http://dspace.tnpu.edu.ua/handle/123456789/8206 2026-04-04T17:10:12Z http://dspace.tnpu.edu.ua/handle/123456789/32578 Назва: Наукові записки Тернопільського національного педагогічного університету імені Володимира Гнатюка Опис: Повнотекстові наукові записки 2017-01-01T00:00:00Z http://dspace.tnpu.edu.ua/handle/123456789/32576 Назва: Наукові записки Тернопільського національного педагогічного університету імені Володимира Гнатюка Опис: Повнотекстові наукові записки 2017-01-01T00:00:00Z http://dspace.tnpu.edu.ua/handle/123456789/9398 Назва: Особливості інтерпретації біблійної тематики у творчості митців Західної України 1960-х – 1980-х років Автори: Осадча, Олександра Короткий огляд (реферат): У статті висвітлено специфіку інтерпретації християнських образів та сюжетів у мистецтві Львівської і Закарпатської художніх шкіл епох “Відлиги” й “Застою”. Проаналізовано джерела формування та характерні особливості пластичної мови, сюжетний спектр робіт на релігійні теми. Охарактеризовано умови функціонування досліджуваної проблематики та її втілення в творчості видатних майстрів 1960-х 1980-х років.; В статье освещена специфика интерпретации христианских образов и сюжетов в искусстве Львовской и Закарпатской художественных школ периода “Оттепели” и “Застоя”. Проанализированы источники формирования и характерные особенности пластического языка, сюжетный спектр работ на религиозные темы. Охарактеризованы условия функционирования исследуемой проблематики и её воплощение в творчестве ведущих мастеров 1960-х 1980-х годов.; Art-practices of the late 20-th 21-st century are usually seen as detached from the spiritual problematic. However, the contemporary art process witnesses an increased interest in religious thematics, which became the core of the numerous creative projects and exhibitions. This would be impossible without the sacred tradition kept alive during the Soviet period. Being, in fact, being put under a taboo on the official level, the development of the religious thematics in the 1960-s–1980-s went in the realm of the Nonconformist art. One of the Nonconformist’s traits was the idea of the national culture’s revival, which first emerged in the legacy of Lviv and Transcarpathian artists. Thus, the scope of the paper is revealing specific features of interpretation of the biblical thematic in the oeuvre of the masters of the Western Ukraine during the researched period. The analyzed material demonstrated the representation of the biblical characters and motifs was based on the dialogue between the Modernist aesthetics and the aesthetics of folklore art. The region of Western Ukraine was the least “sovietized” among the other local art schools, since it was the last one to become the part of the USSR; hence, the bonds with the European tradition was still strong in the mid of the 20-th century, prompting the artists, like Ferents Seman or Zinovy Flynta to incorporate the creative achievements of Avant-garde in their vision of the sacred problematics. The European influence can be seen in the tendency towards geometric stylization of forms, the shift of the accent on the formal qualities of the image, like surface and composition. Another approach toward the issue was connected with the reminiscences of the naive art aesthetics, inspired both by the primitivism movement and local tradition of home icon. The painters like Mykhailo Shteinberg and Elizabeth Kremnytska aspired to amplify the expressivity of forms with the help the simplification of the visual means, as well as combination of the purely Biblical subjects (like Crucifixion or Madonna) with the everyday scenes, which conveyed the sense of religion being an essential and vital part of the national mentality and mode of life. The popularity of the “Mother-of-God” motif is being discussed. It is demonstrated they were often defined by a more “monumental” tone of the artistic message, differing from the common lyricism of all images, connected with the subject of motherhood. Despite the connection with Christianity that has been preserved in the Westеrn Ukraine, the active propaganda of the atheism and denial of faith negatively affected the place of religious thematic in art. However, in comparison to the rest of the Ukrainian local art schools of the 1960s–1980s, the attitude towards it in Lviv and Transcarpathia was more liberate, since we find biblical characters and stories even in the pieces by the members of the Artists’ Union of the USSR and professors of the state art schools (Volodymyr Mykyta, Petro Markovych). The others followed the compromise strategy of utilizing religious symbols in a veiled, non-manifestory way (Oleh Mynko, Ihor Bodnar). It is demonstrated the interest toward the sacred should be permanently fuelled from the depth of the national traditions, which enabled the artists of the Western Ukraine to produce their unique vision of the religious motifs and become the source of inspiration for their colleagues from Kyiv, Odessa and Kharkiv. 2017-01-01T00:00:00Z http://dspace.tnpu.edu.ua/handle/123456789/9397 Назва: Культурологическая экспертиза памятников истории и культуры Автори: Эйвазова, Егана Короткий огляд (реферат): В статье освещена роль культурологической экспертизы в формировании феномена памятников истории и культуры. Проанализированы сущность культурологической экспертизы и решения ею задач, связанных с культурным наследием человечества. Трансформация объектов, имеющих статус “памятник истории и культуры”, осуществляется именно с помощью метода экспертизы.; У статті висвітлено роль культурологічної експертизи у формуванні феномена пам’яток історії та культури. Проаналізовано сутність культурологічної експертизи і вирішення нею завдань, пов’язаних з культурною спадщиною людства. Трансформація об’єктів, що мають статус “пам’ятка історії і культури”, здійснюється саме за допомогою методу експертизи.; Thе article is devoted to the role of cultural expertise in the formation of the phenomenon of the monument of history and culture. Transformation of objects that have special significance for cultural heritage in objects that have the status of a “monument of history and culture” is carried out precisely through the method of examination. In this regard, the article analyzes the essence of cultural expertise and the tasks before it. As a result of the conducted researches it is possible to come to the conclusion that examination is a special form of research activity. Expertise is a process carried out for various reasons. However, the priority of this process is the collection of knowledge about the object. No evaluation procedure can be carried out without examination. In particular, the determination of the value, the potential of the significance of the object is determined on the basis of expertise. Therefore, examination is considered a traditional method of evaluation. The range of coverage of expert activities and expertise, which are practical in nature, is quite wide. In particular, in modern conditions, carried out in various spheres of public life of expertise, were the main reason for the emergence of its various species. During the experience of the expert activity, depending on the purpose of the study and, based on the type of the object under study, a sufficient number of types of expertise were formed, the classification of which was handled by a number of experts. Since, multispecies and versatility, as properties of the phenomenon of the “monument of history and culture” from the functional point of view, make it possible to involve expert research in this field in various fields. For example, the identification of the value of fragments of a statue found in the cultural layer with the help of both archaeological and art criticism or the determination of the value relating to the XVIII century of the conveyance through historical and cultural and technological expertise is a confirmation of what was said earlier. However, the sociocultural demands put forward by modern society in this sphere make it necessary to implement the idea of the appearance of such a special type of expertise as “examination of historical and cultural monuments”. Over the past 20 years, as a qualitatively new type of expertise in assessing monuments of history and culture, a similarity to this new type, the culturological expertise that is still being formed, has acquired particular relevance. Cultural expertise is a type of research carried out with the aim of introducing a cultural heritage object into the State Register as a unit under state protection. Whether an identified, found, discovered object is significant from the point of view of cultural heritage becomes clear after the initial examination, and from the point of view of museology it will correctly and objectively call it a “historical and cultural expertise” as one of the varieties of cultural expertise. It is content that puts cultural values above ordinary things. 2017-01-01T00:00:00Z