Pub Date : 2024-07-11DOI: 10.37131/2524-0943-2024-52-6
Kateryna Kusko
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.
{"title":"Modern Textile Panel Of Ukraine Using Local Dyeing Techniques","authors":"Kateryna Kusko","doi":"10.37131/2524-0943-2024-52-6","DOIUrl":"https://doi.org/10.37131/2524-0943-2024-52-6","url":null,"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. \u0000The 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. \u0000The 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.","PeriodicalId":246398,"journal":{"name":"Bulletin of Lviv National Academy of Arts","volume":"81 4","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-07-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141834413","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-07-11DOI: 10.37131/2524-0943-2024-52-3
Iryna Hayuk
The article analyzes the main approaches of philosophers, cultural critics, sociologists, and art historians to the interpretation of the phenomenon of contemporary art. Despite a considerable amount of research, scholars continue to seek to understand this phenomenon and the criteria by which it can be defined. One of the main criteria for the constitution of contemporary art is the time frame, although this is a quantitative rather than a qualitative feature. Nevertheless, this criterion makes it possible to include all artistic manifestations of the last 50-70 years in contemporary art, which allows us to define the unconditional feature of contemporary art - diversity of styles, which, unlike other characteristics, does not raise any objections. All other qualitative characteristics, such as experimentalism, relevance, and social importance, are vague and conditional. It is proved that the incredible variety of artistic trends or movements that have emerged since the late 19th century can be divided not on the basis of "pure art or rebellion within the artistic community" and "social art or artists' rebellion against social reality", but on the basis of art within the materialist-positivist worldview paradigm accepted in European civilization and art that asserts the possibility of different views of the world, in different coordinate systems, from different points of view. The turning point that essentially distinguished between academic (realistic and naturalistic) art and the art of modernism, postmodernism, and the avant-garde was the Impressionist revolt, which clearly demonstrated the possibility of a different worldview. It is found that a characteristic feature of contemporary art is the inclusion in it not only all manifestations of artistic imaginative creativity, but also what represents another meaning of the term "art" - the skillful performance of a certain type of activity. Action art falls within the habitus of the second meaning, which is the ability to perform a certain action in order to draw attention to an important (for the actionist) social problem or phenomenon. In actionism, there is often a lack of artistic images, but the presence of social action, which is characterized by a certain intentionality, a claim to drama and a noticeable shock value. Another of the main requirements for contemporary art is novelty, which becomes the basis of its branding. It is shown that a significant part of the art community, art managers, and art dealers/gallerists promote actions and conceptual works as art due to the radical reorientation of the art sphere towards maximizing profits.
{"title":"Modern art – problematic approaches in determining the essence of the phenomenon","authors":"Iryna Hayuk","doi":"10.37131/2524-0943-2024-52-3","DOIUrl":"https://doi.org/10.37131/2524-0943-2024-52-3","url":null,"abstract":"The article analyzes the main approaches of philosophers, cultural critics, sociologists, and art historians to the interpretation of the phenomenon of contemporary art. Despite a considerable amount of research, scholars continue to seek to understand this phenomenon and the criteria by which it can be defined. One of the main criteria for the constitution of contemporary art is the time frame, although this is a quantitative rather than a qualitative feature. Nevertheless, this criterion makes it possible to include all artistic manifestations of the last 50-70 years in contemporary art, which allows us to define the unconditional feature of contemporary art - diversity of styles, which, unlike other characteristics, does not raise any objections. All other qualitative characteristics, such as experimentalism, relevance, and social importance, are vague and conditional.\u0000It is proved that the incredible variety of artistic trends or movements that have emerged since the late 19th century can be divided not on the basis of \"pure art or rebellion within the artistic community\" and \"social art or artists' rebellion against social reality\", but on the basis of art within the materialist-positivist worldview paradigm accepted in European civilization and art that asserts the possibility of different views of the world, in different coordinate systems, from different points of view. The turning point that essentially distinguished between academic (realistic and naturalistic) art and the art of modernism, postmodernism, and the avant-garde was the Impressionist revolt, which clearly demonstrated the possibility of a different worldview.\u0000It is found that a characteristic feature of contemporary art is the inclusion in it not only all manifestations of artistic imaginative creativity, but also what represents another meaning of the term \"art\" - the skillful performance of a certain type of activity. Action art falls within the habitus of the second meaning, which is the ability to perform a certain action in order to draw attention to an important (for the actionist) social problem or phenomenon. In actionism, there is often a lack of artistic images, but the presence of social action, which is characterized by a certain intentionality, a claim to drama and a noticeable shock value. Another of the main requirements for contemporary art is novelty, which becomes the basis of its branding. It is shown that a significant part of the art community, art managers, and art dealers/gallerists promote actions and conceptual works as art due to the radical reorientation of the art sphere towards maximizing profits.","PeriodicalId":246398,"journal":{"name":"Bulletin of Lviv National Academy of Arts","volume":"116 6","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-07-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141835013","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-07-11DOI: 10.37131/2524-0943-2024-52-5
Roman Kykta
