Аннотация: 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.

Ключевые слова: pigment, gilding, wax, art, a wooden sculptur, wood, painting, finishing, workin, an artis

Аннотация: В статье обозначены исторические предпосылки развития красноярской скульптурной школы, выделены основные черты. На основе творческой и педагогической деятельности скульптора Ткачука Александра Евгеньевича, как одного из ведущих педагогов школы, выявлены методические установки и художественные приемы. Цель статьи – знакомство с краткими историческими предпосылками формирования красноярской школы скульптуры; изучение основных методических установок и принципов преподавания скульптуры в Красноярске на примере творческой и педагогической деятельности профессора Ткачука Александра Евгеньевича. В работе над статьей использован метод сопоставления, анализ ряда скульптурных произведений, метод наблюдения и конкретизации. Красноярская школа как самостоятельное явление рассматривалась недостаточно, чем и обусловлена научная новизна статьи. Для красноярской школы характерны: тяготение к цельности композиции и обобщённой трактовке формы, выразительность силуэта, использование ритма, использование графических приемов, сохранение живой (экспрессивной) лепки, поэтапное методичное ведение работы. Красноярская школа скульптуры в лице профессора Ткачука Александра Евгеньевича представляет собой заметное явление. Со своей предысторией, своими характерными методическими установками и принципами преподавания. Это явление живое и развивающееся в ремесле педагогов, передающих знания своим ученикам из рук в руки.

Ключевые слова: скульптура, красноярская школа скульптуры, методические установки, Ткачук, педагогические принципы Ткачука, Урбанистическая скульптура, Скульптура в городе, Скульптура в Красноярске, Лавров, красноярская пластика

Abstract: The article signifies the historical prerequisites for the development of Krasnoyarsk school of sculptural art, as well as determines its main features. Based on the creative and pedagogical activity of Alexander Evgenyevich Tkachuk, as one of the leading pedagogues of the school, the article identifies his methodological orientations and creative approaches. The goal of this research lies in familiarization with the brief historical prerequisites for the establishment of Krasnoyarsk school of sculptural art; examination of the key methodological orientations and principles of teaching sculpture in Krasnoyarsk on the example of creative and pedagogical activity of Professor A. E. Tkachuk. The fact that Krasnoyarsk school as an independent phenomenon was not sufficiently studied substantiates the scientific novelty of this article. Krasnoyarsk school of sculptural art is characterized by the following attributes: gravitation towards integrity of composition and generalized interpretation of shape; expressivity of the silhouette, use of rhythm and graphic techniques, preservation of expressive modelling, step-by-step methodical work. This is a living phenomenon, continuous to evolve in the pedagogical sphere, and is passed on from the teacher to the student.

Keywords: Sculpture in Krasnoyarsk, Sculpture in the city, Urban sculpture, pedagogical principles of Tkachuk, Tkachuk, methodical settings, Krasnoyarsk school of sculpture, sculpture, Lavrov, Krasnoyarsk plastic