Search

The article examines the conceptual dimensions of artistic culture, presents its constituent elements, functions and purpose as a privileged social phenomenon. As well as, the existential-anthropological significance of artistic culture / art focuses on deepening spirituality, preserving the truthfulness of man, having a fundamental role in humanizing and orienting human personality. There are analyzed the formative dimensions of artistic culture and the ability to influence the human personality through the phenomenological peculiarities of art; its symbolic and philosophical essence referential to the affective and rational background of the human being; the relational interdependence between the level of artistic education and the ability of the artistic activity and respectively the level of the artistic culture of the society / personality

Aesthetic education requires a methodical approach to integrating the individual into a system of influence both formal, educational, through specific artistic and extra-curricular/non-formal disciplines, by making use of special opportunities that are studied outside school, but which, independently or in correlation with it, make the human being aware of beauty, enhance artistic feelings, form and consolidate the authentic aesthetic taste. Art education denotes a certain way of seeing the human, a special philosophy of life, a vision of what is most precious for becoming a human being. The importance of art appreciation in society gives the value measure of that society, its refinement, and axiological altitude. Art education is opening new horizons because it develops the questioning and reflective spirit. Art and beauty are such cultural privileges that do not arise by themselves, but are conquered by continuous initiation, training and experimentation of the relations with them.

We „extracted” from the umbrella of tuition the branch of artistic education, a concept extensively used in daily discourses, but less known at the level of its literal sense. We cannot talk about education via arts before laying stress on a series of essential details about Romanian tuition, in general. Therefore, I pointed out the aspects about the evolution – involution of the educational system, the obsolete textbooks full of mistakes, the classrooms overcrowded with students, the lack of technologies deemed necessary, the unwelcoming, unaesthetic classrooms, and the workshops lacking the work instruments deemed necessary. The curriculum and syllabus are thick, mostly centred on theory and scarce practice. Most of the time when we reach „the field”, we do become aware that theory is of no use to us or practical things are distinct from the theoretical ones.

The scientific research of cultural-artistic phenomena is a complex and current process. Each country has a system of values, similar experiences, common conceptions and reflections about the world, which it accepts. These common points form the national culture. The work in question was carried out in collaboration with young researchers from the Graphics specialty within the Faculty of Fine Arts, Decorative and Design interested in safeguarding, supporting and raising national values in plastic creation. For the first time, a sociological study was developed in which the national theme was investigated through the prism of graphic art. The level of perception among young people in the Republic of Moldova of the national theme present in the works of artists, created through multiple engraving techniques, has been examined. The engraving techniques explored by Moldovan graphic artists have been researched. The study highlighted a number of problems facing the graphic arts in the Republic of Moldova. The respondents proposed optimal solutions for the development and remedy of the existing situation in contemporary graphic art, as well as for the promotion of works that reflect the national theme represented by engraving techniques.

Copyright of Arts & Education / Mistectvo ta Osvita is the property of Viktoriia Ragozina, editor in chief for Mistectvo ta Osvita and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Изобразительное искусство современного Вьетнама это удивительно многогранное явление, в котором переплелись черты традиционного национального и европейского искусства. Выросшее из вьетнамской художественной традиции, связанной с лаковой живописью, с росписью на шелке, народной гравюрой по дереву, искусство Вьетнама в последние годы все более интенсивно усваивает художественные достижения всего мира.