http://dspace.tnpu.edu.ua/handle/123456789/18332 Sat, 04 Apr 2026 11:42:26 GMT 2026-04-04T11:42:26Z http://dspace.tnpu.edu.ua:80/retrieve/14235052-5773-4b4c-8421-deeed40f3f15/logo2.png http://dspace.tnpu.edu.ua/handle/123456789/18332 http://dspace.tnpu.edu.ua/handle/123456789/32573 Назва: Наукові записки Тернопільського національного педагогічного університету імені Володимира Гнатюка Опис: Повнотекстові наукові записки Fri, 01 Jan 2016 00:00:00 GMT http://dspace.tnpu.edu.ua/handle/123456789/32573 2016-01-01T00:00:00Z http://dspace.tnpu.edu.ua/handle/123456789/18363 Назва: Сучасні прилади для підсвічування об’єктів просторового середовища: типологія і характеристики Автори: Маркович, Марія Йосипівна; Вільгушинський, Роман Казимирович; Кузів, Михайло Петрович Короткий огляд (реферат): У статті досліджено способи освітлення і типи освітлювальної апаратури. Зроблено класифікацію освітлювальної апаратури, способів та методів освітлення. Запропоновано поєднання різноманітних типів освітлювальної апаратури при вирішенні ряду інженерних, архітектурних та художніх завдань. Обґрунтовано, що всі згадані світильники завдяки своїм характеристикам дають змогу надати зовнішності будівлі вишуканого або незвичайного вигляду, повністю перетворивши її.; В статье исследовано способы освещения и типы осветительной аппаратуры. Сделано классификацию осветительной аппаратуры, способов и методов освещения. Предложено сочетание различных типов осветительной аппаратуры при решении ряда инженерных, архитектурных и художественных задач. Обосновано, что все вышеназванные светильники, благодаря своим характеристикам дают возможность придать облику здания изысканный или необычный вид, полностью преобразить его.; Relevance of the research on types of lighting of spatial environment is caused by rising of requirements to the quality of urban and architectural-object environment, including light-colored. It is possible to provide every city space with originality and novelty in the evening and night time with the help of artificial lighting. Lighting of entrances to the city, highlighting of monuments, obelisks, facades of buildings and sacred buildings is the part of complex city-planning and lighting solutions and solves the problem of architectural and decorative expression and comfort of space. Light-colored city environment has become a new branch of creative activity that combines collaboration of architects, engineers and designers. Due to the latest technologies in the area of lighting and new types of lighting equipment, modern methods of static and dynamic highlighting and a higher level of requirements to comfort, it is possible to state that this theme requires a detailed study. The aim of our work is to study lighting and lighting equipment as the subject of design and creative activity of designer of space environment. Today most economical light source LED lights are considered that are powered by solar panels complete with battery. The high cost of fixtures offset the lack of spending on electricity. This system operates offline. The only downside is that on cloudy days the battery may not charge enough. The familiar street poles with lamps allow the use of LEDs, halogen and conventional incandescent lamps. These lamps as lighting suspended type well to styling and widely used in the design of old buildings. Lighting used for architectural lighting design can be both traditional forms and quite specialized, designed for a specific application. However, even traditional lamps can be used outside the box. Implementation of large lighting architectural projects typically associated with the use of energy-saving devices: metal-halogen and LED light sources. Taking into consideration the current possibilities of lighting technology and tendencies of development of the world design, it is necessary to explore ways of lighting and types of lighting equipment. Only the combination of methods and ways of lighting, various types of lighting equipment would solve a number of engineering, architectural and artistic problems. Consequently, various lamps, due to its characteristics, make it possible to completely transform the appearance of building, making living house as imperial palace or alien spacecraft by changing these pictures “on the fly”. In this case, for example, even the use of conventional roadside lamps not as lighting equipment, as well as independent elements of created image, can work on holistic perception of the overall artistic idea. And the lighting of paths and sidewalks will be made by other lamps, hidden from view by drawing, for example, pavement or forest trail on ordinary asphalt. The wealth of opportunities, offered by modern technology, allows to implement the flight of the boldest imagination. Fri, 01 Jan 2016 00:00:00 GMT http://dspace.tnpu.edu.ua/handle/123456789/18363 2016-01-01T00:00:00Z http://dspace.tnpu.edu.ua/handle/123456789/18362 Назва: Японізм у мистецтві України кінця ХХ – початку ХХІ століть: