Fine Art and Culture Studies

PERFORMING AESTHETICS OF THE VOCAL AND INSTRUMENTAL THREE PART HARMONY TECHNIQUES (BASED ON 25 YEARS’ EXPERIENCE IN CREATIVE AND PERFORMING ARTS OF THE BANDURA TRIO «DУVOSTRUNY»)

2024-06-12T14:21:00+03:00

The research summarizes the multifaceted achievements of the Bandura Trio «Dуvostruny» of Lesya Ukrainka Volyn National University (Lutsk, Ukraine) of over 25 years of artistic practice. The purpose of the article is to conduct a comprehensive study of the creative and performing activities of the bandurа Trio «Dуvostruny», to identify the specific features of its performance style and ensemble's repertoire policy that makes it an authentic regional representative of Volyn. The research methodology is based on the use of general scientific methods: analytics, chronological arrangements, summarizing, source studies as well as the method of musicological analysis. The scientific novelty lies in the fact that for the first time the creative and performing experience of one of the original representatives of the bandura art of Volyn – the bandurа Trio «Dуvostruny» – has been studied and highlighted. Conclusions. As the study shows an ensemble of the vocal/instrumental three part harmony is the most common and winning form of the performance among contemporary chamber bandura ensembles. It is self-sufficient in "vocalensemble and instrumental-orchestral expression" (according to N. Morozevich). Over the period of 25 years of creative and performing activity the Bandura Trio «Dуvostruny» of the Lesia Ukrainka University stood out as a bright representative of the musical culture of the Volyn region characterized by constant search for innovative ways of musical expressions and the use of bold and colorful arrangement solutions. The music group has reached significant artistic achievements and developed its own performance style. It is a combination of traditional and modern performance distinguished by a high technical level of bandura playing and three part vocal harmony. Complemented by unique interpretations and dramatic approaches to creativity it resulted in convincing musical vision and solid body of work. The multi-vector activity of the Bandura Trio «Dуvostruny», tireless creative searches of the directress and ensemble members, creation of the significant authorial portfolio of ensemble scores (translations, arrangements, interpretations), inclusive repertoire of highly spiritual national and foreign poetic and musical heritage along with the works of regional Volyn authors affirm trio's high patriotism and awareness of the powerful influencer role of the national art in the education of students and younger pupils, present the University trio as an exemplary bearer of the national art and Volyn melos in Ukraine and abroad.

"CANTATA IN FIVE PARTS FOR A CAPPELLA MIXED CHOIR TO THE WORDS OF TARAS SHEVCHENKO" BY VALERIY ANTONYUK: SYNTHESIS OF MUSIC AND POETRY

2024-06-12T14:28:31+03:00

The purpose: study of the specifics of the synthesis of music and poetry in Valery Antoniuk's composition "Cantata in five parts for a cappella mixed choir to the words of Taras Shevchenko" through the analysis of the structure and figurative content of Great Kobzar's poetic texts; identifying the specifics of texture, harmony, intonation, form, compositional and performing techniques. The research methodology: the research uses a complex of scientific methods from the fields of cultural studies, musicology, literary studies, and philosophy. Scientific novelty. The study is devoted to the problems of the development of choral Shevchenkiana in the context of the Ukrainian musical tradition. For the first time, a musicological and performance analysis of the composition "Cantata in five parts for a cappella mixed choir to the words of Taras Shevchenko" by the modern Ukrainian composer Valerіy Antonyuk, who wrote a piece emotionally consonant with the lyrical and epic content of the poems of Great Kobzar, was carried out. Despite the well-known fact that Shevchenko's poetry is musical, the problem of the synthesis of music and words in the choral works of Ukrainian composers based on T. Shevchenko's poems has not yet been studied. A masterful combination of modern trends in composer writing and his own musical language with elements of Ukrainian folk song culture (without any folklore quotes) helped Valery Antoniuk to reveal the philosophical depth experiences of the lyrical hero and sacred meaning of Great Kobzar's poetic text in the composition "Cantata in five parts for a cappella mixed choir to the words of Taras Shevchenko". Conclusions. The problem of the ratio of musical and poetic text in Valerіy Antonyuk's composition "Cantata in five parts for a cappella mixed choir to the words of Taras Shevchenko" was posed and resolved, and it was proved that the composer managed to reveal the sacred semantic content of the archetypal images of Ukrainian artistic culture embedded in the poems of Great Kobzar, which at the same time are identified with reality and remain certain generalizing symbols of the composer's authorial style. It was determined that Valery Antonyuk's composition "Cantata in five parts for a cappella mixed choir to the words of Taras Shevchenko" is an invaluable contribution to the development of Ukrainian musical, in particular, choral culture and will certainly replenish the fund of musical Shevchenkiana. The range of themes and images of the poems of Great Kobzar, which the composer chose for his cycle, is not just a retrospective of the life of the Ukrainian people, on the contrary, they closely resonate with modern times, especially during the current war, when the Ukrainians once again choose the right to the existence of their nation and culture.

