Meno teorijos įtaka dailės raiškos procesui

LTStraipsnyje nagrinėjama meno teorijos įtaka dailės raiškos procesui. Teorinės žinios apie meną yra svarbus praktinės meno kūrybos veiksnys, suteikiantis refleksyvų - sąmoningą ir metodišką - pobūdį. Straipsnyje siekiama atskleisti dailės studijų krypties studentų požiūrius į meno teorijos įtaką: formuojant kūrinio idėją; kryptingai pasirenkant medžiagas kūrybiniam procesui; formuojant kūrybinio proceso eigą; meno kūrinio vertinimo kriterijams. Tyrimo objektas - meno teorijos žinios dailės raiškos procese. Teorinė apžvalga leidžia teigti, kad egzistuoja neabejotina gelminė sąsaja tarp teorijos ir meninės praktikos, kuri vien dėl savo specifiškai modernaus pobūdžio sąlygoja iš esmės neįmanomą nerefleksyvią meninę kūrybą. Tyrimo rezultatai gali būti taikomi konstruojant meninės kūrybos programas, akcentuojant konceptualią meno teorijų reikšmę kūrybiniam procesui, laiduojant geresnius kūrybinės veiklos rezultatus. [Iš leidinio]Reikšminiai žodžiai: Dailės raiška; Dailės studijų studentai; Kūrinio formavimas; Meno teorija; Studentų požiūriai; Art expression; Art theory; Formation of an artwork; Students attitudes; Students of art studies.

ENTheoretical foundations of the issue have been overviewed from the historical point of view of aesthetics and philosophy. For example, theory and painting, change of their concepts, importance for the artist, influence on the formation of the following parts of the work: formation of the idea of the work concept, purposeful choice of materials, course of the work process, and choice of criteria for the assessment of an artwork. According to a philosopher, art scholar, essayist, and cultural critic J. Ortega-y-Gasset, the task of each epoch is to provide meaning to a supposed nonsense (perspectivism), each time a human being, as an "utopian creature", undergoes new upturns (Halder, 2002, p. 151). Contemporary art is foremost "conceptual", which means it is "theoretical". Its character has been described in the following way (Straukaitė, 2013): "The basics of the concept of theoretical art of some authors can be revealed by one's interpretations of the phenomena of art history (for example, how one understands the upturns or stagnation of art development). A specific empirical analysis of art facts (certain works) of an art specialist also allows to reveal one's general theoretical positions or at least theoretical assumptions" (Straukaitė, 2013, p. 174). The relation between philosophy and art theory, and the practice of artistic creation is described by a Lithuanian philosopher A. Sverdiolas (2012), who claims that "the history of arts and the history of thinking are closely interrelated: by reflecting upon a certain art experience, corresponding theoretical conclusions are drawn, which are often presented as defining art in general, while artistic practice in turn depends upon a certain theoretical position" (Sverdiolas, 2012, p. 250). Therefore, the following article aims to answer the question: what the influence of art theory on the process of students' artistic expression is.In order to answer the question, the aim has been established to theoretically reveal and empirically analyse the influence of art theory on the process of students' artistic expression. Research methods: analysis of scientific literature, survey, quantitative analysis of data. [...] Conclusions 1. The theoretical analysis of the influence of art theory on the process of artistic expression suggests that there is a certain deep link between theory and artistic practice, which by virtue of its specifically modern nature makes the non-reflective artistic creation practically impossible. 2. Knowledge of art theory influences: a) formation of the idea of the work concept (selection of theoretical materials, classification, analysis and formation of the work idea); b) purposeful choice of materials in the creative process (choose materials according to chemical properties, choose techniques, combinations of techniques and techniques for generating innovations); c) formation of the course of the creative process (forms stages of the course of the creative process, dominates in the management, development and completion of the stages of the course of the process); d) criteria for the assessment of an artwork (selection of assessment criteria, perception of the aesthetic value, perception of aspects of theoretical assessment, formation of critique of the work assessment).3. In essence, there were no statistically significant differences between male and female students’ attitudes towards the influence of the knowledge of art theory on the formation of an artwork. However, research results reveal that male and female students differently assess the influence of the knowledge of art theory on the purposeful choice of materials in the creative process and on the choice of criteria for the assessment of an artwork. Statistically significant differences between male and female students’ in influences of the knowledge of art theory on the purposeful choice of materials in the creative process and in influences of the knowledge of art theory on the criteria for the assessment of an artwork have been determined. Compared to men, women are more likely to agree that knowledge of art theory has influence on the purposeful choice of materials (namely: choose materials according to chemical properties, choose techniques, techniques for generating innovations) in the creative process. Male students agree that knowledge of art theory influences the choice of criteria for the assessment of an artwork more than female ones. 4. Research results can be applied in the development of programmes of artistic creativity, while emphasizing the conceptual significance of art theory for the creative process, and in the assurance of better results of creative activity. [From the publication]