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Journal articles on the topic 'Fine arts'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 July 2024

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1

ANASTAS, RHEA. "American Fine Arts." Archives of American Art Journal 49, no. 3/4 (October 2010): 60–63. http://dx.doi.org/10.1086/aaa.49.3_4.23025812.

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2

Besser, Howard. "Imaging: Fine arts." Journal of the American Society for Information Science 42, no. 8 (September 1991): 589–96. http://dx.doi.org/10.1002/(sici)1097-4571(199109)42:8<589::aid-asi9>3.0.co;2-k.

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3

Mamatkulov, Shuhrat Nazarovich, and Kholida Ibragimova. "National and Universal Content of Fine Arts. Ancient History and Development of Fine Arts of Uzbekistan." American Journal of Social Science and Education Innovations 02, no. 08 (August 19, 2020): 195–98. http://dx.doi.org/10.37547/tajssei/volume02issue08-30.

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4

Gaber, Tammy. "Fine Arts in Egypt." American Journal of Islam and Society 25, no. 4 (October 1, 2008): 160–61. http://dx.doi.org/10.35632/ajis.v25i4.1451.

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The “Fine Arts in Egypt: 100 Years of Creativity” conference, which tookplace on 19-22 October 2008 at Helwan University, Cairo, celebrated thecentennial of the establishment of one of the leading fine arts educationalinstitutions in Egypt and the Arab world. It was convened on the premisesof Cairo’s Opera House.Held under the auspices of Egypt’s first lady, Suzanne Mubarak, theopening ceremony featured welcome speeches by Farouk Hosni (minister ofculture), Abdulla Barakat (president, Helwan University), Mohamed Mekkawy(dean, Fine Arts), and Aleya Abdel-Hadi (conference organizer).Following these speeches, Benedetto Todar (dean of architecture, Sapienza,Rome) and Hazem El Kowedi (governor, Helwan) gave keynote addresseson architecture ...
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5

Gentry, Carol. "Fine Arts through Nature." Art Education 39, no. 6 (November 1986): 14. http://dx.doi.org/10.2307/3192969.

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6

Lafont, Olivier. "Fine Arts Paris 2020." Revue d'histoire de la pharmacie 108, no. 409 (2021): 101. http://dx.doi.org/10.3406/pharm.2021.24214.

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7

Appayeva, Zhaukhar M. "Balkarian professional fine arts." Art of the Orient 2, no. 1 (2013): 203–20. http://dx.doi.org/10.15804/aoto201311.

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8

Eraliyevich, Sultanov Hayitboy. "Shaping Students' Spiritual Worldviews Through Fine Arts." American Journal of Social Science and Education Innovations 03, no. 05 (May 7, 2021): 79–86. http://dx.doi.org/10.37547/tajssei/volume03issue05-15.

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The article explains the problems of the current era of globalization, the importance of developing creative qualities in students through the fine arts within the innovative cluster of pedagogical education, the formation of a spiritual worldview in the "teacher-student" system. At the same time, it deals with the issues of cultivating the spiritual worldview of students, which is an integral component of ensuring continuity and continuity in education.
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9

Fromherz, Robin Wright. "Celebrating the Arts: A Children's Fine Arts Festival." Phi Delta Kappan 85, no. 6 (February 2004): 471–73. http://dx.doi.org/10.1177/003172170408500613.

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10

Iliina, Tatiana V., and Ekaterina Iu Staniukovich-Denisova. "Vivat, Academy of Fine Arts!" Vestnik of Saint Petersburg University. Arts 7, no. 1 (2017): 115–21. http://dx.doi.org/10.21638/11701/spbu15.2017.107.

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11

Jakobovits, Ákos, and Antal Jakobovits. "Murder in the fine arts." Orvosi Hetilap 149, no. 6 (February 1, 2008): 271–78. http://dx.doi.org/10.1556/oh.2008.h2143.

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Jakobovits, Ákos, and Antal Jakobovits. "Human reproduction in fine arts." Orvosi Hetilap 149, no. 4 (January 1, 2008): 173–84. http://dx.doi.org/10.1556/oh.2008.h2144.

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13

Wright, Stephen. "‘Finest of the fine arts’." Nursing Standard 21, no. 4 (October 4, 2006): 20–22. http://dx.doi.org/10.7748/ns.21.4.20.s26.