Based on the application of the principles of a systematic approach, comparative-historical, formal-stylistic, semiotic, and hermeneutic methods of analysis, the artistic features of the interpretation of the sacred theme in the work of Mykhailo Dzyndra during the period of “plastic associations” and in later reminiscences of “plastic-associative” form creation in the artist’s work are analyzed in the current study. The essence of the master's “plastic-associative” method is revealed. It is established that creations of sacred content occupy a prominent place in his “plastic and associative” work of 1967/68–1974. It is found out that the peculiarities of their figurative and plastic solutions are the “extra-canonical” dialogue with the religious tradition, its intimate lyrical living, the use of the sacred theme as the “point of entry into the plane of the national”, the association of the form with a wide range of cultural contents, the expression of the traditional through the innovative formal means. Emphasis is placed on the inspiration of the works of sacred theme by the experience of Cubism, visible in the geometrization and destruction of the forms of the human body with the subsequent constitution of a new artistic reality based on the interaction of lines and planes. It is unfolded in this study that the works of the analyzed thematic group are characterized by the use of plastic findings of O. Arkhypenko (internal spatial caesuras, counterforms, polychromy, active interaction of forms with space) and artistic techniques of P. Picasso. It is demonstrated that the features of M. Dzyndra’s compositions on a sacred theme are the contrasts of statics and dynamics, lines, scales, volumes, the expressiveness of silhouettes, the symbolic significance of colors. Focus is placed on the extreme figurative and plastic generalization of a number of images by the sculptor and their elevation to “paradigm images’. It is noted that a feature of individual works is the “transformation” of semantics and plasticity during a circular survey, which intrigues and captivates the viewer. It is highlighted that a prominent place in the analyzed group is occupied by ironic, grotesque images, based on the perception of the sacred through the prism of folk religiosity, in the tonality of fairy tales and folklore, the combination of the ordinary with the supernatural, and the introduction of the depicted image into the personal emotional world. The statement is argued that by syncretism of the everyday, earthly and mythical, by recreating the supernatural as routine, they become consonant with the “magical realism”, in particular with the stories of Gabriel García Márquez. It is discovered in this study that a significant part of the works of the sacred theme is characterized by the “requirement” of a natural space for exhibiting and revealing additional aspects of the images on a landscape background.
{"title":"Peculiarities of the interpretation of the sacred theme in the \"plastic-associative\" works of Mykhailo Dzyndra","authors":"Roman Kykta","doi":"10.37131/2524-0943-2024-52-5","DOIUrl":"https://doi.org/10.37131/2524-0943-2024-52-5","url":null,"abstract":"Based on the application of the principles of a systematic approach, comparative-historical, formal-stylistic, semiotic, and hermeneutic methods of analysis, the artistic features of the interpretation of the sacred theme in the work of Mykhailo Dzyndra during the period of “plastic associations” and in later reminiscences of “plastic-associative” form creation in the artist’s work are analyzed in the current study.\u0000The essence of the master's “plastic-associative” method is revealed. It is established that creations of sacred content occupy a prominent place in his “plastic and associative” work of 1967/68–1974. It is found out that the peculiarities of their figurative and plastic solutions are the “extra-canonical” dialogue with the religious tradition, its intimate lyrical living, the use of the sacred theme as the “point of entry into the plane of the national”, the association of the form with a wide range of cultural contents, the expression of the traditional through the innovative formal means. Emphasis is placed on the inspiration of the works of sacred theme by the experience of Cubism, visible in the geometrization and destruction of the forms of the human body with the subsequent constitution of a new artistic reality based on the interaction of lines and planes. It is unfolded in this study that the works of the analyzed thematic group are characterized by the use of plastic findings of O. Arkhypenko (internal spatial caesuras, counterforms, polychromy, active interaction of forms with space) and artistic techniques of P. Picasso. It is demonstrated that the features of M. Dzyndra’s compositions on a sacred theme are the contrasts of statics and dynamics, lines, scales, volumes, the expressiveness of silhouettes, the symbolic significance of colors.\u0000Focus is placed on the extreme figurative and plastic generalization of a number of images by the sculptor and their elevation to “paradigm images’. It is noted that a feature of individual works is the “transformation” of semantics and plasticity during a circular survey, which intrigues and captivates the viewer.\u0000It is highlighted that a prominent place in the analyzed group is occupied by ironic, grotesque images, based on the perception of the sacred through the prism of folk religiosity, in the tonality of fairy tales and folklore, the combination of the ordinary with the supernatural, and the introduction of the depicted image into the personal emotional world. The statement is argued that by syncretism of the everyday, earthly and mythical, by recreating the supernatural as routine, they become consonant with the “magical realism”, in particular with the stories of Gabriel García Márquez.\u0000It is discovered in this study that a significant part of the works of the sacred theme is characterized by the “requirement” of a natural space for exhibiting and revealing additional aspects of the images on a landscape background.","PeriodicalId":246398,"journal":{"name":"Bulletin of Lviv National Academy of Arts","volume":"73 4","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-07-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141835003","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-10-10DOI: 10.37131/2524-0943-2023-51-1
Yulia Babunych
It has been investigated that Ukrainian art history in its historical development has followed a path characteristic of European artistic thought. The tasks faced by Ukrainian art history at the beginning of the 20th century are considered. During 1905–1917, art history in Ukraine acquired signs of structure, the directions of research were quite clearly defined. Based on the analysis of art studies of the 1920s, it was determined that they are characterized by a combination of clear retrospective vision, methodically correct handling of iconographic sources. The fact that the problem of national peculiarities of Ukrainian art history, its origins, driving factors, and priorities is of fundamental importance has been revealed. The article states that the Soviet totalitarian regime initiated a new stage of the «state» approach to the development of national inversions of science, literature and, in particular, art history. It was found out that specific conclusions regarding the national style were removed from many works of domestic art researchers by censorship. The need to organize and harmonize with the national historical concept of chronology and periodization of Ukrainian art history remains an equally urgent task. In this