Мальовані килими в етнокультурному просторі Східного Поділля

Abstract

У статті розглянуто особливості побутування мальованих килимів в етнічній культурі Східного Поділля. Досліджено вплив місцевих ткацьких традицій на їх композиції, орнаментику та стилістику в окремих осередках регіону, трансформації впродовж ХХ ст. Проаналізовано зразки розпису 1920-х років із традиційних килимарських осередків та мальовані килими 1930–1970-х років, які наслідували вироби артілей, промислових підприємств.

В статье рассматриваются особенности бытования ковровых росписей в этнической культуре Восточного Подолья. Исследовано влияние местных ткаческих традиций на их композиции, орнаментику и стилистику в отдельных центрах региона, трансформации в течение ХХ в. Проанализированы образцы росписи 1920-х годов из традиционных ковродельческих центров и рисованные ковры 1930–1970-х годов, подражающие изделиям артелей, промышленных предприятий.

In the 1920’s–1930’s East Podillya rural interior became sizeably widespread the paintings in imitation of carpet, which pretended to be woven products, were similar to their textile prototypes by separate features, or had unconditioned compositions. The East Podillya carpet weaving has been researched by B. Kryzhanivskyi, Ya. Zapasko, A. Zhuk, T. Kara-Vasylyeva, O. Padovska, V. Kushnir and a good few of other scholars. Yet, painted carpets, which temporarily existed on house walls are still scarcely investigated. In numerous centres of the region, there have long since developed local artistic traditions of carpet weaving – the making of works by means of manual weaving on loom. These handmade goods witnessed the wealthiness of a family, its certain social status, played a significant part in course of nuptial rituals, constituted a bride’s dowry portion, or descended to children and grandchildren as an inheritance. While covering the surfaces of housing accommodation, woven carpets, being synthesized with other kinds of art, formed an internal space of a dwelling, and lent decorative opulence to house interior. The interiors of the East Podillya peasant huts photographed and described by researchers testify that paintings in imitation of carpet superseded woven carpets. Domestic space called forth, for the most part, the horizontal arrangement and artistic peculiarities of these images. The article analyses the most common compositions, motifs of ornamental pattern and stylistics of painted mural carpets, as well as their transformations throughout the XXth century. In particular, there have been examined the examples of the XXth-century paintings in imitation of carpet from the carpet-weaving centres of present-day Khmelnytskyi, Vinnytsia, and Odesa Regions. They mainly reproduce the compositions of “flowerpot” zalavnyky (long behind-bench carpet fabric) being conventional for the region, with principal motifs being placed full-height in their middle portions framed with edging. There have been also researched the 1930’s-to-1950’s-centuries painted carpets copying the articles of carpet artils (cooperative associations of peasants). The usage of oil paints has lent diversity of colours and brightness to these paintings and led to substantial transformation of the paintings’ stylistics and gravitation towards naturalistic treatment of motifs. In the 1970’s, in the peasant milieu, there was observed the aspiration for reproducing the industrial patterns of carpet weaving being occasionally wide of local traditions. The analysis of paintings’ examples from museum collections, archives and rare editions has afforded opportunity to infer that the East Podillia painted carpets have indisputably inherited the features of local woven articles. Nevertheless, total imitation occurs once in a while; as a rule, painted carpet is a self-sufficing work of art inherently combined with integral ornamental solution of peasant dwellings.