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The role of pencil drawing in the future career guidance of fine
arts teachers
Ruslan KHALILOV
1
Tashkent State Pedagogical University named after Nizami
ARTICLE INFO
ABSTRACT
Article history:
Received March 2021
Received in revised form
20 March 2021
Accepted 15 April 2021
Available online
20 May 2021
The article is devoted to the theoretical analysis of academic
painting and the basics of graphic drawing in the practical
studies of fine art as well as the methodology of teaching the role
of drawing in painting.
2181-1415/© 2021 in Science LLC.
This is an open access article under the Attribution 4.0 International
(CC BY 4.0) license (https://creativecommons.org/licenses/by/4.0/deed.ru)
Keywords:
art, look and genre,
drawing,
painting, composition,
aerial perspective,
paint, color and tone,
stroke, proportion,
volume, layout,
harmony, brushstroke,
light and color ratio.
Bo‘lg‘usi tasviriy san’at o‘qituvchilarini kasbga yo‘naltirishda
qalamtasvirning o‘rni
ANNATATSIYA
Kalit so‘zlar:
tasviriy san’at,
tur va janr,
qalamtasvir, rangtasvir,
kompozitsiya,
fazoviy perspektiva,
bo‘yoq, rang va tus,
shtrix, nisbat, hajm,
joylashtirish, uyg‘unlik,
surtma, yorug‘ va rang
munosabatlari.
Maqolada tasviriy san’atning turi bo‘lgan grafika ya’ni
qalamtasvirning rangtasvirda tutgan o‘rni beqiyosligi haqida
nazariy fikr va mulohazalar hamda amaliy qo‘llanilishi tahlil
etiladi.
1
Associate professor, Tashkent State Pedagogical University named after Nizami, Tashkent, Uzbekistan.
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Роль карандашного рисунка в будущей профориентации
учителей изобразительного искусства
АННОТАЦИЯ
Ключевые слова:
изобразительное
искусство,
вид и жанр,
карандашный рисунок,
живопись,
композиция,
воздушная перспектива,
краска,
свет и тон,
штрих,
пропорция,
объем,
компоновка,
гармония,
мазок, световое и цветовое
отношение.
Статья
посвящена
теоретическому
анализу
академической живописи и основам графического рисунка
в практических занятиях изобразительного искусства а
также методике преподавания роли рисунка в живописи.
So‘nggi yillarda Respublikaning turli oliy o‘quv yurtlari va ilmiy tekshirish institutlarida
talabalarga milliy san’at namunalarini o‘qitishning ilmiy asoslangan yangi shakli, metodlari ishlab
chiqilmoqda. Talabalarni badiiy jihatdan barkamol, Vatanga va milliy san’atga sadoqat ruhida
tarbiyalab voyaga yetkazishda tasviriy san’at xususan, qalamtasvir, rangtasvir, kompozitsiya
fanlarining o‘rni alohida ahamiyat kasb etadi. Bu esa o‘z navbatida oliy o‘quv yurti fakul`tetlarida,
ixtisoslashgan maktablarda o‘qitiladigan maxsus fanlarning chuqur va asosli bo‘lishini taqozo etib,
pedagoglar zimmasiga yuksak vazifalarni belgilaydi.
Tasviriy san’atda rangtasvir fani ixtisoslashgan maktablarda o‘qitiladigan barcha fanlar qatori
muhim hisoblanadi va ular orasidagi bog‘liqlikni ta’minlaydi.
Tasviriy faoliyatning nazariyasini
muntazam o‘rganish, tasviriy san’at ta’limini muvaffaqiyatli o‘zlashtirishning asosiy shartlaridandir.
Rangtasvir qonun-qoidalarini puxta egallagan talabagina amaliy ijodda samarali shug‘ullanishi
mumkin [1, 19].
“Kimda-kim ilmni amaliyotsiz tasavvur etsa, – u bamisoli suzishga eshkaksiz chiqayotgan
qayiq haydovchisidir va u hech qachon qaerga ketayotganligiga to‘la ishonch hosil qila olmaydi deya
ta’kidlagan Leonardo da Vinchi. Ayniqsa rangtasvir sohasida amaliyot hamisha kuchli nazariyot bilan
bog‘liq holda amalga oshirilishi zarur va bularsiz hech narsaga erishib bo‘lmaydi” [2, 124].
Rangtasvir xaqqoniy shaklning rangli tuzilishi qonuniyatlariga asoslangan. Rangtasvirni
o‘rganish – bu tekislikdagi rangli shaklning nisbatlari, konstruktiv qurilishi, hajmi, fazoviy tuzilishi
usullarini izlash yo‘lidir. SHularga bog‘liq holda har bir talaba buyum va narsalarni perspektiva
qonunlariga asoslanib konstruktiv tuzilishi, fazoviy joylashuvi, nisbat, hajmni mukammal tasvirlay
olishi zarur. Qalamtasvirda rang va tusning yaxlit bir butunlikda garmonik uyg‘unlashuvi bu xaqiqiy
rangtasvirdir.