regard, the publication is supplemented with tables with a chronology of cultural events and publications of art-historical publications. It was found that Ukrainian art history actively developed in the context of the general national revival. With the beginning of totalitarian repressions and the liquidation of literary and artistic associations in the Ukrainian SSR (1932), the development process moved to western Ukrainian lands, primarily to Lviv. It was noted that in the post-war period, after well-known socio-political and socio-cultural changes, art history, art criticism, as well as artistic creativity throughout the territory of Ukraine, were united under one ideological slogan of socialist realism. It is emphasized that an important role in this difficult period was played by Ukrainian figures of culture, science and art of the diaspora. It is revealed that Ukrainian art history of the second half of the 20th century developed in difficult socio-political and cultural conditions. It has been found that the second half of the 20th century, marked by the repeated "revival" of the socialist realist method, nevertheless proved the continuity of the development of the national concept in the field of art history. A new stage logically began during the years of independent Ukraine. It is highlighted that the national concept of the historical development of Ukrainian culture and art has become the leading one in the domestic humanitarian field. It is important that the revival of Ukrainian art criticism has begun.
{"title":"Ukrainian art studies of the 20th century: ways of development and main problems of research.","authors":"Yulia Babunych","doi":"10.37131/2524-0943-2023-51-1","DOIUrl":"https://doi.org/10.37131/2524-0943-2023-51-1","url":null,"abstract":"It has been investigated that Ukrainian art history in its historical development has followed a path characteristic of European artistic thought. The tasks faced by Ukrainian art history at the beginning of the 20th century are considered. During 1905–1917, art history in Ukraine acquired signs of structure, the directions of research were quite clearly defined. Based on the analysis of art studies of the 1920s, it was determined that they are characterized by a combination of clear retrospective vision, methodically correct handling of iconographic sources. The fact that the problem of national peculiarities of Ukrainian art history, its origins, driving factors, and priorities is of fundamental importance has been revealed. The article states that the Soviet totalitarian regime initiated a new stage of the «state» approach to the development of national inversions of science, literature and, in particular, art history. It was found out that specific conclusions regarding the national style were removed from many works of domestic art researchers by censorship. The need to organize and harmonize with the national historical concept of chronology and periodization of Ukrainian art history remains an equally urgent task. In this regard, the publication is supplemented with tables with a chronology of cultural events and publications of art-historical publications. It was found that Ukrainian art history actively developed in the context of the general national revival. With the beginning of totalitarian repressions and the liquidation of literary and artistic associations in the Ukrainian SSR (1932), the development process moved to western Ukrainian lands, primarily to Lviv. It was noted that in the post-war period, after well-known socio-political and socio-cultural changes, art history, art criticism, as well as artistic creativity throughout the territory of Ukraine, were united under one ideological slogan of socialist realism. It is emphasized that an important role in this difficult period was played by Ukrainian figures of culture, science and art of the diaspora. It is revealed that Ukrainian art history of the second half of the 20th century developed in difficult socio-political and cultural conditions. It has been found that the second half of the 20th century, marked by the repeated \"revival\" of the socialist realist method, nevertheless proved the continuity of the development of the national concept in the field of art history. A new stage logically began during the years of independent Ukraine. It is highlighted that the national concept of the historical development of Ukrainian culture and art has become the leading one in the domestic humanitarian field. It is important that the revival of Ukrainian art criticism has begun.","PeriodicalId":246398,"journal":{"name":"Bulletin of Lviv National Academy of Arts","volume":"4 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-10-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139321008","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-10-10DOI: 10.37131/2524-0943-2023-51-5
Natalia Levkovych
This study analyzes the mythological representations of sea creatures, the hippocampus, and the Leviathan in the Jewish art of Eastern Galicia. It identifies the formation of a distinctive symbolic and sign system within Jewish art, serving as a means to convey fundamental religious and philosophical principles. The prohibition of anthropomorphic depictions contributed to the development of an entire cycle of animalistic and botanical images, illustrating the diaspora Jews' conceptualizations of the Land of Israel, the Jerusalem Temple, the Gardens of Eden, the commandments of the Torah, and the Talmud. Based on the study of artworks, including preserved illustrations from the destroyed synagogues in Khodoriv and Hvizdets during the Holocaust, as well as ritual objects such as Torah shields, Torah reading pointers, Hanukkah lamps, and the decoration of tombstones-matzevot, it has been established that Jewish art developed its own program of ornamentation and the use of symbols and signs. The features of the iconography of mythical sea creatures have been identified. It is emphasized that the traditional representation of the hippocampus as a creature with the body of half horse and half fish in Jewish art monuments was replaced by depictions of a creature with the body of half goat and half fish, or half lion and half fish. Such transformations can be explained by the influence of folklore and the reinterpretation of folk art. The symbolism of the hippocampus is associated with perceptions of the sea that surrounds the Land of Israel and serves as a metaphor for the transition to another, beautiful, paradisiacal world. The iconography of the depiction of the Leviathan is also connected to its symbolism. The Leviathan coiled in a ring is a traditional symbol of anticipation of messianic times, and the Leviathan coiled around a city or specific structures embodies the concept of the temple, alluding to a sacred space, as the skin of the mythical creature will be used for the tent of the righteous. Representations of the hippocampus and Leviathan on tombstones-matzevot embody the idea of anticipating messianic times and resurrection. The exploration of symbolism in Jewish representational and decorative art provides insight into the traditional Jewish culture of Eastern Galicia.
