FEATURES OF THE USE OF CALLIGRAPHY IN THE PROFESSIONAL TRAINING OF ARTISTS

Abstract

The article presents and substantiates the peculiarities of the use of calligraphy in the professional training of artists. The potential of calligraphy in the formation of artistic and graphic competence of students, their creative and image-associative thinking is revealed. The use of specific calligraphic techniques, tasks, tools and materials in the educational process is substantiated.

The purpose of the work is to reveal the meaning and features of the use of calligraphy in the professional training of artists; justify the use of certain calligraphy techniques and tasks in the educational process.

The methodological basis of the research is general theoretical methods: analysis of pedagogical and psychological literature; comparison, systematization, generalization, interpretation of the obtained results from the research problem.

Scientific novelty. Features of the use of calligraphy in the professional training of artists are presented and substantiated. Specific calligraphic tasks, techniques and materials are given and described.

Conclusions. We focused on only a few key (in our opinion) forms and features of using calligraphy in the professional training of future artists. The interdisciplinary nature of calligraphy makes it possible to use it as an integral part of the educational components of the professional training of artists, as well as to introduce it as a separate educational component. The main form of performing calligraphic tasks in the conditions of the educational process is the final font composition as a completed result of creative and technical searches in various types of calligraphy. The potential of calligraphy lies in the formation of artistic and graphic competence of the future specialist, a sense of his ethnic affiliation, soft skills and the development of creative and associative thinking.

The issue of using such synthetic art forms as expressive painting, neo-calligraphy, calligraphic ornament and their place in the educational program of training artists requires further research.