Modern Textile Panel Of Ukraine Using Local Dyeing Techniques

Kateryna Kusko
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Abstract

The Ukrainian artistic fabric of the times of independence is often realized in the form of a unique handmade panel. The article aims to clarify the figurative, thematic, stylistic, and technological dynamics of Ukrainian panel art in surface decoration techniques from the early 2000s to the present, the correlation of the mentioned components, to characterize the peculiarities of the work of the most productive artists, and to clarify the issue of terminology. The article examines the terminology used in domestic practice, analyzes it and compares it with the international terminology. It has been found that the most common terms are closely related to the history of their origin, reflect the peculiarities of technology and are often synonymous in their basis. The work of Ukrainian artists working in the field of textile panels is analyzed in terms of technology, themes, issues, and figurative embodiment. It was found that the most common technique is hot batik. In combination with linen fabric, the printing technique is often used to reflect themes of ethnic color, to strengthen the idea of national identity. The format of a textile panel embodies religious and philosophical issues. After the full-scale invasion of Ukraine by Russian troops, expressive embodiments of the war theme appeared. There is a large group of works dedicated to the beauty of nature and the environment. The images of a number of works are formed by textile means, mostly figurative and associative works in the techniques of free painting, tai dai, sieve printing, and eco-printing. The emergence of digital printing on fabric has been a distinctive feature of recent decades. One of the incentives for the process is the introduction of the discipline of computer-aided design into the curriculum of the Department of Art Textiles at LNAA. Ukrainian textile panels in surface decoration techniques are characterized by a wide range of images and themes and an extensive technical arsenal.
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使用当地染色技术的乌克兰现代纺织品面板
乌克兰独立时期的艺术作品通常以独特的手工镶板形式呈现。文章旨在阐明从 21 世纪初至今乌克兰镶板艺术在表面装饰技术方面的形象、主题、风格和技术动态,以及上述组成部分之间的相互关系,描述最有成就的艺术家的作品特点,并澄清术语问题。文章研究了国内实践中使用的术语,对其进行了分析并与国际术语进行了比较。结果发现,最常用的术语与其起源的历史密切相关,反映了技术的特殊性,并且在其基础上往往是同义词。我们从技术、主题、问题和形象体现等方面分析了乌克兰艺术家在纺织板领域的作品。研究发现,最常见的技术是热蜡染。结合亚麻织物,印花技术通常用于反映民族色彩主题,强化民族身份的理念。纺织板的形式体现了宗教和哲学问题。俄罗斯军队全面入侵乌克兰后,出现了战争题材的表现形式。有一大批作品专门表现自然和环境之美。一些作品的图像是通过纺织手段形成的,大多是采用写意画、大写意、筛网印花和生态印花等技法的具象和联想作品。织物数码印花的出现是近几十年来的一个显著特点。推动这一进程的动力之一是将计算机辅助设计学科引入 LNAA 艺术纺织品系的课程。乌克兰表面装饰技术纺织板的特点是图像和主题范围广泛,技术手段丰富。
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