{"title":"Mythological Images and Their Interpretations in Jewish Art of Eastern Galicia, 18th – 19th Century","authors":"Natalia Levkovych","doi":"10.37131/2524-0943-2023-51-5","DOIUrl":"https://doi.org/10.37131/2524-0943-2023-51-5","url":null,"abstract":"This study analyzes the mythological representations of sea creatures, the hippocampus, and the Leviathan in the Jewish art of Eastern Galicia. It identifies the formation of a distinctive symbolic and sign system within Jewish art, serving as a means to convey fundamental religious and philosophical principles. The prohibition of anthropomorphic depictions contributed to the development of an entire cycle of animalistic and botanical images, illustrating the diaspora Jews' conceptualizations of the Land of Israel, the Jerusalem Temple, the Gardens of Eden, the commandments of the Torah, and the Talmud. Based on the study of artworks, including preserved illustrations from the destroyed synagogues in Khodoriv and Hvizdets during the Holocaust, as well as ritual objects such as Torah shields, Torah reading pointers, Hanukkah lamps, and the decoration of tombstones-matzevot, it has been established that Jewish art developed its own program of ornamentation and the use of symbols and signs. The features of the iconography of mythical sea creatures have been identified. It is emphasized that the traditional representation of the hippocampus as a creature with the body of half horse and half fish in Jewish art monuments was replaced by depictions of a creature with the body of half goat and half fish, or half lion and half fish. Such transformations can be explained by the influence of folklore and the reinterpretation of folk art. The symbolism of the hippocampus is associated with perceptions of the sea that surrounds the Land of Israel and serves as a metaphor for the transition to another, beautiful, paradisiacal world. The iconography of the depiction of the Leviathan is also connected to its symbolism. The Leviathan coiled in a ring is a traditional symbol of anticipation of messianic times, and the Leviathan coiled around a city or specific structures embodies the concept of the temple, alluding to a sacred space, as the skin of the mythical creature will be used for the tent of the righteous. Representations of the hippocampus and Leviathan on tombstones-matzevot embody the idea of anticipating messianic times and resurrection. The exploration of symbolism in Jewish representational and decorative art provides insight into the traditional Jewish culture of Eastern Galicia.","PeriodicalId":246398,"journal":{"name":"Bulletin of Lviv National Academy of Arts","volume":"53 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-10-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139320883","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-10-10DOI: 10.37131/2524-0943-2023-51-3
Mykhaylo Bokotei
The main objective of the study is to initiate a discussion in the art environment regarding actualizing stylistic features according to the gradual domination of conceptual art practices in the creative work of the active generation of glass artists. The question of assuming a significant era in the development of artistic glass – the International Studio Glass Movement – arises with the emergence of a world art discourse of a growing array of practices built on the principles of conceptual arts. The study reveals the role of the most influential institutions in stimulating young artists to use rather non-classical instruments of creative realization for the studio glass artistic expression. The exhibition and information activities of the leading institutions of three continents – America, Europe, and Asia: the Glass Art Society, the glass museums in Corning (USA), Ebeltoft (Denmark), and Shanghai (China) are taken into account. The brightest examples of art pieces by artists from different countries where the artistic idea and conceptual metaphor play a critical role despite aesthetics or unique design have been selected and analyzed. The recently realized projects of two Ukrainian artists of different generations – Professor Andriy Bokotey (Lviv) and his student Viktor Melnychuk (Uzhhorod) – are also considered in the article. Several installations, performances, and works with a multimedia or interactive component, exhibited as a final work by foreign artists and participants of the International Blown Glass Symposiums in Lviv, are described here. The performance by the famous world-known Czech glass artist Jiri Suhajek in the framework of the II International Blown Glass Symposium, 1992, is stressed as the first performative creative realization for the Ukrainian audience. His intuitive activity set a precedent for a new direction in artistic glassmaking. It is concluded that according to the broad set of features, a significant part of the 2010-2020 glass artists’ activities goes far beyond the accepted canons for studio glassmaking. Thus, summing up, it is stated that the significant stage in modern culture – the International Studio Movement, which brought the generally accepted artistic means for decorative art into the domain of fine arts – became the basis for the development of the next direction in the civilizational ladder.
