the analysis of development industrial engineers of creation of jewels
Observing the questions concerning development of creation of jewels, we have the right to address to work Erharda Bripolja - «the Theory and practice of jeweller business» {5]. The given work is considered one of the most serious and deep works devoted to manufacturing methods of jewels to what its numerous reprinting from the moment of exhaustion (13 times) with constantly supplemented new information testifies.
In the given work the author presents physics and chemistry of precious metals and alloys, a spadework on preparation and metal workings, the basic working methods, the mechanised methods formoizmenenija, technics of the joint of details, the finishing operation, special technicians on work with metal, galvanotechnics, creation of locks and joints, production engineering zakrepki stones and repair work.
It is necessary to note a number of the authors working in a direction of the description of processing methods on manufacturing the jeweller pyh a product. He is V.I.Marchenkov, M.S.Telesov, A.V.wind, O.N.Magnitsky, V.J.Pirajnen, A.V.crape [6, 59, 7].
Other group of authors M.M.Postikova-Loseva, E.Ananeva, [3, use the istoriko-encyclopaedic approach. Their works contain illustrations of jewels and are directed on art criticism, encyclopaedic survey of known samples jeweller a product.
.v MGTU of km of A.N.Kosygina on a basis «the Theory and practice of jeweller business» have been developed programs in subjects «Production engineering of jewels» and «Designing of jewels».
Thus, it is revealed, that domestic systems of instruction of artists-jewellers have no methodological scientific baseline. It is caused by imperfection of the education system which have passed to new level only in second half 90 gg, the XX-th centuries, and also absence of the specialised literature on designing of jewels, except for G.Zempera's works {18]. Application last was not revealed in practice of instruction and implementation of designing of jewels.
Survey of references has shown, that the unique literary work devoted jeweller formoobrazovaniju, paper of the outstanding German architect and the theorist of arts Gottfried Zempera - «About formal regularity of ornaments and their values as art symbols» is. The analysis of this work will allow
To make its substantive provisions base theses of the given dissertational research.
In XIX century, and to this time G.Zempera's activity refers to, before theorists and art experts there was an interconnection problem between art creativity, aesthetic comprehension of the world and roughly developing technical progress. In the middle of XIX century such concepts, as industrial art (industrial art) and applied art (applied art) have entered into the use. New concepts of the rational approach to creativity developed: value of practical advantage, convenience, functionality was underlined. The principle has entered into practice about modelling of the convenient form and the further dressing, an ornament of the last. At the same time the theoretical works based on principles of the comparative analysis in which were applied a method ' ordering and classification began to appear. Theorists of art the general trend to baring of deep-seated laws formoobrazovanija art subjects has seized.
To the middle XIX, during an epoch of the craft, not developed manufactory manufacture the artist and the manufacturer quite often incorporated in one person, feelings and rules of creation of the art form were inherited from one generation to another.
The understanding of internal logic formoobrazovanija was not realised, spontaneous, intuitive. Separately from handcraft not sushchestvovalojaonimanija the art form. But when art and technical creativity began to keep away from each other more and more — there was a necessity for formation of a separate aspect of knowledge of aesthetic essence of the form.In G.Zemperom's these conditions the theory of the art form has been developed. It has injected concept «a practical aesthetics» which gave the chance on the basis of studying of history of arts not only to fathom specificity of already existing forms, io and to expect their future development,
As installation for studying were principles of formation of formal systems. (16).
The bases of the scientific theory of art creativity developed by G.Zemperom were based on the analysis of historical styles for the purpose of revealing of the general processes formoobrazovanija, occurring continuously. «Therefore the practical theory formoobrazovanija for each branch of industrial production having partial or at least the indirect relation to art, written with full knowledge of specificity of a subject vysokoobrazovannym in the art relation the person» [16] is extremely necessary.
According to G.Zempera. It is impossible to create new forms in art, without comparison existing with natural, natural, natural analogues. «After all in spite of the fact that any artist like would deal only with appearance, the form which has been not connected with essence of materials, it all the same і is not free. He cannot create absolutely any forms, not; having anything the general with what meet in the surrounding nature. When speech came about architecture and creation of the material; subjects (jeweller ornaments), such dependence becomes even more obvious» (16).
«If at V.Gete research of regularity in natural forms was the purpose of scientific research for Zempera the appeal to them appeared only a reminder of existence of communication between art and the nature. In this plot it seemed to it most important to note, as to the nature and in art the basic types, formation conditions coincide, on the basis of what it is possible to spend special classification in the field of art» [5].
On G.Zemperu such types, characteristic for various steps of development of the anorganic and organic world are: symmetry of forms (a snowflake, crystals), proportionality and symmetry of weights (meets in plants). The fourth type is in what traffic routes in relation to a gravity line are manifested.
Thus, G.Zemper observes formoobrazovanie in plastic arts with bionicheskih positions, I will give the elementary classification natural formoobrazovanija. This leading-out confirms a hypothesis of the given dissertational research ' about expediency of application of bionics in designing of jewels.
