Academic literature on the topic 'Ukrainian folk decorative art'
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Journal articles on the topic "Ukrainian folk decorative art"
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Bystriakova, Valentyna, Alla Osadcha, and Olesia Pilhuk. "The Use of Decorative Art Elements in the Works of Ukrainian Designers." Culturology Ideas, no. 15 (1'2019) (2019): 177–84. http://dx.doi.org/10.37627/2311-9489-15-2019-1.177-184.
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The article assesses the role of elements of decorative art in domestic design. It allocates sources and interrelation of decorative art and design, considers separate definitions of a concept of design. It is established that basic characteristic which helps to separate design from decorative creativity is manual artwork inherent in decorative art. The article argues that generally the design and decorative art are interdependent, while being rather autonomous, providing particular examples from creative practice of the Ukrainian artists and designers. It also considers functioning of creative platforms of the National Museum of the Ukrainian folk decorative art and the Museum of Modern Art of Ukraine. It is unconditional that the role of design steadily increases in the modern world, and a similar trend will only gain strength. Designers of our country managed not only to accumulate the Ukrainian traditional, original art in modern art objects, but also to solve a problem of innovations in decorative art, to keep it as a valuable reference point of modern culture according to the level of social and technological development of society. The role of the National Museum of the Ukrainian folk decorative art and the Museum of Modern Art of Ukraine which act de facto as art spaces for creative exhibitions of designers and other artists of our country is considerable.
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Kara-Vasylieva, Tetyana, Olha Lukovska, and Valentyna Kostiukova. "The Avant-Garde Phenomenon in the Ukrainian Textile Art of the XX Century." Arta 32, no. 1 (2023): 50–57. http://dx.doi.org/10.52603/arta.2023.32-1.07.
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The early XX th century is a bright phenomenon in the history of decorative art in Ukraine. This is a period of active cooperation between famous avant-garde artists and folk-art masters. The article examines a unique creative experiment of professional and folk artists implemented in the A. Semigradova`s craft workshops in the village of Skoptsy and N. Davydova`s craft workshops in the village of Verbovka. It was these workshops that had differences in their artistic orientation. The art of the famous folk craftswomen G. Sobachko, P. Vlasenko, G. Tsybulyova, who came from there, is analyzed in the article. The works of the professional artists A. Ekster, K. Malevich, L. Popova, O. Rozanova, N. Genke-Meller also are being studied. The folk craftsmen embroidered artistic works based on their sketches and performed ideas of suprematism in this way. Professional artists paid attention to embroidery as the most expressive type of decorative art. It is indicated that the artistic style of decorative panels, carpets, as well as interior decoration and costume items was a new word in the art and brought Ukrainian embroidery to the highest level of development. Such cooperation contributed to the mutual enrichment of the works of folk-art masters and avant-garde artists. Joint innovative research proves the fact that the Ukrainian embroidery of the early XX century, developed in the context of artistic trends at that time, was a synthesis of decorative and fine arts.
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Melnyk, Liudmyla, Olena Kyzymchuk, and Liudmyla Zubkova. "Ukrainian Folk Ornaments in Modern Knitting." TEKSTILEC 64, no. 2 (2021): 84–95. http://dx.doi.org/10.14502/tekstilec2021.64.84-95.
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National arts and crafts are not only the skills of an individual nation but an ethnic phenomenon that has unique features and serves as a source of information on national history and culture. Decorative and applied art in Ukraine combines the traditions and techniques of manufacturing and decoration, which have been developed and passed down from generation to generation. It has a clear national identity and numerous regional differ¬ences in ornamental motifs, compositions and favourite colours. Therefore, the Ukrainian folk art has a significant potential and is a source of ideas in creating modern clothing as well as interior items. Embroidery as a way of creating ornamental motifs on a textile material using various techniques is a common process for decorating clothes and interiors for the Ukrainians. Today, ornamental compositions of embroidered folk textiles could be transmitted into modern clothes using various technologies. However, the use of a knitting machine allows creating a pattern during the item production. The ornament transformation into a pattern for knitting can be carried out with graphic software by creating a grid with a cell size similar to the loop size of a knitted structure for corresponding interlooping. A number of clothing and interior items with ethnic motifs was created using the capabilities of flat knitting machines within the masters programme “Knitting Technology and Design” at the Textile Technology and Design Department of the Kyiv National University of Technologies and Design.
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SVYRYDIUK, N. "TECHNOLOGIES OF INVOLVING STUDENT YOUTH IN UKRAINIAN TRADITIONS USING ETHNO-DESIGN." Scientific papers of Berdiansk State Pedagogical University Series Pedagogical sciences 1, no. 1 (2023): 154–64. http://dx.doi.org/10.31494/2412-9208-2023-1-1-154-164.
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Ethno design as at teaching has deep roots in Ukrainian people’s lifestyle, which are an effective means for aesthetic, humanistic and national education of schoolchildren, this ethno cultural environment become particularly relevant during the development of the New Ukrainian school. Folk crafts vividly reflect and best preserve the traditional educational ideal of the Ukrainian people, which is contained in the works of decorative and applied art, available for students to perceive and understand. A decisive factor in the ethno-cultural and labor education of modern youth is various forms of their involvement in Ukrainian traditions and folk art, in particular, familiarization with the technologies of making Ukrainian folk toys, which occupy an important place in the upbringing and educational process of student youth. The knotted doll is a unique technology, because this type of folk art is an ethno design project that combines several types of traditional Ukrainian decorative and applied art. In the process of making a knotted doll, such authentic techniques as: ornaments from different ethnographic regions of Ukraine, traditional embroidery techniques, fabric dyeing with biological dyes, weaving, vybiyka (wood printing on fabric), beading, felting from wool, art ceramics, technologies for modeling artificial flowers from paper, fabric, wood shavings, creating wax headband accessories, ancient techniques and methods of tying head scarves and shawls, sewing and decorating head covers – are used. Among the variety of forms, methods and means of ethno design that contribute to the involvement of student youth in Ukrainian traditions, a number of simple and effective educational technologies have been identified and presented in our research, such as: museum-pedagogical activities, visits to cultural and artistic events, exhibitions of works of folk art, thematic exhibitions-presentations use of audio and video recordings from ethnographic expeditions, etc. Of particular importance in the popularization of folk art among young people is personal communication with the bearers of traditions in the format of creative meetings with masters of folk art, visits to master classes, personal exhibitions and workshops of folk masters. The described technologies of youth involvement in folk art affect the development of the cognitive and emotional sphere of the individual, his creative abilities, contribute to the creative and productive educational activities of students. Key words: ethno design; folk art; Ukrainian knotted doll; traditional technologies of making and decorating a folk doll; aesthetic, humanistic, national education of students; technologies for familiarizing young people with folk traditions.
