Народні художні промисли і ремесла Гуцульщини та Покуття: традиції, майстри, школи, їх вплив на розвиток етнодизайну Галичини

Abstract

У статті досліджено традиції народного мистецтва Гуцульщини і Покуття, висвітлено особливості народних промислів, умови формування професійних шкіл та осередків художніх ремесел, роль прогресивної інтелігенції у їх створенні й діяльності. Зокрема, окреслено період продуктивної діяльності проектного бюро І. Левинського, пленерної практики школи О. Новаківського в Космачі, деревообробних шкіл у Вижниці, Косові, спілки “Гуцульське мистецтво” М. Куриленка та їх значення у популяризації народного стилю.

В статье исследованы традиции народного искусства Гуцульщины и Покутья, освещены особенности народных промыслов, условия формирования профессиональных школ и очагов художественных ремесел, роль прогрессивной интеллигенции в их создании та деятельности. В частности, очерчено период продуктивной деятельности проектного бюро И. Левинского, пленэрной практики в Космаче школы А. Новаковского, деревообрабатывающих школ в Выжнице и Косове, союза “Гуцульское искусство” М. Куриленко, их значение в популяризации народного стиля

Halychyna has long attracted artists from other territories of Rus and abroad. By Prince Danylo Halytskiy all sorts of artists who fled from the Tatars got settled here. So in the vicinity of Halych such settlements as Bodnariv, Sapogiv, Komariv, Gonchariv and others were founded which were famous for their crafts. During the Renaissance period many young people began to conquer the European universities, where they studied “the seven free arts”. The best sons of merchants and artisans headed abroad who later became the secular scientific intelligentsia and contributed to the study of historical monuments, works of art folk art and enriched Ukrainian science. The article reveals the traditions of folk decorative and applied art of Hutsulshchyna and Pokuttya, features the creative work of outstanding craftsmen, artists, architects – the representatives of various professional schools and centers of manufacturing products made of clay, wood , metal, fabrics, the conditions of establishment of folk art and artistic crafts. Significant attention is paid to the period of Art Nouveau in architecture, design and the creative work of I. Levynsky and to the employees of his designing company, who created a new style of the era. Of particular importance for the development of artistic craft in the region were woodworking schools in Vyzhnytsia and Kosiv, woodcarvers Vasyl Shkribliak, Marko Megedyniuk and Vasyl Devdiuk, the society “Hutsul Art” headed by teacher Mykhailo Kurylenko assisted by scientist-ethnographer Volodymyr Hnatyuk. Its members abode by the folk style of manufacture in weaving, woodcarving, used exclusively natural dyes, involved to the design professional artists, so the products were distinguished by high quality and enjoyed significant demand for a long time. During World War II, an industrial school operated under the guidance of headmaster Mykola Guleichuk in Kosiv, thanks to which many of the local youth managed to avoid removal to Germany. Another center of artistic crafts became Kosmach, where also lived a lot of carpenters, furniture makers, wood carvers, including Mykyta Semchuk, Vasyl Yusypchiuk, Lukian Kifiak and others. Significant impact on the youth there had an artistic school of O. Novakivsky from Lviv, teachers and students from which, studied the Ethnography of the region, participated in the local performances and other cultural events. Folk art developed in another way during the Soviet period. Enterprises of folk crafts operated in Kosiv: cooperative craft society “Hutsulshchyna”, workshops of Art Foundation, where professional artists and craftsmen, the representatives of different branches of the whole region gathered: prominent woodcarvers, weavers, ceramists, mostly graduates from the local school. Now in the conditions of market relations and without proper support on part of the State, we can state a significant decline of traditional crafts, the usage of other ornaments, synthetic materials, false execution techniques that leads to the famous kitsch. There are problems of training in art institutions, in particular unwillingness and unpreparedness of youth to choose art professions.