Заманауи витраждардан күткен болашақ жай ғана жаңа әлемнің бастауы емес, яғни фәлсафалық тілмен айтқанда Жаңа болмыстың келуі күтіледі. Адамзаттың ой-пайымы мейірімге, әсемдікке толы деп айта аламыз.
Қорытындылай келе, айтатынымыз, витраж өнері, басқа көркем туындылар тәрізді адамның күнделікті тұрмысынан өздігінен бөлек өмір сүрмейді. Ерекше шыны композиция интерьердің басқа элементтерімен үйлесімді болуы қажет.
Осы саладағы зерттеудің дамуы витраж өнерінің барлық элементтерін одан әрі жетілдіруге стимул болатыны күмән туғызбайды. Ол: өзіндік қасиеттері бар шынылар құрамдары, оларды жасау технологиялары, өндірістің теориялық және эксперименталды әдістері.
Витраж өнері тәжірибе көрсеткендей өзінің бірегей ерекшеліктері мен бір мезетте көркемдік және декоративтік мақсаттарды орындау қасиеттеріне байланысты ғасырлар бойына өзінің өзектілігін жоғалтқан емес. Әсіресе, бүгінгі күндері сұранысқа ие болуының себебі адамның күнделікті өміріне «Жоғары өнер» үлгісін жақындатуы мен тұрмыс-тіршілікті көркемдеп, байыта түсуінде.
the Ministry of education and sciences of the Republic of Kazakhstan
the Kazakh National academy of arts named after T. Zhurgenov
Faculty “Painting and a sculpture”
Department “Painting”
Tynybekova Zhanna Tuganbayevna
“Art of stained-glass window in Kazakhstan at the end of XX century and at the beginning of XXI century: composite, decorative and technological aspects”
6М041300 - Painting
Synopsis for competition of the academic degree
Master’s degree of arts
The scientific supervisor:
candidate of art criticism
senior lecturer Baturina O.V.
The reviewer: candidate of art criticism Sultanova M.E.
Almaty, 2011
Introduction
Glass, being a natural material, possesses not only by unique physical and decorative properties, but also by emotional characteristics. Probably, therefore special interest was shown to art of manufacturing of glass long since. This fact is caused by that, being unbelievable fragile, the given material possesses almost by boundless potential of art expressiveness.
Actuality of theme in researching. The art culture on the boundary of ХХ-ХХІ centuries is eventful and extremely varied. In this controversial complexity the phenomena allowing in a new fashion to estimate the art past, to see possibilities of developed art processes today. From this point of view, the stained-glass window which so organically has entered into new image of a modern interior and developed in the creative practice the important tendencies of progress of decorative arts of the end of XX century.
Art of a stained-glass window finds special value in a context of an epoch of the high technologies which have caused boundless opportunities of reproduction and copying. The stained-glass window represents that form of art activity which far not always gives in to duplicating.
The stained-glass window has entered into a modern art practice through a rich range of forms and aesthetic characteristics – from the small fixture up to a monumental panel, from a decorative stroke up to an architecturally-decorative dominant, from mounted works up to constructions of art design, from ornamental forms up to subject decisions. The special talent to synthesis of light and a decor has received expression in functional and art flexibility of a stained-glass window. This unique feature has defined its destiny in different cultures, as well as its demand the present which all staticizes an indispensability of studying of creative practice of a stained-glass window more sharply, its judgement through a cultural-historical context [1].
The stained-glass window in Kazakhstan as the type of art, undeserved has been forgotten, and has started to revive only last decade. While this type of art has unique history of progress and plays a major part in modern design of an interior. The urgency and a demand of a stained-glass window in modern author's design decisions assume importance of studying of this art material, its ordering. For studying of stained-glass window art as separate independent craft, in system of different types of the fine arts of Kazakhstan, the dissertation is devoted to definition of its role and value.
