Pub Date : 1900-01-01DOI: 10.37131/2524-0943-2019-39-21
Lidiia Kukil
Background. The image of Green Man (Green Man — “the spirit of the forest”), which embodies a mythological forest deity, undoubtedly entered the city's architecture along with new Western stylistic tendencies and immediately gained popularity among the Lviv architects of that time. Mythological images, which were formed during the ancient history of mankind, have often remained topical for subsequent epochs, but it should be noted that in the 19th century these mask-images acquired exclusively a decorative function and canonicity of their depiction was altered by interpretations of the author's vision. Despite the fact that Lviv architectural decor of the 19th century is a rather studied topic, so far Lviv Green Man mascarons of the 19th century have not been the subject of a special study, which predetermines the scientific novelty of the chosen topic. Objectives. The purpose of the article is to analyze the main theories of the origin of the Green Man image in the architecture of Western Europe, to reveal its symbolic meaning, to highlight the main typological groups of green man masks in Lviv architecture of the 19th century, to reveal and analyze their figurative and plastic solutions. Methods. The article applies the general scientific methods of research: method of analysis is used in the study and systematization of scientific literature in terms of the subject of research; comparative method is used for the analysis of stylistic features of 19th century Lviv Green Man mascarons in comparison with Western European tendencies; method of synthesis is used in the development of typology of Lviv Green Man mascarons of the period in question; method of art analysis is used in the analysis of stylistic and plastic features of Green Man masks on Lviv facades of 19th century. Results. Green Man is a fiction image that combines human appearance and the flora. In the ancient world cultures, Green Man sometimes was identified as the vegetative deity of the nature. First of all, it is interpreted as a pagan spirit of forest and the symbol of nature revival. It is rather paradoxical that most depictions of this pagan symbol of nature are in the interiors and exteriors of temple architecture of medieval Europe. Pre-Christian pagan traditions were closely associated with nature. Worshipping sacred trees was intrinsic for many ancient cultures that directly influenced artistic culture of Christian Europe. Accordingly, the masks of “green men” were, perhaps, only one of the pagan symbolic images, which gained the right to exist in the space of medieval ecclesiastical architecture. A new wave of interest in Green Man's image dates back to the 19th century. The reason for its revival could be an environmental crisis, and in this respect the image of Green Man present in architecture can be regarded as the archetype of “nature guardian”, whose role is to remind people of their responsibilities to nature. During this period various Green Man mascarons, deprive
{"title":"Semantics of figurative and plastic solutions of Green Man mascarons in the Lviv architecture of the 19th century","authors":"Lidiia Kukil","doi":"10.37131/2524-0943-2019-39-21","DOIUrl":"https://doi.org/10.37131/2524-0943-2019-39-21","url":null,"abstract":"Background. The image of Green Man (Green Man — “the spirit of the forest”), which embodies a mythological forest deity, undoubtedly entered the city's architecture along with new Western stylistic tendencies and immediately gained popularity among the Lviv architects of that time.\u0000Mythological images, which were formed during the ancient history of mankind, have often remained topical for subsequent epochs, but it should be noted that in the 19th century these mask-images acquired exclusively a decorative function and canonicity of their depiction was altered by interpretations of the author's vision.\u0000Despite the fact that Lviv architectural decor of the 19th century is a rather studied topic, so far Lviv Green Man mascarons of the 19th century have not been the subject of a special study, which predetermines the scientific novelty of the chosen topic.\u0000Objectives. The purpose of the article is to analyze the main theories of the origin of the Green Man image in the architecture of Western Europe, to reveal its symbolic meaning, to highlight the main typological groups of green man masks in Lviv architecture of the 19th century, to reveal and analyze their figurative and plastic solutions.\u0000Methods. The article applies the general scientific methods of research: method of analysis is used in the study and systematization of scientific literature in terms of the subject of research; comparative method is used for the analysis of stylistic features of 19th century Lviv Green Man mascarons in comparison with Western European tendencies; method of synthesis is used in the development of typology of Lviv Green Man mascarons of the period in question; method of art analysis is used in the analysis of stylistic and plastic features of Green Man masks on Lviv facades of 19th century.\u0000Results. Green Man is a fiction image that combines human appearance and the flora. In the ancient world cultures, Green Man sometimes was identified as the vegetative deity of the nature. First of all, it is interpreted as a pagan spirit of forest and the symbol of nature revival. It is rather paradoxical that most depictions of this pagan symbol of nature are in the interiors and exteriors of temple architecture of medieval Europe.\u0000Pre-Christian pagan traditions were closely associated with nature. Worshipping sacred trees was intrinsic for many ancient cultures that directly influenced artistic culture of Christian Europe. Accordingly, the masks of “green men” were, perhaps, only one of the pagan symbolic images, which gained the right to exist in the space of medieval ecclesiastical architecture.\u0000A new wave of interest in Green Man's image dates back to the 19th century. The reason for its revival could be an environmental crisis, and in this respect the image of Green Man present in architecture can be regarded as the archetype of “nature guardian”, whose role is to remind people of their responsibilities to nature.\u0000During this period various Green Man mascarons, deprive","PeriodicalId":246398,"journal":{"name":"Bulletin of Lviv National Academy of Arts","volume":"78 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134164548","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 : 1900-01-01DOI: 10.37131/2524-0943-2019-39-19
Daria Chemberzhi