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14

Editors The Rijkmuseum Bulletin. "Acquisitions: Fine & Decorative Arts." Rijksmuseum Bulletin 57, no. 4 (December 15, 2009): 342–67. http://dx.doi.org/10.52476/trb.11651.

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15

Gruber, Gail G. "Teaching Fine Arts Methods Online." International Journal of the Arts in Society: Annual Review 1, no. 6 (2007): 9–14. http://dx.doi.org/10.18848/1833-1866/cgp/v01i06/35255.

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16

McCluskey, John. "Fine Arts & Africana Studies." Callaloo 38, no. 3 (2015): 566–69. http://dx.doi.org/10.1353/cal.2015.0095.

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17

Foulkes, Timothy J. "Westminster School Fine Arts Center." Journal of the Acoustical Society of America 115, no. 5 (May 2004): 2440. http://dx.doi.org/10.1121/1.4781993.

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18

Dubay, Robert W. "Footnotes, Fertilizer, and Fine Arts." Teaching History: A Journal of Methods 1, no. 2 (September 13, 2019): 48–53. http://dx.doi.org/10.33043/th.1.2.48-53.

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19

Makatsariya, N. A., V. O. Bitsadze, and J. Kh Khizroeva. "Multiple pregnancy in fine arts." Obstetrics, Gynecology and Reproduction 17, no. 2 (May 22, 2023): 269–73. http://dx.doi.org/10.17749/2313-7347/ob.gyn.rep.2023.401.

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Here, we highlight aspects of visualizing twins in the fine arts. The works of artists Leonardo da Vinci, Jacopo Pontormo, Ker-Xavier Roussel, Jean-Bruno Gassies, Peter Paul Rubens, Sebastiano Ricci and others are presented.
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20

Khasanovich, Khasanov Kholboy, Khaitov Zufar Asroraliyevich, and Safarova Saodat Tursunbayevna. "Development of fine arts in Uzbekistan and the concept of composition in fine arts." ACADEMICIA: An International Multidisciplinary Research Journal 10, no. 10 (2020): 1089. http://dx.doi.org/10.5958/2249-7137.2020.01242.2.

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21

Ferber Bogdan, Jasenka, and Andreja Der-Hazarijan Vukić. "Arhiv za likovne umjetnosti: dva desetljeća digitalizirane povijesti umjetnosti." Život umjetnosti, no. 105 (December 31, 2019): 180–95. http://dx.doi.org/10.31664/zu.2019.105.08.

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Osnovan kao prvi dokumentacijski centar i arhiv za nacionalnu povijest umjetnosti, Arhiv za likovne umjetnosti pri Hrvatskoj akademiji znanosti i umjetnosti kontinuirano razvija svoj informacijski sustav, pružajući podršku stručnjacima i znanstvenoj zajednici. U ovom ćemo radu prikazati povijest procesa automatizacije podataka, koji je započeo 1995. godine—od jednostavnih tablica u MS Excelu i baza podataka u programu MS Access, stvorenih za specifične potrebe Arhiva, do složene repozitorijske platforme otvorenog pristupa, razvijene kao izvor za rastuće područje digitalne povijesti umjetnosti. Digitalna tehnologija kontinuirano stvara nove i brže načine dohvaćanja arhivskih podataka—od jednostavnih pretraživanja pojmova kroz nekoliko izvanmrežnih baza podataka do naprednijih mogućnosti internetskog pretraživanja utemeljenog na semantičkoj mrežnoj tehnologiji. Arhiv za likovne umjetnosti prisutan je na internetu od 2009. preko Digitalne zbirke (DiZbi), institucionalne repozitorijske platforme koja je prvi put uspostavila vezu između digitaliziranih tekstualnih i vizualnih izvora različitih Akademijinih jedinica. Kako bi se digitalni objekti prikazali na što živopisniji i interaktivniji način, stvoren je nov digitalni sadržaj—virtualna izložba, kao jedna od vizualno atraktivnijih odlika portala. Kontinuirani proces digitalizacije arhivske građe otvorio je nove mogućnosti za suradnju s domaćim i međunarodnim ustanovama kroz nekoliko projekata. Budući planovi uključuju dugoročan projekt s potencijalom razvoja u digitalnu infrastrukturu za istraživanje provenijencije. Na temelju svojih iskustava s ovakvim digitalnim projektima možemo reći da stručnjaci za digitalnu povijesti umjetnosti imaju sve važniju ulogu u snažnijoj vidljivosti hrvatske povijesti umjetnosti, kako na nacionalnoj tako i na međunarodnoj razini, kao i u omogućavanju novih oblika digitalne analize u povijesti umjetnosti.
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22

McKay, David. "The Fine Arts Examine the Medical Arts: Anatomy 101." Academic Medicine 83, no. 10 (October 2008): 949. http://dx.doi.org/10.1097/acm.0b013e3181788b13.