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Mokhirieva, Yu. "OUTSTANDING MASTERS OF UKRAINIAN FOLK ART: BIOGRAPHICAL NARRATIVES." Aesthetics and Ethics of Pedagogical Action, no. 22 (December 27, 2020): 80–95. http://dx.doi.org/10.33989/2226-4051.2020.22.221998.
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The article considers the problems of creating a semantic component of the pedagogical narrative (based on biographical studies of prominent personalities of Ukrainian national art) as an effective method of professional-pedagogical education of teachers of fine arts. Among the most representative phenomena of Ukrainian culture are the works by Hanna Sobachko-Shostak, Kateryna Bilokur, Oleksandr and Nadiia Babenko, the Piliuhin family. As a result of the research, the individual features of our selected outstanding masters of Ukrainian folk art were clarified, the influence of the social environment and the family on the formation and creative development of outstanding Ukrainian folk artists was determined.The Department of Fine Arts of Poltava V. G. Korolenko National Pedagogical University has developed biographical narratives about outstanding masters of Ukrainian traditional folk art, which are used in teaching the following subjects: "History of Ukrainian Fine Arts", "History of Decorative and Applied Arts", "Basics of Decorative Composition". The study proved the effectiveness and feasibility of introducing biographical narratives in the training of future teachers of fine arts.
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Dolesko, Svitlana. "ARTISTIC IMAGE OF UKRAINIAN FOLK COSTUME IN THE CONTEMPORARY UKRAINIAN ICON PAINTING ARTWORKS BY OLEKSANDR OKHAPKIN." Baltic Journal of Legal and Social Sciences, no. 2 (October 25, 2022): 52–58. http://dx.doi.org/10.30525/2592-8813-2022-2-9.
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This study offers an analysis of certain works by the contemporary Ukrainian icon painter Oleksandr Okhapkin. His works address the traditions of Ukrainian decorative and applied arts by impregnating the icon’s composition with typical examples of folk artworks of the Ukrainian people, with Ukrainian folk costume playing an important role among these artworks. Therefore, this article is aimed at interpreting the Christian image of the Mother of God as a Ukrainian Berehynia Woman and Mother, which can be seen in the complex of the depicted Ukrainian folk costume and its particular elements. The methodological basis included priority methods of art studies: historical method, art analysis method, comparison and generalization, comprehensive method, and interviewing method. Conclusions. An analysis of icons of the Mother of God has revealed the particularities of using examples of Ukrainian decorative and applied arts in the composition of icon painting works. It was ascertained that the Mother of God is presented as the legendary Berehynia Woman and Mother Earth. In the future, this topic deserves to be studied in greater depth and filled with new senses of contemporary significance, at the time when national self-identification of Ukrainians in the world is extremely necessary. In particular, this can be done using the figurative language of icon painting.
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Світлана, Лупій. "Олег Чарновський – педагог, учений". ВІСНИК Львівської національної академії мистецтв, № 31 (10 травня 2017): 42–50. https://doi.org/10.5281/zenodo.573794.
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The article highlights the career and educational activities known researcher-art O.Charnovskoho. It is the author's memories since the joint work at the Lviv State Institute of Applied and Decorative Arts (now Lviv National Academy of Arts). 1955 О. Charnovskoho was appointed acting head of the department of applied and decorative arts LDIPDM. To explore this topic attracted archives and memories of the family researcher. As a professional art critic, having experience in research and museum work, О. Charnovskyy directed scientific and methodical work of the department for the study of Ukrainian art. He worked out the album «Ukrainian art» began work on the theme «Ornament in Ukrainian folk art» produced about a hundred tables of Ukrainian embroidery ornaments, Easter eggs, folk woodcarving, ceramics are used as visual material during lectures.
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Streltsova, Svitlana. "Interpretation of Motives of Ukrainian Folk Art in Works of Contemporary Artist Tеtiana Rusetska". ART Space, № 3 (2018): 68–72. http://dx.doi.org/10.28925/2519-4135.4.2018.3.11.
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The article examines the specificity of the artistic language of the contemporary artist Tеtiana Rusetska. It analyses the appeals to the motives of the Ukrainian traditional folk and decorative and applied art.
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KUDRIA, O. "INNOVATIONS IN THE TRAINING OF FUTURE TEACHERS TECHNOLOGY IN THE CONDITIONS OF DISTANCE EDUCATION." Scientific papers of Berdiansk State Pedagogical University Series Pedagogical sciences 1, no. 3 (2022): 323–31. http://dx.doi.org/10.31494/2412-9208-2022-1-3-323-331.
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The article updates the issue of professional training of future technology teachers to work in the conditions of the New Ukrainian School. The necessity of forming students' awareness of Ukrainian traditional culture, the study of folk decorative art, which is an important component of the national culture of the Ukrainian people, is noted. The relevance of the issue of finding and implementing innovative teaching methods in the educational process is proven, which should ensure the effective training of future technology teachers in the conditions of distance learning, contribute to the improvement of the quality of education in academic disciplines, effectively prepare students for future work, and form their readiness to use the best heritage of Ukrainian culture in the implementation of tasks of technological education of schoolchildren. Attention is focused on the fact that the organization of the educational process of future teachers of technology according to the educational components «Decorative and applied creativity», «Technology workshop», «Folk crafts of Ukraine», «Design and decorative art» needs appropriate visualization, familiarization with exhibits of ethnographic collections and collections in museums and ethno galleries. It is noted that in today's conditions, during the martial law, virtual projects have become an alternative to traditional tours of the pre-war period, access to which is realized through the Internet. Museums, ethno-galleries are digitizing their collections, placing them in the format of catalogs or virtual galleries on their own websites. They also create online exhibitions and virtual exhibition projects. This makes it possible to attract young students to the heritage of Ukrainian culture at a completely new level of distance learning. It was concluded that the focus of modern technologies on deepening the experience of interaction with art and cultural heritage, expanding the capabilities of the observer, allows us to provide adequate conditions for the study of educational components related to decorative art. It also creates conditions for informal education and gaining knowledge about Ukrainian traditional culture. Key words: future technology teacher, distance learning, decorative and applied arts, virtual project, online exhibition, Virtual 3D exhibition, educational process.
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Melnyk, Ivan. "The role of Ukrainian folk ornament in the Art Nouveau graphic: theoretical and applied aspects." Bulletin of Lviv National Academy of Arts, no. 41 (December 26, 2019): 11–18. http://dx.doi.org/10.37131/2524-0943-2019-41-02.