Article is devoted to a research of a role and the place of art installation in the modern world. At the same time the retrospective analysis of a role of art installation in the past and comparative characteristic with the present is carried out. The Ukrainian context of development of art installation is also revealed. At the same time it is found out that installation is not only an important component of modern art, but also an integral part of historical discourse. Due to its visual functions, the installation actively influences the viewer. For the most part, installations are not just an object in space, it is what is the very space - how much the installation work has the ability to fill the space, integrate into it organically and holistically. At the same time, the main factor in the creation and existence of an installation in the exhibition space, as well as in other relevant arts, is its relationship with the viewer. In this study, the socio-cultural aspect of the installation is important, understanding of the significance of this form of contemporary artistic practices for a common worldview system. Such problems as the assimilation of new experience from the point of view of global processes, on the one hand, and the preservation of the national cultural identity in contemporary art, on the other – actualize the pattern of the process of perception of a new culture. In article it is found out that graphic schools are based on existence of certain art and educational institutions where graphic artists who carry out the teaching activity and own creativity a high mission of formation of new generation of masters create. Not less important factor is acceptance of experience of teachers and its further development in creativity of pupils and followers. Art of installation is an integral part of the modern fine arts of Ukraine. Emergence and development of this art form in the national cultural environment became possible under conditions of intensive creative activity of artists which reached the high level of mastery in connection with deeply philosophical judgment of problems of the present. At the end of XX – the beginning of ХХІ century, looking for new ways of development, the Ukrainian artists addressed installation which as it is possible better answered esthetic inquiries of an era and became a symbol of spiritual updating of the personality. Installation turns into a key factor of development of different spheres of culture, thereby playing a noticeable role in development of national culture. Installation in the modern art helps to be focused and inform of the idea and understanding of global problems to adherents of different genres of art, the audience of different age categories and social groups. Since declaration of independence development of the independent state and formation of own cultural policy aimed at providing free development of national culture and preservation of cultural inheritance begins. The state forms
{"title":"The importance of installation art for the development of contemporary art in the world and Ukraine","authors":"Daria Chemberzhi","doi":"10.37131/2524-0943-2019-39-19","DOIUrl":"https://doi.org/10.37131/2524-0943-2019-39-19","url":null,"abstract":"Article is devoted to a research of a role and the place of art installation in the modern world. At the same time the retrospective analysis of a role of art installation in the past and comparative characteristic with the present is carried out. The Ukrainian context of development of art installation is also revealed. At the same time it is found out that installation is not only an important component of modern art, but also an integral part of historical discourse. Due to its visual functions, the installation actively influences the viewer. For the most part, installations are not just an object in space, it is what is the very space - how much the installation work has the ability to fill the space, integrate into it organically and holistically. At the same time, the main factor in the creation and existence of an installation in the exhibition space, as well as in other relevant arts, is its relationship with the viewer. In this study, the socio-cultural aspect of the installation is important, understanding of the significance of this form of contemporary artistic practices for a common worldview system. Such problems as the assimilation of new experience from the point of view of global processes, on the one hand, and the preservation of the national cultural identity in contemporary art, on the other – actualize the pattern of the process of perception of a new culture.\u0000In article it is found out that graphic schools are based on existence of certain art and educational institutions where graphic artists who carry out the teaching activity and own creativity a high mission of formation of new generation of masters create. Not less important factor is acceptance of experience of teachers and its further development in creativity of pupils and followers. Art of installation is an integral part of the modern fine arts of Ukraine. Emergence and development of this art form in the national cultural environment became possible under conditions of intensive creative activity of artists which reached the high level of mastery in connection with deeply philosophical judgment of problems of the present.\u0000At the end of XX – the beginning of ХХІ century, looking for new ways of development, the Ukrainian artists addressed installation which as it is possible better answered esthetic inquiries of an era and became a symbol of spiritual updating of the personality. Installation turns into a key factor of development of different spheres of culture, thereby playing a noticeable role in development of national culture. Installation in the modern art helps to be focused and inform of the idea and understanding of global problems to adherents of different genres of art, the audience of different age categories and social groups.\u0000Since declaration of independence development of the independent state and formation of own cultural policy aimed at providing free development of national culture and preservation of cultural inheritance begins. The state forms","PeriodicalId":246398,"journal":{"name":"Bulletin of Lviv National Academy of Arts","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131024157","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 : 1900-01-01DOI: 10.37131/22524-0943-2019-39-03
Ulia Babunych