ANTICIPATION IN THE STRUCTURE OF THE CONCERTMASTER'S PROFESSIONAL ACTIVITY

2024-06-12T14:39:45+03:00

The article is devoted to the study of the phenomenon of anticipation in the aspect of the phenomenon of collective musical creativity, analyzes its study and use in the practice of collective performance, in particular in the activity of the concertmaster. The purpose of the work was an attempt to investigate and identify the essence of anticipation, its mobile properties and place in the structure of the concertmaster's artistic and creative activity, to substantiate its significance as the most important attribute of concertmaster art. The methodology of the study is based on the theoretical positions of modern scholars who interpret music performance as a complex psychophysiological process, methods of systemic-structural and comparative analysis; methods of observing the creative process of concertmasters who participated in rehearsals and public performances with soloists and ensembles, as well as the method of self-observation, during which the performance sensations were analyzed and recorded, were also taken into account. The scientific novelty is due to the fact that the problems of anticipation, which have been developed in psychology, are first considered in the context of artistic, in particular, musical creativity. Conclusions. In the course of understanding the structure of the relationship between the concertmaster and other participants in the artistic and creative process, anticipation is revealed as an attribute of concertmaster art, without which the latter is impossible in principle; it has been found that the essence of the concertmaster's activity in contemporary musical practice is considered to be “accompaniment” not only as an artistic and creative process of music-making (accompaniment), but also “accompaniment” as a way of creativity that manifests itself in supporting any initiatives in the field of collective musical art. The specifics of anticipation processes become clear in the context of the peculiarities of the concertmaster's activity, the accompanying type of activity. Adapting the established concept of pedagogical support to the conditions of musical performance, it can be argued that accompaniment is a process of interaction between subjects (in this case, a concertmaster and a soloist) aimed at realizing the artistic and performing potential of a musical work.

FRANZ LISZT: UNIVERSAL PERSON

2024-06-12T15:48:55+03:00

The abstract. The article reviews the universal creative person of F. Liszt. The goal of this paper is define the specific of Liszt’s universal person. The author used the actively-structural method of musicological research. The main works about F. Liszt are analyzed from this point of view. The main facts of his creative biography are considered. The article reveals reflections of F. Lisztʼs achievements in each sphere of his creativity. In particular, author compared Lisztʼs achievements as pianist, composer, conductor, musical leader, teacher, music publicist, etc. The priority of some type Liszt’s activity on different stages his evolution is considered. As a result, the structure of Lisztʼs universal person is modeled by author. The equivalence of composition and performance is reasoned. Both these kinds of Liszt’s creativity are leading during his entire creative path. Also musicologist noted the fact of interactions between different Liszt’s activities. The main result of the study says that Liszt’s universal person belongs to transitional type. It contains features from two person’s models: universal-master and universal-creator. The novelty of this study includes many aspects. Original author’s method of research was used in this paper. It method was given a possibility to look on good known facts of Liszt’s biography from a new point. Numerous foreign sources were involved in Ukrainian musicology with this paper by author. This approach was expanded possibilities for understanding the value of Liszt's achievements. New interpretation on Liszt’s creative biography was gotten in this research. This was given more widely and more deeply to learn about Franz Liszt’s creativity. An awareness and appreciate of Liszt’s activity as a universal person was made. This was helped to expand and enrich knowledge in this area of musicology. The comparing of leading and accessorial kinds of Liszt’s activity was given very detail and correctly. This was helped to understand who was Franz Liszt and what was he made for musical culture.

PREREQUISITES FOR THE ESTABLISHMENT OF MUSICAL TRADITIONS OF RIVNE REGION

2024-06-12T16:00:00+03:00

The relevance of the research lies in the fact that it is aimed at studying the musical heritage of Rivne region, which reflects the impact historical, cultural and social factors made on the formation of the musical culture of the region in historical retrospect. The results of the research can assist in getting better understanding of the development of musical culture not only in Rivne region, but also in Ukraine in general, as well as to deepen knowledge of the interaction between different musical traditions and the influence of this interaction upon the formation of the musical art of the region. Studies of musical culture can be useful for musicologists, historians, cultural scientists, as well as for everyone who is interested in Ukrainian musical culture and its development from ancient times to the present. The purpose of the research is to reveal the processes and factors that contributed to the formation and development of the unique musical culture of this region during centuries. The research is aimed at detecting the key moments that determined the evolution of the musical traditions of Rivne region, as well as at analyzing the interaction among local, national and other cultural influences on the musical practice of the region. The research methodology is based upon analytical and conceptual, structural and functional, historical, comparative scientific research methods. The novelty of the research is in the comprehensive analysis of the musical traditions of Rivne region over a long historical period. The research considers the impact various factors made on the formation of the musical culture of the region, including historical events, socio-cultural and ethnic influences, as well as interaction with other cultures and regions. Special attention is granted to the peculiarities of the musical heritage of Rivne region and its contribution to the development of Ukrainian musical culture in general. The conclusion of the research can underline the importance of preserving and studying musical heritage of Rivne region as a part of the general Ukrainian cultural and historical heritage. The results of the research can be useful for further studies in the field of musicology, cultural studies and history, as well as for the development of strategies for preservation and popularization of musical culture of the region.

