The framework and the reference objectives of the ‘Textile art’ course signal priority of the student’s initiation in the fine arts language theory. It is essential to discover new possibilities to study and apply of fine arts language elements for the purposes of triggering students’ creativity. For this purpose, at the course of “Textile art”, we will examine the necessity of studying fine arts language, synthesis of creative forms when essentially determining the contents in the process of development of artistic creativity to fine arts education students. In the process of development of artistic creativity in students it is important to study the language elements by selecting and processing artistic elements of nature. The study of the elements of fine arts language contributes to educating and informing the creative personality while choosing and processing the reality in the context of a methodical creative thinking - along with compositional regularities of scale, rhythm, movement and fine arts forms.
The article describes conceptual aspects related to the artistic tendencies in preschool education.The realization of this process is presented by operating with the concepts of the famous occidental, Russian and local scientists. One of the ideas characteristic to the scientists’ pedagogical thinking is that in the process of formation/development of the child through arts, the child is submitting the objects and phenomena to his/her previously acquired assimilation schemes. To insure integrity in the practical way of the early education, the methodology we are proposingis based on a research, a significant theoretical network ofsuccessful pedagogical practicesof word known scientists. The analyzed theories are a source of inspiration and constitute the theoretical universe which contributes to as-truthful-as-possible preschool educationof the child.Early education is the most important period in one’s life through the sustainable consequences it has on his/her ultimate development.
The modernization of higher education in the field of plastic arts methodology, the improvement and development of the educational methodology, as well as the professional rise of the teachers are the key issues in raising the level of creativity of the future plastic art teachers in the context of the new requirements of artistic training. The volume of creative knowledge and skills varies from one person to another; it is our permanent intention to know and understand creativity, to demonstrate the laws of artistic and plastic creativity, to create a logical theory through which personality can be developed creatively, thus contributing to the complex process of the student’s artistic activity. Art contributes to the development of the artistic creativity of pupils / students, constituting a source of knowledge of national and universal culture through the many methodological, plastic and technological varieties specific to art, which offer vast possibilities to create a creative product of artistic, aesthetic and cultural value. The development of creative writing skills initially involves a visual experience, followed by the stages specific to the creative process in the field of fine arts and is finalized by a material form of the creative product, obtained through specific means in the field of fine arts.
Contemporary psychologist Didier Anzieu249 speaks of five phases of the process of creation: creative emotion, gaining consciousness, transposition, elaboration, and exposure. Each of the five phases has a correspondent in the stages of development of visual-plastic educational activities, and the role of the teacher is essential in each of them. Starting from the five phases, we propose an approach pattern to the creative process, adapted and developed during the years of experience in pre-university educational environment, and refined throughout the research activity carried out in the university environment.
Through this paper we address the students from theatre and music specialists, but also all people interested in elements belonging to Tai Chi practice, considering that these, once introduced into a specific physical exercise program, are beneficial for the development of the respiratory capacity and also for a good physical and mental balance that support the professional skills. These two expressions used in the majority of martial arts, dung-gong movement practice and jing-gong motionless practice are yin and yang aspects and are based on the balance between motion and stillness of the body and the mind.
The 18th century and the beginning of the 19th century mark the emergence, development and affirmation of the piano as a complex instrument that shall take, in turns, the role of soloist instrument, claiming and being able to reach the sound variety of the orchestra, that of partner in chamber music assemblies or that of orchestra member. The emergence, improvement and qualitative performance acquisition adventure of the piano represents a fascinating history about human creativity and ingenuity serving art, beauty, sound expressivity refinement and improvement.
Man is the only being that lives in the world not only biologically, but also spiritually, essentially due to education, which is permanent, continuous, omnipresent and creates values. Lifelong education represents an organizational and philosophic principle which requires that lifelong education throughout a person’s existence determines each individual to develop his/her personality with the help of a complex system of means, which must meet his/her educational and cultural needs and ambitions. Art is the fundamental dimension of education that uses in the development of personality the educational potential of the aesthetic, social and natural beauty.
Principles of possession of the landscape painting, applied by masters of the past, as well as theoretical elaborations of scientists in the field of chromatics, psychology and pedagogy of arts, become important components in improving training methods of artists in plein-air in contemporary conditions. The skills and knowledge gained in the process of pleinair studies form professional skills and improve the properties of painting and composition within the workshop. This studying outlines the stringency of training and development methods of creative individuality, especially in plein-air, where the principal teacher is the nature. The plein-air enriches color perception of the real world, located in the air, and mutual relationship of landscape with architecture and space determines knowledge of the issues of proportionality and subordination in compositions, educates sense of proportion and artistic taste. Improving visual mastery into the natural environment contributes to the formation to painters of the necessity to create outside the workshop, which is a necessary condition for the development of individuality and professional skills of the painter.
Artistic talent has been defined in various contexts and registers a variety of meanings, more or less operational. From the perspective of pedagogical intervention, it is imperative understanding artistic talent trough the theoretical models of giftedness and talent. So, the aim of the study is to realize a review of the most popular of the theoretical models of giftedness and talent, with identification of the place of artistic talent and the new meanings that artistic talent has in each one. Research methodology requires a meticulous documentation and access to primary bibliographic sources. The investigation allowed us to notice that most of the models and theories of giftedness explain the phenomenon through its multidimensionality, and in this context the concept of talent is considered or component of giftedness (Feldhusen), or the concepts of giftedness and talent are discussed as synonymous (Tanenbaum, Renzulli, Heller), or the concepts of giftedness and talent are considered as distinct (Gagne). There are authors who approach the concept of giftedness without any mentioning of talent (Gardner, Sternberg). From the contribution of theoretical models of giftedness and talent to understanding of artistic talent we mention: Feldhusen describes the creative-artistic talent in the classification of the talents by their relationship with curriculum areas; Tanenbaum also carries a classification of talent by their contribution to society and considers the artists, the musicians, the actors and the writers as talents that beautifies the world, calling them “surplus talents”; Gagne, who discuss the phenomenon from the perspective of human skills development and who places the giftedness at the potentiality pole and the talent at the performance pole, includes the artistic talent on the list of various types of talents and explain the factors involved in its development; Heller, Ziggler provides explanations of talent development in the light of a new research in the field of expertise, and we can particularly apply to the artistic talent. The results of the present research are the starting point of a personal trail of understanding of artistic talent, indispensable for theoretical and/or applicative approaches of any researcher interested in the psycho-pedagogy of excellence.
In our contribution we point out to the current challenges of the philosophy of art education, which are based on a new perspective on a human being, which also involves a deeper understanding of the aims and forms of artistic pedagogy. The reflected perspective expands the space for the complex development of child personality and the stimulation of his or her creativity. The principles of methodological procedures and the openness of the system take this perspective into consideration in an explored and experimentally verified music-pedagogical model by Juraj Hatrik “The Jewel of Music”. Conceptually, this model opposes unchanging and fixed learning didactic algorithms with the philosophy of atomizing at different levels, intended only for imitation, without the possibility of anticipating and considering the number of possible connections, the effects arising from the streams, and the effects of the interrelated factors that raise the problem from different angles.