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23

Gandhi-Moirangthem, Dr Poonam. "Changing Interests In Fine Arts as a Profession: A Study In Sociology of Art." Indian Journal of Applied Research 1, no. 6 (October 1, 2011): 235–36. http://dx.doi.org/10.15373/2249555x/mar2012/81.

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24

Xamidovich, Talipov Nozim. "CREATIVE TECHNOLOGIES FOR THE PROVISION OF ART EDUCATION TO FUTURE TEACHERS OF FINE ARTS." Current Research Journal of Philological Sciences 5, no. 1 (January 1, 2024): 39–45. http://dx.doi.org/10.37547/philological-crjps-05-01-08.

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The article contains the basic theoretical and practical recommendations for the portrait. Since the work on the portrait requires a special approach from the painter, the article gives the features of individual methods on this issue.
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25

SALDERAY, Bülent. "THE PERSONS’ THOUGHTS ABOUT FINE ARTS WHO STUDYING AT OR GRADUATED FROM FINE ARTS FACULTIES." INTERNATIONAL PEER-REVIEWED JOURNAL OF COMMUNICATION AND HUMANITIES RESEARCHES, no. 20 (2018): 0. http://dx.doi.org/10.17361/uhive.2018.20.1.

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26

Taylor, George A. "Palace of Fine Arts, San Francisco." American Journal of Roentgenology 178, no. 5 (May 2002): 1138. http://dx.doi.org/10.2214/ajr.178.5.1781138.

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27

P.N, Harish. "Fine Arts in Mrcchakatika of Sudraka." RESEARCH REVIEW International Journal of Multidisciplinary 5, no. 8 (August 17, 2020): 148–50. http://dx.doi.org/10.31305/rrijm.2020.v05.i08.036.

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28

Ulugmurodov, Bobonazarov Sherali, and Jalolov Shavkat Choriyevich. "Fine arts as an ethnocultural phenomenon." ASIAN JOURNAL OF MULTIDIMENSIONAL RESEARCH 10, no. 5 (2021): 698–701. http://dx.doi.org/10.5958/2278-4853.2021.00471.7.

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29

Chistov, Pavel D. "SYSTEMATIC BASICS OF TEACHING FINE ARTS." Bulletin of the Moscow State Regional University (Pedagogics), no. 3 (2016): 92–99. http://dx.doi.org/10.18384/2310-7219-2016-3-92-99.

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30

Fabian, Carole Ann. "Avery Architectural & Fine Arts Library." Art Libraries Journal 36, no. 1 (2011): 28–33. http://dx.doi.org/10.1017/s030747220001676x.

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The Avery Architectural and Fine Arts Library at Columbia University in the City of New York is one of the world’s great architectural research libraries. In addition to its commitment to maintaining a comprehensive collection of bibliographic and archival materials for architecture, the library, its staff and services directly support academic programs in architecture, urban planning, historic preservation, art history and archaeology, as well as the liberal arts education of undergraduates. The Avery is also home to the Avery index to architectural periodicals. As publisher of this leading abstracting and indexing resource for research in architecture and related topics, the Avery is solely responsible for all editorial, business and technical operations and serves as an authoritative source for the terminology and literature of the field.
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31

Kuru, Nur Balkir. "Philosophical Concerns in Fine Arts Education." Procedia - Social and Behavioral Sciences 51 (2012): 489–94. http://dx.doi.org/10.1016/j.sbspro.2012.08.194.

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32

Bagnall, Chris, and George F. Vander Voort. "Metallography, History, and the Fine Arts." Materials Characterization 29, no. 2 (September 1992): 67. http://dx.doi.org/10.1016/1044-5803(92)90107-s.

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33

Thomas, Edward G., and Bob D. Cutler. "Marketing the Fine and Peforming Arts." Journal of Professional Services Marketing 10, no. 1 (January 28, 1994): 181–200. http://dx.doi.org/10.1300/j090v10n01_15.