本研究的主要目的是在艺术环境中发起一场讨论，讨论如何根据概念艺术实践在活跃的一代玻璃艺术家的创作中逐渐占据主导地位的情况，实现风格特征。随着以观念艺术原则为基础的一系列实践活动在世界艺术界的兴起，艺术玻璃发展的一个重要时代--国际工作室玻璃运动--的假设问题也随之产生。本研究揭示了最具影响力的机构在激励年轻艺术家使用非传统的创作手段来表现工作室玻璃艺术方面所发挥的作用。研究考虑了美洲、欧洲和亚洲三大洲主要机构的展览和信息活动：玻璃艺术协会，美国康宁、丹麦埃贝尔托夫特和中国上海的玻璃博物馆。尽管美学或设计独特，但艺术思想和概念隐喻在其中发挥着至关重要的作用。文章还讨论了两位不同年代的乌克兰艺术家--Andriy Bokotey 教授（利沃夫）和他的学生 Viktor Melnychuk（乌日霍罗德）--最近完成的项目。本文还介绍了外国艺术家和利沃夫国际吹制玻璃研讨会与会者作为最终作品展出的一些装置、表演和带有多媒体或互动元素的作品。世界著名的捷克玻璃艺术家伊日-苏哈耶克（Jiri Suhajek）在 1992 年第二届国际吹制玻璃研讨会上的表演被认为是首次为乌克兰观众实现的表演性创作。他的直观活动开创了玻璃艺术创作的新方向。结论是，根据一系列广泛的特征，2010-2020 年玻璃艺术家活动的很大一部分远远超出了公认的工作室玻璃制作规范。因此，综上所述，现代文化的重要阶段--国际工作室运动，将装饰艺术公认的艺术手段带入了美术领域--成为了文明阶梯中下一个发展方向的基础。
{"title":"Post-Studio Tendencies of the World Glass Art: Role of Institutional Influence","authors":"Mykhaylo Bokotei","doi":"10.37131/2524-0943-2023-51-3","DOIUrl":"https://doi.org/10.37131/2524-0943-2023-51-3","url":null,"abstract":"The main objective of the study is to initiate a discussion in the art environment regarding actualizing stylistic features according to the gradual domination of conceptual art practices in the creative work of the active generation of glass artists. The question of assuming a significant era in the development of artistic glass – the International Studio Glass Movement – arises with the emergence of a world art discourse of a growing array of practices built on the principles of conceptual arts. The study reveals the role of the most influential institutions in stimulating young artists to use rather non-classical instruments of creative realization for the studio glass artistic expression. The exhibition and information activities of the leading institutions of three continents – America, Europe, and Asia: the Glass Art Society, the glass museums in Corning (USA), Ebeltoft (Denmark), and Shanghai (China) are taken into account. The brightest examples of art pieces by artists from different countries where the artistic idea and conceptual metaphor play a critical role despite aesthetics or unique design have been selected and analyzed. The recently realized projects of two Ukrainian artists of different generations – Professor Andriy Bokotey (Lviv) and his student Viktor Melnychuk (Uzhhorod) – are also considered in the article. Several installations, performances, and works with a multimedia or interactive component, exhibited as a final work by foreign artists and participants of the International Blown Glass Symposiums in Lviv, are described here. The performance by the famous world-known Czech glass artist Jiri Suhajek in the framework of the II International Blown Glass Symposium, 1992, is stressed as the first performative creative realization for the Ukrainian audience. His intuitive activity set a precedent for a new direction in artistic glassmaking. It is concluded that according to the broad set of features, a significant part of the 2010-2020 glass artists’ activities goes far beyond the accepted canons for studio glassmaking. Thus, summing up, it is stated that the significant stage in modern culture – the International Studio Movement, which brought the generally accepted artistic means for decorative art into the domain of fine arts – became the basis for the development of the next direction in the civilizational ladder.","PeriodicalId":246398,"journal":{"name":"Bulletin of Lviv National Academy of Arts","volume":"24 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-10-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139321268","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-10-10DOI: 10.37131/2524-0943-2023-51-2
Nataliia Benyakh
The activity of M. Boichuk in the period 1910–1912 was analyzed, when the artist executed monumental paintings and easel icon painting works for the monastery Studitiv in Lviv on the street Petra Skargy, 2a (now Ozarkevicha St.). At this time, the artist, together with M. Kasperovych, S. Nalepinska, S. Beaudoin de Courtenay, G. Schramm and others. representatives of his Parisian group, worked on the frescoes of the chapel in the premises of this monastery. The preserved works from the Studio collection include: "St. Nicholas" (1910), "St. Josaphat" (1910), "Jesus Christ" (1910s), "Covering of the Virgin" (1910) ("The Prophet Elijah" (1911), "The Last Supper" (1911) mosaic "St. John" (1910). The main religious painting became the type of artistic activity of M. Boichuk in 1910-1914. The artist revived the forgotten techniques of tempera and frescoes, became a recognized restorer in the territory of Ukraine. Attention is focused on works of icon painting that have survived to this day and belong to the exposition of the National Museum in Lviv named after Andrei Sheptytskyi. The object of the study is the icons and polychromy of Mykhailo Boychuk, made for the chapel of the monastery of of Studits (former Diakivs'ka Bursa). The subject of the study is the iconography of his works, in particular, the characteristics of the iconographic type of St. Yosaphat Kuntsevich.
