The Bookplate in the Artistic Culture of Ukraine at the Turn of the 21st Century

IF 0.1 0 HUMANITIES, MULTIDISCIPLINARY Tekst Kniga Knigoizdanie-Text Book Publishing Pub Date : 2021-01-01 DOI:10.17223/23062061/25/7
J. Romanenkova, Variety Arts
{"title":"The Bookplate in the Artistic Culture of Ukraine at the Turn of the 21st Century","authors":"J. Romanenkova, Variety Arts","doi":"10.17223/23062061/25/7","DOIUrl":null,"url":null,"abstract":"The object of research in this article is the ex-libris sphere of Ukraine in the period from the beginning of the 1990s to the present day. Ukrainian ex-libris actually began to exist in 1991, when it became possible to speak about the Ukrainian bookplate as a phenomenon of art rather than about it as a segment of Soviet graphic art. It has headily changed its character and started a different transformation since the early 1990s. Over the past 20 to 25 years, the Ukrainian bookplate not only has come out of the shadows, turning into a valuable work of art, but also has received several new roles, inheriting the stages of transformation that took place in other countries. If earlier the book plate mainly served as an identifier of the owner, had mainly an informative function and was hidden from the eyes of the public, now it has become not just a work of graphic art, but an art object that, due to its typological diversity and specific artistic qualities, quickly acquired the status of not only an exhibited work of mini-print, but also a collectible. Ex-libris is more often exhibited, it is collected by artists, graphic artists, bibliophiles, and patrons. It has become a kind of an instrument for intercultural dialogue, promoting international communication. The change in the functional charac-teristics of ex-libris, the expansion of the circle of customers, the rapid growth of inter-est in the bookplate, and the increase in demand for it provoked a change in the status of the bookplate among artists themselves. If earlier the book platewas only one of the pages of the creative biography of a number of artists, now there are many masters who specialize in it, who have turned it into the main object of their professional interest. The commercialization of the phenomenon has developed: EL has become a kind of a pass to the international art space for young artists. The Ukrainian cultural field re-ceived its center of popularization of the bookplate as a self-valuable work of art of small-form graphics in 1993, when the Ukrainian ex-libris club was created in Kyiv. In the winter of 1993/94, the first international exhibition Woman in Ex-Libris” was held in the Ukrainian capital. In 1994, the international ex-libris competition Many Reli-gions – God Is One was organized. Since the beginning of the 1990s, there has been a clear tendency to separate several leading schools. The most original, with characteristic stylistic features, schools of the modern Ukrainian bookplate became Lviv, Odessa, Kyiv, Kharkiv. There are also several hotbeds of ex-libris popularization in Ukraine, with great professionals in the field of mini-print, but they are few to speak about inde-pendent schools: Luhansk, Mukachevo, Severodonetsk, Sumy, Chernihiv, Chernivtsi. In today’s art space of the country, the bookplate owes its survival primarily to collec-tors and patrons, and its main, perhaps, the only, way to preserve it in the art world is to transform it into an instrument of intercultural dialogue, integration into the internation-al field, without losing its national identity.","PeriodicalId":40676,"journal":{"name":"Tekst Kniga Knigoizdanie-Text Book Publishing","volume":null,"pages":null},"PeriodicalIF":0.1000,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"2","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Tekst Kniga Knigoizdanie-Text Book Publishing","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.17223/23062061/25/7","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"HUMANITIES, MULTIDISCIPLINARY","Score":null,"Total":0}
引用次数: 2