For a stained-glass window the cardinal importance has color. In this connection it is necessary to result the basic theories of color. Color of transparent bodies and consequently, and glasses depends on the passed light stream, and opaque – from reflected. Radiation with various length of a wave, i.e. different color, are reflected and absorbed differently depending on properties of a surface from which they are reflected, or properties of the transparent environment through which they pass. Studying of traditions of manufacture of glass will allow showing of the features of art-composite and technological receptions.[2]
In art of a stained-glass window the technological side has fundamental importance which causes development of practical skills, studying of properties of a material, an embodiment of creative plans on the basis of classical technology of art glass, and progress of the advanced modern techniques. Development of stained-glass window art in the Republic of Kazakhstan is connected with accruing interest of the modern designers. If in the past stained-glass windows have been widespread in the countries with rather small quantity of sunny days and the avaricious sun in territory of Kazakhstan - the solar, blossoming, southern country, stained-glass windows take special seat in design of an interior because of enriching with bright light. In Kazakhstan it is totaled more than 2400 "solar" hours in a year.
Today stained-glass window art is promptly developed in the Republic of Kazakhstan. There is an industrial stained-glass window workshop in which it is used modern advanced technologies of stained-glass window art, whether it will be decorative glass-making of the windows, furniture or small souvenirs. Art of a stained-glass window in Kazakhstan has the history, though not such ancient, as in the countries of the Europe and Russia, but original and interesting. Traditions of this art in our country are poorly studied. [3] The majority of stained-glass windows are from the Soviet time. The popular literature on stained-glass windows in Kazakhstan practically is absent, and proceedings do not mention a problem of development and progress of stained-glass window art. The achievements of our time and the last centuries in the field of a stained-glass window as an independent type of the fine arts, the tendency and prospect of its progress - all this became subject matter and an object of research presented by magister dissertation.
The small degree of a level of scrutiny of this subject matter entails absence of the information even among electronic resources of the Republic of Kazakhstan. In Russia the site uniting all keen stained-glass windows has been created: artists, historians, and critics, it is simple fans and judges of this refined art. In a photo gallery photos of stained-glass windows in a historical retrospective show and works of modern artists have been placed. On a site research papers about stained-glass windows, about history of this type of art, about a role decorative glass-making in design of public and private interiors, lists of the literature in Russian are presented.
On an announcement board of site visitors can buy, sell or discuss author's stained-glass windows. There is a possibility to master the magic world of glass, to make a stained-glass window by own hands, to receive the information on the centers of training of stained-glass window skill.
It would be desirable to make stained-glass window art of Kazakhstan as bright, especial, and that the most important – demanded and in our country and abroad.
Object of research. Stained-glass window art of Kazakhstan at the end of XX century and at the beginning of XXI century.
Subject of research. Composite-technological features and the basic tendencies of progress of a stained-glass window in design of an interior and the ex-terrier in Kazakhstan.
Objective of research. Definition of a role of value of stained-glass window in the general picture of progress of the fine arts of Kazakhstan on boundary of ХХ-ХХІ of centuries.
The given objective is realized through the decision of following problems:
- Studying of bibliographic sources on history and technologies of a stained-glass window.
- Revealing of main principles and approaches for using of a stained-glass window in a context of traditions and national culture in modern design of Kazakhstan.
- To define the basic features of a complex of expressive means of stained-glass window of Kazakhstan.
Scientific novelty consists that the author for the first time turns to a problem of studying of works of the stained-glass window art of the Republic of Kazakhstan.
Each of stages of progress of the stained-glass window art of Kazakhstan is characterized by unique architecturally-art features, depending on social and economic conditions, achievements of building technique, material and spiritual culture.
Degree of a level of studying subject matter. The significant seat in magister dissertation has been allocated to questions of historical development, a modern practice of use of a stained-glass window in architecture, to technological processes of the stained-glass window manufactures, the author marks, that composite and decorative possibilities of a stained-glass window still more not enough. It is explained not from our sight, first of all absence of uniform analytical system. The isolated character of the saved up information on decorative and composite features of a monumental stained-glass window complicates complex understanding process of its synthesis with architectural space. The majority of sources have a historical-chronological orientation, stained-glass windows are investigated in a context of an accessory of this or that style in art.
The experts, working in the field of architecture and painting, in such researches do not suffice theoretical development, system analytical conclusions. The decision of this problem defines an urgency of progress of stained-glass window business, as independent type of the modern art.
Andri de Moran considers the new opening the archeologists which have enriched our information on ancient civilizations, using work of experts, as well as the bibliography on stained-glass window art in the book « the History of arts and crafts » from the most ancient times up to now at the most.