творчість Олексія Єсюніна Автори: Ожога-Масловська, Алла Короткий огляд (реферат): У статті досліджено прояви японізму в сучасному художньому просторі України на прикладі творчості харківського художника Олексія Єсюніна. Розглянуто живописні, пластичні та поетичні твори митця в контексті японських мистецьких традицій. Визначено засоби використання японських технік складання паперу, принципів побудови пейзажу, віршування. Стаття базована на матеріалах приватних і галерейних колекцій.; В статье исследованы проявления японизма в современном художественном пространстве Украины на примере творчества харьковского художника Алексея Есюнина. Рассмотрены живописные, пластические и поэтические произведения художника в контексте японских художественных традиций. Определены способы использования японских техник складывания бумаги, принципов построения пейзажних композиций, стихосложения. Статья построена на материалах частных и галерейных коллекций.; The emergence of various artistic trends, directions and styles has been brought about by Japanese culture being embedded in the entirety of national artistic traditions. Borrowing particular Japanese artistic techniques, devices, images, motives was defined as Japanisme, its traces being observed in a number of national cultures world wide. New upsurge of interest in Eastern art and Japan in particular, was stirred up in 1991, when Ukraine gained its independence. O. Yesunin is one of those artists who vividly reveals the East–West artistic experience merge. Thus, addressing the Ukrainian artistic practice, in terms of Japanese influence, with the account taken of the artistic experience of the most prominent Ukrainian masters, in particular, seems both timely and topical. The study of O. Yesunin’s creative activity has brought to light various links with art culture of Japan. The artist, upon getting interested in the possibilities of transforming the plane into various forms, began studying the essentials of the ancient Japanese art – origami. As a result, he worked out a set of plastic objects under the umbrella title “The Zoo”. Starting with classical forms, worked out by the famous Japanese masters, he gradually turned to devising genuine models. In search of additional formation means O. Yesunin began experimenting not only with form itself but also with different materials. The application of iron, metal grid, copper, brass, aluminum has made his sculpture object more stable, on the one hand, while on the other hand, this process called for schemes simplification. In time, the original form – the square to be used by the artist for further transformations, underwent certain changes which made his author’s models, performed under the influence of ancient Japanese art, by far more stylized and modern. Striving to renew his artistic language stock and artistic expressive means O. Yesunin turns to landscape painting. The artist entitled his plein air series, performed in the Crimea, in the neighborhood of state Kara-Dag national park (2002–2008), “A Stroll with Mi-Fu”. His 120 video picture series is accompanied by a Japanese bamboo flute – shakuhachi. Thus, the author openly explicates the link with the Eastern country’s late historical experience, prompting the viewer that his landscapes are not simple replicas of well-known sights: his pictures inspire reflection. A definite connection with a Japanese art tradition can be traced in O. Yesunin’s poetic works, too. The artist’s poems, both structurally and semantically, follow the Japanese haiku. But, even in this case, the master is reconsidering the established tradition and, not in keeping with the accepted form (syllables number), provides a purely Eastern philosophical desire to concentrate the readers’ attention on small, at first glance, insignificant, ordinary things. Thus, it is quite evident that O. Yesunin employs Japanese – Chinese artistic experience in his work. In origami, he experiments with various materials, synthesizing different techniques; while in his fine arts series and in his poetic works the artist concentrates his attention on the poetics proper as well as on some unique life moments, helping him comprehend his own self-identification. Further research options comprise the study of other effects of Japanisme on modern Ukrainian art. Of particular interest, is the analysis of the outcomes of teaching traditional Japanese arts, the influence of the exhibition process on diversifying holistic views on Japanese artistic heritage as well as the study of the impact of Japanese art culture on contemporary visual practices. Fri, 01 Jan 2021 00:00:00 GMT http://dspace.tnpu.edu.ua/handle/123456789/18362 2021-01-01T00:00:00Z http://dspace.tnpu.edu.ua/handle/123456789/18361 Назва: Вітражні компоненти у формуванні інтер’єрів Івано-Франківщини початку XXІ століття: світильники Автори: Гілязова, Наталія Короткий огляд (реферат): У статті досліджено вітражні освітлювальні прилади Івано-Франківщини початку