Features of training students in the field of fine arts and design in the conditions of higher art education in modern Japan

Chzhan Yusen Postgraduate student; Department of Art History and Pedagogy of Art; A.I. Herzen Russian State University 191186, Russia, Saint Petersburg, nab. Moika River, 48, room 6, room 57 zhangyusen@rambler.ru

Introduction

The art education of modern Japan is a system that has gone through many reforms and changes under the influence of a number of internal and external factors. As a result, a fairly effective model has developed that synthesizes the features associated with traditional education by means of art and, at the same time, foreign methods and teaching content. Moreover, the three-stage structure of education formed after the onset of the Meiji period experienced peculiar ups and downs, as a result of which certain measures were developed to overcome them. What has been achieved in the country is becoming the subject of close attention from scientists. Thus, in 2023, a large-scale project of the National Foundation for Social Sciences in the field of education "Research on the evolution of the structure of higher education in Japan since the Meiji Restoration" was completed in China. Within its framework, an analysis of the process of adaptation and support of higher education to the economic and social development of Japan was carried out from the point of view of the systemic structure, as well as the characteristics of the development of higher education at different historical stages, the reasons for its formation from the point of view of structure, function ^[1]. The interest from Chinese researchers is not accidental, since the results of their searches can shed light on which path the Celestial Empire could take as part of the developing modernization ^[2]. In 2018, Secretary General Xi Jinping noted that Chinese education should "strive to build a system that comprehensively educates moral, intellectual, physical, artistic and labor qualities, and form a system for training higher-level talents" ^[3].

No less interested are Russian authors, for example A.I. Sokolov ^[4], S. Suzuki ^[5], A.R. Nurutdinova ^[6], A. I. Galagan ^[7], Yu. Zhang ^[8], A.A. Ganina ^[9], M.A. Grushitskaya ^[10] and others. They describe the existing experience of Japanese higher education, including in relation to reform and cooperation with the business sector. In the wake of a new rise in interest in Japanese universities, the defense of a number of dissertation studies devoted to the analysis of the origins and current state of the country's education system at different levels, I.V. Korshunova published a short article in which she considered the main issues of the organization of these educational institutions, especially Seika University in Kyoto, and the content of art education in them. The scientist came to the conclusion that the formation of professional knowledge and the disclosure of the creative potential of students are promoted, first of all, by ethnocultural traditions, which are carefully preserved and developed ^[11]. The works of recent years are also interesting, which reveal the facets of the activities of Japanese art universities, the essence of humanitarian education in the country as a whole. We are talking about the works of A. A. Dolin ^[12], O. P. Svyatukha ^[13], Yu Jia ^[14] and others.

This article is aimed at studying the art education of modern Japan, which is currently operating in a recession associated with the disappearance of the practice of lifelong employment, a decrease in the role of enterprises in organizing educational activities, a decrease in the share of practice in the teaching hours, problems with student recruitment due to a drop in the birth rate, a decrease in the requirements of universities for the initial training of applicants. For this purpose, the analysis of works that considered the problem raised, as well as teaching methods, educational technologies of training in the field of fine arts and design in the conditions of higher art education in Japan is carried out here. This will allow us to identify the features of educational approaches that are used in Japanese art universities and colleges, as well as highlight the advantages, disadvantages and main difficulties that they solve.

Features of the training of future artists and designers in institutions of higher art education in modern Japan

It is important to clarify that higher education in the country began to be formed relatively late, or rather after the Second World War. The systematic creation of the system took place in 1945-1959. This process was strongly influenced by Western countries. The years 1960-1975 were a period of rapid development of universities, coupled with an economic leap. Meanwhile, 1976-1990 is called the time of "stagnation", in which the number of educational institutions decreased, but at the same time, the quality of education improved. The "expansion" began in 1990 and continues to the present. The surge in the birth rate that happened before led to an increase in the number of applicants. By this time, a sufficient number of competent teachers had been formed in the country. At that time, graduates of the school who entered universities received a five-year higher professional education.