分析了 M. Boichuk 在 1910-1912 年期间的活动，当时艺术家为利沃夫 Petra Skargy 街 2a（现 Ozarkevicha 街）上的 Studitiv 修道院创作了纪念碑绘画和架上圣像绘画作品。在此期间，艺术家与 M. Kasperovych、S. Nalepinska、S. Beaudoin de Courtenay、G. Schramm 及其他巴黎团体的代表一起，为该修道院的小教堂绘制壁画。工作室收藏的作品包括"圣尼古拉》（1910 年）、《圣约瑟夫》（1910 年）、《耶稣基督》（1910 年代）、《圣母盖头》（1910 年）（《先知以利亚》（1911 年）、《最后的晚餐》（1911 年）、马赛克《圣约翰》（1910 年）。1910-1914 年间，主要的宗教绘画成为波伊丘克的艺术活动类型。艺术家恢复了被遗忘的蛋彩画和壁画技术，成为乌克兰境内公认的修复师。研究的重点是留存至今的圣像绘画作品，这些作品属于以安德烈-谢普蒂茨基命名的利沃夫国家博物馆展览。研究对象是 Mykhailo Boychuk 为 Studits（前 Diakivs'ka Bursa）修道院小教堂制作的圣像和多色画。研究主题是其作品的圣像学，特别是圣约萨法特-昆采维奇圣像类型的特点。
{"title":"The work of Mykhailo Boychuk (Lviv period) and the \"Studio\" collection of the monastery Studitiv in Lviv","authors":"Nataliia Benyakh","doi":"10.37131/2524-0943-2023-51-2","DOIUrl":"https://doi.org/10.37131/2524-0943-2023-51-2","url":null,"abstract":"The activity of M. Boichuk in the period 1910–1912 was analyzed, when the artist executed monumental paintings and easel icon painting works for the monastery Studitiv in Lviv on the street Petra Skargy, 2a (now Ozarkevicha St.). At this time, the artist, together with M. Kasperovych, S. Nalepinska, S. Beaudoin de Courtenay, G. Schramm and others. representatives of his Parisian group, worked on the frescoes of the chapel in the premises of this monastery. The preserved works from the Studio collection include: \"St. Nicholas\" (1910), \"St. Josaphat\" (1910), \"Jesus Christ\" (1910s), \"Covering of the Virgin\" (1910) (\"The Prophet Elijah\" (1911), \"The Last Supper\" (1911) mosaic \"St. John\" (1910). The main religious painting became the type of artistic activity of M. Boichuk in 1910-1914. The artist revived the forgotten techniques of tempera and frescoes, became a recognized restorer in the territory of Ukraine. Attention is focused on works of icon painting that have survived to this day and belong to the exposition of the National Museum in Lviv named after Andrei Sheptytskyi. The object of the study is the icons and polychromy of Mykhailo Boychuk, made for the chapel of the monastery of of Studits (former Diakivs'ka Bursa). The subject of the study is the iconography of his works, in particular, the characteristics of the iconographic type of St. Yosaphat Kuntsevich.","PeriodicalId":246398,"journal":{"name":"Bulletin of Lviv National Academy of Arts","volume":"41 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-10-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139321236","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-10-10DOI: 10.37131/2524-0943-2023-51-11
Mykhailo Skop
The scientific novelty lies in this being the first study of Stations of the Cross in Lviv, wherein the artistic and iconographic features of the works were analyzed, the prototypes of the sanctuaries were identified, primary artistic trends were outlined, and a classification based on form and materials was proposed. All samples were collected and analyzed through empirical research using photographic documentation, visual observation, and description. Additionally, the paper employs methods such as iconographic, semantic, comparative, and cultural-historical analysis. The research covers the Stations of the Cross in the Brukhovychi Forest, on Mount Khomets, at 10 I. Lukasevych Street, 5 V. Symonenka Street, 28A Zahirnyi Street, in parks named after Pope John Paul II, the 700th Anniversary of Lviv, "Bodnarivka," and the "High Castle". It was established that the most widespread stations consist of wooden crosses and reproductions of works by authors such as Joseph Ritter von Fürich, Cesare Secchi, and Luigi Morgari. Research on the stations in the 700th Anniversary Park of Lviv suggests that these works likely replicate the mosaic cycle of the Italian company Demetz Art Studio, with their form mirroring the silhouette of the Novgorod Alexius Cross. The investigation of the "Pietà" station in the context of the Church of the Holy Virgin of the Orthodox Church of Ukraine at 40 Myshuhy Street revealed peculiarities of religious kitsch in Lviv, characterized by a blend of imitation of high Western European Catholic sculptural art and elements of Russian Orthodox architecture, including glossy onion-shaped domes. The analysis of two Stations of the Cross at the High Castle delineated two stylistic tendencies. Stations from 2005 imitate a naive style akin to folk carvings, while samples from 2010-2012 stylistically resemble Stations of the Cross in Lourdes, Stradch, Roshachi, Sambor, among others. Additionally, it was noted that its particularities include certain disproportions and unnatural poses, departing from traditional iconography by avoiding the depiction of negative characters. Research into the sacred space of the Royal Spring, where the Stations of the Cross are located, revealed signs of religious kitsch, namely semiotic and stylistic inconsistency, the presence of sanctuaries from various cults, imitation of high art, and low professional quality in most works.