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Background. The article deals with the basic conceptual foundations of the "Ukrainian style" in the art of the late 19th – early 20th centuries, primarily in the field of searching for actual ways of adaptation and creative rethinking of Ukrainian folk ornament motifs. A special role in this process was played by the use of graphics, whose artistic language has evolved rapidly under the influence of contemporary European styles. However, in the graphic works of Ukrainian artists, the appeal to folk ornamentation was one of several ways of self-identification with the national artistic tradition, so the practice of integrating those ornamental motifs into the book and magazine illustration was a significant component of the creative work of many artists during that period. Objectives. This paper aims at defining the role and importance of Ukrainian folk ornament in the modern (art nouveau) graphic, based on consideration of theoretical and applied aspects of the use of ornamental motifs, their creative comprehension by graphic artists of different regions of Ukraine. Methods. In this article we rely on art historian methods and general scientific methods, such as analysis and synthesis, analogy and system analysis to outline the features of several variants of the "Ukrainian style", representing different regional differences. Comparative analysis, methods of systematization and typology were used to reveal the peculiarities of the transformation of ornamental motifs under the influence of the individual manner of each artist and to present the theoretical background of the folk ornament usage, including concepts of the development of "Ukrainian style" in the visual and decorative arts. Results. This article outlines several concepts of the use of Ukrainian folk ornament motives, elaborated by Ukrainian artists in the beginning of 20th century, period, which chronologically corresponds with the time of the paneuropean expansion of the art nouveau style. We can name an independent research of S. Vasylkivskyy, that allowed him to understand the artistic language of the Ukrainian ornament of different historical periods, and allowed the development of complex projects of interior design for new buildings. His projects demonstrate a harmonious synthesis of the traditions of folk art of the Dnieper Ukraine and Slobozhanshchyna (including specimens of paintings, carpets, ceramic tiles). Instead, V. Krychevs’kyy more often appealed to the ornamentation of Ukrainian weaving, while the main sources of decorative motifs for him were the ancient manuscripts, engravings and applied art of the Hetmanate. O. Slastion also addressed the study of the semantics of ornaments and their function in the system of folk art and culture in general. At first, he applied his own ideas in the projects of decoration of new buildings, constructed at the end of the XIX century in Poltava region, and later focused on the problem of updating the language of Ukrainian graphic art. The genre differentiation of graphic arts actually accelerated the separation of the Ukrainian voice from the general eclectic Russian-imperial culture. The area through which this process could gain more momentum was an art postcard, which at that time became one of the catalysts for the formation of new communication standards in cities and towns. Popular authors in this specialization were A. Zhdakha, O. Slastion, S. Vasylkivskyy, who gave impetus to the main line of development of Ukrainian graphic design of "small forms" at an early stage of its formation. It is interesting to compare different author's approaches to the practice of incorporation and stylizing ornamental motifs – for example, M. Sosenko uses a much more extensive range of primary sources, among which not only is available local material (Ukrainian Carpathians' applied art, handwriting book of the 16th–17th centuries), but also folk art crafts of the Dnieper Ukraine and Slobozhanshchyna and at the same time he modernizes them under the influence of the secessionist style. During the early stages of the art nouveau development in Halychyna (1897–1907), which researchers call ornamental, book and magazine graphics, architecture, and fine arts became the areas where new trends emerged very fast. This process was facilitated by the similarity of artistic language in the works of graphics, monumental and decorative arts, in particular the use of sections of local color, subordinated to a clear linear pattern, which is perceived as a kind of outline for the main elements of the image. The ornamental motifs in the art of secession were interpreted as peculiar symbols – in the Ukrainian version of this style the ornamentation of folk art, especially the local Hutsul tradition, becomes especially important. Conclusions. An important part of the strategy of national art revival of the late 19th – early 20th centuries was the introduction of ethnographic motifs to contemporary works of art. Architecture and graphics have undeniable advantages over other art genres in the sense of rapidly spreading the language of the new Ukrainian style to the widest audience possible. A special place was given to the printed postcards, the authors of which – both famous and anonymous artists, addressed primarily ethnographic topics. It is also important that, regardless of the specifics of regional variants of art nouveau, the practice of introducing ornamental motifs, plots and the images of Ukrainian folk art, re-imagined in more modern way, was a significant factor in asserting national identity, and was aimed at developing a universal artistic language.
Dissertations / Theses on the topic "Ukrainian folk decorative art"
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Summatavet, Kärt. "Folk tradition and artistic inspiration : a woman's life in traditional Estonian jewelry and crafts as told by Anne and Roosi /." [Helsinki] : University of Art and Design Helsinki, 2005. http://www.loc.gov/catdir/toc/fy0805/2008400416.html.
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Мозгова, М. С. "Українські народні ігри молоді". Thesis, Сумський державний університет, 2017. http://essuir.sumdu.edu.ua/handle/123456789/66557.
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Мета науково-дослідницької роботи полягає в дослідженні історії української
народної гри, грунтовному аналізі її видів, змісту та методики використання як засобу
морального виховання молоді.
Об’єктом дослідження є українські народні ігри.
Предмет дослідження – історія появи і розвитку українських народних ігор,
дослідження їх особливостей та характерних ознак.
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Бераіа, Анна Віталіївна, та Anna Vitaliivna Beraia. "Автентичні пісні та фольклор у сучасному українському вокальному мистецтві". Bachelor's thesis, СумДПУ імені А. С. Макаренка, 2021. http://repository.sspu.edu.ua/handle/123456789/10900.
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У бакалаврській роботі конкретизовано сутність і зміст понять «фольклор», «пісенний фольклор» і класифікацію українських пісень як частини фольклору та вплив народної пісні на становленні професійної музики, а також здійснено аналіз використання народних мотивів у поєднанні з різними музичними стилями (джаз, рок, поп, соул) та обґрунтовано використання елементів фольклору у системі сучасного українського вокального мистецтва та вплив фольклору на нього. У кваліфікаційній роботі проаналізовано еволюції форм побутування пісенного фольклору, а також творчий спадок сучасних вітчизняних виконавців («Kazka», «AlinaPash», «Khayat» «DakhaBrakha», «Onuka») і місце різних фольклорних елементів в ньому.<br>The bachelor's thesis specifies the essence and content of the concepts «folklore», «song folklore» and classification of Ukrainian songs as part of folklore and the influence of folk songs on the formation of professional music, as well as analyzes the use of folk motifs in combination with different musical styles (jazz, rock, pop, soul and others) and substantiates the use of folklore elements in modern Ukrainian vocal art and influence folklore on modern Ukrainian vocal art. The qualification thesis analyzes the evolution of forms of song folklore, as well as the creative heritage of modern Ukrainian performers («Kazka», «AlinaPash», «Khayat», «DakhaBrakha», «Onuka» and others) and the place of different folklore elements in it.
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Lin, Yu-Ching, and 林郁青. "The creation and Application of Decorative Patterns---The Creation of Performing the Chinese Folk Art Patterns by the Form of Stained Glass." Thesis, 2001. http://ndltd.ncl.edu.tw/handle/25654596825485310161.
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碩士<br>國立臺灣師範大學<br>設計研究所<br>89<br>Since the 20th century, the folk art has been a very important and dramatic role of the Chinese art. The heat of the east style has spread all over the world. The Chinese folk art has become the most popular subject for the China artists. If the Chinese folk art is going to fit in with the mordern life, it should create a new connection method with other folks to appear a new form of the Chinese folk art.
