http://dspace.tnpu.edu.ua/handle/123456789/18727 2026-04-04T17:09:55Z http://dspace.tnpu.edu.ua/handle/123456789/32565 Назва: Наукові записки Тернопільського національного педагогічного університету імені Володимира Гнатюка Опис: Повнотекстові наукові записки 2014-01-01T00:00:00Z http://dspace.tnpu.edu.ua/handle/123456789/18966 Назва: Зображення історичних осіб у сучасному монументальному церковному малярстві України. церква Архистратига Михаїла в селі Верин на Львівщині Автори: Рудак, О. М. Короткий огляд (реферат): У статті розглянуто історичні та іконографічні аспекти зображення історикокультурних та політичних діячів у монументальному церковному малярстві України. Проаналізовано специфіку, стилістику, мистецьку цінність та значення цих зображень для монументального церковного мистецтва. Закцентовано увагу на постатях сучасних діячів політики, культури, мистецтва в монументальних церковних розписах. Проаналізовано розписи церкви Архистратига Михаїла в селі Верин на Львівщині, де зображено сучасних політиків, історичних діячів та діячів церкви.; В статье рассмотрены исторические и иконографические аспекты изображения историко-культурных и политических деятелей в монументальной церковной живописи Украины. Проанализирована специфика, стилистика, художественная ценность и значение этих изображений для монументального церковного искусства. Сакцентировано внимание на фигурах современных деятелей политики, культуры, искусства в монументальных церковных росписях. Детально проанализированы росписи церкви Архистратига Михаила в селе Верин на Львовщине, где изображены современные политики, исторические деятели и деятели церкви.; The article highlights historical and iconic aspects of portrayal of historical, cultural, and political figures in the Ukrainian monumental church painting. The specific features, stylistics, artistic value and meaning of portrayals for monumental church art are analyzed. The attention is drawn to current political, cultural, artistic figures in the monumental church paintings. The detailed analysis of the paintings of the The Archistrategos Michael’s Church in the village of Veryn in Lviv region is given. Ukrainian sacred painting always depicted not only saints but also people that played important part in the Ukrainian history. Geographical and political location of Ukraine between the western Rome-catholic and the eastern Greek-byzantine traditions put it on the crossroads of two cultural traditions. The portrayal of specific historical figures in the Ukrainian sacred painting began with the Kyiv Rus. After the Baptizing it became possible to see positive features in the Ukrainian sacred visual culture. On frescoes in St. Michael’s Golden-Domed Monastery and St. Sophia’s Cathedral in Kyiv princes (knyaz) and their family are depicted. One of the well-known early portraits of Yaroslav the Wise’s family is on the frescoes in St. Sophia’s Cathedral. In the 17th century a new popular and peculiar type of icons appeared. It was icon-portrait of the Cossack’s Godmother which obtained secular character and was spread mainly in the eastern Ukraine. Such portrayals are also found in monumental paintings. In the 18th century in the central part of Ukraine was a tradition to depict top officials as if they were saints, for example paintings in the Gate Church of the Trinity in Kyiv Pechersk Lavra. Prominent people were also portrayed in the appearance of saints. The attempt to restore Ukraine after the World War I led to reestablishment of the theme «nation» among artists, majority of which was in the midst of the military and political events during the liberation movement. The paintings with the historical topic appeared such as «The Union of Brest» and «The Unification Act». Among the churches with these pictures can be singled out wall paintings of the Church of Christ’s Heart in the city of Zhovkva in Lviv region. Nowadays the tradition to paint saints in churches together with parishioners becomes more and more popular. As the example the Archistrategos Michael’s Church in the village of Veryn in Lviv region can be mentioned. It is a brick church in a shape of a wooden church popular in the 19th century. The paintings of this church depict contemporary politicians, historical figures, and clergymen. Under the dome there is an interesting composition of The Last Supper. Around the table with Jesus and his disciples are observed 28 Ukrainian saints who were sainted by The Pope during his visit to Ukraine. In the «episode» of the baptizing of Rus parishioners’ faces are found, which continues the tradition of depicting people near saints. In other countries religious worship of politicians, cultural figures, and current presidents can also be found. For example the president of Belarus Lukashenko in 1996 was depicted on the six-stored building height woven linen. There is an unusual fresco on which V. Lenin cuts St. Luka’s beard in the Godmother Church in the city of Aksiupol in Greece. Specialists think it symbolizes the church haunting by the Soviet Bolsheviks. The picture of Sergiy Kulagin, the chief executor of the administration in Kustanay region in Kazakhstan, got on the fresco in the church of St. John in the city of Rudne. 2014-01-01T00:00:00Z http://dspace.tnpu.edu.ua/handle/123456789/18963 Назва: Особливості дизайну меблів-трансформерів у країнах Західної Європи кінця ХХ – початку ХХІ століття Автори: Босий, І. М. Короткий огляд (реферат): У статті досліджено сучасні тенденції в дизайні меблів-трансфомерів на прикладі західноєвропейських проектних пропозицій та реалізованих об’єктів меблевого мистецтва. Виявлено прийоми трансформації форми та різноманітні конструктивні рішення, що були застосовані для створення систем трансформації в об’єктах дизайну меблів. Охарактеризовано основні концептуальні напрями створення меблів-трансформерів у країнах Західної Європи кінця ХХ – початку ХХІ ст.; В статье проанализированы современные тенденции в дизайне мебели- трансфомера на примере западноевропейских проектных предложений и реализованных объектов мебельного искусства. Выявлены композиционные приемы трансформации формы и различные конструктивные решения, которые были применены для создания систем трансформации в объектах мебельного дизайна. Охарактеризованы основные концептуальные направления создания мебели-трансформера в странах Западной Европы конца ХХ – начала XXI вв.; The article explored current trends in design of furniture-transfomers on the example of Western European project proposals implemented projects and furniture of the end of XX – XXI centuries. The author analyzed the formation of the modern furniture-transformers. It is noted that the development of new technologies of production of furniture and modern non-traditional or modified traditional materials has led to new approaches in creating