Almanac "Culture and Contemporaneity"

Frame Design in the Visual Culture of Modern Author’s Directing. Part 2. Projecting the Objective World in Films by Author-Directors

Galyna Pogrebniak — Wed, 20 Dec 2023 00:00:00 +0200

The purpose of the article is to determine the artistic and aesthetic toolkit for designing the objective world of the frame in the visual culture of the author's film by the director, artist, cameraman. Research methodology. An integrated approach was used in the development of the topic, in particular, methods of systematisation, comparison, verification, comparative, and textual analysis. The analytical method and the method of figurative and stylistic analysis in their unity were used to consider the art historical aspect of the problem. The scientific novelty of the research lies in the fact that the director's creativity is investigated in the context of the visual culture of frame design and for the first time it became the subject of a special study. The appropriateness of using the systematic method in studying the features of the author's plastic film language has been proven. A comprehensive analysis was carried out and the features of frame design in the author's film creativity were revealed. Conclusions. The materials presented in the study expand the arsenal of knowledge about the specifics of the visual culture of the author's directorial film language in various worldview models and enable their application in educational courses, the creation of educational and methodological literature on the theory and history of cinema and television, directing.

Keywords: fine art, artist, audiovisual art, director, shot, design, image projection.

Establishment and Perspectives of Computer Design

Olena Khramova-Baranova, Viktoriia Kudrevych — Wed, 20 Dec 2023 00:00:00 +0200

The purpose of the article is to explore the evolution of computer design and the impact of its development on art and design. The research methodology lies in the application of a specific historical method to analyse the impact of the development of computer design on the creation of new technologies, methods in design, as well as the use of a comparative analysis method and a historical-cultural approach, which helps to identify the main trends in computer design. Scientific novelty is that, for the first time, the periodisation of the formation and development of computer design has been systematically provided. The study shows how computer design affects the creation of new innovative approaches in the stylistic and figurative representation of reality. Conclusions. It is proven that computer design provided new opportunities and technologies in art and design and determined the need to rethink the creation of style and visual image. The article, thanks to the analysis of works, shows the trends in the formation and development of computer design and the prospects of this direction. It was found that computer design is characterised by certain features, namely: visualisation of information intended for mass distribution, as well as creation of graphic elements for it. It has been found that the evolution of computer design can be followed within the limits of our proposed periodisation, chronology of events, namely: from the first experiments with drawing on a computer and the first digital photographs (1950s) to defining the prospects for the development of computer design (2000s). The study is based on a fundamental study of the literature and its careful analysis, the importance of the formation and prospects of computer design in the aspect of the development of art is emphasised.

Keywords: computer design, computer technologies, style, image, visualisation.

Economic Impact on the Work of UX/UI Designers on Digital Services

Roman Frankiv, Daniil Ditkovskyi — Wed, 20 Dec 2023 00:00:00 +0200

The purpose of the work. The article examines the influence of the business model of such digital products as paid, conditionally free, and free services for forming the architecture of UX/UI design of Facebook, Instagram, TikTok, Twitter; Audible, SoundCloud and Spotify; Apple Music, YouTube Music, and Mighty Network. The research methodology consists in the application of such research methods as description, analysis and synthesis, generalisation, comparison, and content analysis. The description method made it possible to determine the essence of UX/UI design. The method of analysis and synthesis was applied to reflect the main economic factors affecting UX/UI design. The comparison method was used to compare the main methods of manipulation in UX/UI design. The generalisation method was used to summarise the results. The method of content analysis was applied to display the use of manipulations on different pages in the virtual space. The scientific novelty of the work is that the influence of economic factors on the work of UX/UI designers on digital services was investigated for the first time. The understanding of UX/UI design has been improved. The understanding of the fact that services have an emotional and psychological impact on the user in order to encourage them to take certain actions, such as purchasing a service, has been improved. Conclusions. The current methods of user manipulation in UX/UI design have been established and systematised. On a scale from 1 to 5, where 1 is the softest manipulative methods that can only delay or distract the user for only a short period of time, and 5 is the most severe manipulation methods that have an impact on the emotional and psychological state of the user. It has been determined that free services have more technologies for manipulation than conditionally free services. Paid services do not have pronounced features of manipulation, but they stimulate the user to make a certain purchase. Accordingly, services use such methods of manipulation as methods of interference, interface interference and annoyance, emotional and psychological influence.