THE FIGURE OF FEDIR YAKYMENKO IN UKRAINIAN MUSICAL CULTURE OF THE FIRST HALF OF THE XX CENTURY

2024-06-12T16:06:14+03:00

The article examines the main directions of the creative activity of the outstanding Ukrainian composer, pianist, conductor and teacher of the first half of the twentieth century, Fedir Stepanovych Yakymenko. The purpose of the article is to identify the main creative activity directions and musical stylistic features of the outstanding composer. Research methodology. Covering the peculiarities of the artist's creative heritage requires the use of the biographical method, methods of analysis, synthesis, theoretical and musicological methods, etc. The scientific novelty of the study lies in the comprehension of F. Yakymenko's work through the prism of his compositional searches and pedagogical activity. The article provides information about the life of F. Yakymenko in different periods, including the years of emigration to Prague and later to France. The role of F. Yakymenko in organizing the musical education of Ukrainians in Prague is revealed. In Prague, he became the head of the musical and pedagogical department of the Ukrainian Higher Pedagogical Institute named after M. Drahomanov. He brought together prominent Ukrainian musicians who combined performing skills with a thorough musicological scientific training. He was the author of the first textbook on harmony in Ukrainian, "Practical Course of Harmony Science", published in Prague. The article provides information about the composer's musical works. Conclusions. The stylistic features of F. Yakymenko's musical works are characterized as a synthesis of several artistic trends that existed in European music at the turn of the century such as neo-romanticism, impressionism, and symbolism. The Prague period is characterized by the appeal to neoclassical and neo-folkloric musical tendencies, and the widespread use of Ukrainian folk songs. In the later period of the composer’s work, elements of romanticism are combined with the stylistics of French impressionist music. F. Yakymenko made a significant contribution to the national music education development. His activities as a dean and professor of the Music and Pedagogical Department, a talented piano teacher and composer who created a diverse and numerous piano and vocal repertoire are a bright page in the history of Ukrainian music pedagogy.

INTERNATIONAL COMMUNICATIVE ACTIVITIES OF THE CULTURAL AND CREATIVE PROJECT ART AXIS: FEATURES OF IMPLEMENTATION AND DYNAMICS OF CULTURAL DIALOGUE

2024-06-13T08:14:38+03:00

This article explores the origins and development of the International Project Art Axis, led by the Nonprofit Organization “Center for Cultural & Arts Initiatives.” It highlights the distinctive aspects of Art Axis, especially its role in international communicative activities and its broad inclusiveness. The study aims to reveal the results of the analysis of Art Axis as a unique cultural event that serves as a platform for showcasing the creativity of contemporary artists worldwide. The research methodology incorporates collecting field materials, employing observational methods, comparative analysis, the phenomenological method, the cultural studies approach, and the principle of historicism. The scientific innovation lies in systematizing the exhibition practices of the Art Axis project as a platform for the inclusive representation of creative potential across all social strata. Analyzing various types of inclusion in the project confirms their effectiveness, thus demonstrating the practical value of this work. This study can help develop methodological recommendations and lecture courses for students and postgraduates in creative industries and related disciplines. Additionally, organizers can implement some of these practices in other creative projects. The conclusions summarize the results of empirical research and support the hypothesis that the personal activities of its initiators–the cultural elites–play a crucial role in the international cultural dialogue, a form of cultural diplomacy. The project organizers have transformed the involvement of professional and amateur artists and creators from all social categories and age groups into an exclusive practice in exhibition activities. The project notably unites all participants around a creative theme from various countries, ages, experiences, and execution styles. The study also focuses on Art Axis’s “Art Treasure of the Project” fund, enriched annually with works from participants. This collection primarily promotes the culture of memory. The International Art Project Art Axis navigates creative development and reflects contemporary artistic culture globally.

THE COMMUNICATIVE NATURE OF DANCE: THE SEMIOTIC ASPECT

2024-06-13T08:22:30+03:00

The article examines the communicative potential of dance as a cultural phenomenon. Dance vocabulary is explained as a type of non-verbal language capable of expressing human thoughts and feelings, symbols and codes of the collective unconscious, cultural identity, all the nuances of human experiences of events in the surrounding world, including the traumatic experience of war. The purpose of the paper is to analyze figurative and plastic communication in dance based on a structural-semiotic approach. Methodology. Semiotic analysis became the main methodological approach in the study of the communicative nature of dance. A structural method, a systematic approach, and a method of terminological analysis were also used. Scientific novelty. For the first time, the main elements of the structure of the communicative process in dance are defined and analyzed based on the semiotic approach. The explanation of the concept of "cultural code", on the basis of which the meaning of the choreographic text is deciphered, is deepened, the peculiarities of the plastic dance code are highlighted. Conclusions. The non-verbal sign-symbolic language of dance, rooted in the archetypes of traditional culture, developed under the influence of worldview, socio-cultural, ethno-national factors. The main elements of the symbolic and communicative system of dance are gestures, facial expressions and body postures, which are complemented by the semantics of the costume and dance attributes. A dance phrase is formed from a certain sequence of gestures, which not only expresses the meaning, but is also the basis of a dance artistic image. A consistent collection of phrases forms a coherent artistic text – a choreographic composition, which represents the content of the dance in the diversity of its socio-cultural functions. The expressive language of dance overcomes verbal communication barriers and contributes to the establishment of intercultural dialogue, transmitting cultural meanings and meanings in the most expressive and accessible form for perception and understanding.