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34

Lukshin, I. "Mass Culture and Soviet Fine Arts." Soviet Education 33, no. 5 (May 1991): 35–41. http://dx.doi.org/10.2753/res1060-9393330535.

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35

Aldea, Maria. "Fine Arts’ Terminology. A Lexicographical Approach." Quaestiones Romanicae X, no. 1 (June 9, 2023): 228–36. http://dx.doi.org/10.35923/qr.10.01.14.

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36

Chistov, P. D. "Topical issues of teaching fine arts." Science and School, no. 2 (April 28, 2023): 144–53. http://dx.doi.org/10.31862/1819-463x-2023-2-144-153.

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The development of methods of teaching fine arts is based on the general aspects of humanity’s relationship to art, the value of art in modern conditions, new information, computer, visual and other technologies. The development of information technologies is global in nature and is changing the society. Changes become an innovation, and at the same time, questions arise about the preservation of traditional teaching as a special sphere of public consciousness, which can be considered at the level of the philosophy of art. The article outlines the main problems of modern art pedagogy associated with these processes. The analysis of the problems will make it possible to update and correct both the methods and technologies of artistic activity themselves, as well as the accompanying educational and methodological materials
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37

Reznikova, Ksenia, and Maya Smolina. "ВЗАИМОДЕЙСТВИЕ АДРЕСАТА ХУДОЖЕСТВЕННОЙ КРИТИКИ И ПРОИЗВЕДЕНИЯ ИЗОБРАЗИТЕЛЬНОГО ИСКУССТВА." Social Anthropology of Siberia 2, no. 2 (June 30, 2021): 68–83. http://dx.doi.org/10.31804/2687-0606-2021-2-2-68-83.

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The object of this scientific research is art criticism, the subject is the interaction of the addressee of art criticism and a work of fine art. The aim is to study the relationship between the addressee of art criticism and a work of fine art. The conceptual analysis of the concept of "art criticism" is given, the features and structure of the text of art criticism are considered. The conceptual basis for the study was the key provisions of the theory of reflection by G.V.F. Hegel, the basic principles of the synthetic theory of the ideal D.V. Pivovarov and the concept of ideal formation, the main provisions of the theory of fine art by V.I. Zhukovsky and N.P. Koptseva. A peculiar result of scientific research is the fixation of the characteristics of various addressees of the text of art criticism ("viewer" and "artist") and the specifics of their relationship with a work of fine art through the study of the text of art criticism
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38

O'Connell, John Morgan. "Fine Art, Fine Music: Controlling Turkish Taste at the Fine Arts Academy in 1926." Yearbook for Traditional Music 32 (2000): 117. http://dx.doi.org/10.2307/3185245.

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39

Draskic-Vicanovic, Iva. "Mathematically and dynamically sublime in fine arts." Theoria, Beograd 64, no. 2 (2021): 121–31. http://dx.doi.org/10.2298/theo2102121d.

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Taking into account the intriguing fact that Kant in his Critique of Judgment, when the category of sublime in arts is concerned, mentions the examples of the sublime in art just in the field of fine arts, specifically - architecture, and only in the context of mathematically sublime, author organizes research in this text in two directions, i.e. raises two important questions: 1 ) What are the possible philosophical reasons why Kant does so and 2) Is it, if at all, and by what means, possible to discuss dynamically sublime in the fine arts.
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40

Gumusgul, Osman. "Sports or Fine Arts? Investigation of Free Time Management Skills of Participants Interested in Sports and Fine Arts." Journal of Educational Issues 5, no. 1 (March 6, 2019): 20. http://dx.doi.org/10.5296/jei.v5i1.14293.

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In this study it was aimed to investigate free time management skills of participants interested in sports and fine arts. 233 students studying at School of Physical Education and Sports and Faculty of Fine Arts took part in this research. Data was gathered through Free Time Management Scale that had been developed by Wang et al. (2011) and translated to Turkish Language by Akgul and Karakucuk (2015). In evaluation part, descriptive statistical analysis and Manova test was used. It was statistically determined that there were significant differences on free time management scores between participants interested in sports and participants interested in fine arts. Also there were significant differences on free time activities while there were not significant differences on genders. According to the results participants interested in sports have higher scores in goal setting and technique and evaluating sub-dimensions and participants interested in fine arts have higher scores in free time attitudes and scheduling sub dimensions.
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41

Pahlavonjon Qizi, Botiraliyeva Zulfizarxon. ""THE ROLE OF FINE ARTS IN THE SCIENCE OF TECHNOLOGY"." European International Journal of Multidisciplinary Research and Management Studies 02, no. 06 (June 1, 2022): 155–59. http://dx.doi.org/10.55640/eijmrms-02-06-30.