This thesis confer the Chinese art pattern by the history, evolution, basic features and color system of the Chinese folk art patterns. Besides, the article will try to analyze the history, style and technology of stained glass and compare the creative forms and spiritual meanings of the Chinese folk art with stained glass.
There are two common features between the Chinese folk art and stained glass:
1. The main subjects of the art works occupy the whole work, and create a natural frame.
2. The complicated and gorgeous veins and colors.
According to these two points, I try to combine both two cultures'' characteristics in my creative works. Furthermore, the "Myth" and "New year painting" in China are fimiliar with those stories of the Bible in church because they all talk about stories which happened long time ago. Therefore, using the unique form of stained glass to reappear the Chinese folk art patterns may appear more possibilities in the traditional art of China.
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Іжик, Єлізавета Олегівна, та Yelizaveta Olehivna Izhyk. "Декоративний розпис в Україні та Китаї ХІХ–ХХ століть". Master's thesis, 2020. http://repository.sspu.edu.ua/handle/123456789/9823.
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Актуальним є взаємовплив культур на декоративні розписи України та Китаю у ХІХ – ХХ століттях. Розглядаються особливості розписів та порівнюються схожі та відмінні елементи в таких різних з першого погляду країнах. Дана робота, вирішуючи спеціальні завдання мистецтвознавчого дослідження, може також сприяти подальшому зміцненню дружніх контактів в науковому і культурному співробітництві між Китайською Народною Республікою та Україною.
Мета і задачі дослідження.
Мета: Дослідити взаємовплив декоративного розпису України та Китаю ХІХ – ХХ століття.
Задачі:
1) простежити взаємовплив між Китаєм та Російською імперією.
2) розглянути особливості декоративного розпису інтер’єрів та меблів цих країн.
3) дослідити значення символіки рописів обох країн.
4) висвітлити схожість технік українського та китайського розписів.
Об’єкт дослідження: декоративний розпис України та Китаю ХІХ-ХХ ст.
Предмет дослідження: порівняння декоративних розписів та технік їх виконання України та Китаю ХІХ-ХХ ст.<br>. The mutual influence of cultures on the decorative paintings of Ukraine and China in the XIX - XX centuries is relevant. Peculiarities of paintings are reviwed. Similar and different elements in such seemingly different countries are compared. This work, which solves special tasks of art history research, can also contribute to the further strengthening of friendly contacts in scientific and cultural cooperation between the People's Republic of China and Ukraine.
The purpose and tasks of the research.
Purpose: To investigate the interaction of decorative painting of Ukraine and China of the XIX - XX centuries.
Tasks:
1) to trace the interaction between China and the Russian Empire.
2) to consider features of decorative paintings in interior and furniture of these countries.
3) to investigate the significance of symbolics in these paintings of both countries.
4) to highlight the similarity of techniques of Ukrainian and Chinese paintings.
Object of research: decorative painting of Ukraine and China of the XIX-XX centuries.
Subject of research: comparison of decorative paintings and techniques of their realization in Ukraine and China of the XIX-XX centuries.
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Гавриленко, Анна Вікторівна, та Anna Viktorivna Havrylenko. "Творчість Михайла Бойчука в контексті розвитку українського образотворчого мистецтва першої половини XX століття". Master's thesis, 2020. http://repository.sspu.edu.ua/handle/123456789/9827.
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Творчість Михайла Львовича Бойчука як художника станкового та монументального живопису, реставратора, педагога, теоретика мистецтва є важливою складовою українського мистецького процесу першої половини XX століття. Його принципи органічного поєднання сакральної, народної, академічної та авангардної образотворчої естетики стали підґрунтям виникнення авторського стилю художника – неовізантизму, що згодом трансформувався у бойчукізм. Сьогодні важливого значення набуває і вивчення педагогічної системи, за якою учні М. Бойчука опановували основи таких дисциплін як рисунок, живопис та композиція. Тому дослідження мистецької спадщини Михайла Бойчука, його теоретичних засад творчості в контексті розвитку українського образотворчого мистецтва першої третини XX століття та педагогічної системи художника є актуальним.
Мета дослідження: висвітлити значення художньої творчості й педагогічної діяльності Михайла Бойчука та розкрити її особливості в контексті розвитку українського образотворчого мистецтва першої третини XX ст.<br>The work of Mykhailo Boychuk as an artist of an easel and monumental painting, restorer, teacher, art theorist is an important component of the Ukrainian artistic process of the first third of the XX century. His principles of the organic combination of sacred, folk, academic, and avant-garde visual aesthetics became the basis for the emergence of the artist's authorial style called neo-Byzantinism, which later transformed into Boychukism. Today, the study of the pedagogical system, according to which M. Boychuk's students mastered the basics of such disciplines as drawing, painting, and composition, is also important. Therefore, the study of the artistic heritage, and theoretical foundations of creativity of Mykhailo Boychuk, and the artist`s pedagogical system in the context of the development of Ukrainian fine arts of the first third of the XX century is relevant.
The purpose of the study is to highlight the importance of artistic creativity and pedagogical activity of Mykhailo Boichuk and to reveal its features in the context of the development of Ukrainian fine arts of the first third of the XX century.
Books on the topic "Ukrainian folk decorative art"
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Derz͡havnyĭ muzeĭ ukraïnsʹkoho narodnoho dekoratyvnoho mystet͡stva. Muzeĭ ukraïnsʹkoho narodnoho dekoratyvnoho mystet︠s︡tva: Museum of Ukrainian Folk Decorative Art. Mystet︠s︡tvo, 2009.
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editor, Kornii͡enko Valentyna, та Nat͡sionalʹna spilka maĭstriv narodnoho mystet͡stva Ukraïny, ред. Ukraïnsʹke narodne mali︠a︡rstvo: Vseukraïnsʹka vystavka = Ukrainian folk painting : catalogue of the National exhibition. Narodni Dz︠h︡erela, 2011.
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Zakharchuk-Chuhaĭ, R. V. Narodne dekoratyvne mystet︠s︡tvo Ukraïnsʹkoho Polissi︠a︡--Chornobylʹshchyna: Traditional folk art of Ukrainian Polisia--Chornobyl Region. Instytut narodoznavstva NAN Ukraïny, 2007.
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chytanníà, Honcharivs'ki. Tradyt́s̀iĭne ĭ osobystisne u mystet́stvi: Kolektivne doslidźh̀enníà za materialamy Chetvertykh Honcharivs'kykh chytan'. "Muzeĭ Ivana Honchara", 2002.
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Krupa, T. M. (Teti͡ana Mykolaïvna) and Sushko, V. A. (Valentyna Anatoliïvna), eds. Svi︠a︡ta ta pobut Sloboz︠h︡anshchyny. "Koloryt", 2004.