THEORETICAL BACKGROUND OF THE STUDY OF TRANSFORMATIONS OF MODERN ART IN THE CONTEXT OF DIGITAL CULTURE

2024-06-13T08:31:48+03:00

Modern science increasingly uses the concepts of "digital culture", "man of digital culture", "digital art" in various contexts, at the same time, the conceptual methodological aspect of the study of transformations of modern art under the influence of the latest media technologies remains underdeveloped. The problems of virtualization of art, the interaction between the artist and the technical tool, as well as new opportunities and dangers of using digital technologies in the creative process need to be reconsidered. The purpose of the article is to conceptualize the theoretical and methodological foundations of the study of transformations of modern art in the context of digital culture. The research methodology is based on the theories of philosophy of technology, media anthropology and cultural analytics, the method of hermeneutic interpretation of texts and general scientific methods of analysis, comparison and synthesis were also used. Scientific novelty. The article defines, systematizes, and analyzes theoretical concepts that form the interdisciplinary basis of the methodological strategy for researching art transformations in the digital era. The conclusion states that the methodological basis of the theoretical analysis of the integration of art and digital technologies is an interdisciplinary synthesis of the concepts of cultural studies, philosophy of technology, media anthropology and cultural analytics. First of all, it is the media cultural anthropology of M. McLuhan, the concept of art in the era of technical reproduction by V. Benjamin, the theory of the interaction of art and technology in the Heidegger’s philosophy, the concept of the pictorial (iconic) turn developed by V.J.T. Mitchell and H. Boehm. In our opinion, a promising scientific approach to the study of this problem is the interdisciplinary method of cultural analytics developed by L. Manovich based on the synthesis of methods of digital humanities, visual studies and big data analysis. This method makes it possible to study, analyze and systematize large arrays of digital images and, on this basis, to identify the main trends in the development of media art, to analyze its specifics in the context of digital culture.

THE EDUCATIONAL FUNCTION OF MILITARY ORCHESTRAS IN THE EUROPEAN CULTURAL PROGRESSION IN THE XIX CENTURY

2024-06-13T08:40:16+03:00

The purpose of the article is to identify the characteristic features of socio-cultural modification, constructs resulting from the diffusion of ancient traditions with evolutionary transformations of military music The research methodology. The cultural orientation of the content required a combination of narrative with qualitative methods, also optimizing interdisciplinary approaches. Scientific novelty Since there is still no comprehensive culturological study in Ukraine not only of Western European military music but also of domestic, the presented outline is novel in this genre and is hoped to fill to some extent one of the numerous gaps in this field. The practical significance of this article lies in the fact that its positions and conclusions can be useful and involved in the development of educational programs, manuals, lecture courses, seminars on issues of music culturology, cultural history, musicology, as well as in special courses devoted to the musical art of Ukraine and Europe and in courses on military logistics, in the system of secondary, special, and higher education, in museum-research work. Conclusions. At present, the formation of military music as an independent socio-musical formation has become the result of the reorganization, instrumental innovations, aesthetic achievements, and musical professionalization of European army structures. During the specified period, the activities of European military orchestras formed a positive architecture of cultural transmission relationships, which objectively became a political instrument for the dissemination of European socio-humanitarian culture. Cultural ambassadors in the uniform of military musicians contributed to the spread of European musical achievements, stimulated general, global-local processes of cultural exchange. In the context of today, the paradigm of the functionality of military musical art as a cultural universe, in which the restoration of historical justice is organically integrated with Ukrainian military music culture, is particularly activated.

THE PERSONALITY OF NESTOR NYZHANKIVSKYI THROUGH THE MEMOIR PREPRINTS OF THE «KRAKIVSKI VISTI» NEWSPAPER (CRACOW NEWS)