{"title":"The paper examines the Stations of the Cross installed in the public space of Lviv from the late 20th to the early 21st century in terms of their artistic features and iconography.","authors":"Mykhailo Skop","doi":"10.37131/2524-0943-2023-51-11","DOIUrl":"https://doi.org/10.37131/2524-0943-2023-51-11","url":null,"abstract":"The scientific novelty lies in this being the first study of Stations of the Cross in Lviv, wherein the artistic and iconographic features of the works were analyzed, the prototypes of the sanctuaries were identified, primary artistic trends were outlined, and a classification based on form and materials was proposed. All samples were collected and analyzed through empirical research using photographic documentation, visual observation, and description. Additionally, the paper employs methods such as iconographic, semantic, comparative, and cultural-historical analysis. The research covers the Stations of the Cross in the Brukhovychi Forest, on Mount Khomets, at 10 I. Lukasevych Street, 5 V. Symonenka Street, 28A Zahirnyi Street, in parks named after Pope John Paul II, the 700th Anniversary of Lviv, \"Bodnarivka,\" and the \"High Castle\". It was established that the most widespread stations consist of wooden crosses and reproductions of works by authors such as Joseph Ritter von Fürich, Cesare Secchi, and Luigi Morgari. Research on the stations in the 700th Anniversary Park of Lviv suggests that these works likely replicate the mosaic cycle of the Italian company Demetz Art Studio, with their form mirroring the silhouette of the Novgorod Alexius Cross. The investigation of the \"Pietà\" station in the context of the Church of the Holy Virgin of the Orthodox Church of Ukraine at 40 Myshuhy Street revealed peculiarities of religious kitsch in Lviv, characterized by a blend of imitation of high Western European Catholic sculptural art and elements of Russian Orthodox architecture, including glossy onion-shaped domes. The analysis of two Stations of the Cross at the High Castle delineated two stylistic tendencies. Stations from 2005 imitate a naive style akin to folk carvings, while samples from 2010-2012 stylistically resemble Stations of the Cross in Lourdes, Stradch, Roshachi, Sambor, among others. Additionally, it was noted that its particularities include certain disproportions and unnatural poses, departing from traditional iconography by avoiding the depiction of negative characters. Research into the sacred space of the Royal Spring, where the Stations of the Cross are located, revealed signs of religious kitsch, namely semiotic and stylistic inconsistency, the presence of sanctuaries from various cults, imitation of high art, and low professional quality in most works.","PeriodicalId":246398,"journal":{"name":"Bulletin of Lviv National Academy of Arts","volume":"21 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-10-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139320907","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-15DOI: 10.37131/2524-0943-2023-50-6
E. Kotlyar
The article examines the problem of the artistic evolution of the image of the city in Chinese fine art. The focus of the authors’ attention is the study of the main stages of the development of the urban landscape genre. The purpose of the article is the analysis of the main stages of the development of the urban landscape genre in Chinese art, as well as the study of its structural formalization and the formation of the repertoire from the Middle Ages to the early modern period. The subject of the research is Chinese art history discourse. The works of Chinese fine art of historical periods were used. The authors found out that the development of the urban landscape genre is connected with the general evolution of the Chinese cultural tradition and its visual forms. They are a constant factor influencing the formation of visual tradition. The article defines two stages of development of the urban landscape genre paradigm. The first continues from the time of the emergence of permanent pictorial forms (X century). Later, during the period of the Song dynasty (XII–XIII centuries) and the period of the Ming dynasty (XIV–XVII centuries), visual culture involved the urban landscape and urban everyday practices in the general artistic space of painting. In the context of the evolution of art during the Qing dynasty (XVII–XIX centuries), the urban landscape is represented for the first time with the help of genre features. According to the authors, these signs should be presented in the form of a combination of three components: 1) urban architectural landscape; 2) representations of typical models of urban life; 3) reproduction of typical city "cultural heroes". The authors prove that the evolution of the urban landscape genre at various stages of development is connected with the processes of self-awareness of Chinese art and the determination of the forms of its identity.
