On an example of works of N. M. Vool’s book “Monumental art of Kazakhstan” has essential value for studying of the Soviet period of stained-glass window art in which the author opens art features of this type of art, as well as catalogues, issued by such organizations as "House", «Alkion», «Satglas».
In the dissertation materials of researches were used on history of art of Kazakhstan, these materials have been published in the collection « History of art of Kazakhstan » in which the authors A.S.Galimzhanova, M.B.Glaudinova, T.A.Kishkashbayev, S.A.Shklyayeva, K.K.Muratayev, G.S.Eleukenova, B.K.Barmankulova consider the basic stages of progress of art of Kazakhstan.
On history of an applied art the materials have been constructed owing to researches of archeological materials of known scientists of Kazakhstan A.H. Margulan, A.K. Akishev, K.M. Baypakov, Z.S. Samashev and etc., as well as russian historians, archeologists S.G. Klyashtorniy, T.I. Sultanova, S.I.Rudenko, N.V. Polosmak and many other scientists.
“The history of art of the Kazakhs” represents the first attempt of creation of the ordered work connecting all varied links of art culture of Kazakhstan since the most ancient times up to now in set of results of progress of independent ethnic culture of Kazakhs. A basis at creation of the given work which is based on attraction of an extensive circle of works of art became the concept of successive progress of art of Kazakhstan during its thousand-year history It is definition of art-aesthetic originality, originality of ways and laws of formation of art of Kazakhstan since the most ancient times up to now, judgement of successive communication of modern Kazakh culture with traditional cultural wealth. In “History of art of the kazakhs” the capacious characteristic of different stages of progress of culture in territory of Kazakhstan is given whenever possible, sources and an originality of art of a nomadic civilization have been defined, actual strings of world outlook continuity between art of different historical epoch have been investigated.
The methodology and procedure of research has complex character and caused by a choice of an object of research, objectives and problems of work.
Studying of a material in the dissertation is under construction on the basis of application of a method of the scientific analysis, as well as comparative-historical and art criticism approaches. The procedure of work has been defined by principles of studying of an empirical material; bibliographic sources have been investigated also.
Dissertational researches can be as research base for the further development of subject matter of art of a stained-glass window and to be useful at attribution of the works of stained-glass window art.
Scientific-theoretical and the practical significance of work consists that practical activities of stained-glass shops organized at the Kazakh National academy of arts named after T. Zhurgenov by the author of dissertational research in 2009 and it is the important making creative activity of academy. As a result received researches can be used in different areas of knowledge of art – theories of art, history of art, art criticism, as well as in an aesthetics and cult urology.
The investigated materials can be applied in a curator practice of critics and cult urologists, in creative works of artists; in system of the maximum art formation by development of the State educational standards and in a writing of curriculums, grants, methodical indications, special rates on arts and crafts of Kazakhstan; as well as in a museum practice of researches, share storages, expositions.
Approbation of research: key points and results are stated in articles and at the international and republican scientifically-practical conferences. Materials of research have been included in the catalogue “Modern lines of art stained-glass windows and mosaics” of 2011 year, devoted to 20years of independence of the Republic of Kazakhstan. “The catalogue of the students’ works” of 2009 year has been also constructed on materials of magister dissertation. Also on faculty of inorganic chemistry at the Kazakh State University researches of structure of paints for stained-glass windows, the analysis of mineral paints have been carried out. Sketches of the students have been provided to firms on manufacture of stained-glass windows for their realization in various materials. On the basis of magister dissertations the management on technique of execution of various types of stained-glass windows will be made.
Structurally dissertational work. Objective of a task in view of research have designated structure of dissertational work. The dissertation will consist of introduction, 2 sections, the conclusion, the list of the used sources, and the appendix with illustrations. The volume of the text is 60 pages, the list of the used sources contains 58 names, the appendix will consist of 81 color and black-and-white reproductions.
1. History of origin and development of stained-glass window
Origin of stained-glass window
Stained-glass window (from Latin vitrum and French vitre – glass) – unique according to force of the art influence on the spectator and to variety of effects a type of art and decorative work.
N.N. Kachalov marks, that in territory of Starovavilon Empire archeologists regularly find vessels for aromas of the local origin which have been executed in the same technique as Egyptian. The scientist approves that there is all the bases to consider “that in Egypt and in the countries of Asia sources of glass making … are separated from our days by an interval approximately in six thousand years”.