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After all, beauty affects people's minds, hearts and will and enriches their spiritual world. The importance of fine arts and artistic work in the development of children's creativity is enormous. An aesthetic approach to life is the foundation of inspiration, helping to turn technology into a source of joy and spirituality. In the process of aesthetic education, children's views, feelings and tastes are formed.
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42

Xasanovich, Ibragimov Xurshid. "THE DEVELOPMENT OF PLEASURE IN THE FINE ARTS OF UZBEKISTAN." CURRENT RESEARCH JOURNAL OF PEDAGOGICS 04, no. 05 (May 1, 2023): 79–90. http://dx.doi.org/10.37547/pedagogics-crjp-04-05-12.

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In this article, the feeling towards nature is interpreted through plein air in the visual art of Uzbekistan. Emphasis is placed on perception of existence and spiritual and moral education through visual art.
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43

Akhmedov, Tolqin B. "THE SIGNIFICANCE OF RAKHIM AKHMEDOV’S WORK IN UZBEKISTAN FINE ARTS." American Journal Of Social Sciences And Humanity Research 02, no. 11 (November 1, 2022): 7–12. http://dx.doi.org/10.37547/ajsshr/volume02issue11-02.

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The article expresses very valuable thoughts about Rakhima Akhmedov, who has a celebrity title of international significance, an artist of Uzbekistan, who has made a huge contribution to the development of the fine arts of Uzbekistan with his creative and pedagogical activities.
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44

Rakhimov, Khasanboy Umarjon Ugli. "The Ingress Of World Artistic Experience In The Fine Arts Of The 1970s-1980s." American Journal of Social Science and Education Innovations 03, no. 02 (February 28, 2021): 198–202. http://dx.doi.org/10.37547/tajssei/volume03issue02-32.

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The work of writing discusses the history of Uzbek fine arts. It analyzes the different period works of art by Uzbek and Russian artists who lived in Uzbekistan. Fine art is one of the arts that quickly affects the human mind, arouses good feelings and enriches the spiritual world.At the same time, the visual arts are educators who contribute to the formation and development of the individual.
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45

Hubert, Erell. "Arts from Latin America at the Montreal Museum of Fine Arts." Latin American and Latinx Visual Culture 4, no. 1 (January 1, 2022): 93–100. http://dx.doi.org/10.1525/lavc.2022.4.1.93.

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This Dialogues section seeks to contribute to the scholarship on Latin American art in Canada and “Latinx Canadian art.” We aim to broaden the historical and current narratives of art and artists from Latin America north of the United States, taking into account Canada’s history of migration and its official bilingual status (French-English), multilingual and multicultural reality, and relationship with Indigenous peoples. Adding to the urgency of studying the presence of Latin American art in Canada, there is also a need to focus on the work of artists and curators with a Latin American background. They are developing languages of expression, practices, and aesthetics that no longer conform to the “Latin American art” category. It is thus essential to highlight the multiple artistic initiatives that are allowing them to gain visibility and recognition within both the local and global artistic milieus. We posit that today it is almost impossible to overlook both the historical and the ongoing presence of Latin American art and artists in Canada and the recent emergence of a vibrant, ever-expanding contemporary Latinx Canadian art scene. This section proposes six groundbreaking contributions that, from coast to coast, offer further data and analysis, case studies, and investigations into museum archives: from Vancouver to Montréal, from pre-Columbian art and material culture to contemporary art, from the Chilean diaspora of the 1970s to more recent migration waves, from curatorial strategies to the classroom.
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46

Bliss, Donald. "Appel Farm Arts and Music Center: Appel Farm's Fine Arts Harvest." Gifted Child Today Magazine 10, no. 5 (September 1987): 26–27. http://dx.doi.org/10.1177/107621758701000508.

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47

Jacquard, Nicole. "Stretching Boundaries: Nuclear Physics & Fine Arts." Design Principles and Practices: An International Journal—Annual Review 2, no. 4 (2008): 1–8. http://dx.doi.org/10.18848/1833-1874/cgp/v02i04/37576.