Keywords: UX/UI design, interface, digital services, digital products, social network, business model.

EMPTY SPACE CONCEPT IN A MODERN CHINESE POSTER AS A SIGN OF IDENTITY

Wang Zeqian — Wed, 20 Dec 2023 00:00:00 +0200

The purpose of the work is to reveal and substantiate the concept of empty space in modern Chinese posters. The research is aimed at analysing the semantics and aesthetics of empty space in the structure of visual communication and revealing its role in the formation of modern visual forms in the context of preserving national identity and preserving unique aspects of Chinese culture. The research methodology involves the use of general scientific and special methods. A comparative-historical analysis was used to understand the development of traditional Chinese art and its influence on modern design; methods of scientific analysis and synthesis in the process of examining scientific sources; methods of art criticism and content analysis during the study of empirical material and establishing the principles of using empty space in modern posters. The scientific novelty of the work consists in revealing the artistic and philosophical basis of the creation of a modern composition in a Chinese poster. Formal and compositional and figurative means and their role in the formation of modern posters in China are traced and specified. The concept of empty space is substantiated and its role in modern visual forms in the context of establishing national identity and preserving unique aspects of Chinese culture is revealed. Conclusions. It was revealed that today in the context of globalisation trends, the issue of finding and preserving not only traditional elements and styles, but also aesthetic and philosophical approaches formed over several millennia of the country's cultural development, arises in the project activities of Chinese graphic designers. Among such approaches is the special attitude of the artist to the free space of the sheet. Its nature, its presence or absence significantly affects the perception of a graphic work, because it works on an equal footing with visual-figurative elements in conveying a message – it organises them, emphasises attention, arranges them. Accordingly, the graphic composition of the Chinese art poster today is a field of complex interaction of its visible and invisible elements. Visualisation of the content of the message, compositional laws and established visual-communicative design trends that form the external components of the poster organically work with their internal content. This content turns out to be not only aesthetically justified, but also acquires its own spiritual and aesthetic content.

Keywords: China, empty space, poster, painting, influence, tradition.

Creative Industries in the Epoch of Artificial Intelligence: Tendencies and Challenges

Oksana Oliinyk — Wed, 20 Dec 2023 00:00:00 +0200

The purpose of the article is to analyse the potential effect of AI implementation in the creative sector or creative industries through consideration of new tendencies and challenges connected with applying this Industry 4.0 technology. Research methodology. The complexity of the topic related to the intensive implementation of computerisation in contemporary culture and the creative sector has necessitated the interdisciplinary approach. The methodological basis of the research on artificial intelligence as an integral socio-cultural phenomenon is a dialectical method and connected with it the principles of systematicity, development, determination, and unity of opposites. The scientific novelty lies in the analysis and theoretical reflection of the potential effect of the implementation an artificial intelligence in the creative sector with an accent on the key tendencies and challenges. Conclusions. The article emphasises that despite unsystematic and sporadic attempts to introduce technology within the creative industries, not only certain patterns and trends are being identified, but also a model of its participation in this sector is being formed. Though artificial intelligence is still not able to function as an autonomous creative subject in the creative spheres this concept may be realised in the future with the conditions of further technological development and risks decreasing. It was found out that one of the constraining factors is misperception of artificial intelligence as the main obstacle to the development of creative industries. These concerns are well-founded and arise from a lack of understanding of the technology and its capabilities. It was proved that to reduce the risks of applying this technology in the sector, it is necessary to co-operate with politicians and work out a regulatory framework that would help to regulate the development and implementation of this technology and, secondly, it is necessary to extend the cooperation as for the technologies exchange to avoid asymmetry inside the sector.

Keywords: an artificial intelligence; digital technologies; creative industries; monoculturalisation; post-COVID epoch; mass implementation; generative model.