The actuality of the legends narrating about origin of glass making is reduced not so much to historical and ethno geographical aspects which are only indirectly important from the point of view of the theory as to an origin of technology as those as if separated from "accidental" processes of potters’ crafts, and become starting point for creation of a material with new properties - a first step to management of them, and in the further - to comprehension of a structure. There are some versions, one of which on this example attempts to solve the problem: what there is a glass? - N.N.Kachalov offers “... To measure this timeframe from occurrence of irrigation ceramics or in general any silicate products. Any glaze fixed on clay or in general silicate crock, according to structure represents glass, and the most realistic version of opening of glass as independent material contacts supervision of the person above processes of ceramic technology.
The author for the first time turns to a problem of studying of a stained-glass window in Kazakhstan. The idea of an exhibition can have successive character as its participants – students from different regions of republic and in the further, having finished academy, they can open new workshops of a national stained-glass window countrywide. The stained-glass window is a special, unique type of art which causes the increasing interest, both at artists, and at the refined fans of an original interior.
The important sources about stained-glass windows of XX century are catalogues and the index manufactory catalogue of the building exhibitions which are spent in Kazakhstan in 2009 year, as well as the description of art-industrial exhibitions in which the Academy of arts named after T. Zhurgenov took part, organized by the author magister dissertation. Therefore the subject matter of the dissertation is not accidental. Besides special periodicals of the end of XX century have served as sources for the given work: newspapers, the magazines shining as a whole an art life of our country, containing a material describing the art industry. Unlike the Russian Federation when during 2009-2011 years extensive special articles were devoted for stained-glass window art, the kazakh stained-glass window still waits for the researcher.
The works of the students pass our concepts and ideals to the future generations. It requires limiting strictness, precise definition of the civic stand and full self-feedback from the students. Different types of monumental painting have been presented in works of students. Stained-glass window art has been as new for monumental art at our academy..
In 2008 year on the basis of faculty the workshop of art glass has been created within the precincts of which students with advantage master technologies of creation of a stained-glass window.
Due to active support of a management of academy stained-glass window workshop has been equipped by the equipment and technique. On the 31st of March 2009, according to the results of work of a workshop the small exhibition was organized which became the beginning of an embodiment of art ideas.
As result in 2010 year the first adequate exhibition of art glass has been opened in which not only students, but also teachers took part.. The exposition represented the first, but very interesting works executed within the limits of modern lines in technique “fusion” and “tiffany”.
For us, artists of stained-glass window art of academy, prime objective is development of practical skills of performance of works on a material, and as a result is an embodiment of creative plans. Besides on the basis of classical technology of art glass, it is possible to achieve progress of the advanced modern technique and as result is design and creation of stained-glass windows on various technologies in modern national style on the basis of own technical base.
The problems of my magister dissertation include the following: to give the characteristic of the basic features of a stained-glass window as type of decorative art, the retrospective analysis of the "classical" periods of progress of stained – glass window art, the analysis of the reasons for its demand in culture of different times, revealing and the analysis of the basic stages of progress of stained-glass window art in Kazakhstan and abroad, studying of a specific character of this type of art, to use traditional and innovative practical activities for development of stained-glass window art at the Kazakh national academy of arts named after T. Zhurgenov.
Conclusion
The stained-glass window once again has found actuality for the present time. As well as all in the world, it has revived on a new coil of the progress and not simply repeats that is considered achievement of the past by the right, but also creates new leaning on modern technologies. And now it would be desirable to clear a question on why it happens that attracts an interest to this type of art and how it is realized in a modern interior in Kazakhstan. In fact having understood it, we can state the sight for and try to embody it. And having touched art, we develop, we are spiritually enriched and we grow.
In spite of the fact that glass is known since the most ancient times and finds wide application practically in all areas of human activity, the nature of glass conditions, understanding of processes of making a glass at atom-molecular level are distant from creation of the theory of glass conditions similar to theory on the generality of a crystal condition. Hot discussions by definition of concept “glass condition” are reflected in works of such persons as Andri de Moran, N.N.Kachalov, A.Lukas, evidently showing complexity of a solved problem.
Historical retrospective journey shows, that the stained-glass window becomes "operating" art phenomenon only under condition of its demand in culture and experiences the periods of blossoming then when the culture requires meaning allegories. In a gothic style it there were allegories of golour light connected with cult idea, in a modernist style with the secular beginning.
