注释,注释: The article demonstrates how the assemblage technique manifests itself in modern wooden sculptures. The author shows what assemblage is and what is the essence of this method. In addition, close attention is paid to another innovation of avant-garde culture – organic art, according to the philosophy of which the world is represented as an organic whole, a single system with its own laws. By the example of M. Matyushin’s pedagogical system, the natural connection between man and nature in works of art is shown. On the basis of the developed creative method, it is presented how modern art can combine such avant-garde tendencies as, for example, organic art and assemblage. Another important methodology, close to the technique of assemblage, and at the same time bordering on the practices of kinetic art, is the creation of sculptures, the elements of which can be rotated. The synthesis of methods and materials allows us to expand the boundaries of art by introducing non-artistic materials into the creative circulation. The main idea of this approach is to enlarge the context in which the work of art we have created exists, to enrich its history. It is stated that the wooden sculpture provides the creator with ample opportunities for experimentation. The ideas and plots of wooden sculptures embody various ranges of artistic diversity of decorative and applied arts.

注释,注释: The article is devoted to modern trends in the art of wooden sculpture. The main question we ask in this article is how to draw the line between art and craft. The problem of distinguishing between these two terms is one of the important issues in the theory of art. Having examined the work of a number of contemporary artists creating in the genre of wooden sculpture, we come to the conclusion that the key difference between handicraft and artistic wooden sculpture lies in the desire of artists for naturalness, working with raw wood, fixing the natural beauty of the material, which is not so typical for craftsmen. Turning to modern environmental trends, we assume that the task of a contemporary artist and a person who wants to live in harmony with nature is to learn to see its beauty in nature, to guess it even in unsightly forms. The author states that the greatness of nature lies in its diversity, and today, in the era of overproduction, including oversupply of pieces of art, our common task is increasingly reduced to working with objects found in the environment that undergo minimal processing and, first of all, turn, manifest the beauty of nature.

注释,注释: This article is dedicated to modern trends in the art of wooden sculpture. The key question raised in the article consists in drawing the line between art and craft. The problem of distinguishing between these two terms is one of the crucial issues of the theory of art. Having examined the works of multiple contemporary artists in the genre of wooden sculpture, the author comes to the conclusion that the fundamental difference between craft and artistic wooden sculpture is the pursuance of naturalness by the artists, work with unfinished wood, fixation of the natural the beauty of the material, which is not much inherent to craftsmen. Turning to the modern ecological trends, it is suggested that the task of a contemporary artist and a human who desires to live in harmony with nature lies in cognizing the beauty of nature, even in its unsightly forms. The author claims that the greatness of nature is its diversity, in the current era of excessive production (for example, oversaturation), which also pertains to art objects, our shared goal is to working with the objects discovered, which are exposed to minimal processing, and first and foremost, demonstrate the beauty of nature.

注释,注释: В статье рассматривается способность воздействия деревянных скульптур и объектов на психоэмоциональное состояние человека. Автор подчёркивает, что постепенно расширяющаяся пропасть между человеком и природой, выражающееся в масштабном и стремительном развитии крупных городов и перехода природного фактора в них на второстепенный план, порождает совершенно новое проблемное исследовательское и прикладное поле, требующее создания оперативных механизмов снятия нарастающего напряжения в ситуации отчуждения от природы. Говорится о том, что одним из последних достижений европейского научного сообщества является выделение данной проблематики в качестве nature deficit disorder   (синдрома дефицита природы),а также появляющихся первых шагов в попытке разрешить данный вопрос в формате природных терапий – особых способов взаимодействия человека с природой. В статье прослеживается и анализируется возможность использования деревянной скульптуры в качестве одного из инструментов стабилизации психоэмоционального и физического состояния человека посредством взаимодействия с натуральным материалом, с достаточно лаконичным и с естественными формами. Тем самым, разработка деревянных скульптур и включение их в тренинговые, образовательные и реабилитационные программы позволяет говорить о свойствах деревянной скульптуры, как о доступном и эффективном инструменте терапии.

Abstract: This article explores the ability of wooden sculptures and objects to influence the psycho-emotional state of a person. It is noted that the gradually expanding gap between man and nature, reflected in rapid development of the large cities and transition of the natural factor therein shifts to the background, generates fundamentally new problematic research and applied field, which requires the creation of operational mechanisms to relieve the escalating tension in a situation of alienation from nature. One of the latest achievements of the European Scientific Community is reference to this topic as the nature deficit disorder, as well as the emerging attempts to solve this issue via natural therapies – specific methods of interaction between man and nature. The article traces and analyzes the possibility of using wooden sculpture as one of instruments for stabilization of psycho-emotional and physical state of a person through interaction with natural material of laconic and natural forms. Thus, the creation of wooden sculptures and their inclusion in training, educational and rehabilitation programs testifies to the characteristics of wooden sculpture as an affordable and effective therapeutic instrument.