furniture design forms at the turn of the XX – XXI centuries. From the materials of research it was found that fame furniture-transformers were in the second half of the twentieth century when massive building large cities typical series of residential buildings has led to a large number of small apartments that caused the combine in one room features a bedroom, living room, nursery and office. The presence of tight spaces has become a prerequisite urgent need for furniture that could provide comfortable accommodation for families in such circumstances. Together with the needs of multifunctionality of furniture-transformers are relevant requirements of portability and compactness of these objects as the subject of «vanishing» interior – as not the most important furniture and their purpose. There by, in the XXI century, there is a need of forming the subject-spatial environment means manufacturing transformers, potential is not yet fully explored and exhausted, especially with the advent of new electronic technologies used for transformation. In this context, the question of determining the characteristics of formation, expression of basic structural differences and define conceptual areas creating furniture-transformers for example Western European projects. The analysis of illustrative material led to the conclusion that the production of experimental models of furniture-transformers, except for the simplest folding models (tables and chairs, sofa and chairs) are not adjusted series, as deemed unprofitable. This furniture is more expensive to manufacture than other types of furniture. Outside of serial production are such useful items as secretary and bureau, «growing» children’s furniture-transformer, workplaces for schoolchildren or students cabinets, containers with multifunctional inner structure. All these products are multifunctional and comfortable, indicating the feasibility of their use in modern residential interior design. In this article was detected the main features of forming manufacturing transformers: the creation of combined manufacturing transformers or by using modular elements or a combination of different elements; the transformation of form by use of «compression-sliding» form; the use of X-shaped folding transformation of furniture; the extension of various items from one volume. In the research was discovered conceptual directions in Western European design of furniture-transformers: the mechanized furniture-transformers for people with disabilities; Children’s furniture toys transformers; the transformation of the object in small geometric shape for easy storage, transport and use; the meet of everyday needs of man; the creation of multifunctional furniture containers. The investigation of Western European examples of furniture-transformers, led to the manifestation of the basic design solutions, combining the elements by «puzzle» system; the use of modular frame construction and a variety of fillings; the use of interdependency fasteners; the connection of elements combined manufacturing transformers through the use of auxiliary fasteners; the use of electronic devices response; the implementation of folding systems. The analysis of modern Western European examples of furniture-transformers showed that this trend in furniture design is common, multidirectional and reasonable. Furniture-transformers is not a demonstration of modern transformation into shape, and the desire to solve the problems of compact habitation, preservation of living space, providing polyfunctionality objects of furniture design. 2014-01-01T00:00:00Z http://dspace.tnpu.edu.ua/handle/123456789/18962 Назва: Вітраж як елемент декору в дизайні громадських та житлових приміщень Івано-Франківщини початку XXІ століття Автори: Гілязова, Н. М. Короткий огляд (реферат): У статті досліджено твори вітражного мистецтва громадських і житлових приміщень Івано-Франківщини початку XXІ ст. як основний елемент декору сучасного інтер’єру. Розглянуто низку зразків у стилістичному та художньому аспектах їх творення. Виділено основні композиційні схеми та колористичні особливості вітражних творів.; В статье исследованы произведения витражного искусства общественных и жилищных помещений Ивано-Франковщины начала XXІ в. как основной элемент современного интерьера. Рассмотрено ряд образцов в стилистическом и художественном аспектах их создания. Выделено основные композиционные схемы и цветовые особенности витражных произведений.; The article deals with the works of stained glass art in public and private buildings in IvanoFrankivsk region at the beginning of the XXI century which has become the main element of décor in modern interior. Some examples are analyzed in compositional, stylistic and artistic aspects. Stained glass of public and private buildings this period in Ivano-Frankivsk region hasn’t been described by Ukrainian scientists in any publications. In her work the author used the publications devoted to the colourstudy and the period setsesi which are very important for the analysis stained glass works. For exploring modern stained glass, two methods were used the method of art, which gave the possibility to describe the means of artistic expression and the method of comparison with the help of which common and different features in stained glass creation were found. It is defined that using of stained glass elements in modern interior of public and private buildings is not limited and depends only on the artist imagination. Stained glass is widely used in the decoration of building walls, lights, lamps, sconces and others. Due to unique features of stained glass it is possible to preserve transparency or it can be represented as a bright spot for protection some part of building. The main compositional patterns of modern stained glass works were pained out. The author has come to conclusion that customers and artists pay much attention to floral motifs with exquisite items. Geometric and abstract compositions are also popular. The style of works have been found out in the article. Stained glass artists use monochromatic combinations, pied and contrasting correlations of colors. It’s proved that at the beginning of the XXI century stained glass is naturally coexists with electric light. It is concerned the lamps of different shapes, candelabrums, sconces. It is found out that stained glass use own creative methods as well as borrowed elements in their works. It is noticed that artists apply a new kind of fastening: thin coper lamina is alternated lead soldering. The possibilities of this method positively influences on aesthetic sights of the work and its strength. Stained glass artists colorful glass which produced in USA, «frosty» and colorless sheet glass. The additional means of décor are paintings, fusing, glass balls. 2014-01-01T00:00:00Z