http://dspace.tnpu.edu.ua/handle/123456789/8207 2026-04-04T16:52:48Z 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/123456789/8247 Назва: Двоголовий орел – геральдичний символ Галицько-Волинської держави Автори: Білик, Олена Короткий огляд (реферат): У статті на основі комплексного аналізу писемних, геральдичних, архітектурних і археологічних джерел розкрито використання символа двоголового орла на території Галицько-Волинської держави. Визначено, що його поширенню сприяли античне походження і почесне місце у візантійській традиції, а також надзвичайна популярність цього образу в давньоруському мистецтві. Охарактеризовано художньо-релігійний символ двоголового орла як невід’ємного елементу давньоруського декоративно-прикладного мистецтва.; В статье на основе комплексного анализа письменных, геральдических, архитектурных и археологических источников раскрыто использование символа двуглавого орла на территории Галицко-Волынского государства. Определено, что его распространению способствовали античное происхождение и почетное место в византийской традиции, а также чрезвычайная популярность этого образа в древнерусском искусстве. Охарактеризованы художественно-религиозный символ двуглавого орла как неотъемлемого элемента древнерусского декоративно-прикладного искусства.; In the Old art, especially in architectural decoration of 11th-13th century, only the image of a single-head eagle was found, while in the Byzantine cultural circle the image of a double-headed eagle was known. In the recent years, as result of searches on the territory of ancient Halych, several works of decorative-applied a picture of a double-headed eagle were found. Therefore, the main objective of this research is to try to figure out the functionality and the iconographic program of works art of such content. The artists of Galician architectural school borrowed artistic symbol of a single-head eagle from Kyiv monument art architecture of Malopolska. It is widely used in the decoration of ceramic tiles that veneers floors and walls of ancient temples and palaces. Similar ornamental motifs are found the architectural decoration in Volodymyro-Suzdal Rus. From the area of monumental sculpture, the image of an eagle was used as models by Galician goldsmiths in the production of bracelets, signets and rings. Equally rich in heraldic and history is a symbol of a double-headed eagle. Artistic-religious image of a double-headed eagle has Eastern origin. The most ancient images belong to the 12th century BC. In ancient Rome it was considered as the main emblem of the pagan god Jupiter and of the Roman Empire. The emblem of a bird of prey was personally used on their banners by outstanding military Roman leaders Pompey and Julius Caesar. In the Empire the image of double-headed eagle was used as a symbol of power and state emblem that had been started by Constantine the Great from 326 year. Archeological finds from the territory Ukraine argue that the leaders of tribal and military alliances in different periods of ancient history used the eagle as a symbol of power. In describing of the architectural construction in Holm, which was started by Prince Danylo Romanovych in 40–50 years of the 13th century, impresses the mention a monumental pedestal with the image of headed eagle. In Ukrainian and foreign historiography and art criticism, a liberally of scientific papers was accumulated in which the authors argued that it was the coat of arms of Halician-Volyn state. Sights of decorative and applied art that were recently discovered near the Galician church of St. Panteleimon, not only confirm these hypotheses, but also prove the starting of heraldic tradition with an eagle by Prince Roman Mstyslavych (1199–1205). He combined Galicia and Volyn and in honor of this event he built Panteleimon church in Galicia. However, in the article a deep analysis of art criticism of discovered works of art is made, displayed their analogy in medieval art, convincingly shown, how an artistic work of Galician artists found application in the structure of public administration and diplomatic ties of rulers of Galicia-Volyn state. New sights of artistic crafts significantly enrich our knowledge of the spiritual culture of Old Rus civilization. 