XXІ століття як компонент формування сучасного інтер’єру. Розглянуто основні художні та стилістичні особливості їх творення. Проаналізовано колористичні відмінності композиційних схем.; В статье исследовано витражные осветительные приборы Ивано-Франковщины начала XXІ века как компонент формирования интерьера. Рассмотрено основные художественные и стилистические особенности их создания. Проанализировано колористические различия композиционных схем.; Stained-glass lighting appliances in Ivano-Frankivsk region at the beginning of the XXI century as a component of modern interior formation are examined in the article. The main artistic and stylistic peculiarities of their creation are determined. Analyzed the differences colorful composite schemes. At the beginning of the XXI century stained-glass in Ukraine, specifically in Ivano-Frankivsk region, acquired new features − the use of electric light, which greatly expanded the implementation of stained-glass components in living spaces and public areas. Owing to L. Tiffany’s innovations, mounting of glass into copper foil, it was possible to create volumetric shapes for lighting appliances. Shades of colored glass are used in decoration of variety of lamps including table lamps, sconces, chandeliers and so on. The theme of research of stained-glass lamps in Ivano-Frankivsk region at the beginning of the XXI century was not elucidated in art publications. This fact determines the topicality of the proposed research work. The purpose of the article is to determine artistic and stylistic features of creation of stainedglass lamps in Ivano-Frankivsk region at the beginning of the XXI century. Due to the functionality of the lighting unit and stylistic direction of the interior artist creates shape and stained with various color and compositional variations. One type is stained-glass lamp – ceiling. It is shaped like a hemisphere fastened to the ceiling. Such ceiling creates Valerian Fedoryak. Stained-glass ceiling randomly filled with hundreds of small pieces of glass that formed on the ratio of nuance. Color – also barely noticeable difference of shades of yellow. Ends composition wreath of flowers is placed on top of the lampshade. Zinovy Savin made a series of stained-glass fixtures for private homes, where shade is dome shape and attached to the ceiling on forged chain. Following the style of the interior, the author used in the composition of the motifs of floral ornament in bright saturated colors. Taking into account the compositional methods and manner of performance can be argued that the creation of fixtures author had based stained-glass ceiling American master Louis Tiffany. So are called lamps in the style of “Tiffany”. Another type of fixture is stained-glass lampshade is shaped like a bowl. She forged mounted in the base and hung on chains from the ceiling. One of these samples – lamp for private housing set Valerian Fedoryak. Stained-glass bowl formed of small pieces of glass of different configurations – triangles and rectangles. This method of stacking is quite extraordinary and resembles a mosaic. A common view is stained-glass lamp is sconces. For example, consider a wall lamp indoors coffee “Galka”. The author used for laying yellowish translucent textural glass that transmits light well and brightens the room. Oval track set up with items that are symbolic form of coffee grains. The middle candle remained free, decorated with multiple glass beads of the same color as the background. Elongated and not loaded decor composition is also a positive factor in the creation of stained glass wall lamp. An interesting view, in our opinion, is a stained-glass lamps cubic form. They have a metal frame in the form of a cube, which are fixed stained glass inserts. Enhances the simple form colored stained-glass. So when incorporated in the interior lighting appear shimmering colored reflections, providing living room of elegance and tranquility. Extraordinary kind of stained-glass lamps are plane, which is mounted in a frame and forged metal hung from the ceiling on chains created by Olga Revchuk the interior bedroom. Plane fixture has an oval shape with sharp edges. Abstract composition composed of stained yellow, blue, purple and orange colors of textured glass that gave the room a playful shimmer and increased the contrast of the composition. Stained-glass lamps are considered to be an important component in modern interior creation. It refers to lamps, sconces, table lamps etc. Stained-glass lampshades have different shapes: spherical, dome, flat, cube, cone and so on. Authors and customers pay special attention to floral motifs with secessionist elements. Geometric and abstract compositions are also common. Stained-glass lamps do not only functionality, but also solve the important tasks of spatial and aesthetic environment and creating color atmosphere. Fri, 01 Jan 2016 00:00:00 GMT http://dspace.tnpu.edu.ua/handle/123456789/18361 2016-01-01T00:00:00Z