On examples of stained-glass windows of a soviet-era, as well as reproductions of catalogues the author opens art features of this type of art, as well as on an example of catalogues various modern stained-glass window shops the author shows a direction and progress of a modern stained-glass window.
In significantly greater degree the stained-glass window has been studied in the foreign scientific literature. Such countries as Germany and France till now argue in occasion of superiority in its invention. In the dissertation the material of some foreign publications and editions has been used.
Occurrence of translation editions has essentially enriched the general sight at art of a stained-glass window in recent years. The most significant, in our opinion, work of the American researchers E.Uili and S.Chik « Art of color and decorative glass ».
Interesting, but the incidental reference to history of stained-glass window art has been carried out more often in the editions, devoted to epoch of a gothic style or a modernist style: these are researches of E.I.Rotenberg, O.J.Lyaskovskaya, K.M.Muratova, D.V.Sarabjanov.
It has expanded concept about separate stages of history of a domestic stained-glass window of work of N.N.Kachalov and N.T.Yaglova, as well as publications of E.I.Batanova, N.N.Voronin, N.V.Voronov, I.Holostenko and etc. however in them the problem of understanding of the nature of this art in wider historical context was not put. The first scale generalization of a historical material it has been suggested in E.Minukhin's research "Stained-glass windows", on this edition it has been carried out almost half a century back.
Stained-glass art in second half XX of century assisted understanding of processes of addition works of researchers of monumental art of the Soviet Russia: I.N.Voyekova, S.S.Valerius, V.P.Tolstoy, as well as separate publications in collections “the Soviet monumental art”, “the Soviet art glass” in magazines “Architecture of the USSR”, “the Soviet artist”, “Art”, “Decorative art of the USSR”, “Neva” and etc. however down to the beginning of the 1990 years whether it will be V.Lebedeva's fundamental edition or separate publications in the periodical press (N.V.Voronov, V.P.Statun, S.M.Zhukauskas) – the stained-glass window was considered on advantage in connection with practice of monumental arts.
The stained-glass window shop was firstly opened at the Kazakh National academy of arts named after T. Zhurgenov in 2009 year and it was the essential event which has announced heightened interest to a stained-glass window. And the most interesting creative works of the students executed at stained-glass window shop of the Kazakh National academy of arts were repeatedly participated in various exhibitions and opening days.
The situation which has developed in the field of studying of stained-glass window art as a whole, has put an indispensability before the dissertator to develop the appropriating approach for studying a material and, in particular, to expand a circle of sources, to include researches on technique of manufacturing of a stained-glass window, as well as the general works historical, cultural and cult urological orientations. The dissertator used researches on history of making a glass and manufacturing technology of stained-glass window. The publications of A.A.Karboner, A.G.Lantsetti, M.L.Nesterenko, E.V.Popova, M.A.Tseytlin, V.V.Shmidt, L.V.Kazakova, N.N.Kachalov, E.A.Levinson, T.A.Malinina, J.P.Sergeyev, B.A.Smirnov, B.A.Shelkovnikov, F.S.Entelis have been devoted to various aspects of studying of art glass.
The essential help was rendered with researches, which though and indirectly, assisted more precise understanding of the nature of decorative art, its synthesis with architecture. These are works of A.V.Ikonnikov, S.B.Bazaziyants, G.P.Stepanov, J.J.Gerchuk, E.B.Murina.
The situation of terminological different interpretations in the certain measure was resolved by the works of V.R.Aronov, M.S.Kagan, M.A.Koskov, V.G.Vlasova.
Prominent aspect of magister dissertation has been the direct reference of the author to an operating stained-glass window art. Studying of creative activity of modern masters, firms and the associations, engaged a stained-glass window, was a basis of the given dissertational research. Such material already gives in to ordering and may be entered into a turn of a modern art criticism science.
Art and decorative works of stained-glass window workshop of faculty “Painting and sculpture”, works from personal collections of students, as well as the stained-glass windows directly located in modern interiors, represented the important art and research material for the dissertator. Numerous personal meetings and conversations with artists, as well as visiting of workshops and supervision for technological process of creation of stained-glass windows have allowed understanding of little-known sides of this art and as whole features of its art practice on a boundary of centuries.