Ukrainian culture from the second half of the nineteenth century. developed with such main features - the transformation of a purely cultural movement into a national liberation movement, the formation of similar features in the cultural-process processes with the European laws. At the end of the nineteenth century. associates of Ukrainian culture, the main task of their position is the solution of a number of political and socio-economic issues. The process of national-cultural revival has gained strength since the 1880's in both parts of Ukraine and at the beginning of the 20th century. already yields concrete results. In Lviv there are active centers of cultural development. Similar processes have been taking place in the other part of Ukraine, activated by the idea of the revival of the Ukrainian national style. At this time, the intellectuals are much more cohesive, trying spiritually and politically self-determination. These moments were extremely important, for at that time, eastern and western parts of Ukraine, notwithstanding certain ideological points of contact, were not only politically delineated, but also mentally, culturally and spiritually. In Ukraine, the end of the nineteenth and early twentieth centuries. is characterized by changes in the cultural situation, which are marked by modern (modern) influences from the European West in the field of culture, philosophy, and creativity. The national renaissance acquires a qualitatively new meaning, characterized by the creation of distinctive national forms in all branches of artistic culture. For Ukrainian modernism, the inherent dependence on the geocultural features, the attachment of its representatives to their environment. At the same time, we observe differences in the genre specificity of modernism in the western and eastern Ukrainian territories, due to the influence of Russian or European art. The geographical location of Ukraine between the two parts of the world - Europe and Asia - led to the creation of a unique version of modernism in our territories (tied to national origins, folk folk sources, historical cultural heritage). Stylistic inspirations from different sources flocked to Ukraine, creating polyphony of its modernist art. The contradictory nature of the transitional period has been reflected in the formation of ideological settings of the art of the first third of the twentieth century. Modernism in Ukraine is characterized by an organic combination of the latest philosophical and aesthetic theories and traditional features of local culture. Philosophy played an important role in shaping the foundations of the "new" art and its artistic practice, giving an alternative way for a better understanding of it in the context of the metamorphosis of social consciousness. At the end of the XIX - in the first third of the twentieth century. especially the theories of intuitionism, existentialism, irrationalism, and so on. The theoretical works of Ukrainian artists
{"title":"Historical background, philosophical and aesthetic platform and ideological principles of Ukrainian modernism","authors":"Ulia Babunych","doi":"10.37131/22524-0943-2019-39-03","DOIUrl":"https://doi.org/10.37131/22524-0943-2019-39-03","url":null,"abstract":"Ukrainian culture from the second half of the nineteenth century. developed with such main features - the transformation of a purely cultural movement into a national liberation movement, the formation of similar features in the cultural-process processes with the European laws. At the end of the nineteenth century. associates of Ukrainian culture, the main task of their position is the solution of a number of political and socio-economic issues. The process of national-cultural revival has gained strength since the 1880's in both parts of Ukraine and at the beginning of the 20th century. already yields concrete results. In Lviv there are active centers of cultural development. Similar processes have been taking place in the other part of Ukraine, activated by the idea of the revival of the Ukrainian national style. At this time, the intellectuals are much more cohesive, trying spiritually and politically self-determination. These moments were extremely important, for at that time, eastern and western parts of Ukraine, notwithstanding certain ideological points of contact, were not only politically delineated, but also mentally, culturally and spiritually.\u0000\u0000In Ukraine, the end of the nineteenth and early twentieth centuries. is characterized by changes in the cultural situation, which are marked by modern (modern) influences from the European West in the field of culture, philosophy, and creativity. The national renaissance acquires a qualitatively new meaning, characterized \u0000\u0000by the creation of distinctive national forms in all branches of artistic culture. For Ukrainian modernism, the inherent dependence on the geocultural features, the attachment of its representatives to their environment. At the same time, we observe differences in the genre specificity of modernism in the western and eastern Ukrainian territories, due to the influence of Russian or European art. The geographical location of Ukraine between the two parts of the world - Europe and Asia - led to the creation of a unique version of modernism in our territories (tied to national origins, folk folk sources, historical cultural heritage). Stylistic inspirations from different sources flocked to Ukraine, creating polyphony of its modernist art.\u0000\u0000The contradictory nature of the transitional period has been reflected in the formation of ideological settings of the art of the first third of the twentieth century. Modernism in Ukraine is characterized by an organic combination of the latest philosophical and aesthetic theories and traditional features of local culture. Philosophy played an important role in shaping the foundations of the \"new\" art and its artistic practice, giving an alternative way for a better understanding of it in the context of the metamorphosis of social consciousness. At the end of the XIX - in the first third of the twentieth century. especially the theories of intuitionism, existentialism, irrationalism, and so on.\u0000\u0000The theoretical works of Ukrainian artists","PeriodicalId":246398,"journal":{"name":"Bulletin of Lviv National Academy of Arts","volume":"160 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115392427","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 : 1900-01-01DOI: 10.37131/2524-0943-2019-39-02
I. Tkachuk