2024-06-13T08:45:12+03:00

Purpose of the study – to analyze the publications dedicated to the Ukrainian composer Nestor Nyzhankivskyi on the pages of the Krakow-Lviv newspaper Krakivski Visti to characterize the thematic and content of the memorial newspaper materials of Ukrainian cultural and artistic figures of Eastern Galicia: Vasyl Barvinskyi, Volodymyr Baltarovych and Roman Kupchynskyi and to introduce them into Ukrainian scientific cultural and musicological circulation. The following methods are used in the study: historicism – to determine the objectivity, reliability and comprehensiveness of the published memoir printed word; analytical – to consider the source study value of the thematic and descriptive content of the memoir preprints of the mentioned authors; biographical – to analyze the little-known pages of Nestor Nyzhankivskyi’s life work; content analysis – to consider the informational personalized narrative; systematization method – used to summarize the analytical analysis and outline conclusions. The scientific novelty of the study lies in the fact that for the first time memoir publications about N. Nyzhankivskyi by V. Barvinskyi, V. Baltarovych and R. Kupchynskyi are reviewed, for the first time the genre of preprints is defined as examples of memoir journalism, and little-known biographical pages of the composer's life are characterized. Based on the scientific analysis, the following conclusions are made: newspaper reports of N. Nyzhankivskyi's contemporaries on the pages of the diary «Krakivski Visti» contain rich personalized historiographical and source material that deepens the artistic portrait of the outstanding Ukrainian composer; the sociocultural informational content of the preprints demonstrates their scientific value as documents that reproduce and state the rich spiritual sphere of life in the social and public environment of twentieth-century Eastern Galicia; memorial newspaper publications of personal origin, in particular about the founder of national art N. Nyzhankivskyi, are a historical literary monument of Ukraine's social development.

JAZZ AND THE CITY: MUSICAL URBANISTICS

2024-06-13T08:49:58+03:00

The article is devoted to the role of jazz in the formation of the modern urban environment, its creative nature, ability to stimulate creative and innovative processes, freedom, alternative models of thinking. The purpose of the article is to investigate the peculiarities of musical urbanism using the example of jazz as a creative resource of a modern city. Methodology. The methodological ideas of the article are based on the ideas of modern urbanism, in particular, on the concept of the creative city of Ch. Landry and the theory of the creative class of R. Florida. The jazz environment is considered as a creative resource of the city, which contributes to creative diversity, freedom of self-expression and selfrealization in the modern metropolis. Jazz appears as an important background for the formation of subcultural values, protest moods, and innovative projects. Scientific novelty. Jazz is presented as a creative resource of the modern city, as an integral part of its acoustic design, as an important factor of musical urbanism, which involves worldview and aesthetic perception of various cultural traditions, their creative and free reinterpretation, alternative interpretation. Conclusions. Jazz is a marker of creative and innovative resource and creative class of the city. Jazz culture, thanks to its adaptive features, openness, welcome, tolerance, ability to create a dynamic balance of tradition and innovation, freedom of thought contributes to the formation of a progressive urban community. The city-creating role of jazz can be seen in its ability to activate significant transformations of urban everyday life, creative industries, event sphere, culture of life, aesthetic tastes, subcultural movements. Zazu, edelweiss, beatniks, hippies, domestic stylists who professed jazz aesthetics gave impetus to the pluralistic model of the city, changing the traditional ideology, expanding the cultural space, promoting a new cultural synthesis.

THE KORSAKS’ MUSEUM OF CONTEMPORARY UKRAINIAN ART AS A MEDIA PRESENTATION SPACE FOR THE ARTISTS

2024-06-13T08:56:25+03:00

The article’s material is compiled from sociocultural research on the art market in modern Ukraine. The author attempts to conduct a cultural analysis of communication between the native artist and the spectator through media representations, namely in the locations of the Korsaks’ Museum of Contemporary Ukrainian Art. The purpose of the article is to carry out an analysis of the activity of MSUMK in terms of the informational and communicative function, to reveal the significance of using the interaction of arts and mass media in the process of artistic cognition. Methodology. The purpose of our research determined the use of methods of open source analysis, biographical method, video content analysis, observation, synergistic and semiotic approaches. Scientific novelty. For the first time, a cultural study of the activities of the private Korsaki Museum of Modern Ukrainian Art as a developer of innovative approaches in communication with artists, viewers and the local community was carried out. Conclusions. Contemporary art, connected with science, philosophy, aesthetics, politics, sociology, and psychology, is the hallmark of the state on the international cultural map. The artist’s role in creating new meanings in the formation of the modern Ukrainian nation, its path to cognition of its own identity, and finding its place in the contemporary world is currently scantily investigated by cultural scholars and therefore underestimated at the state level. Since February 24, 2022, the state of Ukraine and Ukrainian society have taken significant mental and legislative steps against the Russification of education and culture within a few months, which they were unable to do during three decades of independence. At the time of armed resistance to Russian aggression, Ukraine is in dire need of developing not only a defense doctrine but also a cultural strategy that will allow it to get rid of the influence of the culture of the “Russian world” and Soviet narratives forever. The contemporary Ukrainian artist is becoming a leader in changing the paradigm of the society’s mindset and is an intriguing object of cultural observations and research.

