Художній аналіз декоративно-орнаментального малярства Петриківки ХХ століття (за приватними збірками петриківського розпису Володимира Падуна та Андрія Пікуша)

Abstract

У статті висвітлено мистецтвознавчий аналіз творів декоративно-орнаментального малярства збережених приватних колекцій В. Падуна та А. Пікуша. Проведено характеристику творів за авторами; простежено художні зміни в творах щодо історичних та соціокультурних впливів; розглянуто виразні художні засоби, композиційну побудову, прийоми і засоби, авторський стиль. Визначено жанри петриківської мальовки Н. Білокінь, О. Пилипенко, П. Павленко, засоби художньої виразності, розібрано композиційну та колористичну побудову творів. Означено три напрямки петриківського мистецтва, що об’єднують творчість трьох майстринь.

В статье освещено искусствоведческий анализ произведений декоративно-орнаментальной живописи сохранившихся частных коллекций В. Падуна и А. Пикуша. Проведено характеристику произведений по авторам; прослежено художественные изменения в произведениях относительно исторических и социокультурных влияний; рассмотрено выразительные художественные средства, композиционное построение, приемы и средства, авторский стиль. Определено жанры петриковской малевки Н. Белоконь, А. Пилипенко, П. Павленко, средства художественной выразительности, разобрано композиционное и колористическое построение произведений. Обозначено три направления петриковского искусства, объединяющих творчество трех мастериц.

Characteristics and art analysis of decorative and ornamental paintings kept in private collections of V. Padun and A. Pikush are developed in the article. Hut (rural house) mural painting was a source of decorative and ornamental painting of Petrykivka spread on the territory of Dnipropetrovsk region. In course of time the mural painting was transformed into painting on paper favored by different factors and aniline dyes occurrence. Genres of Petrykivka paintings of N. Bilokin, O. Pylypenko, P. Pavlenko were defined – monoplane landscapes, domestic scenes and flower still life paintings. Nadiya Bilokin is famous first of all with her “wedding trains”. These are multi-figure compositions saturated with figures, horses, rural ornament and landscape motifs. Compositions of Oryna Pylypenko consist mainly of flowers. Paraska Pavlenko gives preference over the composition of one or two flowers with buds and leaves of moderate-size and flower compositions with birds. It is determined that the most widespread composition schemes of Petrykivka painting take origin from hut (rural house) mural painting. They were used in different variants all over former Katerynoslav region: “rug”, “keeper”, “vase”, “sun”, “bouquet”, “horses by the tree” and others. The main composition method used in these woks is determined – this is space arrangement in opposition to modern Petrikivka painting where the space is not arranged, but just filled. In connection with area arrangement the white background becomes active, it alternates rhythmically with color spots of flowers, leaves, stems. Rhythmics is strengthened with sonority of colors. The work is not only painted – it sounds with power of expressive means. In general coloration was built on basic harmonic color pairs – these are additional or contrast colors. The red-green pair of colors privileged, other colors served as additional to the basic pair, but warm color was put on the paper next to cold color. The researched creative works of craftswomen reflect three directions of Petrykivka art: the first – usage of composition building structure on the basis of sign system (these are cross-like, rhomb-like, oval, round-like, ribbon and meander-line composition schemes); the second – usage of plant elements (flowers, berries, branches and others), which are interpreted with ancient signs; the third – polyphonic color composition is built on limited palette.