Background. A painting perception is a complex multilevel process of reception and transformation of information, which forms a subjective image of objects, serves as a communicative form of interaction between individuals, societies and cultures. A painting is a complicated system, which reflects the cultural situation in a society of a certain epoch, the worldview, conveys the complex of human feelings and beliefs, arises as a means of cognition. Everyone deliberately or involuntarily becomes a painting recipient, more or less engaging himself into the process of communication. Therefore, the approach to a painting is valid according to individual matrices of ideological notions complexes, concepts, principles, mentality, education and preparedness of a creator and a perceiver as a kind of non-verbal communication with a transfer of certain information during this process. Published scientific works refer to the narrow specifics of certain disciplines in the study of perception process of the painting, therefore, they do not constitute a holistic system of knowledge concerning this phenomenon. Among them we note the fundamental researches, which, in particular, set out aesthetic theories: perceptual (M. Beardsley), cognitive (R. Arnheim, D. Berlyne), informational (A. Moles); achievements in neuroaesthetics (V. Ramachandran), psychology of painting perception (V. Molyako, J. Gibson, S. Kosslyn). However, known presented painting perception algorithms do not take into account the entire range of components, parameters and the context of current communication process with art creation. It was revealed that the establishment of variants of components' interaction within the system «artist—painting—recipient», as different ways of cognition and coexistence in the information space, remains at the stage of formation and needs a fundamental development. Objectives. The objectives of the research are to identify concrete models of subjective-objective interaction within the system «artist—painting—recipient» as a result of perception the paintings of the groups «Zhyvopysnyi zapovidnyk» and «Paryzka komuna» in the artistic environment. As a material for conducting a practical investigation there were chosen the paintings of above-mentioned groups, because their art, both — as horizontal and vertical, formed a peculiar matrix of Ukrainian visuality. The art code of their works gives the opportunity to see the regularities of historical development of National visual experience. The range of painting form in all its aspects, from transavantgarde — to abstract, makes it possible to consider and analyze the difference between its specific characteristics and accordingly, different models of recipients' perception. Methods. Studying the disclosure of interactive features of interplay between painting and the recipient is related with certain difficulties, mainly of a methodical nature. Exceptionally an interdisciplinary research approach makes the most
{"title":"Painting perception models of art groups «Zhyvopysnyi zapovidnyk» and «Paryzka komuna»","authors":"I. Tkachuk","doi":"10.37131/2524-0943-2019-39-02","DOIUrl":"https://doi.org/10.37131/2524-0943-2019-39-02","url":null,"abstract":"Background. A painting perception is a complex multilevel process of reception and transformation of information, which forms a subjective image of objects, serves as a communicative form of interaction between individuals, societies and cultures. A painting is a complicated system, which reflects the cultural situation in a society of a certain epoch, the worldview, conveys the complex of human feelings and beliefs, arises as a means of cognition. Everyone deliberately or involuntarily becomes a painting recipient, more or less engaging himself into the process of communication. Therefore, the approach to a painting is valid according to individual matrices of ideological notions complexes, concepts, principles, mentality, education and preparedness of a creator and a perceiver as a kind of non-verbal communication with a transfer of certain information during this process.\u0000\u0000Published scientific works refer to the narrow specifics of certain disciplines in the study of perception process of the painting, therefore, they do not constitute a holistic system of knowledge concerning this phenomenon. Among them we note the fundamental researches, which, in particular, set out aesthetic theories: perceptual (M. Beardsley), cognitive (R. Arnheim, D. Berlyne), informational (A. Moles); achievements in neuroaesthetics (V. Ramachandran), psychology of painting perception (V. Molyako, J. Gibson, S. Kosslyn). However, known presented painting perception algorithms do not take into account the entire range of components, parameters and the context of current communication process with art creation. It was revealed that the establishment of variants of components' interaction within the system «artist—painting—recipient», as different ways of cognition and coexistence in the information space, remains at the stage of formation and needs a fundamental development.\u0000\u0000Objectives. The objectives of the research are to identify concrete models of subjective-objective interaction within the system «artist—painting—recipient» as a result of perception the paintings of the groups «Zhyvopysnyi zapovidnyk» and «Paryzka komuna» in the artistic environment. As a material for conducting a practical investigation there were chosen the paintings of above-mentioned groups, because their art, both — as horizontal and vertical, formed a peculiar matrix of Ukrainian visuality. The art code of their works gives the opportunity to see the regularities of historical development of National visual \u0000\u0000experience. The range of painting form in all its aspects, from transavantgarde — to abstract, makes it possible to consider and analyze the difference between its specific characteristics and accordingly, different models of recipients' perception.\u0000\u0000Methods. Studying the disclosure of interactive features of interplay between painting and the recipient is related with certain difficulties, mainly of a methodical nature. Exceptionally an interdisciplinary research approach makes the most","PeriodicalId":246398,"journal":{"name":"Bulletin of Lviv National Academy of Arts","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115414794","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 : 1900-01-01DOI: 10.37131/2524-0943-2019-39-12
Lada Tsymbala
Today, in the process of active formation of Ukrainian statehood, the problems of aesthetic value of national traditions, which are broadcast to consumers through new forms in multi-vector areas of artistic culture and in the design of clothing in particular, are especially actualized. What are the manifestations of national traditions and in what forms are relevant in contemporary Ukrainian artistic culture, and to what extent such manifestations are aesthetically valuable? The article covers the problems of art-historical analysis of the interpretation of national traditions in the design of the costume as a whole, and in the modern Ukrainian environment in particular. The view is focused to the specifics and differences in the interpretation of folk traditions in the design of everyday, festive and stage costumes. The article states that the technique of studying folk traditions in the suit design is marked by the specifics of individual approaches to certain types of costumes in accordance with their purpose and distinguishing the conceptual dominant or subordination of the general compositional form.
