The
composition is the figurative and semantic form of cognition in the art
education and training
M.B.Djanaev
Taraz
state pedagogical institute,
the
candidate of pedagogical sciences, the lecturer, the member of the association
of painters of the Republic of Kazakhstan,
Taraz,
Kazakhstan
Proceeding from actual methodological problems of art
training we scrutinize the composition as the figurative and semantic form of cognition and creative
development of students. As the composition embodies specific regularity of the
world cognition and specific forms of artistic reality familiarization,
predominative aspect of picturesque-notional form of cognition in the art education and training is distinguished at
teaching compositional activity.
Among various questions linked with the problem of the
compositional teaching, the main place is taken by the determination all
artistic, psychological, pedagogical tasks by the creative method of
composition and the personal-oriented technology of teaching of students’ personal worldview
development. At a new paradigm of education in condition of student-centered
teaching “a teacher acts most in the role of an
organizer of students’ independent active perceptional activity, a competent
consultant and an assistant.” [1,12p].
A personality in the post-industrial society must have
determinate qualities, must be able to generate new ideas, to think creatively,
to detect and solve new problems. So comprehensible artistic and aesthetic
familiarization of reality and its cognition supposes appropriate technologies
of the student-centered teaching.
The task of
the research is to detect specific possibilities of the image composition in
the formation of students’ personality and worldview. To define this question
we applied the method that diagnoses the most characteristic qualities of
cognitive processes and personalities, which provide the formation students’ personality:
visual development, the ability of artistic perception; control of perceptional
processes; pictorial ability, ability to comprehend and apply pictorial means
and elements and sign systems (symbolic, pictorial and graphic, artistic and imaginative).
The cognitive activity reflects general cultural abilities of a student, which
express abilities and personal qualities and his possibilities to adopt new
knowledge, action, creative methods of types of pictorial activity. That’s why
we consider the image composition as the figurative and semantic form of cognition and expression of
artistic image in the pictorial activity of students. Based on proved data of art criticism, pedagogy, philosophy and psychology it is
necessary to try to find out: theoretical basis of compositional creation;
cognitive, worldview possibilities of the image composition; the figurative and semantic form of cognition and expression of artistic image in the
pictorial activity; spheres of influence of compositional activity on the
personality; the role of compositional activity in the cognitive process; methods
of the pedagogical leadership
on students’ compositional activity.
The substance of our concept is that the
familiarization of the image composition and students’ worldview forming are
completely realized only during student-centered teaching. That’s why first of all we consider the
specific role of the composition in forming the world-knowledge of student’s
personality. In this context L.S.Vygotski confirmed that exactly by means of
art the most intimate spheres of the personality are involved in the process of
realizing public purposes. “Of course, talking about the need of consecutive
realization of student-centered approach
in students’ teaching and upbringing, it is necessary always to keep in mind the
complete personality of a child with his emotional, spiritual sphere” [1, 13p].
Plastic interpretation of reality in images of the
children is the special philosophical phenomenon. Pictorial language was formed
on the basis of philosophical and aesthetic, cognitive experience of humanity. And
on this basis the lingual diapason of pictorial means of the composition was
defined by the genetic code, linear, color, tone rows,
rows corresponded between themselves in the visual diapason of thinking. It is
universal natural language of forms that are expressed in various types and
kind of pictorial elements of line, color and tone. Line, color and tone are
elements of plastic interpretation of content and form, become an appearance
that detects substance of image subjects through attributes and relations
accessible to feelings.
In fact figurative-expressive means: line, feature,
color, tone, space, perspective, rhythm and etc. in their notional connection
can become a substance of a work of art. In the composite-plastic
system line, color and tone reflect direct various visual and emotional charge,
which expresses psychological state of a man. So emotionality, imagery and psychological
and philosophical meaningfulness of the composition are displayed by means and
elements in their comprehensive system. These elements of the composition are carriers
of spiritual, psychological condition of a man and philosophical conceptions,
judgments and meanings.
Studied elements
in the system and combination of composite-plastic language of image embrace
practically all types of phenomenon of the nature, observed by the man and as
the symbolic origin they are potentially endless. Line, color, tone in
accordance with psychological condition of a painter realize natural genetic
code that are reflected in the image with his instrument, and also universal
natural language of the visual form that is expressed in various types of
pictorial elements and real subject forms. The image as the “system of stimulus”
in the form of line, color, tone and other material means of the composition “consciously
and deliberately” organized in order to provoke esthetic reaction (L.S.Vygotski) discloses the
contents of an artistic image. While analyzing the structure of stimulus
we reconstruct the structure of the reaction by the statement of L.S.Vygotski.
Expressive-plastic means of the composition have their
primary source such as previously mentioned sign elements. These means of the
compositional art include also such bearers of notional context of image as
space, movement, time and rhythm.
The composition as a bearer of arts and cultural
communication is its important peculiarity, explains philosophical nature of artistic generalization. Emotionality and imagery
in the composition are displayed in these elements, which connect picture
plane, artistic image with its texture of the spiritual activity of a man. Various
aspects of meanings of “universal” elements have also contextual character.