Tasvirda qalamsurat mukammal bo‘lishi lozim, aks holda turli bo‘yoqlar ham oddiygina narsa
va buyumning qurilishi, hajmini savodli ifodalab bermaydi. Havo perspektivasiga bog‘liq holda
ranglarning nozik o‘zgarishini ifodalovchi, matoga berilgan rang-barang surtmalar ham, o‘z-o‘zidan
fazoviy kenglikni ifoda eta olmaydi. Faqat perspektiva qoidalariga to‘g‘ri amal qilib tasvirlangan
qalamtasvirgina ranglarni yanada ham jozibali ko‘rsatadi [3-8].
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Agar tabiat manzarasi perspektiva qonun-qoidalariga amal qilinmay tasvirlansa, kenglikni
ifodalovchi rangning o‘rni ahamiyatsiz bo‘lib qoladi. Rangtasvirni rassomlar shunday ta’riflaydilar:
“Bu yuz foiz qalamtasvir va yuz foiz rangtasvirning bir-biriga chambarchas bog‘liqligidir”.
Rangtasvirning jozibali chiqishida qalamtasvirning o‘rni beqiyosdir. Ammo, mohir rassom,
qalamdan foydalanmasdan ishni bo‘yoqlar bilan tasvirlashi ham mumkin [9-13]. Ijodkor izlanish
jarayonida rangtasvirni qalamtasvir bilan bevosita bog‘liqligini his etadi. Ya’ni buyumlarning fazoviy
joylashuvi, nisbatlarning aniqligi, ranglarning to‘g‘ri qo‘yilishi ishni bir butunlikda yakunlanishi ko‘p
jihatdan ijodkorga bog‘liqdir. Rassom qalamtasvirni puxta o‘zlashtirib olgandagina (qog‘ozga to‘g‘ri
joylashtirish, narsa va buyumlarning fazoviy joylashuvi, perspektiva qoidalariga amal qilish,
nisbatlarni to‘g‘ri topish, metodik ketma-ketlikda ishni tuslash va h.k) rangtasvirda ko‘zlangan
maqsadga erishish mumkin, aks holda noaniq yechilgan qalamtasvir ishini tahlil etsak, ranglar
qanchalik jozibali bo‘lmasin, baribir bu ishni sifatli deb bo‘lmaydi. SHuning uchun turli rassomlik
maktablarining tarixiy tajribalari shundan guvohlik beradiki, ta’limning dastlabki bosqichlarida
qalamtasvirni mukammal o‘zlashtirish, keyingi o‘rganish mashq jarayonlari uchun zamin yaratadi.
Yosh rassom Eduardo Fioletti Venetsiyaga o‘qishga kelganida “rangtasvirni mukammal egallash
uchun nima qilish kerak”, degan savoliga ustoz rassom Tintoretto: “Rasm chizish!” deb javob bergan.
Rassom bo‘lish uchun yana qo‘shimcha nimalarni maslahat berar edingiz degan Fiolettining qayta
savoliga Tintoretto: “Rasm chizish va yana rasm chizish!” deb javob qilgan u-rasm chizish
rangtasvirga nafislik va mukammallik ato etishini xaq, deb bilgan [14-18].
Buyuk haykaltarosh Mikelanjelo qalamtasvirda (rangtasvir, haykaltaroshlik, me’morchilikda)
“har qanday ilmning ildizi va negizini ko‘rgan”. “Qalamtasvir doimo bizga yo‘l ko‘rsatib turuvchi qutb
va kompas bo‘lib, turli bo‘yoqlar ummonlarida cho‘kayotganlarga najot berish omilidir, – deya
ta’kidlagan Sharl Lebren.
Engr o‘z ustaxonasining eshiklariga quyidagi so‘zlarni yozgan. “Bu yerga kelgan shogirdlarga
qalamtasvirni o‘rgataman, ketayotganda esa ular rangtasvirni ustasi bo‘lib yetishadi”.
“Shunday narsa mavjudki u hamma san’at turlarining asosi hisoblanadi, bu – qalamtasvir.
Kimki qalamtasvir san’atini mukammal egallasa, u rangtasvirni ham haykaltaroshlikni ham
o‘zlashtira oladi”, – deb aytgan Karachchi. “Har qanday shaklni ajoyib nafis qiluvchi ranglar emas balki
aniq chizilgan qalamtasvirdir” – degan Titsian. “Qalamtasvirga asoslanmagan rangtasvir, san’at emas,
balki rangli dog‘larning tartibsiz yig‘indisidir”, – deya doim takrorlagan V.E. Makovskiy.
“Qalamtasvirni puxta bilmagan ijod ham qila olmaydi”, – deb ta’lim bergan P.P. Chistyakov. I.E. Repin
kunora 2-3 soat qalamtasvir bilan shug‘ullangan, va uni “rangtasvirni asosi”, deb hisoblagan [19-23].