{"title":"National traditions in costume design: aspects of the methodology of art criticism analysis","authors":"Lada Tsymbala","doi":"10.37131/2524-0943-2019-39-12","DOIUrl":"https://doi.org/10.37131/2524-0943-2019-39-12","url":null,"abstract":"Today, in the process of active formation of Ukrainian statehood, the problems of aesthetic value of national traditions, which are broadcast to consumers through new forms in multi-vector areas of artistic culture and in the design of clothing in particular, are especially actualized. What are the manifestations of national traditions and in what forms are relevant in contemporary Ukrainian artistic culture, and to what extent such manifestations are aesthetically valuable? The article covers the problems of art-historical analysis of the interpretation of national traditions in the design of the costume as a whole, and in the modern Ukrainian environment in particular. The view is focused to the specifics and differences in the interpretation of folk traditions in the design of everyday, festive and stage costumes. The article states that the technique of studying folk traditions in the suit design is marked by the specifics of individual approaches to certain types of costumes in accordance with their purpose and distinguishing the conceptual dominant or subordination of the general compositional form.","PeriodicalId":246398,"journal":{"name":"Bulletin of Lviv National Academy of Arts","volume":"14 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116503064","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 : 1900-01-01DOI: 10.37131/2524-0943-2019-39-08
Liubov Krailiuk
Background. Since the 1960s Ukrainian artistic textile has been researched by S.Sydorovych, A.Zhuk, Ya.Zapasko, Z.Chehuseva, T.Pecheniuk, H.Kusko, Ye.Shymchuk, Z.Shulha, D.Bobiak, O.Yamborko, O.Nykorak, T.Lupii, O.Lukovska, O.Moisiuk studied regional features of folk weaving in history aspect. The fifth volume of The History of Ukrainian ornamental art published by M. T. Rylsky Institute of Art, Folklore Studies and Ethnology Institute of National Academy of Sciences of Ukraine is the important fundamental study where the researched issues are considered (2016). This volume presents the contribution of Rivne and Lviv artists Marta Tokar, Ivanna Tokar, Tetiana Lukashevych, and Olena Okhrymyk in general features. Separate aspects of Rivne artists’ creative work and school development are considered by A.Nikolaieva, N.Kosmolinska, O.Stashuk, I.Tokar etc. In modern times the complex research of Rivne art textile establishment and the issues of school development have not been presented that proves the importance of this paper. This study aims to outline social and cultural preconditions and features of Rivne Artistic Textile School establishment, give a short characteristic of its outstanding people creative work, and determine basic issues and ways of the development. The methodology is based on the complex approach including cultural, structural analysis and art study interpretation. This has provided the possibility using a system way to consider Rivne cloth art of the last decades as a complete art phenomenon. The scientific novelty concerns with regional characteristics of Rivne modern textile art. Results. Since last decades artistic textile having huge variety of its presentation has been becoming the field for new esthetic research and new point of view according to the surrounding on Rivne artistic map. This traditional ornamental branch is getting closer to pictorial art and in perfect manifestations it can even pretend to research modern social and human being conditions. The implementation and function of vocational art education were the important motivation to develop Rivne region artistic textile despite of weak institutional support especially in recent years. This paper studies beginnings and current issues of Rivne Cloth Art School becoming. New artistic senses are polished in the process of democratic competition through craftswomen creative ideas of different generations. This fact demonstrates the formation of Rivne Artistic Textile School. It is textile that is presented at international exhibitions among other kinds of arts including contribution of younger generation craftswomen. Simultaneously the author points out the issue of weak institutionalization of Ukrainian modern art on the local level. First of all it is revealed on the level of artifacts museification as the representation issue becomes the main one in the modern world. According to Rivne regional textile art the issue of centralized accumulation absence of mod
{"title":"Rivne Artistic Textile School : formation, evolution, personalities","authors":"Liubov Krailiuk","doi":"10.37131/2524-0943-2019-39-08","DOIUrl":"https://doi.org/10.37131/2524-0943-2019-39-08","url":null,"abstract":"Background. Since the 1960s Ukrainian artistic textile has been researched by S.Sydorovych, A.Zhuk, Ya.Zapasko, Z.Chehuseva, T.Pecheniuk, H.Kusko, Ye.Shymchuk, Z.Shulha, D.Bobiak, O.Yamborko, O.Nykorak, T.Lupii, O.Lukovska, O.Moisiuk studied regional features of folk weaving in history aspect. The fifth volume of The History of Ukrainian ornamental art published by M. T. Rylsky Institute of Art, Folklore Studies and Ethnology Institute of National Academy of Sciences of Ukraine is the important fundamental study where the researched issues are considered (2016). This volume presents the contribution of Rivne and Lviv artists Marta Tokar, Ivanna Tokar, Tetiana Lukashevych, and Olena Okhrymyk in general features. Separate aspects of Rivne artists’ creative work and school development are considered by A.Nikolaieva, N.Kosmolinska, O.Stashuk, I.Tokar etc. In modern times the complex research of Rivne art textile establishment and the issues of school development have not been presented that proves the importance of this paper. \u0000This study aims to outline social and cultural preconditions and features of Rivne Artistic Textile School establishment, give a short characteristic of its outstanding people creative work, and determine basic issues and ways of the development. The methodology is based on the complex approach including cultural, structural analysis and art study interpretation. This