PECULIARITIES OF USING PHYTO MOTIFS IN SOCIAL ADVERTISING DESIGN

2024-06-12T16:16:38+03:00

The article examines the design of a social poster as an effective means of social advertising, a genre of visual communication, a method of influence, a form of information transmission, an indicator of current issues, a carrier of cultural trends, a synthesis of visual and verbal content using artistic metaphors and various symbolic images, including plant images. The purpose of the work is to identify the peculiarities of using elements of phytodesign in social advertising in the context of their symbolism, pictorial and formative means in graphic design, in particular, in social posters. Methodology. At the empirical level of the study, the methods of observation and description were used to collect primary information. At the theoretical level of the study, the methods of analysis, systematization, and generalization of theoretical data were used. The methods of stylization of natural forms in social advertising (analogy, transformation, association, combination, formalization) are highlighted. Scientific novelty. The peculiarities of using phyto motifs in the design of social advertising, in particular in social posters, in the context of artistic means, symbolism and their influence on perception are revealed. It has been determined that phyto motifs have an impact on the formation, stylization of images, symbolic and sign content in social advertising. It is substantiated that floral symbolism creates harmony and sensuality in images, enhancing the content of the information message and its emotional perception, so elements of phytodesign are often used in social advertising. The article highlights a promising trend, namely, the combinatorics of various means of stylising natural motifs, the synthesis of artistic means and symbols (related or antipodes), which has an emotional impact and effectiveness of conveying a social message. Conclusions: 1. The key principles of designing a social poster (graphic expressiveness, clarity of images, conciseness, relevance to the subject) are indicated. 2. The semantics and combinatorics of colours in social advertising, which are a means of revealing the content of the form of natural motifs, are taken into account. 3. The peculiarities of using elements of phytodesign in analogues of social advertising in the context of artistic means, symbolism and their influence on perception are revealed. The conceptual, artistic, figurative, and symbolic features are highlighted: coverage of the symbols of the Hero Cities of Ukraine, metaphors of suffering and hope, metaphors of Ukrainian culture, national identity, symbolism, emotional states through the images of phyto motifs; use of symbolic phyto motifs from Ukrainian embroidery; combination of antipodean symbolism of plant motifs; addition to female characters. 4. The article highlights stylistic, formative and technical features: computer graphics; photography; use of plants in compositions; decoration and formalization of natural forms; graphic stylization or collage of phyto motifs from Ukrainian embroidery; paper cutting; combination of live and paper elements of phytodesign.

UKRAINIAN ART OF THE EARLY 20TH CENTURY AS A FACTOR IN THE FORMATION OF ETHNO-CULTURAL SPACE

2024-06-12T16:25:02+03:00

The purpose of the article is to analyze Ukrainian art of the early 20th century as a factor in the formation of ethnocultural space. The research methodology is based on the basic provisions of general scientific methods of analysis, synthesis, and generalization. The cultural approach makes it possible to interpret art as a cultural phenomenon. The axiological approach is based on the understanding of art as a cultural phenomenon with a value status. Scientific novelty. For the first time, it is shown that Ukrainian art of the early 20th century was an important factor in the formation and preservation of ethnic identity, influenced the formation of national consciousness, and contributed to the formation of the ethno-cultural space of Ukraine. Conclusions. Ethno-cultural space as a manifestation of the unique cultural heritage of a people, including language, art, traditions, customs, religion, education, science, etc. helps people understand their origins, identity, history, and values. The ethno-cultural space ensures the development of common values that unite members of the national community, promotes the formation of national consciousness, historical memory, patriotism, and national pride. The beginning of the 20th century was a period of significant socio-political changes in Ukraine, which had a significant impact on the development of culture. Under these circumstances, art played a special ethno-formative role and contributed to the formation of Ukraine's ethno-cultural space. It is shown that art is a significant factor in the formation and preservation of ethnic identity, has a significant impact on the formation of national consciousness, as it accumulates national values, ideals, ideas about the historical past and thus contributes to the establishment of cultural identity. Ukrainian art of the early 20th century is an important achievement of national culture; it contributed to the revival and consolidation of Ukrainian culture, significantly influenced the formation of national consciousness and identity, and shaped the Ukrainian ethno-cultural space.

THE FORMATION OF THE MODERNIST VISUALITY OF WOMEN'S PAINTING IN REPUBLICAN CHINA IN THE FIRST HALF OF THE 20TH CENTURY: THEMATIC AND GENRE REPERTOIRE

2024-06-12T16:34:56+03:00

The purpose of the article: the problem of the thematic and genre repertoire in the painting of women artists in the context of the processes of forming the modernist face of Chinese fine art of the first half of the 20th century. Methodology. Historical-chronological and comparative analysis methods are used in the research. The method of figurative and stylistic analysis was used to interpret the works of art. Scientific novelty. The research made it possible to reveal and show the special role of a peculiar genre form of "hidden" self-portraiture (Pang Yulian, Sun Duochi). The meaning of the genre of still life, which was used by women artists not only as a means of demonstrating mastery of the oil technique, but as a space for experimentation with Western stylistic artistic languages: primarily Fauvism, post-impressionism, and expressionism, has been clarified and expanded. Conclusions. Based on the study of Chinese, the formation of the modernist face of female painting in Republican China of the first half of the 20th century is shown. It is revealed that the processes of the formation of modernism took place on the basis of the originality of the thematic and genre repertoire. The special role of figurative representation of female artists encouraged more active work in the self-portrait genre. An important theme in the works of Chinese female artists was female physicality, represented both in the manner of writing nudes (for example, in the genre of nude in the works of Fang Junbi), and in the form of presenting female imagery in genre paintings and portraits. Practical meaning. The researches of Chinese scientists introduced into scientific circulation can be used for further research into the problems of women's painting and art of later times, scientific and practical support of broad gender studies.