Since the beginning of the new century, education has consisted of four-year bachelor's, master's and doctoral degrees. In modern Japan, the higher education system is dominated by universities, although there are colleges. The education system that has developed there resembles the Chinese one, since it assumes 6 years of primary school, 3 years of incomplete secondary school and the same amount of full-time, as well as 4 years of bachelor's degree at a university or college ^{[15, p. 2]}. Meanwhile, the number of students in the country is small. So, in 2023, about 57,000 students were enrolled in 58 educational institutions of vocational education (higher and secondary), of which only a very small part received artistic training ^[16].

One of the most prestigious art universities in the country is the Tama University of Arts, founded back in 1948. He is known for his free, innovative teaching style and pays special attention to the creative development of students' personalities. The emphasis here is on different types of design, but there are also specialties related to oil painting, traditional painting, sculpture, etc. Attention is paid to international contacts and exchanges, which allow graduates to quickly enter a more developed than the national art market, as well as cooperation with companies to provide students with internship and employment opportunities.

Musashino University of Arts provides deep academic training. The specialties taught cover visual communication design, industrial design, space representation design, architecture, basic design, oil painting, engraving, sculpture, etc. Musashino has a rich collection of books and materials on art, which provides support for students' research. In the learning process, attention is paid to the development of the ability to think independently and the spirit of teamwork, so that students can adapt to the diverse needs of artistic creativity ^{[17, p. 4]}.

Tokyo Jokey University of Science and Technology focuses on training specialists in the field of design, as well as photography, cinema, animation. The university pays special attention to the development of practical abilities and innovative thinking of students. Thanks to cooperation projects with enterprises and the social sphere, students are engaged in active practical activities. In addition, the university also actively conducts international exchange events, inviting world-famous artists and designers to give lectures.

The Joshibi University of Art and Design is the only women's higher art school in Japan that provides a special platform for training women artists. Specialties include fine arts, design, art culture, and other fields. The peculiarity of teaching here is that it pays special attention to the use of crafts and materials for the development of perception and creativity. At the same time, the university provides students with the opportunity to participate in a variety of activities that promote cultural exchanges and cooperation.

College Nihon University of the Arts provides a wide range of majors in the field of art and is renowned for its strong teaching staff. The teachers are artists who specialize in video art, performance, photography, art history, literature and fine arts, design, as well as musicians and artists. The school focuses on interdisciplinary learning and practice to develop students' comprehensive artistic abilities and innovative spirit. Nihon also has a training base and practice areas, providing students with good conditions for creativity. Kanazawa College of Arts and Technology is known for its outstanding education in the field of crafts and fine arts. The school's specialties include decorative arts, design, painting, sculpture, etc. The university focuses on innovations in the field of traditional crafts, and also develops students' deep understanding and possibilities of using materials, techniques and techniques of such creativity.

Kyoto Seika University is a unique art school located in Kyoto that specializes in comics and animation. The university provides training both in the field of drawing practice, sketching, and in modern digital art. The university also offers majors in oil painting, Japanese painting, three-dimensional modeling, visual design, architecture and fashion. The school focuses on developing the original spirit and practical abilities of students, and encourages them to express their individuality in artistic creativity.

The Faculty of Arts of the Japanese University has a special status in the space of higher art education in Japan. The structural unit consists of eight faculties, including design, cinema and fine arts. Teaching is based on principles such as mastering the practice of expressive techniques, production technologies, expression in expression and research. Fine arts as a specialty consists of two courses, namely painting (painting/printing) and sculpture. The training is based on a combination of practical tasks and art theory. The university strives to educate students on the basis of independent learning, independence and the introduction of constant innovations.

The only national general education university of the arts in Japan and the oldest art higher education institution in the country (1887) is the Tokyo University of the Arts. The university consists of two main faculties: music and fine arts, and each faculty is divided into "departments". The latter includes the department of Japanese painting, oil painting, sculpture, technology, design, contemporary art, architecture, etc. Each is divided into different areas of specialization. For example, the Department of Decorative and Applied Arts has six areas of specialization: gold casting, gold carving, gold forging, ceramics, lacquer art, dyeing and weaving ^{[18, p. 2]}. Compared to other educational institutions, the University of Arts has an original teaching methodology. Special emphasis is placed on traditional craft, which is understood as a set of skills that allow you to create material carriers of national culture. At the same time, design education is entirely based on research in the field of industrial production, introduced from the West.