A.V. Vasnetsov, P.P. CHistyakovning ta’lim berish tizimini yodga olib, “uning sevimli
mashg‘uloti qalamtasvir edi”, deb eslaydi. A. Ashbening Myunxendagi rassom-pedagog maktabida,
hattoki san’at Akademiyasini tamomlaganlar ham ta’lim olar, ta’lim berish faqat qalamtasvir bo‘yicha
bo‘lib (shaklning konstruktiv tuzilishi,tus-soya,yorug‘ munosabatlari aks etgan tasvir, grizayl), u uzoq
vaqt o‘tkazilgan, shuning natijasidagina shaklni konstruktiv qurish va tus munosabatlarini puxta
egallab olinib- so‘ng ranglar bilan tasvirlashga o‘tilgan [24-28].
Mashhur rassomlarning ko‘pchiligi avvalambor yetuk qalamtasvir ustalaridir. Bular qatoriga
K.P. Bryullov, I.I. SHishkin, V.E. Makovskiy, V.A. Polenov, I.E. Repin, M.A. Vrubel, V.A. Serov,
K.A. Korovin, M. Nabiev, R. Ahmedov, B. Jalolov, A. Mirzaev, A. Ikromjonov kabi mohir mo‘yqalam
sohiblari kiradi.
D.N. Kardovskiyning fikricha, agar biz rangtasvir bu qalamtasvirning rangda davom etishi deb
aytsak, shaklning rangda talqin etilishi qalamtasvirdan boshlanadi va ijod jarayonida u bir necha
marotaba to‘g‘rilanadi, ranglar bilan sayqallanadi. Qalamtasvir mahoratini puxta egallash, betakror
rangtasvir asarlari yaratish garovidir. P.P. Konchalovskiy rangtasvirda qalamtasvirning mohiyatini
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ko‘rib shunday yozgan: “Rangtasvirning haqiqiy usuli-bu shaklni mutlaqo aniq yetkazib berish yo‘li
bilan beriladigan bo‘yoq surtmadir” [4, 27].
Ixtisoslashgan maktablarda tarbiyalangan o`quvchilar ham tasviriy san’atning har qaysi turi
bo‘yicha yaratilgan ijodiy ishning qiymatiga qarab baholanadi va qadrlanadi.
Talabalar rangtasvirda mohirona ijod qilishlari uchun quyidagi bilim va malakalarni puxta
o‘zlashtirmog‘i lozim:
1.
Kuzatuv perspektiva (ufq chizig‘i, yassi jismlar va ufq chizig‘i perspektivasi) elementlari.
Tekisliklar bilan chegaralangan jismlarni konstruktiv va perspektiv qurilishi (kub, prizma, inter`er va
ekster’er).
2.
Tsilindr shaklidagi jismlarning perspektiv qurilishi.
3.
Geometrik shakllarda soya-yorug‘ munosabatlari (kub, tsilindr va shardagi soya-
yorug‘likning taqsimlanishi, havo perspektivasining elementlari).
4.
Qalamtasvirda hajm, fazo va materiallikni tasvirlash usullari (turli materiallarni soya-yorug‘
xususiyati, tus munosabatlari, hajmni ko‘rsatishda chiziq va «shtrix»ni o‘rni fazo va moddiylik).
Talabalar qalamtasvirda faqat nazariy bilimlarni mustahkamlab qolmay, balki amaliy jihatdan
ham katta tajribaga ega bo‘lmog‘i lozim: qo‘yilmadagi nisbatlarni aniq topish, nozik perspektiv
o‘zgarishlarni seza bilish, tasvirni qog‘oz yuzasida asosli-konstruktiv qurish va joylashtirish shakl
hajmini tushayotgan soya-yorug‘ orqali mohirona ifoda etish hamda ishni tus jihatidan yaxlit bir
butunlikda yakunlashi zarur. Qo‘yilmani turli ranglarda bajarish ham mas’uliyatli vazifadir, chunki
rangtasvirda rang va tus munosabatlari yaxlit bir butunlikka asoslanadi. SHakl hajmini tasvirlashda
tus o‘rnini mohiyatini to‘g‘ri tushunmaslik turli chalkashliklarga olib keladi. Demak eng muhimi
talabalarning qalamtasvirda ishni tus jihatdan yaxlit bir butunlikka erishib yakunlashi hisoblanadi.
Bu esa o‘z navbatida talabalarni rangtasvirda samarali ijod qilishlariga qulay imkon yaratadi.
Talabalarning uzluksiz mashqlari natijasida ranglardagi nozik o‘zgarishlarni farqlashga,
kuzatuvchanlikni rivojlanishiga rang-baranglikni sezishga, hamda tasviriy vositalarni mohirona
egallashlariga zamin yaratiladi [29-34]. Tajribali rassomlarning ranglavhalarini kuzatganlarida
ularning nihoyatda nafis va jozibali tasvirlanganiga havas bilan qaraydilar. SHuning uchun talabalar
mohirona tasvirlash malakasiga ega bo‘lishlari uchun doimo tinmay mashq qilishlari natijasida
ko‘zlangan maqsadga erishadilar.
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