MODERN UKRAINIAN DECORATIVE CERAMICS, ITS MAIN DIRECTIONS OF DEVELOPMENT

2024-06-12T16:41:42+03:00

The purpose of the study is to identify and classify the main types of modern Ukrainian decorative ceramics according to various purposes and directions. Methodology. Different research methods are used in the research. Namely, the method of theoretical generalization allows in this study to classify and define the main types and directions of Ukrainian decorative ceramics, to formulate conclusions and prospects for the development of this study. Also, methods of analysis, classification and systematization were used for in-depth study of the topic and generalization. The scientific novelty of the study was that, for the first time, the classification of modern Ukrainian decorative ceramics was carried out and four main groups were formed according to the criteria: functional, aesthetic, technological, operational. Formulated criteria for each of the groups. Functional-decorative ceramics can be divided into: functionalutility, functional-aesthetic, functional-compositional. In the article, according to aesthetic criteria, decorative ceramics can be divided into the following classifications: by color, by composition, by style. The technological methods of creating decorative ceramic elements are considered and it is indicated that, according to the method of formation, such types as planar, textured, relief and three-dimensional can be distinguished. As for the operational characteristics of ceramics, the article defines the main criteria, which include: the level of environmental comfort and a number of other problems that are solved by the use of ceramic materials that create the optimal microclimate of the room, their safety and lightness using. It is emphasized that the reliability of ceramic products is determined by the change in their physical characteristics and moral aging. Namely, the change in physical characteristics occurs under the influence of the external environment, both climatic (physico-chemical factors) and material (mechanical and physical factors). The decisive criterion for the quality of ceramic materials for use in the interior is the operational characteristics, presented in the diagram and given in the article. As a result of the study, three main groups of decorative ceramics were determined according to the environment of use. Namely, depending on the field of application, decorative ceramics of various types can be divided into: interior, exterior and garden and park, which can have different functional purposes and correspond to the following purposes: functional-utility, functional-aesthetic and functional-composite. Conclusions. As a branch of decorative art, Ukrainian ceramics is constantly developing and always remains modern, acquires new functions and needs constant study.

THE PROBLEM OF LIGHTING IN CREATING AN ARTISTIC IMAGE IN A PLOT COMPOSITION IN PLEIN AIR CONDITIONS

2024-06-12T16:48:52+03:00

Plein air lighting is of great importance for an artist. It is in the open air that the artist enriches his palette, making it purer and more diverse. The development of spatial thinking, the transfer of light perception of the air environment, integrity and generality, which turns into conventionality, are the main tasks of working on a plot composition in plein air conditions. The specificity of pleinair painting requiresa rethinking of the basics of the image, taking into account the light and air environment. The basis of the artist’s professional formation is developed creative thinking, the ability to holistically perceive and compare what is seen with the images formed in the imagination, as well as to correlate this speculative image with the compositional structure on the plane. The plein air plays an important role in this process. In the real world, the artist finds not only the images of his paintings, but also the basis for the compositional structure. A confident and expressive drawing, sonorous colour, fluency in technique are the basis on the way to the art of painting. The purpose of the article is to identify the main issues that arise during the creation of a plot composition under plein air lighting. Methodology. Historical-chronological and formal-stylistic methods are used, which involve systematic processing of the material, its comparison, and synthesis. Scientific novelty. An analysis of the history, theory and methodology of creating an artistic image in a plot composition in pleinair conditions was carried out, and the achievements of Ukrainian and foreign artists in this field were studied. Conclusions. No matter what external factors influence the depicted image, the general tone of lighting combines all the variety of colours of plein air painting into a general colouristic unity. Knowledge of all the features of pleinair painting helps to enrich and expand practical skills and abilities in creating a plot composition, to collect creative material with new images and ideas for future artistic works.