The main components of educational activities in institutions of higher art education in modern Japan

A credit system has been introduced in all these educational institutions related to art education, and students must collect the necessary number of credits to obtain a diploma. The number of credits varies depending on the specialty in the range from 120 to 150. Students of creative-oriented specialties, as a rule, must gain at least 130 credits, including 114 credits in compulsory subjects and 16 credits in electives. The compulsory subjects are divided into 88 credits of professional courses, 10 credits of courses in the study of art history and 16 credits in elective subjects ^[19]. The latter are general education courses, foreign languages, health and physical education courses, as well as specialized basic courses.

Invariant and variable courses in the specialty are focused on the popular and, in principle, traditional Japanese individual training. Within the framework of the latter, the student observes and imitates the techniques of a teacher – a professional artist. Through repeated practice over a long period of time, artistic and practical skills are acquired, thereby achieving a sufficiently high level of skill. Education in small groups of 5-7 students each is especially in demand. For such groups, teachers give small lectures introducing the material, as well as organize demonstration classes, in which they introduce techniques, techniques, materials, etc. Also, an assessment of further independent practical work of students is carried out within the groups. When completing assignments, students must prepare the results for a presentation (portfolio), write short essays, articles, and generate reports on creative research. The small size of the groups provides significant advantages, allowing teachers to pay more attention to each student, mark progress or regression in his professional development, and make recommendations on time.

Already at the beginning of admission, an entrance control is launched, which allows you to accurately assess the drawing skills of each new entrant. Special attention in universities is paid to the ability to perform linear drawings, use color and layout ^{[20, p. 14]}. At the same time, students' abilities for artistic perception, including appreciation and understanding of works of art, are evaluated. Based on the results of the entrance control, an individual training plan is developed. It acts as a navigation tailored to the needs of students, ensuring that they follow the learning path that suits them best without getting upset by the complexity of the course or wasting time and potential due to too simple content. On the other hand, it gives them enough time to practice.

In a traditional workshop or high-tech laboratory, students can freely use materials, technologies and transform knowledge and ideas gained at the theoretical level into practical work. For example, each faculty of the Tokyo University of the Arts has an independent learning space for practical classes, and each research laboratory or studio is designed taking into account various professional characteristics ^{[21, p. 65]}. Thus, the laboratory of lacquer art is divided into five main zones: the working area of students and teachers separately, an office, a sector of general (collective) projects and an exhibition area. The students' work area is a complex consisting of independent rooms where groups work. Every third-year student and above gets their own desktop. The sector for general work is divided into an area with equipment, a drawing room and a buffer space. Students can work according to their personal needs at any time.

Lectures and classroom practical classes are the main forms of work in Japanese art universities. The equal emphasis on practice and theory is one of the distinctive features of the teaching methodology. On the one hand, the curriculum includes systematic and in-depth courses in art theory, reflecting a variety of content, including the history of art from classics to modernism, aesthetic principles, dynamics and trends of modern artistic thought. By studying these theoretical courses, students provide the knowledge necessary for their creativity. For example, Master's degree programs

The Master's program (the first two years) includes nine modules. More than half of it is practical work related to drawing (Japanese painting, oil paintings, engraving, fresco painting, oil painting techniques and materials), sculpture, crafts (metal engraving, metal forging, metal casting, lacquer art, ceramics, dyeing and weaving, modeling of materials (wood/glass)), design and architecture (architectural design, environmental design, structural planning). The last block is taught in parallel with the "Theory of Architecture". Students also master "Current art practices", "Aesthetics", "History of Japanese and Oriental Art", "History of Western Art", "History of crafts", "Art Education", "Anatomy in Art", and in the module "Preservation of cultural values" – "Conservation and restoration", "Museology", "Art of the countries of the world". These exclusively theoretical classes are taught simultaneously or precede work in studios and laboratories.

The learning process often involves discussions and interactions between teachers and students. At the same time, the former are not absolute authorities, but are presented as inspirers and guides of ideas that stimulate students' inner self-reflection and desire to innovate. Students are encouraged to observe the world around them and look for original ways to creatively record their observations. Mainly, teachers use a heuristic teaching method, which effectively activates the mental potential of students, allowing them to freely navigate the world of art, constantly explore and express their imagination.

