rural applied art, the products of urban workshops were sold abroad. Rural art followed a unique creative path largely adhering to ancient traditions.
The issue of the development and widespread dissemination of Artsakh's cultural values was covered to some extent in the periodicals of that period.
Among the branches of the applied arts the carpet weaving culture stands out with its aesthetic nuances which developed on the basis of the experience of the traditions of the previous centuries, that is, it included in its creative samples the types of Armenian customs of the previous centuriesl. The carpet weaving2 as a craft was formed in Artsakh in ancient times and developed more in the Middle Ages. Carpets, rugs, towels, napkins, aprons and laces decorated and woven with wool, cotton, silk, silver and gold threads have been distinguished by beautiful and elegant combinations of colors, with high mastery of performance since the early 17th century. And many magnificent samples of carpet weaving and embroidery created by Armenian craftsmen decorated the various markets of Persia. At the beginning of the 17th century, when Shah Abbas forcibly relocated the inhabitants of the Ararat Valley3 to Persia and settled in the city of Isfahan and its environs, the Armenians took carpets and rugs with their property4. The types of "Vishapagorg5" ("Dragon Carpets"), "Artsvagorg of Khachen" ("Eagle Carpets of Khachen"), "Transitional Carpets", "Odzagorg" ("Snake Carpets"-because there are snake-like patterns on the carpet), "Guhar" (also "Gohar"), "Khndzoresk" carpets were popular in Artsakh in that period. Famous centers of carpet weaving of the period were Avetaranots6, Jraberd7, Shosh fortress (later Shushi) and other settlements.
The Carpet weaving developed most in Artsakh in the second half of the 19th century. Shushi was one of the major centers of Armenian carpet weaving (there
East European Scientific Journal #10(74), 2021 5 were also a number of centers of carpet weaving culture in western and eastern Armenia: Sebastia, Van, Karin, Mush, Ararat Valley, Syunik, etc.)8. The carpets of Artsakh stood out with their color structure, richness of ornaments, technical mastery. The great skill of the local craftsmen was demonstrated there. The most significant among the museum collections is the one kept in the Historical-Geographical Museum of Artsakh (part of it - in the RA State Museum of Ethnography) which contains more than two dozen carpets, technical devices and accompanying documents. Those give more or less an idea about almost all the centers of the carpet weaving of Artsakh (Shushi, Varanda, Dizak, Khachen provinces). Those confirm the historical and cultural significance of Artsakh carpet weaving not only of that period but also of past times. Here, as well as for all the carpet weavers of historical Armenia the most important thing was the artistic decoration of the carpet. The carpet weaver himself invented the rug he used to make. In other words, there was an inexhaustible creative process at the time where various versions of ornaments and rugs were created on a national basis.
According to the "Azgagrakan Handes" ("Ethnographic Magazine") periodical, the development of the carpet weaving art of Artsakh was especially promoted by the "Caucasian Housework Committee"(«kn4Umujmb mbmjbmqnp&m^mb ^ntf^mbb») established in 1899 (among the members of the committee were writers, painters, agriculturists: G. Sundukyan, G. Bashinjaghyan, O. Schmerling and others) on the initiative of which carpet-weaving schools were established in the Caucasus including Shushi9. The branches of carpet production were in Dizak, Varanda, Khachen, Jraberd, as well as in the Armenian villages of Nukh province. ''The Committee'' imported paints from Europe and developed them well then published an album of carpet ornaments10.
1 A carpet-weaving workshop was established in Haterk by the efforts of Arzu Khatun, the wife of the leader Vakhtang of Haterk in the first half of the 13th century.
2See Temurchyan V., Carpet Weaving in Armenia, Yerevan, 1955, pp. 34-35 (ftMmpfijmb Q-npqmqnp&nLpjmbp -<uijmummbnLtf, b., 1955, t2 3435). Temurchyan V., Historical review on Armenian carpet weaving, ''Bulletin of the National Academy of Sciences'', Yerevan, 1952, N 11, p. 110. Melik-Shahnazaryants K., Knitting of wool and carpet weaving in Karabakh, "Handes Amsorea", Vienna, 1928, № 6, pp. 475-478.