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Motylʹ, Romana. Ukraïnsʹka dymlena keramika XIX-pochatku XXI st: Istorii︠a︡, typolohii︠a︡, khudoz︠h︡ni osoblyvosti. Nat︠s︡ionalʹna akademii︠a︡ nauk Ukraïny, Instytut narodoznavstva, 2011.
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Instytut mystet︠s︡tvoznavstva, folʹklorystyky, ta etnolohiï imeni M. Rylʹsʹkoho NAN Ukraïny, ред. Dekoratyvne mystet︠s︡tvo Ukraïny krizʹ viky: Monohrafii︠a︡. Vydavnyt︠s︡tvo IMFE, 2019.
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(Dmytro), Horbachov D., and Galerei︠a︡ Proun, eds. Pokhvala plakhte: Katalog vystavki. Galerei︠a︡ Proun, 2009.
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Shestakova, Olena. Avanhard i modern v ukraïnsʹkomu narodnomu mystet︠s︡tvi 1910-1930 rokiv. Samit-knyha, 2021.
Find full textBook chapters on the topic "Ukrainian folk decorative art"
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Maiovets, Andriy, and Roman Yatsiv. "MODERN UKRAINIAN CHILDREN’S EDITIONS 2000–2010: IN GRAPHIC, ILLUSTRATIVE DESIGN OF GRADUATES LVIV NATIONAL ACADEMY OF ARTS." In Theoretical and practical aspects of the development of modern scientific research. Publishing House “Baltija Publishing”, 2022. http://dx.doi.org/10.30525/978-9934-26-195-4-27.
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The article analyzes the experience of some illustrators, graduates of the Lviv National Academy of Arts, whose creative program has developed since the beginning of the XXI century. There are common features of professional criteria of artists working on publishing projects for children: general approaches to solving the system «author – text – vision», stylistics, metaphorical and plastic imagery, interpretation of elements of ethnic tradition and modern design technologies. The aim of the article is to analyze the conceptual approaches of a group of modern illustrators of children’s publications, which were formed in a common educational environment – in LNAM. The rich factual material examines the multiplicity of authorial approaches to the interpretation of classical literary forms or innovations in different versions of the aesthetics of modern book graphics. Graduates of the Department of Graphic Design, as well as other departments of LNAM, cooperate with various publishers, including «Kamenyar», «Apriori», «Old Lion Publishing House», «Svichado» and «Svit», implementing original formal ideas. The relevance of the article is that for the first time the typology of the basic principles of solving spatial illustration complexes, which belong to the characteristic features of Lviv academic professional art education features of decorative interpretation of plastic form and appeal to folk tradition. In addition, examples of other ways of compositional organization of sheets with illustrations of children’s publications are considered. The most interesting representatives of such aesthetics with the so-called «associative chains» are Romana Romanyshyn and Andriy Lesiv, who work in the family creative workshop «Agrafka». Relevance of the article is that for the first time a typology of the basic principles of solving spatial illustration complexes, which belong to the characteristic features of the Lviv academic professional art education features of decorative interpretation of plastic form and appeal to folk tradition. In addition, examples of other ways of compositional organization of sheets with illustrations of children’s publications are considered. The object of research is the graphics of children’s publications of Ukrainian publishers that specialize in publishing books for children. For the first time, the creative work of these artists is analyzed: illustration, decoration, created by means of computer graphics. Children’s books of publishing houses: «Kamenyar», «Apriori», «Old Lion Publishing House», «Svichado» and «Svit». The decoration and design of the whole book is studied. The subject of the research is figurative and expressive means of illustrators of Ukrainian children’s publications of 2000–2010. The methodological basis is the historical and cultural consideration, the stage of development of publishing and printing, material equipment and software, which served as a tool for creating illustrations, design of children’s publications of the time. Comparative method, finding an analogy in the artistic and technical execution of illustrations, children’s book design. The method of analogy, analysis and synthesis is applied. The article analyzes the experience of some modern illustrators, graduates of the Lviv National Academy of Arts, from the beginning of the XXI century (2000–2010). The common features of professional criteria of artists working on publishing projects for children are noted: general approaches to solving the system «author – text – vision». Stylistics, metaphorical and plastic imagery, interpretation of elements of ethnic tradition and modern design technologies are traced. For the first time in book design, new features of computer technology have been tested, and the word «book design» is often used.
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Voloshchuk, Yurii, and Petro Krul. "GENESIS AND DEVELOPMENT OF AEROPHONES AND CHORDOPHONES GROUPS IN THE MUSICAL CULTURE OF UKRAINE." In Traditions and new scientific strategies in the context of global transformation of society. Publishing House “Baltija Publishing”, 2024. http://dx.doi.org/10.30525/978-9934-26-406-1-16.
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Wind and string instruments belong to the oldest types of musical instruments. They emerged as a result of a complex development process of aerophones and chordophones. This became possible due to the general development of musical culture, changes in social conditions, and the increasing complexity of tasks faced by composers and musicians. The subject of our research is the genesis and development of groups of aerophones and chordophones in Ukrainian musical culture. The aim of the scientific inquiry is to study the evolutionary processes in the formation of wind and string instruments in the territories of Ukraine from ancient to the present times. During the preparation of the monograph chapter, general scientific and specialized approaches and methods were used: collection and processing of information regarding the evolutionary development of orchestral instruments, historical approach and within this one the historical-chronological method, method of comparative analysis, and socio-cultural approach. The research methodology is based on the comprehensive combination of the following methods: analytical – in the study of scientific and methodological literature; organological – in the analysis of the features of the construction of string and wind instruments; comparative – in the analysis of performance techniques on instruments in different historical periods; historical – in revealing the influence of historical factors on the formation of aerophones and chordophones in the musical culture of Ukraine.The conclusions drawn from the conducted research can be summarized as follows: Summarizing the lengthy and complex process of evolution of folk and classical violin models in Ukraine.It can be concluded that the violin in its classical form gained wide popularity in Ukraine during the 15th-16th centuries due to close trade and cultural ties with Western Europe. Professional Ukrainian craftsmen engaged in the production of string instruments adhered to the traditions and canons of European schools, primarily Italian and Polish.A significant factor in the development of the professional violin school in Ukraine was the ancient and strong traditions of making string instruments in the work of folk masters. Folk violins in different regions were made according to local traditions and very often with violations of basic classical canons, namely: instability of canonical violin parameters; giving the contour of the violin and its details of their own forms; decorative ornamentation of the body and other parts of the instrument. However, a significant number of such masters contributed to the development of folklore performance in the territories of Ukraine, the formation of ensembles (trio music), and folk music orchestras, which undoubtedly influenced the development of professional instrumental performance.Alongside the violin, other instruments of the string group of chordophones were actively developing in Ukraine: cello (bass), double bass, lyre (lyre bass). They were involved in folk-instrumental ensembles (primarily the "trio music") and orchestras, but during the 18th-19th centuries – in professional collectives.The multifaceted evolution of aerophones in folk-instrumental sphere actively contributed to the formation, alongside ensemble and orchestral, also of solo-performing style. Relying on folk singing creativity, certain performing methods were determined by the system of artistic means, forming a separate gene pool of Ukrainian wind performing school with its emotional breadth and multifacetedness. By the end of the 18th – beginning of the 19th centuries, the main tendencies of Ukrainian musical performing art were determined.Thus, for many centuries, a diverse folk musical instrumentarium existed in the territories of Ukraine. In the process of historical development of the people's musical culture, this instrumentarium underwent significant evolution. The development of wind instruments occurred through changes in pitch (invention of playing holes) and improvement of sound production mechanisms (creation of a whistle device and mouthpiece). The development of string instruments consisted of sound reinforcement, search for new timbres, and expansion of the sound range by increasing the number of strings and improving their sound quality. The conducted research does not limit all aspects of the chosen topic. The creativity of domestic masters of musical instruments, constructive features, technical and sound capabilities of modern string and wind instrumentarium were left beyond attention. These and other issues may be addressed in future scientific research.
