http://dspace.tnpu.edu.ua/handle/123456789/14997 2026-04-04T11:32:23Z http://dspace.tnpu.edu.ua/handle/123456789/32587 Назва: Наукові записки Тернопільського національного педагогічного університету імені Володимира Гнатюка Редактори: Смоляк О. С. Опис: Повнотекстові наукові записки 2019-01-01T00:00:00Z http://dspace.tnpu.edu.ua/handle/123456789/15070 Назва: Трансформація іконографічного канону на прикладі українських маріологічних ікон типу “Одигітрія” XVIII–ХІХ століть Автори: Козінчук, Віталій Короткий огляд (реферат): У статті досліджено еволюцію канонічних принципів іконографічного канону. Автор орієнтувався на богородичні зразки українського національного церковного мистецтва XVIIІ−XІХ століть. Охарактеризовано основні іконографічні елементи маріологічної іконографії типу “одигітрія/дороговказниця”. Окреслено загальноприйняті у церквах візантійської традиції живописні тенденції, дотримання яких регламентовано мистецькою, богословською і літургійною практикою та окреслено межами канону. Висвітлено іконографічні образи Богородиці-Одигітрії в українській іконографічній церковній традиції у типологічному зв’язку з класичними, канонізованими офіційною церквою, зразками цього відомого сакрального сюжету. Одигітрія в українському культовому мистецтві – найпоширеніший, враховуючи ХХІ століття, іконографічний тип.; В статье исследована эволюция канонических принципов иконографического канона. Автор ориентировался на богородичных образцах украинского национального церковного искусства XVIIІ−XIХ веков. Охарактеризованы основные иконографические элементы мариологической иконографии типа “Одигитрия/Путеводительница”. Определены общепринятые церквями византийской традиции живописные тенденции, соблюдение которых регламентировано художественной, богословской и литургической практикой и определяется пределами канона. Освещены иконографические образы Богородицы-Одигитрии в украинской иконографической церковной традиции в типологической связи с классическими, канонизированными официальной церковью, образцами этого известного сакрального сюжета. Одигитрия в украинском культовом искусстве − самый распространенный, учитывая XXI век, иконографический тип.; This research papertakes a deeper look into the canonical iconography of the Virgin Mary Odigitria (Hodegetria). Giving the position of Byzantine aesthetics we can distinguish seven basic iconographic canonical types of Mariological icons. Тhe most famous and recognized canonical iconof the Virgin Mary is the Constantinople Odigitria. The icon served not only as spiritual and prayerful image, but also an aesthetic and didactic one. The iconographic tale of Our Lady of Odigitria is filled with legends and traditional church folk tales. The most widespread idea about the authorship of the icon goes back to the 1st century. The artist who painted the first image of Mary is considered to be the evangelist Luke. The author of the article points out that numerous iconographic specimens belong to this canonical type. Among the most famous in Ukraine are: Vyshgorodska (Vlodymyrskа), Goshivska, Stanislavivska (Ivano-Frankivsk), Belzska (Czestochow), Bohorodchanska Icons Mother of God. All of them are made according to the canonical models of the Byzantine “Hermine” iconic principles. It is clear from research that this canonical iconographic specimen includes well-known icons worshiped within the Eastern Churches. For example, in Greece, there are Xenophonic, Iberian, Zografic icons. In Russia there are Tikhvinska, Kazanska, Smolenska and many other Odigitriasamples. According to the Byzantine iconographic tradition, the following canonical elements of the typological icon of the Virgin-Odigitria areused: – the body of the Blessed Virgin Mary assembled into the composition should be depicted frontally in order to maintain a “prayer dialogue”; – the head of the Mother of God should be turned slightly to the left; – the head of Christ should be located at the level of the shoulders of the Virgin; – the sight of the saints must be directed to the prayer-bearer; – the right hand of the Virgin is closely pressed against the body and points to the Savior; – on the forehead and shoulders of the Blessed Virgin Mary are three stars (symbol of purity and integrity); – the bangles of the Blessed Virgin symbolize service to the Church; – the Halo is a symbol of holiness; – the gospel in the hands of Jesus Christ is a symbol of new teaching; – the general background of the icon is gold (symbol of the Kingdom of Heaven). This most festive icon became a classic in the Ukrainian art of the 18th–19th centuries. According to N. Kondakov, in the Slavic Orthodox East during the XII century, the canonical model was the Ephesian (Toropetska) icon of the Mother of God, which was brought to the city of Polotsk for public worship. Traditionally, the image of Odigitria was attributed to evangelist Luke. The author suggests that this canonical original could serve as an example for writing further little-known icons of Mariological typological scenes of the period. Throughout the research, the author provides an example of icons with canonical, rhetorical and genre features from the collection of the Carpathian museum of Art. To be reassured in church sources, regarding the origin and approval of the iconographic rules for Mariologicalicons of the Byzantine style, the author cites iconic rulings of The Quinisext Council in 692 (the Sobor (council) summarized the activities of the previous Ecumenical councils: The Fifth in 553 and