One of the most common tasks when working with the first courses of both future specialists in the field of fine arts and designers is "accumulation" or "one hundred ideas". When the basics of drawing and composition are just being studied, students must complete at least one hundred sketches every month. Such a number does not allow them to work out in detail, complete what is depicted, but gives them the opportunity to learn how to work in a short time and "discard" the unnecessary, leaving only the essential. They also learn the ability to focus their attention on something meaningful, first of all, on the shape of objects and how to convey it. It is important that the latter are chosen by the students themselves. It can be a pencil drawing, and paint, and collage, like any other technique, material. At the end of the course, the best of the created drawings are selected for participation in student exhibitions.

Exhibitions are among the most important forms of education. The latter are the most important way to demonstrate the learning outcomes that students have completed and the level of teaching by teachers. At the already mentioned Tokyo University of the Arts, almost every research classroom has a small room where teachers and students can conduct various exhibition projects. An exhibition of teachers' works is organized annually in the academic gallery of the university. This is important because such periodicity allows you to focus on research activities throughout the year, as well as encourage teachers to make progress in their fields.

Various forms of student exhibitions have developed in Japanese universities, among which the most important and regularly held are exhibitions of professional practical courses for the second year of study, exhibitions of works of the third year of study, which usually open at the end of the year, as well as exhibitions of graduate projects of students and postgraduates ^{[22, p. 105]}. Such projects clearly show the learning results of students who follow the path from being a beginner in the profession to mastering certain basic techniques, and then to their practical application in independent graduate work. Since the exhibitions are open to the public, students get acquainted with the work of the art market within their framework, which gives them experience in this field.

At the end of each semester, students demonstrate their personal work and talk about their creative ideas, production experience, research results, etc. Teachers give comments or ask questions for discussion with students. Finally, each teacher, including the assistants, makes concluding remarks or suggestions. The grading system varies depending on the university. Course assignments are mainly given by the teacher overseeing the course, taking into account the opinions of colleagues. Courses and graduation papers of the second and third years of study are discussed collectively by teachers of laboratories and studios.

It is obvious that Japanese art universities pay great attention to interaction with students. Creative work screenings and discussions are organized on a regular basis. Within their framework, students have the opportunity to fully demonstrate and share their creative ideas, experiences, as well as problems and thoughts encountered on the way of their artistic searches. At the same time, they have the opportunity to listen to different points of view, opinions and suggestions from classmates. In this open atmosphere of exchange, students can learn, inspire and motivate each other, constantly expanding their horizons, improving creative ideas and ways to implement them.

Japanese art universities have quite strict and complex forms of control. However, the management and teachers of the university are developing a series of trial tests and exams, as well as intensive training programs ^{[23, p. 45]}. In the conditions of knowledge and skills testing simulation, students can familiarize themselves with the control process in advance, increase their confidence in their abilities and ability to pass various tests. At the same time, according to the results of each trial exam, students are provided with a detailed analysis indicating existing problems and shortcomings, as well as with the formulation of personalized strategies and improvement plans.

Conclusion

To summarize, it can be said that Japanese art colleges and universities rely in their activities on common, but at the same time very diverse teaching methods, focusing on individual learning. At the same time, the educational process is based on the integration of theory and practice, teaching in small groups, guidance from teachers on students' creative searches, case analysis, active communication, as well as trial exams and other forms of testing knowledge and skills. It is also important to emphasize here that at present the former rise of higher education in the country has been replaced by a recession. Moreover, the previously widespread practice of lifelong employment in the country is gradually disappearing. As a result, the role of enterprises in the organization of educational activities decreases, which leads to a decrease in the share of practice in the grid of study hours. This seems to be a significant problem in the training of designers who need work experience in production. In addition, future artists need to focus on potential employers in order to build an individual training route as effectively as possible. There are also problems with the recruitment of students in the light of the catastrophic drop in the birth rate, which forces universities to reduce the requirements for the initial training of applicants. Thus, art education, which is in high demand at home and abroad, despite the existing achievements, is currently experiencing quite serious difficulties, overcoming which is a new incentive for growth.