has provided the possibility using a system way to consider Rivne cloth art of the last decades as a complete art phenomenon. The scientific novelty concerns with regional characteristics of Rivne modern textile art. Results. Since last decades artistic textile having huge variety of its presentation has been becoming the field for new esthetic research and new point of view according to the surrounding on Rivne artistic map. This traditional ornamental branch is getting closer to pictorial art and in perfect manifestations it can even pretend to research modern social and human being conditions. The implementation and function of vocational art education were the important motivation to develop Rivne region artistic textile despite of weak institutional support especially in recent years. This paper studies beginnings and current issues of Rivne Cloth Art School becoming. \u0000 New artistic senses are polished in the process of democratic competition through craftswomen creative ideas of different generations. This fact demonstrates the formation of Rivne Artistic Textile School. It is textile that is presented at international exhibitions among other kinds of arts including contribution of younger generation craftswomen. Simultaneously the author points out the issue of weak institutionalization of Ukrainian modern art on the local level. First of all it is revealed on the level of artifacts museification as the representation issue becomes the main one in the modern world. According to Rivne regional textile art the issue of centralized accumulation absence of mod","PeriodicalId":246398,"journal":{"name":"Bulletin of Lviv National Academy of Arts","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128898913","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 : 1900-01-01DOI: 10.37131/2524-0943-2019-39-01
Halyna Stelmashchuk
The article is devoted to the history, achievements and prospects of the Department of history and theory of arts of Lviv National Academy of Arts. Emphasis is placed on the role of the doctor of arts, Professor, academician of Yakуm Zapasko in the creation of the graduate school, graduate Department of Historу and Theory of Art and the dissertation Committee LNAM. The publication has an informative value.
{"title":"Department of history and theory of art of the Lviv national Academy of arts: the role of academician of the Yakym Zapasko in the creation of the Department of history of art and the dissertation Council, history, achievements, perspectives","authors":"Halyna Stelmashchuk","doi":"10.37131/2524-0943-2019-39-01","DOIUrl":"https://doi.org/10.37131/2524-0943-2019-39-01","url":null,"abstract":"The article is devoted to the\u0000history, achievements and prospects of the Department of history and theory\u0000of arts of Lviv National Academy of Arts. Emphasis is placed on the role of the\u0000doctor of arts, Professor, academician of Yakуm Zapasko in the creation of\u0000the graduate school, graduate Department of Historу and Theory of Art and\u0000the dissertation Committee LNAM. The publication has an informative value.","PeriodicalId":246398,"journal":{"name":"Bulletin of Lviv National Academy of Arts","volume":"74 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131837431","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 : 1900-01-01DOI: 10.37131/2524-0943-2019-39-18
Ostap V. Ivanyshyn
The paper overviews a lifetime achievement of german native australian artist Klaus Moje in the field of decorative glass art. An article traces the development of his artwork in the late 1900th - early 2000th. Much attention is given to Moje`s innovative approach of traditional technique. It is made an attempt to evaluate the implementation of new methods and technics to the educational process. It is analysed a contribution of an artist in the context of the studio glass movement. The paper describes most creative periods and examines appropriate artworks. The results of collaboration between an artist and a manufacturer of coloured glass are revealed. Main articles to the theme is observed. The determination of kilnforming, as an independent medium technique is considered. The results obtained confirm the significant contribution of an outstanding artist, which allows to determine his prominent place in thу world history of art
{"title":"Experiment in the art of Klaus Moje","authors":"Ostap V. Ivanyshyn","doi":"10.37131/2524-0943-2019-39-18","DOIUrl":"https://doi.org/10.37131/2524-0943-2019-39-18","url":null,"abstract":"The paper overviews a lifetime achievement of german native australian artist Klaus Moje in the field of decorative glass art. An article traces the development of his artwork in the late 1900th - early 2000th. Much attention is given to Moje`s innovative approach of traditional technique. It is made an attempt to evaluate the implementation of new methods and technics to the educational process. It is analysed a contribution of an artist in the context of the studio glass movement. The paper describes most creative periods and examines appropriate artworks. The results of collaboration between an artist and a manufacturer of coloured glass are revealed. Main articles to the theme is observed. The determination of kilnforming, as an independent medium technique is considered. The results obtained confirm the significant contribution of an outstanding artist, which allows to determine his prominent place in thу world history of art","PeriodicalId":246398,"journal":{"name":"Bulletin of Lviv National Academy of Arts","volume":"35 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123081028","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 : 1900-01-01DOI: 10.37131/2524-0943-2019-39-10
Khrystyna Boyko