Virtual and Global Holiday: Competition in the Space of National Traditions

Maryna Kozlovska — Wed, 20 Dec 2023 00:00:00 +0200

The purpose of the article is to analyse the prerequisites for the formation and main features of a virtual and global holiday. The research methodology is based on the principles of objectivity and impartiality and general scientific (analysis, synthesis, abstraction, generalisation) and special methods of scientific analysis, which were the result of an interdisciplinary synthesis of cultural studies, sociology, philosophy, art history. The scientific novelty is due to the attempt to conceptualise the concept of "global holiday", "virtual holiday" and to determine the factors that determine the transformation of the holiday culture. Conclusions. Recently, significant changes in the form of the holiday and the ways of its presentation in holiday traditions have become a leading trend that vividly reflects the main directions of civilizational transformations. The holiday as a socio-cultural phenomenon turned out to be surprisingly vulnerable to various socio-cultural changes characteristic of modern culture. The specifics of the relevant discourse and celebration are determined by historical and civilizational factors: achievements of scientific and technical progress, globalisation, spectacle, visualisation of culture, which leads, in particular, to changes in the culture of celebration. Virtual holidays as a kind of symbolic and compensatory mechanisms provide an opportunity to go beyond the bounds of uncertain everyday life. Global holidays, having lost their traditional, partly sacred or state-formal background, turn into a purely entertaining event, the main characteristic of which is spectacle and carnival (Christmas, Halloween).

Keywords: visualisation of culture, traditions, global holiday, virtual holiday, information and technological innovations.

Body without Organs Model of Corporeality as a Productive Corporeal Paradigm in Steve Paxton’s Concept of Contact Improvisation

Olha Babych — Wed, 20 Dec 2023 00:00:00 +0200

The purpose of the article is to reveal the features of postmodern dance through the prism of the concept "body without organs" and to analyse the defined model of corporeality as a productive bodily paradigm in S. Paxton's contact improvisation. Research methodology. The analytical, typological, historical and cultural method, the method of cultural analysis (to understand the cultural meanings of the "body without organs" model of corporeality, which are revealed and constructed by postmodern dance practices), the phenomenological method, which contributed to the understanding of dance as a special type of socio-culturally oriented bodily practices, were applied, as well as generalisation method. Scientific novelty. The concept of "body without organs" is studied in the theoretical works of A. Artaud, as well as within the framework of the philosophy of postmodern corporeality of J. Deleuze and F. Guattari; the question of the body and dance as a possible overcoming of its automatisms is considered. The concept of postmodern dance along the lines of the "body without organs" model was analysed and its features as a productive bodily paradigm in the paradigm of contact improvisation by S. Paxton was revealed. Conclusions. In accordance with the specifics of postmodernism, the concept of "body without organs" is positioned as the result of a meaningful application of the fundamental idea about the immanent creative potential of the rhizome (a decentralised semantic environment to the phenomenon of corporeality. In the dimension of postmodern dance, the "body without organs" model has become the most productive bodily paradigm in Steve Paxton’s contact improvisation. S. Paxton’s concept, within which contact improvisation is considered as a specific formation of "spherical space", the result of a change in spatial-kinaesthetic orientation within a short time, involves focusing on the boundaries of body space, understanding its inner essence in relation to external space, the birth of movement in the process communication. Like most postmodern dance practices, contact improvisation is not focused on the final result, but is focused on the continuity of the process and the transformation of the aesthetic experience. According to S. Paxton, sustained movement and spontaneous movement are the poles of the spectrum of possibilities that define his research, as technical dance provides a basis for thinking about improvisation – dance techniques provide information about how movement affects the structure of the body. The model of the "body without organs", which is not limited by any standards of movements, in a duet is revealed in a variety of relationships with the partner’s body. Both bodies balance on the rules of continuous contact, weight transfer, and balance to ultimately acquire newly formed capabilities.

Keywords: corporeality, postmodernism, "body without organs" model, A. Artaud, J. Deleuze, F. Guattari, contact improvisation, S. Paxton.

Phenomenon of Technoculture in the Context of Transhumanism: Interaction between Humanity and Technology