2017-01-01T00:00:00Z http://dspace.tnpu.edu.ua/handle/123456789/8246 Назва: Традиційні та новаторські підходи в художній обробці дерева Вижницької школи декоративно-ужиткового мистецтва Автори: Гаврилюк, Роман Короткий огляд (реферат): У статті на багатому фактологічному матеріалі досліджено традиційні та новаторські підходи в художній обробці дерева Вижницької школи декоративно-ужиткового мистецтва. Проведено аналогії з технологічними і художньо-стильовими особливостями художньої обробки дерева в сусідньому гуцульському краї. Простежено еволюцію форм та декоративних прийомів у творчості вижницьких майстрів по дереву другої половини ХХ – початку ХХІ століття.; В статье на богатом фактологическом материале исследовано традиционные и новаторские подходы в художественной обработке дерева Выжницкой школы декоративно-прикладного искусства. Проведены аналогии с технологическими и художественно-стилевыми особенностями художественной обработки дерева в соседнем гуцульском крае. Прослежено эволюцию форм и декоративных приемов в творчестве выжницких мастеров по дереву второй половины ХХ – начала XXI века.; The article deals with the traditional and innovative approaches in the artistic wood carving of Vyzhnytsia school of decorative applied art. The analogies have been conducted with technological and artistic and stylistic peculiarities of artistic wood carving in of the neighboring Hutsul area. It is traced the evolution of forms and decorative techniques in the creative works of Vyzhnytsia wood carving masters of the second part of the XX – beginning of the XXI century. The problem of artistic wood carving development in the Carpathian area of Ukraine is not properly enlighten in the scientific issues. A detailed attention is paid to the peculiarities of wooden articles of applied character of the Hutsul area and, particularly, Kosiv one. However the problem of investigation of the artistic wood carving of Vyzhnytsia school of art is not sufficiently studied in the national historiography. Vyzhnytsia art school has always been not only the main centre of the development of decorative applied art of Bukovyna, but also a significant artistic centre on the map of Ukraine. By this time Vyzhnytsia art school has preserved its unique character and is leading in the traditional folk art of the area. Vyzhnytsia art school achieved great success, thanks to the age-long efforts of talented teachers, their high professional skills and creative activities. Famous painters worked beside with the folk masters, which created unique style of local folk art – V. Shkribliak, M. Mehedeniuk, V. Devdiuk, K. Pokornyi, M. Hnatiuk, S. Klym, A. Hasiuk, M. Kliuchan and others. Vyzhnytsia masters use a wide range of technological methods of wood working-geometrical carving, engraving, lace carving, intarsia, incrustation, decorative painting. Traditional works of Bukovynian masters are distinguished by the remarkable richness of forms and their modifications. Among them a large assortment of articles-boxes, shelves for plates, tables, chests, albums covers. Considerable attention in the article is paid to the evolution of the traditional forms of the decorative plate in the works of Vyzhnytsia artists of the second half of the XX – early XXI century. The search of new original forms and interpretations of the traditional articles of students and graduates of Vyzhnytsia Y. V. Shkribliak College of Applied Art are of great importance nowadays. One can see the original interpretation of different typological groups, among them chest-boxes, album-cases covers and church books, wall clocks, wine sets. The samples of diplomas and term papers works of Vyzhnytsia art school testify to the college programme supporting direction to the preservation of the traditional methods of work and wood decoration. However, it is obvious the desire to overcome any stagnation, to support and stimulate the innovative approaches and the creation of original compositions and forms of wooden articles. In the years of state independence establishing in Ukraine, and now, in the time of fight against external aggression, the achievements of folk art are not only still popular, but acquire entirely new actuality. 2017-01-01T00:00:00Z http://dspace.tnpu.edu.ua/handle/123456789/8245 Назва: Концепція декоративності болгарських сорочок на Півдні України (ХIХ – початок ХХ століття) Автори: Тригуб, Олена Короткий огляд (реферат): У статті досліджено особливості болгарських народних сорочок на Півдні України в ХІХ – на початку ХХ ст., розглянуто їхню концепцію декоративності та художні особливості, на основі детального вивчення предметів з фондів краєзнавчих і етнографічних музеїв Одеси й Миколаєва, а також польових досліджень у болгарських селах Одеської та Миколаївської областей (колишня територія Херсонської і Бессарабської губерній) проаналізовано зміни в їх крої та оздобленні залежно від часу, матеріалів і впливу навколишнього