An important artistic element or symbolic text of ancient Jewish cemeteries are the tombstones - matsevi. The most commonly used motifs in decorative decoration of Galician matsevahs are zoomorphic, ornithological and vegetative motifs, which are often used in all other forms of Jewish art. The image of subject motifs and larger objects is just as original as the decorative adornment of facades of matsevahs of Eastern Galicia XVI - the first third of the XX century. and deserves a separate thorough study. The presentation of these motifs on the matsevahs' facades gives the viewer enough visual information about a particular person, even without translating and deciphering the very text of the epitaph, which, in the vast majority of cases, correlates and significantly supplements, interprets, informs, extends and clarifies the symbols of the carving of the upper part of the matsevahs. Sometimes the symbolic image was unrelated to the text, it was only decorative and contained traditional Jewish characters or symbols. One should note the desire of the authors, stone-cutters, for originality, artistic individuality, recognition of a particular object as a characteristic feature, of the use of substantive motifs for the decoration of the matsevahs, as well as the significant impact of family traditions with the provision of a peculiar author's decision to build a composition or property of the client with appropriate simplification or the complication of the carved decoration and the refinement of the composition. Very few monuments of stone-making art of the 16th-17th centuries have remained intact until now, which makes it impossible to give a full description of the artistic peculiarities of the memorial plastics; and, the vast majority of the preserved monuments were erected over burials at the end of the 18th and 19th centuries. and preserved until the first third of the XX century. The article is based on materials of field studies by the author of ancient Jewish cemeteries within Lviv, Ternopil, Ivano-Frankivsk regions, in particular: Belza, Brody, Bolechova, Burshtyn, Busk, Dobromil, Drohobych, Zabolotova, Kosova, Kremenets, Kutov, Nikolaev, Leshnava, Stary Razdol, Skole, Snyatin, Solotvyn, Stanislavchik, Old Sambir, Ternopil, Turks, Shchyrets, Yabluniv, Yazlivets and others. In the article, individual examples of carved decor are studied, the features of compositional techniques and the specifics of their artistic and plastic expression on the facades of ancient matsevahs of the studied region are analyzed and described. Subject motifs like zoomorphic, ornithomorphic, and vegetative, formed on the basis of the texts of the Torah and the Talmud, biblical metaphors and allegories, which became the symbols of the Twelve tribes of Israel, the people and the land of Israel in the traditional Jewish art of Eastern Galicia from the XVIII - the first third of the XX century. are the dominant motives in stone carving and the matsevah's memorial plast
{"title":"Artistic features and typology of subject motifs\u0000and objects on the matsevahs of Eastern Galicia XVI - the first third\u0000of XX century","authors":"Khrystyna Boyko","doi":"10.37131/2524-0943-2019-39-10","DOIUrl":"https://doi.org/10.37131/2524-0943-2019-39-10","url":null,"abstract":"An important artistic element or symbolic text of ancient Jewish cemeteries are the tombstones - matsevi. The most commonly used motifs in decorative decoration of Galician matsevahs are zoomorphic, ornithological and vegetative motifs, which are often used in all other forms of Jewish art. The image of subject motifs and larger objects is just as original as the decorative adornment of facades of matsevahs of Eastern Galicia XVI - the first third of the XX century. and deserves a separate thorough study.\u0000The presentation of these motifs on the matsevahs' facades gives the viewer enough visual information about a particular person, even without translating and deciphering the very text of the epitaph, which, in the vast majority of cases, correlates and significantly supplements, interprets, informs, extends and clarifies the symbols of the carving of the upper part of the matsevahs. Sometimes the symbolic image was unrelated to the text, it was only decorative and contained traditional Jewish characters or symbols.\u0000One should note the desire of the authors, stone-cutters, for originality, artistic individuality, recognition of a particular object as a characteristic feature, of the use of substantive motifs for the decoration of the matsevahs, as well as the significant impact of family traditions with the provision of a peculiar author's decision to build a composition or property of the client with appropriate simplification or the complication of the carved decoration and the refinement of the composition.\u0000Very few monuments of stone-making art of the 16th-17th centuries have remained intact until now, which makes it impossible to give a full description of the artistic peculiarities of the memorial plastics; and, the vast majority of the preserved monuments were erected over burials at the end of the 18th and 19th centuries. and preserved until the first third of the XX century. The article is based on materials of field studies by the author of ancient Jewish cemeteries within Lviv, Ternopil, Ivano-Frankivsk regions, in particular: Belza, Brody, Bolechova, Burshtyn, Busk, Dobromil, Drohobych, Zabolotova, Kosova, Kremenets, Kutov, Nikolaev, Leshnava, Stary Razdol, Skole, Snyatin, Solotvyn, Stanislavchik, Old Sambir, Ternopil, Turks, Shchyrets, Yabluniv, Yazlivets and others. In the article, individual examples of carved decor are studied, the features of compositional techniques and the specifics of their artistic and plastic expression on the facades of ancient matsevahs of the studied region are analyzed and described.\u0000Subject motifs like zoomorphic, ornithomorphic, and vegetative, formed on the basis of the texts of the Torah and the Talmud, biblical metaphors and allegories, which became the symbols of the Twelve tribes of Israel, the people and the land of Israel in the traditional Jewish art of Eastern Galicia from the XVIII - the first third of the XX century. are the dominant motives in stone carving and the matsevah's memorial plast","PeriodicalId":246398,"journal":{"name":"Bulletin of Lviv National Academy of Arts","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131149942","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 : 1900-01-01DOI: 10.37131/2524-0943-2019-39-22
V. Kohut