They are stipulated by the correlation of that expressed in the compositional
form of the work, with phenomenon of reality, which are referred in it. The
role of the context in forming artistic and plastic meanings is explained by peculiarities
and character of mentioned elements as modeling system.
It should be noted that artistic cognition of reality in
the process of students’ compositional activity includes perception and analysis
as its separate expressive elements, attributes, signs and complete forms in
the visual and sensual basis. Besides it is important to apply student-centered
methods of forming intellectual and emotional activity, methods of complete
ideas of figurative-sensual figure, plastic image of that is portrayed. In the children's
art work “intellectual and emotional factors are equally
necessary for the act of creation” [2, 17p].
In the language of compositional creation the leading
role belongs to the visual experience according to which visual ideas and
images associate with means in the definite emotional and expressive system. Line,
color, tone play the role penetrating into our psychology activity so, as the
painter leads them to
a mixed states which are adequate to the condition of reality perception. One
of the most important stipulations to obtain an artistic image is an ability of
leading material means to a definite state, to a peculiar plastic form of
reality perception.
Study of the theory and practice of the composition shows
that meaningful application of image means has dialectical connection with
emotional and psychological sides of worldview. Art and plastic means of image
is the initial language, the language of images and symbols, the visual
language, mental and spiritual. In this meaning it is the image language of
visual relations of sensitive spiritual conditions, human experience.
Previously mentioned means of the composition are oriented to figurative and symbolic,
emotionally meaningful forms of cognition and expression. In these
means of the composition spiritual
and emotional modus of human conscience and condition in the artistic
and creative activity are captured. “The real purpose of the
art is to know the truth, to discover and represent the beautiful in reality
itself. Only perceiving things in their true light the art can give
pleasure, educate and teach good and etc.” [3, 24p]. There is a deep
dialectical connection between the composition and worldview that lies in the
foundation of art and cogitative consciousness.
At the same time extension of the study of the science of
the composition is attended with the rise of requirements to its practical
direction of forming personal-oriented new person.
In the purpose of the practical realization of art and
pedagogical aspects of student-centered teaching leading intellectual processes
of the cognitive activity must be applied, such as: observation, perception,
thinking, memory and attention. The creation reflects general abilities of a
man, which express cognitive activity of the subject and its possibilities to
adopt new knowledge, actions, and complex forms of the activity. This technique
studies the most qualities of controlling cognitive processes and students’
personality, providing compositional activity.
Realistic compositional creation is meaningful art and
aesthetic familiarization of the reality. So, teaching methods of system
application of pictorial elements and means in accordance with visual and meaningful
signs of objects of the reality will promote deep comprehension of elemental prevailing artistic intuition,
production of habits of consecutive artistic and imaginative
thinking and reasoning of students.
In the process of solving compositional tasks by the
students an important thing is the sequence intuition, emotions, figurative art
and plastic perception of the reality and so on. The ability to think
compositionally arises on the basis of art and figurative, art and plastic
perception of the world and with familiarizing with the
spiritual and cultural values. The very appearance of the composition would have been unthinkable without artistic figurative
thinking, cultural and aesthetic cognition and the dialectical of spiritual
development. The compositional thinking operates sensations, perception and
idea. Intuition and thinking play the main role in cognizing the world, in the
process of an artistic creation. The
compositional logic of the picture is dialectics of the creative thinking and
art and aesthetic cognition of the reality world. Figurative and plastic
perception of the reality and visual, observation specifically inherent to it
is connected with the high culture of the compositional thinking and conscience
which is worked out in the process of creative experience of a painter.
The ability to distinguish art and plastic nice shades of
appearances becomes possible when contrasting representation of
the image with figurative elements and means, training perception and
representation, ability to distinguish specific moments. Creative emotional and
aesthetic relation to the surrounding reality as the origin which gives
contrasting and analytical, specific comprehension of its context, exposes
creative act, create premises for the compositional and creative activity.
The painter representing the real life wants to show its
art and comprehended form, and not illusion of the real world. The
compositional activity is conscious creative process of perception of objective
reality by pictorial means, and is peculiar art and figurative method of
familiarization of the real world. This process is artistic familiarization of
the reality, the process of comprehended cognition of the world truth, artistic
understanding of it, expression of unity of the subject and the object.
So, the composition embodies specific regularities of the
world perception, specific forms of artistic familiarization of the reality. Artistic
perception and comprehension are organically taken to the worldview,
presentation and expressed by figurative means and ways; find the reflection in
the artistic method of a painter. In the compositional activity the origin of
cognition and comprehension is an objective reality, which is perceived and
known by the way of emotional and aesthetic sensual vision of the world. For
example, I.Matsa when studying the treatment of the image and the material of
the art writes “… a painter proceeds from the real world, which he perceives in
his art, reproduces the real world with his specific means” [4, 128. 129p].
Objective premises and forms of cognition and thinking
stimulate the rise of various formal and technical elements, means, ways and
methods of the composition. Technical means and methods of the image
composition are brought out from stipulation and the character of signs and
reasons of the condition of the portrayed reality. So, elements, means and
methods, formal and technical methods of an image depend on the character of
perception and thinking, leading types of the pictorial activity of a man.