Andrii Horbatiuk — Wed, 20 Dec 2023 00:00:00 +0200

The purpose of this article is to describe and substantiate the concept of technoculture and its importance in the context of contemporary philosophical and sociocultural directions, particularly transhumanism. The research methodology involves applying various levels: analytical, to immerse into the problematics of the chosen scientific research theme and synthesise acquired knowledge; and employing a full spectrum of methods (cultural, psychological, hermeneutic, historical, theoretical generalisation) to comprehensively understand the stated issue. The scientific novelty lies in identifying technological determinism in modern currents of humanism and its argumentation through the definition of technoculture. Conclusions. In the publication, it is argued that the formation of new currents in humanism, such as transhumanism, which are based on the use of technology and its impact on sociocultural processes, leads to the emergence of a new concept – technoculture. Technoculture reflects our approach to technology not just as tools, but also as essential elements of our culture that shape our worldview and our role in it. Transhumanism, on its part, focuses on the capabilities of technologies in changing the essence of humanity. It examines technologies not only as means to improve life, but also as tools for radical restructuring and adaptation of human existence, starting from biological to cognitive characteristics. These two currents highlight the interdependence between humans and technology, but also point to the complexity and contentiousness of this interaction.

Keywords: technoculture, transhumanism, postmodernism, modern technologies.

Conceptosphere of cultural mediatisation

Anton Levchenko — Wed, 20 Dec 2023 00:00:00 +0200

The purpose of the article is to clarify the essence of the concept of "mediatisation of culture" in the modern context, to analyse the range of its conceptual sphere and its impact on the socio-cultural space of Ukraine. Research methodology. To achieve this goal, a number of research methods were used. Thus, to consider the interaction of cultures in the traditional space of communication and the space of social networks, the method of comparative analysis was used. To identify the mechanisms of formation of cultural boundaries, as well as their overcoming, the method of analysing open sources of information which are information resources on the Internet was applied. For qualitative and quantitative study of documents characterising the modern content of the concept of "mediatisation of culture", analytical synthesis was used. The method of theoretical generalisation allowed summarising the data obtained in the course of the study. The scientific novelty of the study is due to the need for new scientific views on the processes that shape and characterise the mediatisation of the cultural sphere of our time. An attempt to do this by defining a number of related concepts, united by the concept of conceptosphere, is qualitatively new. This study, which is comprehensive, takes into account the changes taking place in the cultural environment under the influence of the media. It takes into account their role in shaping the modern socio-cultural space of Ukraine, especially in the context of Russia's military aggression against Ukraine. Conclusions. The study examines the concept of "mediatisation of culture" in the modern context and its impact on the socio-cultural space of Ukraine. The work takes into account important changes in the cultural environment caused by the influence of the media, in particular their role in shaping the modern socio-cultural space of Ukraine.

Keywords: mediatisation of culture, conceptosphere, concepts, concept, modern media technologies, mass media, social networks, socio-cultural space of Ukraine, cultural environment, cultural freedom, media spaces.

National and Cultural Content in Visual Culture Objects: Colour Symbolism of Modern Patriotic Murals

Yevhen Pavlichenko — Wed, 20 Dec 2023 00:00:00 +0200

The purpose of the article is to reveal the features of the expression of national and cultural content in the colouring of objects of visual culture on the example of patriotic murals. Research methods. General methodological methods of cognition are applied: logical-analytical, subject-analytical, system-analytical, typological, as well as the method of cultural, hermeneutical, and semantic analysis for the purpose of comprehensive and objective research of the given problem. Scientific novelty. The peculiarities of the expression of national and cultural content in the colouring of objects of visual culture have been studied using the example of patriotic murals; the symbolism of colour in Ukrainian culture has been clarified; a semiotic analysis of the visual representation of the colours of the national flag of Ukraine has been carried out; the variability of the use of the triad of white-black-red and blue-yellow colours in modern murals in the context of expressing national identity has been considered. Conclusions. At the present stage, colour symbolism is actively used for the formation of national identity in works of visual culture. The study has shown that in modern Ukrainian society, semiotic colour codes in objects of visual culture are used in accordance with historical, socio-cultural, and political conditions. The colours of the national flag of Ukraine (as a symbol of the great Ukrainian state, a symbol of victory over enemies, a sign of memory of those who gave their lives for the freedom of their homeland, a way of visualising patriotic feelings) and the triad of white-black-red colours (as a personification of the concentration of the basis of the life-giving essence of the world in Ukrainian cosmology) are most often used to construct national identity and express national and cultural content.

Keywords: colour, visual culture, mural, symbolism, semiotics, national-cultural content, national identity.