3Arakel Davrizhetsi, Book of Stories, Holy Etchmiadzin, 1669, pp. 37-45(0-^pg ^mmtfmpbmbg, Urnpp 1669, t£ 37-45).
4 Davtyan S., Armenian carpet, Yerevan, 1975, page 14 (T-m^pjmb U., -<uij^m^mb ^mp^bm, b., 1975, t2 14).
5 Album catalog of XVII - XX centuries. , Yerevan,
2012. Armenian inscription rugs (album catalog),
Yerevan, 2010 (XVII-XX qq. mjpnb bmmmjnq, b.,
2012: -<uijhphb mp&mbmqprnpjmb qnpqbp (mjpnb
bmmminq), b., 2010).
6 Especially when, at the end of the 17th century, in 1692, Melik Hussein, son of Melik Shahnazar and Melik Baghin, son of his brother Melik Mirza-Bek migrated from the shores of Lake Geghama with some of their relatives to Varanda province and settled in the village of Avetaranots. (See Lalayan E., Varanda, "Azgagrakan Handes"("Ethnographic Magazine"), 1897, N 2, page 5).
7 Kazaryan M., Armenian Carpets, Moscow, 1985, t2 88(Казарян М., Армянские ковры, Москва, 1985, t2 88):
8 Ghazaryan M., Treasures of the Art of Artsakh, Antelias, 1993(Яшqшphшh H., Нрдш^ шртЬит^ qшhйhp, Uhpfo^u, 1993).
9 Kara Murza, Household Assembly(Shщ|hшqnp&ш^шh dnqn^), "Azgagrakan Handes", 1901, book 1, page 8.
10 Yu. Straube, Caucasian Carpets, Album, Vol. 1, St. Petersburg, 1913, p. 4(Ю. Страубе, Кавказские ковры, Альбом, Вып. 1, СПб, 1913, стр. 4).
Despite the fact that "Caucasian Housework Committee" ceased to exist during the First World War, it did invaluable work to preserve and develop both the Caucasian and Artsakh traditions of the carpet weaving in a short period of its activity (1899-1914). Most of the carpets that have come down to us from the period under study are the values created by the "Committee".
"Khach-Khoran" carpet was famous at the beginning of the XX century which was woven by Anna Shakaryants in 190911.
One of the most important types of the applied art is handicraft which vividly reflects the spiritual life of the people, its artistic culture, rich national heritage. It is a great aesthetic and historical value with a wide range of themes, richness and variety of traditional ornaments. This branch of folk art having passed through a difficult path of development from an early age and bearing the influence of other ethnic cultures, at the same time interacting those cultures has come down to us mainly preserving the original national image.
Handicraft is one of the most remarkable spheres of activity of the people of Artsakh. Being formed in the system of cultural values of the past, handicrafts brought us images of different times which express the complex symbolic content of the ornaments.
The handicraft is a complex combination of historical periods of the region which is reflected in various ornaments and stylistic features. The ornaments reflect the characteristic features of the people's daily life, the culture of everyday life, they reflect the historical and ethnographic peculiarities of different provinces of Artsakh.
In Artsakh, handicrafts underwent significant changes, especially in the second half of the 19th century. It was connected with new school aesthetics and art education programs. The aesthetics teacher taught painting and sometimes embroidery in schools of Artsakh. For example, the famous painter Stepanos Nersisyan who taught painting in the Diocesan and Girls' Schools of Shushi introduced the students to the nuances of handicraft art. Aesthetics and painting teachers Margarit Aleksanyan, Voski Tavrizyan, Ekaterina Bahatryan and others in addition to painting taught embroidery in Artsakh schools.