That’s why the main thing is the development of art and figurative thinking,
that is ways and methods of the composition depend on the forms of thinking,
the level of comprehension and presentation of a painter. “In other words the
development of technique of the form is not an immanent development which is
close in it, but is stipulated by the ideological content of
the art, is stipulated by the worldview settings, forms of
thinking its social subject” [4, 179p].
In the compositional activity objective and realistic
manner to the reality stimulates forms of the cognition. On this basis
conscience is defined by ways and methods of objectification of the object of
an image. The student in the degree of his cognition and sensitive and
emotional experience and their differences, cognizes and portray the reality.
N.N.Volkov writes: “The composition of the work of art is
always the construction for understanding, the construction for meaning” [5,
20p]. It means that the composition becomes an artistic phenomenon and
figurative and notional form of the cognition in the realistic art and becomes
the purpose of teaching fine arts. So, conscious objective and realistic approach
to the reality and its aesthetic qualities, objective signs define working out
and methods of the application of ways and means of the image composition in
teaching. According to the character of perception and presentation of the
reality, and also to aesthetic condition of the reality, in the practice of the
students’ artistic activity formal and technical means and methods are worked
out.
Creative activity, cognitive tendency, sensitive
perception of the reality in its material, art and aesthetic qualities and
characteristics, evoking bright image systems from the students, expanding
verbal and logic, art and creative method of cognition develop creative
thinking and on this basis trains personal-oriented, multicultural person.
Literature
1.
New pedagogical and
informative technologies in the system of education: School appliance for
students of pedagogical institutes and system of training of pedagogical staff
/ E.S.Polat, M. U.Buharkina, M.V.Moiseeva, A.E.Petrov; edited by E.S.Polat –
Moscow: Publishing center “Academy”, 2000. – 272p
2.
L.S.Vygotski –
Imagination and creation in childhood: psychological essay. The second edition.
– Moscow: Prosveshchenie, 1967
3.
B.I.Korovin,
V.P.Shestakov. Ideas of aesthetic training. Anthology in 2 parts. The second
part. Editor-author is V.P.Shestakov. – Moscow: Iskusstvo, 1973. – 368p
4.
I.Matsa. Creative
method and artistic heritage. Izogiz, - Moscow: 1933 -336p
5.
The problems of the
composition: Collection of scientific papers / Edited by V.V.Vanslova – Moscow
Izobrazitelnoe iskusstvo, 2000 – 292p
Annotation
The article is dedicated to the theory of the composition
and methods of its teaching. Methods of managing cognitive processes in the
compositional activity, abilities to understand and to apply sign systems and
elements are studied. The correlation of creative methods of the composition
and student-centered teaching technology in the development of worldview of
students’ personality is also studied. Problems of artistic creation connected
with conception and execution, with context and form, figurative and structural
moments when creating artistic image are scrutinized. The composition is
presented as the figurative and semantic
form of cognition of the world in the artistic activity of students. Problems
of the composition as the figurative and semantic form of cognition of the reality in the theory
of the art and art pedagogy are scrutinized.
Key words:
the composition, creation, perception, cognition, artistic activity, image,
artistic education and training.
Review
to
the scientific article of Djanaev M.B. on the theme: “The composition is the
figurative and semantic form of cognition in the art education and training”.
The actuality of art and pedagogical research made by
M.B.Djanaev arouses no doubt.
In the article the author, proceeding from actual
methodological problems of art training and from scientific data of the
research, scrutinizes the composition as the figurative and semantic form of cognition and creative
development of students. In the article among various questions linked with the
problem of the compositional teaching, the main place is taken by the
determination all artistic, psychological, pedagogical tasks by the creative
method of composition and the personal-oriented technology of teaching of
students’ personal worldview development. He shows that comprehensible artistic
and aesthetic familiarization of reality and its cognition supposes appropriate
technologies of the student-centered teaching.
He demonstrates that the familiarization of the image
composition and students’ worldview forming are completely realized only during
student-centered
teaching. That’s why first of all the specific role of the composition in
forming the world-knowledge of student’s personality is considered in the
article.
He notes that the artistic cognition of reality in the
process of students’ compositional activity includes perception and analysis as
its separate expressive elements, attributes, signs and complete forms in the
visual and sensual basis. Besides he underlines the importance of application
of student-centered methods of forming intellectual and emotional activity,
methods of complete ideas of figurative-sensual figure, plastic image of that
is portrayed.
It is based on arguments that worldview units (valuable
and semantic, ontology) are concepts on the basis of which correlation
possibilities of creative methods of the composition and student-centered
teaching technology in the development of worldview of students’ personality.
The article is written on the basis of experimental data
and scientific and theoretical analysis of studying problem.
The work is corresponded to the requirements to
publishing of scientific articles.
The
vice rector on scientific work of
Taraz state pedagogical
institute,
Ph.D., Professor, Member of
the International
Academy of Psychological
Sciences T.K.Boleev
Academy of Pedagogical
Sciences