The world culture is rich with unsurpassed masterpieces of stained-glass window which progress totals not one century. During different epochs the attitude to stained-glass window art was inadequate: the periods of interest gave way to its almost full oblivion. Non-uniformity of a demand of a stained-glass window, fundamental differences in form and art receptions are characteristic for creative practice.
Today transparent images surround us everywhere: posters with illumination are located in city streets. Modern technologies of transfer of images have allowed including in city space artificial created video reality including light, color, a sound. The end of XX century has created new forms of headers. But the "classical" technique of a glass stained-glass window has not been forgotten and today again experiences rise.
As it has already been told, stained-glass window is ancient art, but classical technologies of its manufacturing, despite of centuries-old history of the existence, have not almost changed. Epoch replacing each other cardinally changed nothing; they only dictated plots, colors and shades, defined seat which could be decorated by a similar ornament.
Studying of history of this art (as well as its modern practice) testifies as well that a stained-glass window as the art phenomenon possesses complex dynamics and is capable to cardinal change of "image". Therefore revealing and ordering of the basic characteristics of stained-glass window art are interfaced to a lot of difficulties, in particular, already that the definition of its specific accessory (in comparison with other plastic arts) is deprived habitual clearness.
On the basis of the lead analysis it is possible to approve, that a stained-glass window, first, it is an independent type of decorative art, secondly, it possesses unique function of light and uses a specific material which does not strike root in other types of a monumental and decoration art; the stained-glass window possesses a functional variety in surrounding space of an interior and rich possibilities of use of art receptions.
Art of a stained-glass window is called up to realize today concepts of an author's interior and to become a uniting element of all design details, to express the general figurativeness of ensemble. From here – variety of functions and art decisions in stained-glass window art. Here progress of new tendencies in author's art of a stained-glass window. Here an inexhaustible choice of styling receptions, use of previous art achievements and a birth of modern innovations.
Stained-glass window art undergoes a big jump at the end of XX century and the beginnings of XXI century. Occurrences of new cultural and theological circumstances have caused blossoming architecture. A basic change of traditional shape of cities and interier spaces has allowed becoming of stained-glass window to glass a protruding graphic means.
The idea stained-glass window art since 90th years received all more a wide circulation in republic. Unprecedented town-planning on scope, increase of well-being of people, the increased spiritual needs, complex work on ideological and moral education of workers were powerful spurs in rise of stained – glass window art and decorative art of republic, in a birth of its such types and forms which have been caused by demands of the given historical instant.
On the foreground problems of activity of art means of works are put forward, enriched technique of stained-glass window art which are connected with formation of original aesthetic accents in an environment.
From the present time stained-glass window art finds the classical form - the color glasses fastened among themselves by means of a metal structure. It was assisted with occurrence of a way of manufacturing of thin sheet glass, use of a lead structure, as well as division of experts into manufacturers of glass and masters of stained-glass window. The demand of a stained-glass window in the modern art and design is caused, first of all, by its function into which initially enters not only pragmatically illumination of space of an interior or the ex-terrier, but also the organization of special light of environment which set by certain cultural installations. It’s this basic function renders leading influence on formation of historically-specific "image" of a stained-glass window: the formal organization initially submits here to an embodiment of deep concepts about beauty.
The modern art culture of Kazakhstan shows aesthetic possibilities and an art originality of a stained-glass window, its difference, for example, from glass painting or making a glass. Evidence became also that, for example, the mosaic and a fresco "have not got accustomed" in modern conditions and have substantially lost the urgency while stained-glass window art has shown capacity to the further actualization in culture, having passed a way from the statement of " the big idea » soviet-era before realization of the individual author's project.
At ocean of modern design practice the stained-glass window defends the right to the uniqueness and common significance. It shows author's art of Kazakhstan which today starts to master space of an exhibition interior, opening that new sides of the art potential.
For our research by meaningful event there was in essence of first independent exhibition of stained-glass window art of the young artists, taken place in the Fund of the First President in Almaty. That numerous personal meetings with the Kazakhstan artists, conversations and discussions, visiting of workshops and supervision over technological process of creation of stained-glass windows have allowed seeing little-known sides of this art and as whole tendencies of art practice of Kazakhstan on a boundary of current centuries was important also. Thus, the broad audience of sources involved by the author from direct art practice became in this case the main condition for creation of the research base, capable to confirm the positions stated in work and conclusions.