Covering the peculiarities of the historical and architectural monuments of Artsakh, "Nor Dar" periodical testified that one of the main occupations of the girls of the Kusanats Anapat Church of Artsakh was handicraft in parallel with which the girls were engaged in needlework. The periodical mentioned the following interesting information in the article entitled "Our Monasteries": "The Kusanats Desert of Shushi is located in the southern part of the village of Avetaranots of Artsakh. It was renovated in 1814. The church bell tower is especially beautiful. There were virgin rooms on the west side of the church. Virgin
Hripsime Bahaturyants was the headmistress of the Shushi monastery in the early 19th century who died in 1865 at the age of 75. His grave is in that church. Hripsime's younger sister, Mother Gayane left beautiful samples of handicrafts in that church. One of the most beautiful and well-known examples of handicrafts is the Gospel. Gayane copied that Gospel and dedicated it to her parents and her cousin, Martyr Bishop12".
The "Nor Dar" periodical also referred to the activity of Mariam Hakhumyan who had a lot of prestige in Artsakh: ''Mrs. Mariam Hakhumyan was famous in Shushi who provided her own big house as a school for the education of Armenian girls in Shushi with the special permission of Catholicos Matteos. She opened the school with his own means and she covered all the expenses related to the school. She invited famous Armenian pedagogues to Shushi. Mariam Hakhumyan taught her students handicrafts. She went to school every morning until noon, teaching her students handicrafts. Poor schoolchildren were provided with all the necessary school supplies.
The Mariamyan school achieved great success and wide recognition in a short period of time. Well-known pedagogues Petros Shanshyan, Garegin Muratyants, Perch Proshyan, Stepanos Nersisyan and others taught there13".
One of the most advanced types of handicraft is embroidery. Serik Davtyan noted that Artsakh embroidery was included in the "Syunik-Artsakh" school taking into account the historical commonality of crafts and creative interests of these two regions14.
After the floral patterns, geometric patterns were common in embroidery. Those ornaments were usually used in different types of embroidery compositions.
In addition to the widespread geometric patterns there were works with specific local images and ornaments in the embroidery art of Artsakh. It is worth mentioning the embroidered carpets which formed a separate group and repeated the ornaments of the carpets and rugs.
One of the peculiarities of Artsakh handicrafts are the protocols which complement the compositional structure of the woven work. Household and church gifts, memoirs, dates, titles were singled out which provided valuable information embroidery centers (Shushi, Varanda, Dizak, Khachen, Nukhi, etc.), craft organizations and craftsmen.
Pottery is one of the branches of applied arts. Items such as cups, jugs, household and other archeological items made by a large number of pottery craftsmen were discovered during excavations in Artsakh. Those are auxiliary resources for the study of applied art of the history of Artsakh.
"Azgagrakan Handes" periodical referred to those in detail in its article "Graves of Khojalu: "E. Reossler conducted a number of archeological excavations in various places in the province of Karabakh. He was
11 Tatikyan V., The family rugs of Artsakh, Yerevan, 2004 (^mpfr^jmb Upgmfafr mnMmqnpqhpp, bpkmb, 2004).
12 "Nor Dar", 1894, N 111, July 1, page 2.
13 "Nor Dar", 1894, N 111, July 1, pages 2-3.
14 Davtyan S., Armenian embroidery, Yerevan, 1972, page 12(^m^pjmb U., ^mj^m^mb muhqbmqnp6nipjnLbp, bpkmb, 1972, t2 12).
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Member of the Imperial Archaeological Society of St. Petersburg in the second half of the 19th century. E. Reossler is German and taught at the Realakan School of Shushi of Artsakh as a German teacher. He carried out excavations in Karabakh for four or five years on the instructions of the famous Virkhov, a member of the Imperial Archaeological Society of St. Petersburg and other scientists and discovered a large number of antiquities... The last time he carried out excavations was near the villages of Khojalu and Arajadzor of Artsakh. During excavations, he discovered a number of antiques such as pottery items. Those stand out with their originality15".
This branch of the applied arts became widely used in the provinces of Artsakh in the second half of the 19th century. The potters made pottery - water pipes, roof bricks as well as waterproof decorative pottery. In other words, wet pottery also developed in parallel with the pottery the traditions of which continued in our time in Artsakh.
Necessary household items made by Artsakh craftsmen (jars, jugs, kula, dishes, ovens, etc.) were regularly sold both on the spot and in other towns and villages. The documents of the specimens preserved in the Artsakh Historical-Geographical Museum prove that they are mainly items made by craftsmen of the 19th century and the second decade of the 20th century.