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Duda, Larysa. "THEORETICAL AND PRACTICAL FUNDAMENTALS OF MUSICAL FOLKLORE PROCESSING IN THE WORKS OF DIASPORA ARTISTS." In Art Spiritual Dimensions of Ukrainian Diaspora. Primedia eLaunch LLC, 2020. http://dx.doi.org/10.36074/art-sdoud.2020.chapter-8.
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The article analyzes the theoretical and practical principles of processing samples of folk music. Musical folklore is transformed in composition and performance, including for bandura, by arrangement and its varieties (harmonization, transposition, arrangement, improvisation, etc.). Musical folklore is an integral part of the bandura’s repertoire, presented in the form of vocal-instrumental and instrumental arrangements, as well as instrumental works for solo and ensemble performance. Authentic, classical and modern methods of music processing, as well as creative (author ‘s) and complex approaches are distinguished. The authentic method is inherent mainly in the art of kobzars-bandurists, who were the authors of dumas, historical and other songs and created them simultaneously with the bandura accompaniment. The classical method has been dominant since the second half of the XXth century up until now. The modern approach occurs mainly from the end of the XXth century. The transformation of folklore samples often consists in changing the genre of the original source, the environment of performance, the functional purpose of the work, the appearance of instrumental bandura accompaniment, the change of group singing into solo performance or vice versa. Genres of Ukrainian musical folklore are widely represented in the art of bandura players in Ukraine and abroad. As a result of the analysis of creativity for a bandura of the second hakf of the XX – beg. XXI centuries, in particular artists of the Ukrainian diaspora, it was found that musical folklore to a greater or lesser extent became the subject of works by L. Haidamaka, O. Herasymenko-Oliinyk, Н. Kytasty, R. Levytsky, V. Mishalow, Y. Oliinyk, P. Potapenko , M. Teliga, Z. Shtokalko and others. It is determined that vocal-instrumental arrangements of folk songs, instrumental arrangements of dance music, as well as instrumental works based on Ukrainian musical folklore, occupy an important place in the work of bandura performers and composers in Ukraine and abroad.
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Kurbanova, Lidia. "THE EPISTOLARY SPIRITUAL DIMENSIONS OF THE UKRAINIAN DIASPORA ARTISTS." In Art Spiritual Dimensions of Ukrainian Diaspora. Primedia eLaunch LLC, 2020. http://dx.doi.org/10.36074/art-sdoud.2020.chapter-11.
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The purpose of the section is to outline the spiritual dimensions of the epistolary of the Ukrainian diaspora artists and, in particular, one of its leading representatives – Pavlo Matsenko (1897–1991), who with his various activities made a significant contribution to the development of Ukrainian musical culture. Pavlo Matsenko’s multi-vector activity covers a wide field of activity in various directions: teacher, conductor, musicologist, composer, organizer of the musical and cultural life of the Ukrainian community in exile, editor, publicist. From a wide range of its addressees (more than 200), correspondence with Metropolitan Hilarion (Ivan Ohienko), choral conductors Oleksandr Koshyts and Myroslav Antonovych, composer Stanislav Lyudkevych, and singer Yosyp Hoshuliak was chosen for analysis. These are close to Matsenko personalities in spirit, whose interests coincided with his own. The main area of interest in these letters is the study of Ukrainian church music, as well as choral performance, concert activities, work with bands. Another area of correspondence is a discussion of folk songs origin and its significance for church singing, as well as the peculiarities of performing folk songs. As a result of the study, taking into account the study of epistological materials as source material, three stages of the process are identified – contextual, attributive, actualization, as well as components of spiritual dimensions of Pavlo Matsenko’s epistolary: emotional-motivational, moral-ideological, cognitive-axiological, activity-creative. The rich epistolary heritage of the artist allows to better understand certain events of his life, to fill gaps in scientific research on communication with other artists and to characterize certain features of his personality. Letters are an integral aspect of source studies, on the basis of which the image of Pavlo Matsenko as a spiritual person is created.
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Fabryka-Protska, Olha. "Folklore tradition as a system of spiritual and cultural symbols of the Ukrainian diaspora." In Art Spiritual Dimensions of Ukrainian Diaspora. Primedia eLaunch LLC, 2020. http://dx.doi.org/10.36074/art-sdoud.2020.chapter-7.
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The aim of this section is to reveal the specificity of the folklore tradition in the system of spiritual and cultural symbols of the Ukrainian diaspora, which can be traced in various forms of functioning (revival, preservation, transformation, transmission). The methodology of the research lies in the synthesis of theoretical principles and methods, the leading of which are: systemic-analytical, historical, culturological, art studies, and others. The multifaceted nature of the research necessitates the application of an interdisciplinary approach and the integration of methods from humanities such as history, art studies, music art, culturology, and so on. The main principle of the work is a comprehensive approach. The ethnocultural experience of Ukrainians, fulfilling their important cognitive, educational, and socializing functions in the process of historical development, undoubtedly undergoes changes, but the ethnocultural heritage continues to live in the spiritual culture of the present. The musical folklore tradition, which until recently was preserved in the folk memory, is one of the oldest forms of spiritual culture of Rusyn-Ukrainians and Lemkos in the Carpathian region. In the first decades of the 21st century, the folklore tradition appears as a constantly active part of modern culture, particularly in the repertoire of artistic ensembles of many genres on the concert stage. The representation of its forms in transformed versions of folklore tradition (as folklorism) on the border between Ukraine, Slovakia, and Poland is traced in the functioning of amateur and professional artistic ensembles, the development of the festival movement, the preservation of linguistic dialects in musical genres, their popularization in compositional creativity and, undoubtedly, in concert performance.