Abstract

The object of research in this article is the ex-libris sphere of Ukraine in the period from the beginning of the 1990s to the present day. Ukrainian ex-libris actually began to exist in 1991, when it became possible to speak about the Ukrainian bookplate as a phenomenon of art rather than about it as a segment of Soviet graphic art. It has headily changed its character and started a different transformation since the early 1990s. Over the past 20 to 25 years, the Ukrainian bookplate not only has come out of the shadows, turning into a valuable work of art, but also has received several new roles, inheriting the stages of transformation that took place in other countries. If earlier the book plate mainly served as an identifier of the owner, had mainly an informative function and was hidden from the eyes of the public, now it has become not just a work of graphic art, but an art object that, due to its typological diversity and specific artistic qualities, quickly acquired the status of not only an exhibited work of mini-print, but also a collectible. Ex-libris is more often exhibited, it is collected by artists, graphic artists, bibliophiles, and patrons. It has become a kind of an instrument for intercultural dialogue, promoting international communication. The change in the functional charac-teristics of ex-libris, the expansion of the circle of customers, the rapid growth of inter-est in the bookplate, and the increase in demand for it provoked a change in the status of the bookplate among artists themselves. If earlier the book platewas only one of the pages of the creative biography of a number of artists, now there are many masters who specialize in it, who have turned it into the main object of their professional interest. The commercialization of the phenomenon has developed: EL has become a kind of a pass to the international art space for young artists. The Ukrainian cultural field re-ceived its center of popularization of the bookplate as a self-valuable work of art of small-form graphics in 1993, when the Ukrainian ex-libris club was created in Kyiv. In the winter of 1993/94, the first international exhibition Woman in Ex-Libris” was held in the Ukrainian capital. In 1994, the international ex-libris competition Many Reli-gions – God Is One was organized. Since the beginning of the 1990s, there has been a clear tendency to separate several leading schools. The most original, with characteristic stylistic features, schools of the modern Ukrainian bookplate became Lviv, Odessa, Kyiv, Kharkiv. There are also several hotbeds of ex-libris popularization in Ukraine, with great professionals in the field of mini-print, but they are few to speak about inde-pendent schools: Luhansk, Mukachevo, Severodonetsk, Sumy, Chernihiv, Chernivtsi. In today’s art space of the country, the bookplate owes its survival primarily to collec-tors and patrons, and its main, perhaps, the only, way to preserve it in the art world is to transform it into an instrument of intercultural dialogue, integration into the internation-al field, without losing its national identity.
查看原文
分享 分享
微信好友 朋友圈 QQ好友 复制链接
本刊更多论文
21世纪之交乌克兰艺术文化中的书版
本文的研究对象是20世纪90年代初至今的乌克兰图书馆领域。乌克兰的前图书馆实际上是在1991年开始存在的,当时人们可以把乌克兰的书板作为一种艺术现象来谈论,而不是把它作为苏联平面艺术的一部分。自20世纪90年代初以来,它迅速改变了自己的性格,开始了一场不同的转型。在过去的20到25年里,乌克兰的书板不仅从阴影中走出来,变成了一件有价值的艺术品,而且还继承了其他国家发生的转变阶段,获得了几个新的角色。如果说早期的书版主要是作为所有者的标识,主要具有信息功能,隐藏在公众的视线之外,那么现在它已经不仅仅是一件平面艺术作品,而是一件艺术品,由于其类型的多样性和特定的艺术品质,它不仅是一件迷你版画的展出作品,而且是一件收藏品。前图书馆更经常被展出,它被艺术家、平面艺术家、藏书家和赞助人收集。它已经成为一种跨文化对话的工具,促进了国际交流。图书馆功能特征的变化,顾客圈的扩大,对书板的兴趣的迅速增长,对书板的需求的增加,引起了书板在艺术家自身中地位的变化。如果说以前的书版只是一些艺术家的创作传记的其中一页,那么现在有许多专门研究它的大师,他们把它变成了他们专业兴趣的主要对象。这种现象的商业化已经发展起来:EL已经成为年轻艺术家进入国际艺术空间的一种通行证。1993年,乌克兰前图书馆俱乐部在基辅成立,书板作为一种具有自我价值的小图形艺术作品,在乌克兰文化界得到了普及的中心。1993/94年冬季,在乌克兰首都举行了第一届国际展览“图书馆中的妇女”。1994年,举办了“许多宗教-上帝是一个”国际图书馆竞赛。自20世纪90年代初以来,有一种明显的趋势,就是将几所顶尖商学院分开。最具原生态,具有鲜明风格特征的现代乌克兰书版成为利沃夫、敖德萨、基辅、哈尔科夫的流派。乌克兰也有几个前图书馆普及的温床,在迷你印刷领域有很多专业人士,但他们很少谈论独立学校:卢甘斯克,穆卡切沃,北顿涅茨克,苏米,切尔尼耶夫,切尔尼夫西。在这个国家今天的艺术空间里,书板的生存主要归功于收藏家和赞助人,而它在艺术界保存它的主要,也许是唯一的方法,就是把它变成一种跨文化对话的工具,融入国际领域,同时又不失去它的民族身份。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
求助全文
约1分钟内获得全文 去求助
来源期刊
Tekst Kniga Knigoizdanie-Text Book Publishing
Tekst Kniga Knigoizdanie-Text Book Publishing HUMANITIES, MULTIDISCIPLINARY-
CiteScore
0.20
自引率
0.00%
发文量
0
期刊最新文献
Titles of editions: Between advertising and pragmatics On church singing in the Fedoseevtsy collection Paternal Testaments. Article I The reader-character in Yuri Felzen’s novel Letters about Lermontov Book review: Tatsumi, Y. & Tsurumi, T. (eds) (2020) Publishing in Tsarist Russia: A history of print media from Enlightenment to Revolution. London: Bloomsbury Academic. 280 р. Perception of pictorial text: Problematization, actualization, new methodological approaches
×
引用
GB/T 7714-2015
复制
MLA
复制
APA
复制
导出至
BibTeX EndNote RefMan NoteFirst NoteExpress
×
×
提示
您的信息不完整,为了账户安全,请先补充。
现在去补充
×
提示
您因"违规操作"
具体请查看互助需知
我知道了
×
提示
现在去查看 取消
×
提示
确定
0
微信
客服QQ
Book学术公众号 扫码关注我们
反馈
×
意见反馈
请填写您的意见或建议
请填写您的手机或邮箱
已复制链接
已复制链接
快去分享给好友吧!
我知道了
×
扫码分享
扫码分享
Book学术官方微信
Book学术文献互助
Book学术文献互助群
群 号:481959085
Book学术
文献互助 智能选刊 最新文献 互助须知 联系我们:info@booksci.cn
Book学术提供免费学术资源搜索服务,方便国内外学者检索中英文文献。致力于提供最便捷和优质的服务体验。
Copyright © 2023 Book学术 All rights reserved.
ghs 京公网安备 11010802042870号 京ICP备2023020795号-1