Modern Ukrainian Theatre in the Dimension of Internet Culture

Taisia Khvostova — Wed, 20 Dec 2023 00:00:00 +0200

The purpose of the article is to reveal the peculiarities of the functioning of the Ukrainian theatre of the second – beginning of the third decade of the 21st century in the dimension of Internet culture. Research methodology. The principle of scientific objectivity, analytical, cultural, systemic, typological, and structural-functional method was applied to generalise the theoretical and methodological foundations of the study of Internet culture, to identify the peculiarities of the functioning of modern Ukrainian theatre in the cultural environment of the Internet. Scientific novelty. The trends of the development of modern theatre culture were studied through the prism of the specifics of the Internet space. The cultural environment of the Internet was considered as an important factor in the functioning of theatrical culture in the modern digital society. The peculiarities of the representation of modern Ukrainian theatre in the Internet space were revealed using the example of interactive sites and virtual tours. The concept of "Internet culture" was clarified. Conclusions. Internet culture forms a high level of general human culture due to the property of representing modern progressive cultural practices; oriented on the principles interconnected with modern culture (montageability, clipability); characterised by dynamism, interactivity, variability, a special ratio of heterogeneity and unity. The Internet space represents a new dimension of interaction between the theatre and the audience, the discovery of new ways of creating and presenting theatre, as well as new forms of interaction between the actor and the audience in these theatrical contexts. It acts as a part of cultural communication, in which multimedia technologies allow creating a new type of communication, and the Internet is a channel for broadcasting. The consequence of this is the formation of theatrical content as a specific sphere of the Internet environment. The nature of these changes is a promising subject of further scientific reflection. At the current stage, the Internet space and its cultural environment lead to the emergence of innovative ways to satisfy the informational needs of potential theatre viewers, provide forms of presentation of Ukrainian theatre and opportunities for interactive engagement that are relevant for the modern digital society.

Keywords: Internet culture, Internet, theatre culture, digital society, Ukrainian theatre, official sites, virtual tours.

Creative Concept of R. Wagner’s Gesamtkunstwerk as an Art that Models Reality

Valentyn Shtyrbul — Wed, 20 Dec 2023 00:00:00 +0200

The purpose of the work is to analyse the basic principles of R. Wagner's theory about the universal model of art in terms of its philosophical and aesthetic justification and practical implementation in a number of cultural projects of subsequent historical periods as a model that generates reality. The methodology is based on analytical, comparative, historical, and descriptive research methods. The analytical method is used for deeper insight into the philosophical and social essence of the concept of the Gesamtkunstwerk. The comparative method weighs the model of universal work of art in its primary form with its transformed variants. The use of the historical method is necessary to trace the development of the idea of a synthetic work of art in different historical periods. The study of the Gesamtkunstwerk requires the use of a descriptive method, since its origins of the period of romanticism are closely related to ancient drama and mythology. The scientific novelty is to consider the Gesamtkunstwerk as an artistic model, which gives rise to reality on the basis of a socio-aesthetic concept, the ultimate goal of which is the spiritual rebirth of mankind and the construction of a harmonious perfect society through artistic means of art in organic synthesis of its species. Conclusions. As a result of the analysis of the examples of interpretations of the Gesamtkunstwerk, the author concludes that the tendency of fusion of different types of arts and their existence in a coherent artistic and creative form, which is observed in the XXI century, allows to rethink the romantic idea of socio-aesthetic synthesis regarding the possibility of its adaptation and considering it as a model that generates reality.

Keywords: Gesamtkunstwerk, Richard Wagner, artistic synthesis, transformative power of art, spiritual rebirth of humanity.