注释,注释: This article demonstrates the manifestation of assemblage technique in modern wooden sculpture. The author describes the essence of this method. Special attention is given to another novelty of avant-garde culture – organic art, according to the philosophy of which, the world is depicted as organic whole, the uniform system with its own laws. The pedagogical system of M. Matyushin allows demonstrating the natural bound of man and nature in the artworks. Based on the developed creative method, the author indicates that contemporary art may combine such avant-garde trends as organic art and assemblage. Another important methodology that is similar to assemblage technique, and simultaneously verges upon the practices of kinetic art, is the creation of sculptures with spinning elements. The synthesis of techniques and materials allows expanding the boundaries of art by introducing into inartistic materials. The fundamental idea of this approach is to enrich the context of existence of the artwork and its history. It is stated that wooden sculpture allows the artists to experiment. The ideas and plotlines of wooden sculptures embody the artistic diversity of decorative and applied arts.

注释,注释: This article explores the ability of wooden sculptures and objects to influence psychoemotional state of a person. It is noted that the expanding gap between man and nature due to the rapid development of large cities along with the natural factor receding into the background, generate the fundamentally new problematic and applied field that requires the creation of operational mechanisms to release the growing tension in the context of alienation from nature. It is stated that one of the recent achievements of the European scientific community consists in classification of this problematic as the nature deficit disorder, as well as in first steps towards resolving this issue in form of natural therapies – specific ways of human interaction with nature. The author traces and analyzes the possibility of using wooden sculpture as one of the instruments for stabilization pf psychoemotional and physical state of a person via interaction with natural material. Thus, the development of wooden sculptures and their inclusion into training, educational and rehabilitation programs indicates the properties of wooden sculpture as an affordable and effective therapeutic instrument.

注释,注释: This article discusses the ways to improve the decorative qualities of wood that are known to mankind since the ancient times, as well as the techniques of working with wood that have improved over time. The author underlines the importance of the proper choice of finishing materials, which is intended for not only preserving the cultural sites, but also making a certain aesthetic perception. The choice of materials is substantiated by the nature of wood, as well as the, the conceptual idea of the artist. The article explores the key methods of finishing woodworking in the process of creating the original wooden sculptures. The author lists the main types of wood finishing, as well as some of the original techniques. It is noted that there are various technologies of wood dye. A description is given to the treatment of wooden surface with wax in its traditional and modern form; as well as to some original techniques such as the woodworking affected by bark beetle and glazing. It is stated that the proper glazing gives wood strength and resistance, protecting from various influences and significantly extending its durability. Particular attention is turned to the method of gilding and implementation of this ancient technique in modern wooden sculpture. Recommendations are given for the proper selection of applicators to maintain wood dye.

注释,注释: В статье говорится о том, что способы улучшения декоративных качеств древесины известны человечеству с древних времен. И методики работы с древесным материалом прошли за это долговое время процесс совершенствования. Отмечается важность правильного выбора отделочных материалов. Подчеркивается, что правильно осуществленная отделка призвана не только обеспечить сохранность культурных объектов, но и производить определенное эстетическое восприятие, вследствие чего, выбор такого рода материалов обусловлен не только характером древесины и производимых работ, но и творческим замыслом, концептуальной задумкой творца. Рассматриваются основные методы финишной обработки древесины в процессе создания авторских деревянных скульптур. Автор перечисляет основные виды отделок дерева, а также авторские варианты некоторых из них. Отмечается, что присутствуют разные технологии для придания поверхности дерева различного цвета. Описывается обработка деревянной поверхности воском как в традиционном, так и более современном виде. Продемонстрированы такие авторские методики, как обработка древесины, пораженной короедом, а также подвергшейся воздействию огня. Констатируется, что правильный обжиг придает древесине крепость и стойкость, защищая ее от различных воздействий и значительно продлевая ее долговечность. Отдельное внимание уделяется такому способу обработки древесины как золочение и показывается, как эта древняя технология может быть применима в современной деревянной скульптуре. Представлены рекомендации для правильного выбора аппликаторов, которые помогают качественно окрасить деревянные поверхности.

Abstract:  
This article states that the ways to improve the decorative qualities of wood have been known to mankind since ancient times. The techniques of woodworking material have improved over years. The author underlines the importance of proper choice of finishing materials, as it intended to preserve the cultural objects, as well as produce certain aesthetic perception. Therefore, the choice of materials is substantiated by the nature of the wood and the work performed, as well as by the author's plan and conceptual idea. The article discusses the key methods of wood finishing in the process of creating wooden sculptures. The author lists the main types of wood finishing, as well as the original techniques. It is noted that there are various technologies for giving a wood surface a different color. Description is given to such methods as fire-treatment and waxing of wooden surface; as well as to the original techniques of treating wood damaged by the bark beetle or exposed to fire. It is claimed that proper firing gives wood strength and resistance, protecting it from various influences and significantly extending its durability. Special attention is given to the wood ash treatment, and how this ancient technology can be applied in modern wooden sculpture. The recommendations are given for proper selection of applicators that contribute to quality dyeing of wooden surfaces.