纸塑在现代设计中对学生创造性思维发展的作用

Lyudmila Bogaichuk, Ivan Oros, T. Kovalchuk
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In the content of the Methodological recommendations for conducting practical lessons, it is emphasized that the result should reflect the student's mastery – from the initial sketch through full-scale sketches to the design of the idea in the material. It is justified that in addition to the traditional methodical principles of education, there is a need to use certain art technologies. It is emphasized that the implementation of the developed \"Conceptual Technology\" in the teaching space of paper-making contributed to the decision-making process regarding the means of creating an artistic image. In the conclusions, it is noted that paper-making as a type of activity occupies an intermediate position between learning and playing and meets the conditions that ensure the effectiveness of the development of creative activity. 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引用次数: 0

摘要

文章强调,在现代设计和艺术与创意教育领域,特别是装饰艺术和应用艺术领域,纸张作为建模和创作艺术产品的创造性材料的重要性正在增长,同时,从易用性和成本角度来看,纸张也是最容易获得的艺术材料之一,纸工艺是学生感知和创造更复杂的专业艺术形式的重要基础。值得注意的是,尽管有各种版本,但这种差异并不能完全揭示造纸作为一个概念整体的多样性,因为它与项目文化、创意实验室和设计方法的联系是多样的。本文的目的是揭示装饰艺术和应用艺术空间中的造纸,确定其理论和方法基础,并证实造纸在现代设计中对学生创造性思维的形成以及艺术和教学技能的形成的作用。这些方法被应用并用于揭示问题:一般科学(分析、综合、概括、系统化);科学的和具体的:历史的、艺术的、教学的、心理学的和方法的:系统的结构的、结构的、功能的、比较的,借助这些方法,对造纸现象的观点进行了概括,在装饰和应用艺术的平面上,在现代设计中,方法论是解决艺术与教学专业学生创造性思维发展问题的具体原则。在主要内容中,注意到在传统工艺的方法论规定和基本原则的基础上,体现了装饰艺术和应用艺术的创造性和本质基础,这确保了艺术能力组成部分的形成,同时也需要利用学生的创造性和具象思维。提出了造纸的关键具象基础的概念,指出掌握艺术意象的细节形成了学生的审美观念,也是理解世界的宝贵行为。强调指出,“纸塑”也反映了作者研究材料作品的组成、结构、结构和技术规律的方法的特殊性。在进行实践课的方法论建议的内容中,强调结果应反映学生的掌握情况——从最初的草图到全尺寸草图,再到材料中思想的设计。有理由认为,除了传统的有条不紊的教育原则外,还需要使用某些艺术技术。强调指出,在造纸教学空间中实施已发展起来的“概念技术”有助于决策如何创造艺术形象。结论中指出,造纸作为一种介于学习和游戏之间的活动,符合确保创造性活动有效发展的条件。纸张技术的学习和实践使用纸张对抽象、联想、组合、逻辑思维的形成和发展至关重要,在学习“纸张”的过程中,形成了学生的创造性思维,并获得了风格化和概括的技能,这涉及到获得用于具象再现的实践经验。从进一步研究的角度来看,重要的是要考虑研究、开发和创建一个模型的必要性,以发展未来设计师的艺术和创作能力。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
The role of paper plastic in modern design in the development of students' creative thinking
The article highlights that in the space of modern design and artistic and creative education, in particular decorative and applied arts, the importance of paper is growing as both a creative material for modelling and for creating artistic products, and at the same time, the paper is simultaneously one of the most accessible art materials both from the viewpoint of ease of use and cost, and paper craft is an important basis for students' perception and creation of more complex artistic forms of professional art. It is noted that despite various editions, this disparity does not allow fully revealing paper-making as a conceptual whole – in the diversity of its connections with project culture, creative laboratory and design methodology in design. The purpose of the article is to reveal paper-making in the space of decorative and applied arts as well as to identify its theoretical and methodological foundations and to substantiate the role of paper-making in modern design for the formation of students' creative thinking alongside the formation of their artistic and pedagogical skills. These methods were applied and used to reveal the problem: general scientific (analysis, synthesis, generalization, systematization); scientific and specific: historical, artistic, pedagogical, psychological and approaches: systemic-structural, structural-functional, comparative, with the help of which the opinion regarding the phenomenon of paper-making is generalized, its essential content is clarified in the plane of decorative and applied arts, in modern design, and methodical methods are specified principles to the problem regarding the development of creative thinking of students specialized in artistic and pedagogical mastery. In the main content, it is noted that on the basis of methodological provisions and basic principles of traditional craftsmanship, the creative and essential foundations for decorative and applied arts are manifested, which ensures the formation of components of artistic competence and, at the same time, requires the use of students’ creative and figurative thinking. The idea of the key figurative-essential basis for paper-making is provided and it is noted that mastering the specifics of artistic imagery forms students' aesthetic ideas as well as a valuable act of understanding the world. It is highlighted that "paper plastic" also reflects the specificity of the author's approach to the study of compositional, constructive, structural and technological regularities of the work with material. In the content of the Methodological recommendations for conducting practical lessons, it is emphasized that the result should reflect the student's mastery – from the initial sketch through full-scale sketches to the design of the idea in the material. It is justified that in addition to the traditional methodical principles of education, there is a need to use certain art technologies. It is emphasized that the implementation of the developed "Conceptual Technology" in the teaching space of paper-making contributed to the decision-making process regarding the means of creating an artistic image. In the conclusions, it is noted that paper-making as a type of activity occupies an intermediate position between learning and playing and meets the conditions that ensure the effectiveness of the development of creative activity. Learning and practical work in the technique of papier-mâché using papier-mâché is important for the formation and development of abstract, associative, combinatorial, logical thinking, in the process of learning "paper-mâché" the creative thinking of students is formed and the skills of stylization and generalization are acquired, which involves the acquisition of practical experience for figurative reproduction. In the perspective of further research, it is important to consider the need to research, develop and create a model for the development of the future designer’s artistic and creative competence.
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