The values of this branch of the applied arts are stable in relation to local requirements and lifestyles, and by their roots those are connected with the Armenian pottery. Masters in a number of fields have raised their craft to the level of art. This fact and the well-developed aesthetic taste of different segments of the population especially in the cities (Shushi, Nukhi) raised the high level of development of applied art.
The samples of other branches of applied art were also included in the cultural value system of Artsakh. Among them are stone, silver, jewelry, artistic engravings, various metal items, gospel compositions, carvings and high sculptures of architecturally monuments, khachkars, tombstones and other ornaments with other inscriptions. Interesting information about those has been preserved in the pages of the Eastern periodicals.
The author of the article of "Azgagrakan Handes" magazine ( in the 2nd issue of1897) referred to the architectural monument of the Ghevondians Church of Artsakh. He mentioned about the wonderful samples of silverware: "There are the following relics of the saints in the chapel of the Ghevondiants: 1) the relic of the Apostle Thaddeus in a small silver cross, 2) the relic of the Baptist John in a small silver and a large cross, 3) the relic of St. John in a mediocre cross of silver16.":
The applied art of Artsakh like other spheres of local culture with their ideological and artistic thinking were closely connected with the aesthetic-philosophical essence of the culture of the Armenian people and became one of its main links. The applied art of Artsakh included all the types of that cultural sphere the development of which was dictated by the
preferences and tastes of a wide range of people. The widespread recognition of the applied art was also facilitated by the creative freedom of the performing masters, the high level of expression of their professional abilities, their desire to study the best features of the national and Eastern arts and to present them in a creative combination.
During that period, the branches of Artsakh applied arts developed in many ways, tied to the Eastern traditions and national traditions. Although the applied art of Artsakh was influenced by the applied art of the neighboring countries, it did not lose its spirit, its national originality, the roots of which were embedded in various layers of pan-Armenian culture. Purely Armenian spheres were free from these influences -architectural sculptures, some branches of embroidery, etc.
Local markets of Shushi, Dizak, Varanda, Jraberd and other places had an impact on the development of applied arts. Products from different countries were brought to those markets, such as the Caspian Sea, the North Caucasus, Georgia and Russia. Those were reflected in the material and spiritual culture of the people there.
These important features which are typical of the applied art of each ethnographic period have also found their unique expression in the art of Artsakh. The ones roots were rooted in the centuries-old roots of the history of general Armenian culture.
LIST OF USED LITERATURE
1. Temurchyan V., Carpet Weaving in Armenia, Yerevan, 1955.
2. Temurchyan V., Historical review of Armenian carpet weaving, "Bulletin of the National Academy of Sciences", Yerevan, 1952, N 11.
3. Melik-Shahnazaryants K., Knitting of wool and carpet weaving in Karabakh, "Handes Amsorea", Vienna, 1928, № 6.
4. Arakel Davrizhetsi, Book of Stories, Holy Etchmiadzin, 1669.
5. Davtyan S., Armenian carpet, Yerevan, 1975.
6. Album catalog of XVII - XX centuries. , Yerevan, 2012. Armenian inscription rugs (album catalog), Yerevan, 2010.
7. Lalayan E., Varanda, "Azgagrakan Handes"("Ethnographic Magazine"), 1897, N 2.
8. Kazaryan M., Armenian Carpets, Moscow,
1985:
9. Ghazaryan M., Treasures of the Art of Artsakh, Antelias, 1993.
10. Kara Murza, Household Assembly(Sbmjbmqnp6mbmb dnqn^), "Azgagrakan Handes", 1901, book 1.
11. Yu. Straube, Caucasian Carpets, Album, Vol. 1, St. Petersburg, 1913.
12. Tatikyan V., The family rugs of Artsakh, Yerevan, 2004.
13. "Nor Dar", 1894, N 111, July 1.
14. "Nor Dar", 1894, N 111, July 1.
15 "Azgagrakan Handes" 1896, N 1, pp. 37-40.
16 "Azgagrakan Handes",1897, N 2, page 46.