Background. For the last 25 years videoart in Ukraine had passed a maturation from the elementary experimental video practices of the end of the 80's to the full-identical art form. Like most of the USSR innovative art trends, videoart in Ukraine paved it's way through the formal endorsement's resistance and had been creating owing to the enthusiasm and persistence of individual artists and single artistic formations. Ukrainian videoart had developed according to all the fine art growth's features of socialistic period; however was established and concepted for the first time in Lviv as a phenomenon in the 1990-s what had generated a brand-new pleiad of cultural actors and had influence on the alternative artistic expression mediums of that time. Objectives. The incipience and developnent of Lviv videoart appears to be the main goal, applicating specifics of the new media style in individual artistic identification for single artists and Lviv artistic enviroment in general; reconstitution of the expression of new visual ideas made via video camera among social and historical “perestroika” context. Videoart role definition in the artistic expression of the totalitarian unrest period. Methods. Achieving the goals of the article was implemented via empirical methods: comparison, observation, description of the historical facts, which preceded videoart foundation throughout Ukraine. Theoretical methods were founded for the analysis of videoart, it’s role and position in art studies historiography of Lviv focus. Also deductive chronology playbacking method, what gave an opportunity to represent a whole artistic climate where Lviv videoart was established. Classification method divided artistic formations into groups based on artistic and stylistic criterion. Results. The research results confirmed the idea of independent Lviv videoart existance with it’s own establishing and development history. Research, based on Andrij Boyarov artworks of the end of 80’s, showed up comprehensive data that videoart had not been positioned as additional medium for single artist’s creations diluting; combination of photo and video was and remains the main activity for a certain range of artists thus proving that emergence of videoart genre had not turned into spontaneous way or copied from West European processes but rather appeared to be totally required by socio-political environment, the artist and the viewer to see the video reflections in galleries. Formed chronology showed up a special linkages between the appearance of brand-new art experiments, alternative practices and youth movements, festivals and artistic formations that had established the very first Ukrainian galleries and had placed curator practices unprecedented neither for artists nor for viewers. These were the “Tsenter Europy”, “Try Krapky”, “Dzyga” galleries, where the exhibitions “Thing Theatre or thing ecology”, “Defloration” and “Congress of Ukrainian Physicians Exhibition” took place at the ti
{"title":"Video art of Lviv, late XX - early XXI century, historical context: creating an art form","authors":"V. Kohut","doi":"10.37131/2524-0943-2019-39-22","DOIUrl":"https://doi.org/10.37131/2524-0943-2019-39-22","url":null,"abstract":"Background. For the last 25 years videoart in Ukraine had passed a maturation from the elementary experimental video practices of the end of the 80's to the full-identical art form. Like most of the USSR innovative art trends, videoart in Ukraine paved it's way through the formal endorsement's resistance and had been creating owing to the enthusiasm and persistence of individual artists and single artistic formations. Ukrainian videoart had developed according to all the fine art growth's features of socialistic period; however was established and concepted for the first time in Lviv as a phenomenon in the 1990-s what had generated a brand-new pleiad of cultural actors and had influence on the alternative artistic expression mediums of that time.\u0000Objectives. The incipience and developnent of Lviv videoart appears to be the main goal, applicating specifics of the new media style in individual artistic identification for single artists and Lviv artistic enviroment in general; reconstitution of the expression of new visual ideas made via video camera among social and historical “perestroika” context. Videoart role definition in the artistic expression of the totalitarian unrest period. \u0000Methods. Achieving the goals of the article was implemented via empirical methods: comparison, observation, description of the historical facts, which preceded videoart foundation throughout Ukraine. Theoretical methods were founded for the analysis of videoart, it’s role and position in art studies historiography of Lviv focus. Also deductive chronology playbacking method, what gave an opportunity to represent a whole artistic climate where Lviv videoart was established. Classification method divided artistic formations into groups based on artistic and stylistic criterion.\u0000Results. The research results confirmed the idea of independent Lviv videoart existance with it’s own establishing and development history. Research, based on Andrij Boyarov artworks of the end of 80’s, showed up comprehensive data that videoart had not been positioned as additional medium for single artist’s creations diluting; combination of photo and video was and remains the main activity for a certain range of artists thus proving that emergence of videoart genre had not turned into spontaneous way or copied from West European processes but rather appeared to be totally required by socio-political environment, the artist and the viewer to see the video reflections in galleries. Formed chronology showed up a special linkages between the appearance of brand-new art experiments, alternative practices and youth movements, festivals and artistic formations that had established the very first Ukrainian galleries and had placed curator practices unprecedented neither for artists nor for viewers. These were the “Tsenter Europy”, “Try Krapky”, “Dzyga” galleries, where the exhibitions “Thing Theatre or thing ecology”, “Defloration” and “Congress of Ukrainian Physicians Exhibition” took place at the ti","PeriodicalId":246398,"journal":{"name":"Bulletin of Lviv National Academy of Arts","volume":"32 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133971263","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}
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