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Zhdanova, N. S. "STATE EXAMINATION IN MASTER’S DIRECTIONS IN ART: PROBLEMS OF THE PRESENT AND FUTURE PROSPECTS". У ФИЛОСОФСКИЕ, СОЦИОЛОГИЧЕСКИЕ И ПСИХОЛОГО-ПЕДАГОГИЧЕСКИЕ ПРОБЛЕМЫ СОВРЕМЕННОГО ОБРАЗОВАНИЯ. ФГБОУ ВО «АлтГПУ», 2023. http://dx.doi.org/10.37386/2687-0576-2023-5-32-35.
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the article is devoted to determining the place and purpose of the state exam in the preparation of masters in the areas of training 54.04.00 “Culture and Art”, in particular designers and artists of decorative and applied arts and folk crafts. The author proposes to change the content of exam questions by introducing problematic content into them, which will require students to take broader approaches in forming answers. Long-term use of electronic educational resources with methodological materials of integrated content increases the educational effect of state exams.
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Одарченко, Вероніка. "РЕАЛІЗАЦІЯ ТЕХНОЛОГІЇ ВИХОВАННЯ НАЦІОНАЛЬНОЇ ГІДНОСТІ ЗДОБУВАЧІВ ВИЩОЇ ОСВІТИ ЗАСОБАМИ УКРАЇНСЬКОГО НАРОДНОГО МИСТЕЦТВА." In CROSS-CULTURAL STUDIES IN HIGHER SCHOOL PEDAGOGY. OKTAN PRINT, 2024. http://dx.doi.org/10.46489/ccsihsp-23-21.
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The article presents the concept of introducing into the educational process of communal institutions of higher education the technology of raising the national dignity of higher education students by means of Ukrainian folk art. The author defined and substantiated the main professionally oriented pedagogical directions of means of education of national dignity, the main requirements (pedagogical principles) of the process of implementation of research and experimental work, the basis of the content of education of national dignity. The developed stages of pedagogical technology (motivational-target, content-processual, analytical-reflective) are also highlighted and described. The developed program of the special course «Education of national dignity by means of Ukrainian folk art» is proposed, included in the curriculum of the permanent and correspondence faculty. Its purpose, content and features of the course are defined. It was concluded that the development of national dignity is carried out within the framework of a civilizational approach, which involves reliance in the process of education on the ethnic features of the Ukrainian people, the Ukrainian mentality, and therefore, patriotism, spirituality, cathedral unity, simplicity, sensitivity, high work capacity, conscience, high and versatile giftedness, etc.
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Lagutenko, Olga. "The Influence of Stanisław Wyspiański on Ukrainian Graphics through the Work of Mykhailo Zhuk." In O miejsce książki w historii sztuki. Część III: Sztuka książki około 1900. W 150. rocznicę urodzin Stanisława Wyspiańskiego. Ksiegarnia Akademicka Publishing, 2022. http://dx.doi.org/10.12797/9788381386548.07.
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The article considers the problem of the influence of Stanisław Wyspiański’s work, as well as the role of his teaching at the Academy of Fine Arts in Kraków on the development of Ukrainian graphics of the first third of the twentieth century. The issue is covered through an in-depth analysis of the work of Mykhailo Zhuk, a student of S. Wyspiański, who lived and worked in Ukraine, taught at the Ukrainian Academy of Arts and the Odessa Art Institute. Methods of comparative studies and system analysis are used. Such phenomena as symbolism and modern style in the works of these masters are analyzed. The influences of monumental painting, theatrical-decorative art on the plastic language of graphics are emphasized. It is proved that S. Wyspiański studies and his fascination with the ideas of symbolism and decorativism in art found an original embodiment in the work of M. Zhuk, gained further productive realization through the spread of graphics in Ukraine to the general process of art development.
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Zhdanova, N. S. "REGIONAL WORKS DECORATIVE APPLIED ART OF THE URALS AS OBJECTS OF MASTER RESEARCH." In Filosofskie, sociologičeskie i psihologo-pedagogičeskie problemy sovremennogo obrazovaniâ. Altai State Pedagogical University, 2021. http://dx.doi.org/10.37386/2687-0576-2021-3-116-119.
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The article summarizes the experience of organizing the research work of undergraduates in the direction of training «Decorative and applied art» in the study of regional objects of arts and crafts of the Urals. There are certain advantages to such studies: students have the opportunity to interact directly with objects in local museums and in private collections. Tours to the manufacturing site where the items were made and the places where they are used to this day help students understand manufacturing and household use. The author proposes to rely on the collection of little-known regional objects of DPI and folk crafts of the Urals. Such an organization will make scientific work more interesting and more meaningful.
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Кondratenko, G. G., and A. S. Plokhotnyuk. ". UKRAINIAN FOLK DANCE IN THE CONTEXT OF EUROPEAN CHOREOGRAPHIC ART OF THE 20TH CENTURY." In PERFORMING ARTS IN THE CONTEXT OF EUROPEAN TRADITIONS: HISTORICAL DEVELOPMENT, CULTURAL ASPECTS AND MODERN TRENDS. Baltija Publishing, 2025. https://doi.org/10.30525/978-9934-26-555-6-6.
Full textConference papers on the topic "Ukrainian folk decorative art"
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Tatevosyan, Ashot Henrikovich. "DECORATIVE AND APPLIED ART OF THE INDIGENOUS PEOPLES OF THE RUSSIAN ARCTIC." In Themed collection of papers from Foreign international scientific conference «Joint innovation - joint development». Part 1. Ьу НNRI «National development» in cooperation with PS ofUA. June 2023. Crossref, 2023. http://dx.doi.org/10.37539/230629.2023.28.34.027.
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This article is dedicated to the decorative and applied art of the indigenous peoples of the Russian Arctic, particularly the Saami people who reside on the Kola Peninsula and in the Murmansk region. The article provides a detailed description of Saami dwellings, including typical forms such as the tupa, vee, and log cabins, as well as structures of auxiliary and economic significance, such as barns and cellars. Special attention is given to the decorative and applied art of the Saami, including wood carving, embroidery, folk clothing, metal and leather adornments. The article is of interest to anyone interested in the culture and art of Russia's indigenous peoples, as well as to specialists in ethnography and folk arts.
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Татевосян, Ашот Генрикович. "DECORATIVE AND APPLIED ART OF THE POMORS OF THE KOLA POLAR REGION." In Инновационные исследования: проблемы внедрения результатов и направления развития: сборник статей международной на учной конференции (Санкт Петербург, Ноябрь 2024). Crossref, 2025. https://doi.org/10.58351/241105.2024.63.84.004.