{"title":"The Image of the City in Chinese Cultural Tradition and Visual Practice: from the Middle Ages to the Early Modern Period","authors":"E. Kotlyar","doi":"10.37131/2524-0943-2023-50-6","DOIUrl":"https://doi.org/10.37131/2524-0943-2023-50-6","url":null,"abstract":"The article examines the problem of the artistic evolution of the image of the city in Chinese fine art. The focus of the authors’ attention is the study of the main stages of the development of the urban landscape genre. The purpose of the article is the analysis of the main stages of the development of the urban landscape genre in Chinese art, as well as the study of its structural formalization and the formation of the repertoire from the Middle Ages to the early modern period. The subject of the research is Chinese art history discourse. The works of Chinese fine art of historical periods were used. The authors found out that the development of the urban landscape genre is connected with the general evolution of the Chinese cultural tradition and its visual forms. They are a constant factor influencing the formation of visual tradition. The article defines two stages of development of the urban landscape genre paradigm. The first continues from the time of the emergence of permanent pictorial forms (X century). Later, during the period of the Song dynasty (XII–XIII centuries) and the period of the Ming dynasty (XIV–XVII centuries), visual culture involved the urban landscape and urban everyday practices in the general artistic space of painting. In the context of the evolution of art during the Qing dynasty (XVII–XIX centuries), the urban landscape is represented for the first time with the help of genre features. According to the authors, these signs should be presented in the form of a combination of three components: 1) urban architectural landscape; 2) representations of typical models of urban life; 3) reproduction of typical city \"cultural heroes\". The authors prove that the evolution of the urban landscape genre at various stages of development is connected with the processes of self-awareness of Chinese art and the determination of the forms of its identity.","PeriodicalId":246398,"journal":{"name":"Bulletin of Lviv National Academy of Arts","volume":"155 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-07-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139359287","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-10DOI: 10.37131/2524-0943-2023-50-7
Olena Yakymova
Eastern Halychyna has always been a territory on the border between the cultural paradigms of the East and the West. At the end of the 19th - the first third of the 20th cen. this region became the center of the multicultural environment formation, where certain typological groups of anthropomorphic images were determined at the regional-provincial level. It was reflected in monumental art, in particular temple murals, stained glass and mosaics, as well as architectural decor and monumental sculptural plastic, such as monuments and plastic tombstones. The subject of this research is the characteristic features of the images of the Human in the interiors, exteriors and spatial environment of the cities, towns and villages of Eastern Halychyna of the Early 20th century. The relevance of this topic arises from the fact that, as a result of long-term silence, concealment and destruction, the artifacts of the outlined period have been introduced into scientific circulation only in the last three decades and require not only a final description and fixation, but also analysis and systematization, which have not yet been fully carried out. At the same time, the monumental art of that time developed on the basis of art synthesis, therefore there is actually a need to outline certain pictorial typological groups for their classification and more detailed study. The research method is the classification of the most characteristic images, taking into account the philosophical and aesthetic principles of contemporary anthropomorphic imagery and the artistic and stylistic features of the work of artists of the specified period. Main scientific issue is in the circulation and research of several little-known works of monumental art of Eastern Halychyna of the first third of the 20th cen. and the formation of several typological groups of human images as proposal for their classification. It is based on the analysis of the largest and most representative examples of the monumental art of Eastern Halychyna in sculpture and painting of that time. In conclusion three large typological groups were formed: biblical-mythological, historical (national)-symbolic and symbolic-impersonal images in the monumental art of Eastern Halychyna of the Early 20th century.
{"title":"Classification of the Human Image in the Eastern Halychyna Monumental Art of the Early 20th Century","authors":"Olena Yakymova","doi":"10.37131/2524-0943-2023-50-7","DOIUrl":"https://doi.org/10.37131/2524-0943-2023-50-7","url":null,"abstract":"Eastern Halychyna has always been a territory on the border between the cultural paradigms of the East and the West. At the end of the 19th - the first third of the 20th cen. this region became the center of the multicultural environment formation, where certain typological groups of anthropomorphic images were determined at the regional-provincial level. It was reflected in monumental art, in particular temple murals, stained glass and mosaics, as well as architectural decor and monumental sculptural plastic, such as monuments and plastic tombstones. The subject of this research is the characteristic features of the images of the Human in the interiors, exteriors and spatial environment of the cities, towns and villages of Eastern Halychyna of the Early 20th century. The relevance of this topic arises from the fact that, as a result of long-term silence, concealment and destruction, the artifacts of the outlined period have been introduced into scientific circulation only in the last three decades and require not only a final description and fixation, but also analysis and systematization, which have not yet been fully carried out. At the same time, the monumental art of that time developed on the basis of art synthesis, therefore there is actually a need to outline certain pictorial typological groups for their classification and more detailed study. The research method is the classification of the most characteristic images, taking into account the philosophical and aesthetic principles of contemporary anthropomorphic imagery and the artistic and stylistic features of the work of artists of the specified period. Main scientific issue is in the circulation and research of several little-known works of monumental art of Eastern Halychyna of the first third of the 20th cen. and the formation of several typological groups of human images as proposal for their classification. It is based on the analysis of the largest and most representative examples of the monumental art of Eastern Halychyna in sculpture and painting of that time. In conclusion three large typological groups were formed: biblical-mythological, historical (national)-symbolic and symbolic-impersonal images in the monumental art of Eastern Halychyna of the Early 20th century.","PeriodicalId":246398,"journal":{"name":"Bulletin of Lviv National Academy of Arts","volume":"163 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-07-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139360723","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：