It is necessary to note, that at all times I artists-jewellers were involved with natural images from vegetative motives to a figure of the person. In «Formal regularity of ornaments» [5] G.Zemper are observed in the capacity of apogee of development of jeweller art by the period of Ancient Greece V-VI centuries BC (fig. 4 see). «In rich and exact language ancient ellinov ornaments which we put on ourselves and on the favourite
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Subjects, and also designation of the higher * regularity by which the nature and a universe as a whole are subordinated, are marked out by the same word. Double value having deep sense a word "space" serves at the same time as a key for understanding ellinskogo outlook and art principles »(16, p. 117). In this statement the author does not differentiate process formoobrazovanija ornaments from natural formoobrazovanija, underlining their equality. He notes, that ancient Greeks have attained the big successes in a tectonics of forms of the ornaments which principles completely coincide with wildlife principles.
The analysis of history of origination of the first ornaments has shown, that already in the form of tattoos, pgramirovanija bodies at natives of New Holland, New Zealand and islands of silent ocean, Indians, Egyptians, Celts, brittov, ellinov, Thracians people have gained the first skills about proportional proportionality. So, on an instance of own body places of arrangements of the future ornaments have been marked out. Instances of an ornament of the body we can see at natives of Ocenia, Australia, Melanesia, Polynesia, etc. the countries (fig. 2 see).
Fig. 2. Primitive art of an ornament.
Fig. 3. Jeweller ornaments - an epoch eneolita.
Fig. 4. Ancient Greek jeweller ornaments.
і,
s
The first graphical ornamental motives in an aftereffect were used in the capacity of ornaments on jewels, utensils and
To clothes.
According to G.Zempera, in ornaments the first artistic flair of the person that has allowed it for the first time in history jeweller iskusstvoznanija was manifested to formulate classification of ornaments.
Classification of jeweller ornaments by G.Zemperu:
• suspension brackets.
• rings.
• «That aspect of ornaments for which for the lack of existing and indisputable definition I am forced to invent the special name; I would name ornaments directed, reserving the right to itself on more detailed explanation of this designation» (16, with. 122.).
Also G.Zemper gates out three space qualities of forms of ornaments:
• symmetry of a product;
• proportional relationships of elements of a product;
• a direction of elements of a product - a traffic parametre. The structural analysis of forms of the ornaments, spent by the author, has revealed
Presence of two constructive parts of an ornament:
• ornamental elements ornaments forming essence;
• that frames, connects primary elements, serves for fastening to decorated installation and carries out strukturnoyofunktsionalnuju a role.
It is necessary to note, that in G.Zemper's researches has installed bionichesky character formoobrazovanija ornaments: «In the nature there are the numberless instances able at matching ornamentalnoyostilizovannom reproduction in any material to serve by the most suitable both pertinent analogues and symbols». Among these subjects
Clinging short moustaches of a vine shoot, claws and claws of animals, the animal mouths wreathing snake rings, branches of trees, wreaths are gated out a reticulation on the melons. As subjects of craft manufacture are noted: wreaths and tapes from the interweaved leaves, bunches of flowers, cords, ropes, chains, wattled products, tapes, masks.
Are revealed a number of factors working upon process of creation of product of jeweller art;
• the purpose chased by art working out;
• a material;
• production engineering of machining of a material (forging, cutting, handsheet etc.);
• external affectings and factors of personal character: a climate, natural-geographical features of the country, character of national education, a historical heritage, a role separate orgashva§shj and the persons who are customers, condition or the cases which have served by a motive to creation of a work of art, skill of the artist, individual qualities of its person, its mood.
Similar classification of factors of formation fine has industrial-labour character as the author confirmed, being the theorist and an expert in one person. He called, that the creator perceived the product as derived these factors and it was aimed to creation of the style.
The system developed by G.Zemperom, it is possible to name the first theory of art designing of jewels. System substantive provisions can be formulated in following points:
1. Classification of ornaments;
2. The is constructive-structural analysis of the form;
3. The space qualities of forms;
4. Classification of natural forms;
5. The factor, creations of ornaments influencing process.
The basic leading-out under the analysis of work of G.Zempera «About formal regularity of ornaments» us recognises the statement that the form of jeweller ornaments is in continuous interacting with bionicheskim formoobrazovaniem. It matches to the main idea of research about attraction of methods of bionics in process of designing of jeweller ornaments. «Studying of forms of wildlife feeds imagination of designers, gives a material and helps to solve a problem of harmony of the functional and aesthetic beginning, enriching formal means of harmonisation in search of the most expressive ratioes, pace, symmetry and asymmetry» [22].
In connection with the above-stated, it is necessary for us to expand classification of jeweller ornaments, taking into account conversion assortimentnyh the rows called by change of social and subject medium, a fashion, materials and production engineering. The constructive analysis formoobrazovanija can be based on a basis of classification of aspects of jeweller ornaments on each type of products.
At the same time, the revealed G.Zemperom the list of natural analogues of the form is conditional and incomplete. The given aspect should be studied from bionics positions - to reveal and classify laws bionicheskogo formoobrazovanija installations of the nature. The manufacturing methods of jeweller ornaments has essentially changed since XIX century. It is connected, first of all, with the advent of computers and electronic production engineering. Thus, formation of the informational baseline on application of modern production engineering is necessary.
1.3.
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