середовища.; В статье исследованы особенности болгарских народных рубах на Юге Украины в XIX – начале ХХ в., Рассмотрены их концепция декоративности и художественные особенности, на основе детального изучения предметов из фондов краеведческих и этнографических музеев Одессы и Николаева, а также полевых исследований в болгарских селах Одесской и Николаевской областей (бывшая территория Херсонской и Бессарабской губерний) проанализированы изменения в их крое и отделке в зависимости от времени, материалов и воздействия окружающей среды.; The paper studied Bulgarian folk shirts, their conception of decorativeness and artistic features in the South of Ukraine in the ХІХ – early of the XX century, analysed the changes in their cut and trimming depending on time, materials, and environmental impact. During the work, the field researches were conducted in the Bulgarian villages of Odessa and Mykolaiv regions (the former territory of Bessarabia and Kherson provinces), and the exhibits of local history and ethnographic museums of Odessa and Mykolaiv were studied. It was found that the Bulgarian national women’s shirts according to a cut and external decoration are divided into two types: tunic-type (i.e. with no shoulder seam) and shirts with shoulder inserts and shirts – byrchanks. Two-breechclout clothes – women’s clothing, the waist part of which form wrap skirt with apron with the name of the back and front waist-cloth. Shirts on byrchanka are located at the collar and on the edges of sleeves. Shoulders of byrchanka are formed by triangular or square inserts that combine front and back parts of the main base cloth. The tunic-type shirts are typical for the sukman clothes complex (sukman is the deaf blue or black woollen dress without shoulder seam). They consist of the base cloth, which has the double length from shoulder to ankles, and which is bent in half. The peculiarities in the arrangement of decoration of byrchanka and tunic-type shirt were analysed. The ornamental decoration with embroidery of byrchanka is focused on the front side of the collar, on the edge of hem, in the area of chest. The main decorative load centres of tunic-type shirts are sleeves and hem. The areas of shirts that could be seen from the sukman were decorated. It was established that the most common type of Bulgarian shirts cut in the South of Ukraine was just tunic-type, but in some villages the shirts with shirred sleeves and shoulder inserts were found. It was determined that the shirts were made of different materials: cotton, woollen, hemp, flax, silk base cloth. Depending on what material was woven the base cloth, along its length the strips were placed of hemp, cotton, flax or silk threads, which gave the fabric texture and relief. Among other things, such strips were different from the basic material in tone and colour, and they formed a specific rhythm and pattern of fabric. The analysis of ethnographic studies of the ХІХ-th century indicates that the sleeves and the breast part were the main decorative accents of the Bulgarian folk shirt. However, in the early XX century, the bright embellishment embroidered shirts are replaced with white hand-made or factory lace, the length of shirt is decreased. These changes are typical for both Bulgaria and for the South of Ukraine. There is a new element – the yoke in the cut. The sleeve is shortened and supplemented with the cuff. It was found that the sukman women’s clothes are according to chernodreshnial men’s clothes (male type of clothes that are characterized by presence of black clothes). Men’s shirts in the South of Ukraine have tunic type of cut, as the women ones. Men’s shirts were made of the same materials as the women ones: from hemp, flax, later – from cotton base cloths. In the early XX century, the shirt with a banded collar, breast cut in the front or on the side and embroidered sleeves become a part of everyday life. This type of shirt is gradually replacing traditional tunic type. It was determined that the women’s shirts during the ХІХ century remained traditional, and only in the early ХХ century the decoration is changed in them, the function of underwear is attached, the cut gets the specificities of the city fashion, and the factory fabrics are used. Men’s shirts except changes associated with the change of time and economic status become features of shirts of the male population of the southern regions of Ukraine. Both men and women’s shirts in the early XX century are less ornamented with embroidery. It remains mainly on the festive and ceremonial clothes. 2017-01-01T00:00:00Z