15. Davtyan S., Armenian embroidery, Yerevan,
1972.
16. "Azgagrakan Handes" 1896, N 1.
17. "Azgagrakan Handes",1897, N 2.
УДК 78
ГРНТИ 18.41.09
Denisenko Yulia Vasilyevna
candidate of pedagogical sciences, associate professor of musicology and piano Altai State Institute of Culture
DIDACTIC FOUNDATIONS OF TEACHING THE DISCIPLINE "MUSIC OF THE SECOND HALF OF THE XX - EARLY XXI CENTURIES" IN HIGH SCHOOL
Денисенко Юлия Васильевна
кандидат педагогических наук, доцент кафедры музыкознания и фортепиано Алтайский государственный институт культуры
ДИДАКТИЧЕСКИЕ ОСНОВЫ ПРЕПОДАВАНИЯ ДИСЦИПЛИНЫ «МУЗЫКА ВТОРОЙ ПОЛОВИНЫ XX - НАЧАЛА XXI ВЕКОВ» В ВЫСШЕЙ ШКОЛЕ
DOI: 10.31618/ESSA.2782-1994.2021.4.74.144
Summary. The problem of teaching the discipline «Music of the second half of the XX - beginning of the XXI centuries» in the process of music-theoretical training of students at the university has two aspects of consideration. The first one is connected with the need for a purposeful and systematic study of modern music, which makes it possible to successfully master complex forms of modern musical organization. The second concerns the development of the content and effective methods of teaching this discipline to students, which will contribute to the implementation of their professional training and orient future teachers to a high level of their professional activity.
Аннотация. Проблема преподавания дисциплины «Музыка второй половины XX - начала XXI веков» в процессе музыкально-теоретического обучения обучающихся в вузе имеет два аспекта рассмотрения. Первый связан с необходимостью целенаправленного и системного изучения современной музыки, позволяющей успешно осваивать сложные формы современной музыкальной организации. Второй касается разработки содержания и эффективных методик преподавания данной дисциплины обучающимся, которые будут способствовать осуществлению их профессиональной подготовки и ориентировать будущих преподавателей на высокий уровень их профессиональной деятельности.
Key words: method, principle, reception, students, teacher-musician, education, training, discipline, didactic provisions, perception, music of the second half of the XX - XXI centuries.
Ключевые слова: метод, принцип, прием, обучающиеся, педагог-музыкант, образование, обучение, дисциплина, дидактические положения, восприятие, музыка второй половины XX- XXI веков.
Современная культурная ситуация, характеризующаяся многообразием, сложностью и противоречивостью, повлекла изменение отношения к системе музыкально-педагогического образования. Долгое время она копировала консерваторскую систему профессиональной подготовки музыканта, ориентированную на будущих музыковедов, дирижеров и исполнителей. Наряду с существенными достоинствами, такая предметно-профилирующая направленность
обучения имела и серьёзные недостатки, следствием которых стала некоторая академизация знаний, стереотипность мышления, формирование узко специальных умений и навыков, ограниченных по диапазону действия. Это привело к возникновению серьёзных проблем при переносе усвоенных в процессе обучения знаний, умений и навыков в условия практической деятельности.
В связи с этим, в последние годы в музыкально-педагогической науке стали появляться работы, отражающие специфику подготовки будущего педагога-музыканта, одной
из задач которой является переход от образования узкого специалиста-«предметника» к образованию музыканта в широком понимании этого слова. В данном смысле под «образованием» понимается не механистическое накопление знаний, умений и навыков, а некое принципиально качественное образовывание человека, содействующее его культурному и профессиональному росту. Важным шагом на пути решения этой проблемы стали работы Э. Б. Абдуллина, Е. В. Николаевой, Г. М. Цыпина и др.
В данных исследованиях подчеркивается мысль о том, что обучение в высшей школе - не только сообщение и усвоение информации, привитие определённых умений и навыков. Это процесс, который должен моделировать предстоящую целостную профессиональную деятельность во взаимосвязи и
взаимообусловленности всех составляющих её компонентов.
Следствием такого подхода стало изменение отношения к содержанию профилирующих