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48

TOSİK DİNÇ, Fadime. "Antalya Community Center Fine Arts Branch Activities." JOURNAL OF HISTORY AND FUTURE 8, no. 2 (June 28, 2022): 462–79. http://dx.doi.org/10.21551/jhf.1128001.

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Mustafa Kemal Atatürk, who was based on the public since the years of the War of Independence, formed the new state he founded in behalf of public, for the interests of public and made the revolutions accordingly.However, after the closure of the Free Republican Party in 1930, the national tour and the Menemen incident led him to see that the revolutions were not adopted by the people and that the clash between the intellectuals and the people continued since the Ottoman Empire, so he had the community centers established on February 19,1932 to explain, make the revolutions adopt and eliminate the intellectal-public clash.The establishment of 9 branches within the community center was also agreed to grow citizens who combine national and universal values in the community centers. These branches were ranked according to the degree of importance given in the instruction and the Fine Arts Branch took its place as the second branch after, Language, Literature and History Branch.Atatürk had this branch established to develop art in these lands which didn’t develop for years, to create interest in art in the public and to protect those who are talented. The Antalya Community Center took its place in the second group among the opened community houses and was opened on June 24, 1932 with its 9 branches. In this article, the music and painting activities of the Antalya Community Center Fine Arts Branch were wanted to be revealed.In the preparation of the study, Republic Archive, Republican People's Party activity reports and brochures, Turkish Mediterranean Magazine issues published by Antalya Community Center, local newspapers and studies were used and the identified works were evaluated by using the document review model, one of the qualitative research methods.
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49

Jiang, Qirui. "Kantian Aesthetics: Free Beauty in Fine Arts." BCP Social Sciences & Humanities 15 (March 13, 2022): 121–31. http://dx.doi.org/10.54691/bcpssh.v15i.371.

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A rose is beautiful. The Mona Lisa is beautiful. What is the difference between these two objects in being beautiful? In Critique of Judgment, Kant famously answers this question with a demarcation between two kinds of beauty: free beauty (pulchritudo vaga) and adherent beauty (pulchritudo adhaerens). Natural objects, e.g., a rose, fall into the realm of free beauty while works of fine arts, e.g., the Mona Lisa, adherent beauty. Objects of free beauty do not presuppose conceptual understanding while that of adherent beauty do. We do not regard some objective rules, if any, for the beauty of a rose while some rules seem necessary for properly judging fine arts. However, Kant’s free–adherent beauty distinction is much more nuanced than what he makes explicit in Critique. The theoretical distinction is not as clear-cut as it appears, and this paper shows that a work of fine art as an object of adherent beauty is no more than a special form of free beauty. While taste - the faculty necessary for aesthetic judgments - may be restricted by, be a parergon to, or interact with our conceptual understanding, it necessarily remains free and uncontaminated. Genius - the naturally endowed ability to create fine arts - makes the corporeal existence of a work of fine art possible but is necessarily guided by taste. Furthermore, taste can be conditioned by our understanding but it necessarily guides and makes our understanding possible, i.e., any concepts presupposed for fine arts are aesthetic in origin. This paper concludes that the possibility of free beauty entailed by taste, therefore, is necessarily compatible with the adherent beauty of fine arts.
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Abisheva, O., M. Derbisova, A. Tanabayeva, and A. Karbozova. "INTERCONNECTION OF FINE ARTS AND OTHER DISCIPLINES." Pedagogy and Psychology 49, no. 4 (December 15, 2021): 195–201. http://dx.doi.org/10.51889/2021-4.2077-6861.23.

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The article examines the research of interdisciplinary researchers and encourages the systematic study of knowledge based on close to each other materials. It is shown that interdisciplinary communication encourages students to deepen their study materials, developmental abilities, increase their interest in the subject, stimulate and develop creative abilities. Collected teaching methods form a system of specified teaching methods, which organizes the cognitive and practical activities of students, ensuring the assimilation of the content of knowledge following the purpose of the aforementioned methods. Fine arts, literature, geometry, technology, etc. interdisciplinary relations with students help to create mental, moral qualities of the student, improve aesthetic perception, and emotional impact. The establishment of interdisciplinary links is possible only because of their interconnectedness and cohesion, as well as through large-scale integrative contacts.
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