Sixth in 680−681) and the Seventh in (787). Based on the results obtained, it should be noted that the Eastern Church has issued warnings and punishments for those who dare to teach and preach (and probably add something of their own) the opposite of the Council’s ordinances and traditions. Thus, the canons of The Quinisext Council and the Seventh Ecumenical Council constitute the true and genuine iconographic canon on which the Mariological iconography of the Odigitria type is formed. Iconic rules are also called the Byzantine canon or Byzantine style because it was produced by the Byzantine Church; but only this decalogue of canons, is valid for the Ukrainian Churches, where the practice of iconographic painting is widespread. Therefore, to determine the canonical norms for Theotokos, we should refer to the iconographic decrees of the church councils and the commentaries of the authoritative fathers of the Church. The authors research paper is based on personal research and other credible sources. He also references to art samples from the stock collection of the Carpathian Museum of Art. 2019-01-01T00:00:00Z http://dspace.tnpu.edu.ua/handle/123456789/15069 Назва: Системи візуальних комунікацій як інструмент трансформацій міського простору (на матеріалах міста Івано-Франківськ) Автори: Бабій, Надія; Чучук, Соломія Короткий огляд (реферат): У статті досліджено прийоми і практики модифікацій інформаційних носіїв та їх вплив на перетворення міського середовища. На основі аналізу візуально-комунікативного поля міста Івано-Франківська виявлено закономірності й засади взаємозв’язків інформаційних об’єктів і архітектурного простору. Створено схеми та унаочнення трансформаційних процесів у міському середовищі. Визначено вплив перетворень інформаційного поля на загальний візуальний образ території, а також на сприйняття і характер поведінки індивіда – активного учасника урбаністичного життя.; В статье исследованы приемы и практики модификаций информационных носителей и их влияние на преобразование городской среды. На основе анализа визуально- коммуникативного поля Ивано-Франковска выявлены закономерности и принципы взаимосвязей информационных объектов и архитектурного пространства. Созданы схемы и иллюстрации трансформационных процессов в городской среде. Определено влияние преобразований информационного поля на общий визуальный образ территории, а также на восприятие и характер поведения индивида – активного участника урбанистической жизни.; Increasing paces of life, intensification of city planning and urbanization processes generate new tasks for the visual communications systems, solutions to which are strategically important for the effective functioning of urban spaces. It’s hard to overestimate the effectiveness of the informational field as of a formative parameter of an urban environment. Due to incorrect integration, visual sources may have absolutely destructive impact on the architectural field, contradict artistic authenticity and compositional appeal of the environment. If executed correctly, on the other hand, can activate the area, make it more holistic and harmonious. Quality transformations of the informational space can facilitate the functioning of the individual as part of the urban organism, reinforce one’s effectiveness in environmental exploration, minimize negative optical stimuli and form a positive experience from the urban interactions. When abstracted from the communicative functions of visual informational sources, their spatial, formative, plot-forming properties (which are the main means of the urban environmental transformations) come to the forefront. Global transformations of urban environment take place as a result of qualitative changes in the following essential categories: visual activity; dynamism; structure; aesthetics. Visual activity is determined by the number of optical and content accents and the power of their stimuli in a specific area. The tools that proved to be the most effective in achieving informational object’s visual activity are color, scale, shape. Depending on the level of visual activity of the environment, the degree of individual’s cognitive environmental perception varies. Dynamism as a vector of urban transformations is achieved by organizing the visual communicational systems on a ground of basic compositional accuracy – by using rhythm, asymmetry, contrast, etc. Construction of informational object’s rhythmic rows both in open spaces and on the facades of buildings is one of the simplest and most effective ways of artistic and compositional environmental organization. The concept of “structure” in urban visual-communicative environment is revealed through the definition of informational objects’ constructive function, their ability to arrange, integrate, divide and zonate space. Person’s necessity for systematization, summarization of perceived information is the basic instinct in the environmental explorations. That is why the urban environment must obey the principles of functional zoning, clear allocation of spatial landmarks, creation of composite axes, etc. However, due to global urbanization and increased city planning development, these requirements are often ignored, the process of forming urban structures is spontaneous. Under such circumstances, the spatial plasticity of the visual informational objects plays a crucial role. The aesthetic principle accumulates all of the artistic and compositional methods of forming the urban communicative space, but differs in