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В данной статье рассмотрены исследования народной культуры, традиций и быта поморов, проживающих на территории Кольского Заполярья. Автор показывает, как формировалась самобытная культура поморов под влиянием суровых климатических факторов, этнических и религиозных традиций This article deals with the research of folk culture, traditions and everyday life of Pomors living in the Kola Polar Region. The author shows how the original culture of Pomors was formed under the influence of severe climatic factors, ethnic and religious traditions
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Садыгова, А. А. "Carpet art of Azerbaijan." In Социально-гуманитарные исследования: векторы развития науки и образования: материалы IX научно-практической конференции с международным участием, г. Москва, МПГУ, 25–26 апреля 2024 г. Crossref, 2024. https://doi.org/10.37492/isgo.2024.061.
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в статье рассматривается история развития одного из видов декоративно-прикладного искусства Азербайджана – ковроделия. Издревле ковры в Азербайджане являлись не только одними из широко распространенных и функционально значимых предметов быта, но и самодостаточным видом декоративно-прикладного искусства. Азербайджанские ковры признаны одними из лучших, как с эстетической точки зрения, так и с технологической стороны. Являясь истинно традиционным, народным искусством, в последние десятилетия искусство ковра в Азербайджане приобретает профессиональный характер, так как на художественной арене появляются мастера-ковроделы, создающие высокохудожественные ковровые произведения. the article deals with the history of development of one of the types of decorative and applied art of Azerbaijan – carpet making. Since ancient times carpets in Azerbaijan were not only one of the widespread and functionally significant household items, but also a self-sufficient type of decorative and applied art. Azerbaijani carpets are recognized as one of the best, both from the aesthetic point of view and from the technological side. Being a truly traditional, folk art, in recent decades the art of carpet in Azerbaijan has acquired a professional character, as master carpet makers creating highly artistic carpet works appear on the art scene
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Bychutkina, L. A. "FOLK ART AND DECORATIVE AND APPLIED ART IN EDUCATIONAL AND METHODOLOGICAL MATERIALS FOR STUDENTS OF ADDITIONAL EDUCATION PROGRAMS." In ОБРАЗ, ЗНАК И СИМВОЛ СУВЕНИРА. Федеральное государственное бюджетное образовательное учреждение высшего образования «Санкт-Петербургская государственная художественно-промышленная академия имени А.Л. Штиглица», 2022. http://dx.doi.org/10.54874/9785604936320_8.
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Asalkhanova, Ekaterina V. "MONGOLIAN CHESS, DOMINO, FOLK PAINTINGS (PLAYING CARDS, CALENDARS) AS AN UNIQUE EXPRESSION OF TRADITIONAL CULTURE." In 32nd International Congress on Source Studies and Historiography of Asia and Africa “Russia and the East. Сommemorating 300th anniversary of St. Petersburg State University. St. Petersburg State University, 2024. http://dx.doi.org/10.21638/11701/9785288064135.20.
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The article deals with folk games, which have become widespread in Mongolia, Buryatia, Tuva, Kalmykia: national chess shatar, dominoes (chorlo, chorol), drawn playing cards (khozor, uichuur), calendars. A brief history of their origin, the rules of the game, as well as the peculiarities of manufacturing technology, composition and artistic solution are studied. Everyday life is reflected in the games. Images of animals testify to the observation of folk artists, their knowledge of animal habits. Games are an original expression of folk culture, true works of art. They give an idea of the Mongolian peoples’ everyday life, national costume, ornaments and typical activities (animal care, music-making, conversation, smoking tobacco, archery, etc.). These are fine folk examples of graphic and decorative-applied art, which are of great historical and artistic value. The article is based on works of art kept in museums of Mongolia, Russia, in private collections, as well as field research.
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Filimonova-Zlatohurska, Ye S. "Ukrainian folk dance as a means of self-identification of the Ukrainian people in the modern world cultural space." In THE INFLUENCE OF CULTURE AND ART ON THE VALUE ORIENTATIONS OF CIVILIZATION IN WAR AND POST-WAR TIMES. Baltija Publishing, 2022. http://dx.doi.org/10.30525/978-9934-26-237-1-22.
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Chamakhud, D. V. "THE SPECIFICS OF YAKIV YATSYNEVYCH’S COMPOSER’S THINKING IN CHORAL ARRANGEMENTS OF UKRAINIAN FOLK SONGS." In FOCUS AREAS OF CULTURE AND ART IN UKRAINE AND THE REPUBLIC OF POLAND. Izdevnieciba “Baltija Publishing”, 2023. http://dx.doi.org/10.30525/978-9934-26-374-3-7.
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Naydenova, L. V., and V. V. Bukatova. "INTRODUCING STUDENTS TO CULTURAL HERITAGE HOMELAND BY MEANS OF PROJECTS OF DECORATIVE AND APPLIED ART AND FOLK CRAFTS." In INNOVATIONS IN THE SOCIOCULTURAL SPACE. Amur State University, 2020. http://dx.doi.org/10.22250/iss.2020.42.
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The article considers the role of art education in the formation of modern youth. The article reveals the importance of preserving and transmitting the traditions of culture and art of the native land to new generations through tasks and creative projects.
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Adascalița-Crigan, Lucia, and Viorica Cazac-Scobioala. "Perpetuating the rhombus in traditional Romanian art." In Simpozion internațional de etnologie: Tradiții și procese etnice, Ediția III. Institute of Cultural Heritage, Republic of Moldova, 2023. http://dx.doi.org/10.52603/9789975841733.01.
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The rhombus as an ornamental motif of traditional art can be found both among the signs sewn on popular costumes or in interior textiles, on household objects, and among the shapes found in traditional cuisine. Being a geometrical motif with an archaic symbolic charge, characterized by perpetuity and cosmic sacredness, it was exploited and integrated into all the daily, celebratory and ceremonial circumstances of man. In this context, the objective of the study was directed towards the presentation of the multicriteria interpretation of this motif. On the one hand, the Rhombus carries a special semantic load, varied by the chromatic diversity and by the shapes it takes, and on the other hand, the aim is to record and fix some valuable images of the objects bearing this decorative element. Noted for its wide use, the Rhombus is found in its geometric meaning as a singular element, in ensembles of motifs and geometric compositions integrated with other inscribed motifs, but also in free rendering that involves changes in outline and proportions. Thus, knowing the multiple values of the rhombus allows the revitalization of some compositions from the national folk art and the preservation of this ancient primary ornamental motif, while the aesthetic valences and spiritual interferences will serve as a source of inspiration for today’s folk art creators. The paper presents the results of the study carried out within the State Program 20.8009.0807.17 REVICULT.
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Bokotei, Mykhailo. "INTERNATIONAL BLOWN GLASS SYMPOSIUMS IN LVIV: IMPORTANT TOOL OF INFLUENCE ON UKRAINIAN DECORATIVE ART ON THE EDGE OF CENTURIES." In EDUCATION AND SCIENCE OF TODAY: INTERSECTORAL ISSUES AND DEVELOPMENT OF SCIENCES. European Scientific Platform, 2021. http://dx.doi.org/10.36074/logos-19.03.2021.v4.33.
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