THE WORK OF THE UKRAINIAN ARTIST OF THE PETRYKIVKA PAINTING KATERYNA KRYVOLAP IN CANADA

2024-06-12T16:57:53+03:00

The article examines the work of Kateryna Kryvolap, who lives in Canada and specializes in Petrykiv painting. The article examines her art technique, style, main plots of her works, describes her activities in the context of the Ukrainian diaspora. The purpose of the article is to analyze the work of Kateryna Kryvolap in the context of Ukrainian decorative painting, which she is engaged in while living in the Ukrainian diaspora, in Canada. Research methodology. The purpose of our research determined the application of a complex of theoretical and empirical methods. In particular, the method of system analysis, structural-functional method, historical, interview, deduction and induction methods were involved. The scientific novelty consists in a comprehensive study of the work of the artist Kateryna Kryvolap in the context of the Ukrainian art of the diaspora. The conclusions of the study summarize the analysis of the artist's work. In particular, among the favorite subjects in the work of Kateryna Kryvolap, you can see the images of roses, mallows, fairytale flowers, stylized trees of life, birds, firebirds and roosters, etc., traditional for Petrykivka painting. The article states that the artist's favorite colors in her work are yellow-hot shades traditional for petri dishes: red, yellow and orange, as well as a combination of blue-blue-violet shades, pink-violet, beige-brown, red-black and green-brown. The artist likes to experiment with color and forms, so in her work she turns to atypical subjects for the main plots of Petrykivka painting, adapting it to the context of the Atlantic sea environment and the tropical color of the Philippines, which hospitably received the newly recreated works by the artist in their galleries. Kateryna Kryvolap became one of the first Ukrainian artists who transferred Petrykivka painting from ceramics and decorative plastic to the canvas and thus made it available for exhibition in many famous galleries of the world, in particular, her exhibitions were held in the Grand Manan gallery in Canada, in the Bottega galleries in Italy d'Arte Merlino and Merlino Firenze, at the International Contemporary Art Fair in Portugal, the Carrousel du Louvre in Paris, France, Manhattan in the US, the Artienda Gallery in the Philippines, the CICA Museum in Korea, and the Alberta Council of Ukrainian art in Edmonton, Canada. It is noted about the importance of researching artists of the diaspora, in particular Kateryna Kryvolap, because speaking about Ukrainian art and its recognition in the world, we draw the attention of the world society to Ukraine and to the events taking place in it.

ABSTRACT IN TODAY’S ART: CONDITIONED RELEVANCE AND CHASING THE «MODERNEN»

2024-06-13T08:03:10+03:00

The article highlights the author’s position regarding the definition of modern narratives of the effectiveness of the abstract in the functioning system of today’s fine art, presents for public review the key aspects of the analysis of the reasons and principles of the appeal of current domestic artists (painters, graphic artists, sculptors) to abstract expressiveness as such. The motivating factor for conducting such a study was the desire to find out what is the most significant and significant for the fullness of expression in this area. The purpose of the article – is to give an assessment of the abstract as a factor and an expression of the modern actions of domestic artists, to determine the relationship between the actuality stipulated in it and the «pursuit of the modern». Methodology. The mechanism for consideration of the raised questions is built on the basis of a complex analysis of the nature of the abstract, its relevance in the search processes of modern artists for innovative forms of creative expression. The main methods of work are search-bibliographic, art history, diachronic-synchronous, observational, analytical, comparative, integration, abstraction, differentiation, systematization. Scientific novelty. For the first time, an attempt is made to objectively derive the algorithm of the artist’s productive realization through the prism of the abstract, appealing directly to the motivations, principles and mechanisms of using the means of abstract expressiveness. Two key aspects with which modern domestic abstractionists in principle are connoted are identified: the essence of one is revealed through the formula of actions «from the objectively demanded and actual to the subjective expression of the elaborated», and the second – in a radically opposite movement – «from the subjective, individual before going public». Conclusions. It is emphasized that a work of art appears as a result of the birth and realization of a creative idea. Therefore, only the author can directly judge the degree of achievement of the intended goal in the work. However, in this study, it was not so much the quality of abstract works performed by modern Ukrainian artists that was «under evaluation», but the very principles of work in this field, the mechanisms of the authors’ selection of algorithms for the execution of works of this type, the search for their content, the manner of stylistic and figurative presentation and techniques technical embodiment of the visualized.

ANALYSING THE WORLD OF ART BY MEANS OF ARTISTIC EXPRESSION. THE EXPERIENCE OF THE «INSTITUTIONAL CRITIQUE» MOVEMENT

2024-06-13T08:09:23+03:00

The purpose of the article is to point out the peculiarities of the artistic movement of «institutional critique», as well as to establish the main features of the work of artists who worked in this direction. The phrase «institutional critique» is used as a general term for the movement of artists who analyse the work of museums, galleries and other institutions in their works in order to study and highlight the internal mechanisms of the art world, curating and exhibition activities. Art historians have identified two main waves or generations of «institutional critique» that emerged in Western Europe and the United States. The first one dates back to the 1960s and 1970s. It focused on museums and galleries as institutions. The second wave started in the second half of the 1980s and onwards. The focus of its criticism and research was not only the institution of the museum or gallery as such, but also a number of other institutions, from political to financial, and finally, the artist as an «institution» when he or she works within the museum or gallery. The novelty of the study is related to the fact that contemporary Ukrainian art is still in the process of institutionalisation. The understanding of what art institutions are for artists, the problems of coexistence between art markets, art institutions, curators, art managers, directors of art galleries and museums, and artists remain and will remain relevant for a long time. Methodologically, the author relied on the works of researchers and theorists in the field of «institutional critique» such as Benjamin Buchloh, Alexander Alberro, Fraser Ward, Hal Foster, Andrea Fraser and others. In conclusion, the author points out the need for a more thorough study of the work of representatives of the «institutional critique» movement and, in particular, the identification of Ukrainian artists who use the techniques and achievements of the artists of the first and second waves of «institutional critique» to work in the Ukrainian artistic environment.