particular appeal to the emotional and psychological perception at the levels of the unconscious, sensual. While the basis for the informational environment’s aesthetic organization are objective spatial, compositional, coloristic, stylistic parameters, the decisive touches are the subjective categories of beauty, harmony, climate, comfort etc. 2019-01-01T00:00:00Z http://dspace.tnpu.edu.ua/handle/123456789/15068 Назва: Стан та особливості розвитку пленерного руху в Україні на сучасному етапі Автори: Жук, Анатолій Короткий огляд (реферат): У статті розглянуто сучасний стан та особливості розвитку пленерного руху в Україні. Класифіковано пленерний рух і на конкретних прикладах проаналізовано особливості його розвитку в Україні. Доведено, що зростання пленерного руху формує характерне для нашої країни художнє і мистецьке середовище. Пленери структуровані за своїми типами й завданнями. Останнє десятиліття виявляє тенденцію щодо уведення їх як інтегральної частини культурно-мистецьких заходів різного рівня, де пленери відіграють роль мистецької компоненти. Також, пленери активізують виставкову діяльність і сприяють комерціалізації результатів художньої творчості.; В статье рассмотрены современное состояние и особенности развития пленэрного движения в Украине. Классифицировано пленэрное движение и на конкретных примерах проанализированы особенности его развития в Украине. Доказано, что рост пленэрного движения формирует характерную для нашей страны художественную среду. Пленэры структурированные по своим типам и задачам. Последнее десятилетие обнаруживает тенденцию введения их как интегральной части культурных мероприятий различного уровня, где пленэры играют роль художественной компоненты. Также, пленэры активизируют выставочную деятельность и способствуют коммерциализации результатов художественного творчества.; The aim of the article is to discuss the current stage and features of the development of the plein-air movement in Ukraine. Open air is an integral part of contemporary fine arts. Their role lies in the very nature of artistic creativity. Formation of spatial representations, construction of the scheme of the compositional structure of the work of art, understanding of its logic are closely connected with the ability of artistic modeling of the world, the presence of advanced artistic imagination in combination with holistic perception of nature. From this point of view, plein air is widely used both for educational purposes to develop the spatial skills and creative style of young artists, as well as for the creative expression of recognized artists. The collective nature of plein air promotes close creative communication between representatives of different art schools, provoking the process of mixing and mutually influencing the achievements and achievements of both art schools and artistic fields. In Ukraine, plein airs became a striking feature of artistic life at the turn of the 2010s, which makes it possible to consider them as a feature of the national school of painting formed in the present day. The author classifies the plein-air movement by its types and analyzes the specifics of its development in Ukraine using concrete examples. The following types of plein-airs are distinguished. The first type of plein air is to include traditional plein airs, which have the meaning of an artistic event and focus on creative experimentation. An example of this type of plein air is the sculptural plein air movement in Vinnytsia region. The second type includes traditional plein airs, which are related to the event of a wider cultural context, and which they should complement. In particular, the plein air that takes place within the framework of the traditional Mamay-fest historical and cultural festival in Kamianskе. The next, third, type of plein air is organized on the basis of historical and cultural complexes. This complex is Stavchansky estate, located in the Radomyshl district of Zhytomyr region. We refer international plein air to the fourth type. Such is the creative trip of Ukrainian artists to Italy, which took place within the framework of the international plenary project “GENIUS LOCI”. The wide involvement of Italian motifs in painting and their creative comprehension by Ukrainian artists was the essential result of the plein air. Plein airs that pursue the goal of promoting the commercialization of artistic results, we refer to the fifth type of plein air. Finally, we can refer to the sixth type of plein airs as regional art events, such as the Sumy Spring All-Ukrainian Art Plein Air, held in April 2019 in Sumy Region. Thus, we can state the growth of the plein air movement in Ukraine, which forms the country's artistic and artistic environment. Plein airs are structured according to their types and tasks. The last decade has tended to include them as an integral part of cultural and artistic events of various levels, where plein airs play the role of their artistic component. This has a number of consequences. These include the activation of mutual communication between artists; popularization of painting in society; promoting the creation of artistic traditions or traditions specific to different art schools and regions of the country. In some cases, plein-airs can be used as a component for the formation (or restoration) of artistic and cultural-historical complexes. Also, plein-airs intensify exhibition activities and contribute to the commercialization of the results of artistic creation. 2019-01-01T00:00:00Z