EXHIBITION AS A SOCIO-CULTURAL PHENOMENON AND OBJECT OF EVENT MANAGEMENT

Yelena Kovalenko, Yaroslav Martynyshyn — Wed, 20 Dec 2023 00:00:00 +0200

The purpose of the article is a theoretical analysis of exhibition activity as a cultural phenomenon and an object of event management. The research methodology is based on the use of dialectical, systemic, cultural and interdisciplinary approaches, which makes it possible to comprehensively investigate the multifaceted phenomenon of the organisation of exhibition activities. The scientific novelty lies in deepening the understanding of the nature of the exhibition phenomenon and the peculiarities of its event management in the conditions of complicated social relations, uncertainty, and turbulence. Conclusions. The exhibition is a special cultural phenomenon, an object of event management, a source of information about the achievements of individual enterprises, industries, regions, and countries, as well as an effective marketing tool of intercultural communication. It is a semiotic space formed for the purpose of presenting ideas, things created for their presentation to society. Exhibits as semiotic signs form certain meanings, emotional and figurative cognitive activity, contribute to the growth of interest in the relevant products, the development of national culture and economy. Considering the exhibition as a product allows you to look at this marketing tool in the event management system in a new way, identify all the opportunities it provides and use them to get the maximum effect from the exhibition. The market of exhibition services is steadily growing. However, there is a conflict of interests between the organisers and the exhibitors: the organisers cannot offer a product that satisfies the communication needs of the exhibitors, and because of this, the exhibitors do not fully use all the possibilities of the exhibition. The reason for this is insufficient methodical support of the exhibition activity, as well as failure to take into account the assessment of the level of organisation of the exhibition and the quality of services provided by its organisers.

Keywords: exhibition, event management, exhibition product, market of exhibition services, effectiveness and efficiency of the exhibition.

Art Practices in Modern Culture

Olena Afonina, Viktor Karpov — Wed, 20 Dec 2023 00:00:00 +0200

The purpose of the article is to analyse modern creative practices in interaction with cultural values. The research methodology includes scientific methods: analytical, structural-functional, generalising; comparative analysis techniques to reveal the specifics of modern creative practices from the perspective of the formation of cultural values. The scientific novelty of the work is based on the analysis of modern artistic practices. Conclusions. It is noted that creative practices influence the educational process with the preservation, reproduction, and formation of cultural values. Artistic practices are a complex communicative process, a connection between a person’s worldview and the environment, means of expressiveness of the arts and everyday life and customs. The versatility of modern creativity is noted with the involvement of synthesised projects, which have more opportunities to attract recipients. The complexity in the relationships between personality education and the formation of cultural values is noted. It is supported by the facts of a change in ideals in modern creativity, reaching the dialectical level of the art of negation, art showing different sides of human existence. Project of the Czech National Ballet with the organisation «Consent» – the ballet “A Streetcar Named Desires” with the problem of violence, changing approaches to education according to the dominance of ethical norms and values of certain groups of youth: respect for oneself, the world around us, loved ones, partners and friends; treating another person as oneself. Ballet by D. Neumeier based on the psychological drama by W. Tennessee “A Streetcar Named Desire” as an example of modern creativity in understanding violence and trauma from it. The modern discourse of art about norms and rules, socio-political relations and cultural values is examined using the examples of the original sculpture by D. Czerny “ Sycophancy” (2003, Prague); artistic project of the Italian theatre troupe “Malatheatre” on the occasion of the celebration of the 452nd anniversary of the birth of the Italian artist Caravaggio in the Church of San Michele Arcangelo. All examples are paralleled by memory studies by psychologists: J. Miller, J. Santa, C. Jung. It is noted that art practices help young people understand cultural values with the accents of the present.

Keywords: artistic practices in modern culture, cultural values, art history, musicology, baroque music, ballet, psychology of perception.

Historical Cossack Portrait in the Work of Natalia Pavlusenko

Volodymyr Pekarchuk, Tetiana Filina, Yuliya Maystrenko-Vakulenko — Wed, 20 Dec 2023 00:00:00 +0200

The purpose of the work is to explore the genre of the historical Cossack portrait in the work of contemporary Kyiv artist Natalia Pavlusenko. The methodology of the research consists in the application of the art method, biographical, research, as well as analytical, historical, descriptive, which together made it possible to achieve substantiated research results. The scientific novelty of the work lies in the fact that for the first time the work of the contemporary Kyiv artist N. Pavlusenko is examined within the framework of the author's artistic project "Heroes of Cossack Ukraine". Conclusions. As a result of the conducted research, it was established that the work of N. Pavlusenko in the genre of historical Cossack portrait belongs to modern artistic phenomena and is a notable contribution to the development of the Ukrainian historical genre of painting. The series of the artist's works, united by the artistic project "Heroes of Cossack Ukraine", is a series of portraits of hetmans and atamans of the Cossack period in the author's performance with high professional skill. Each of the works is the author's interpretation of the image based on the study of a significant number of historical sources, which conveys not only the authenticity of the era, but is marked by a certain psychologism and character. The designated project of the historical Cossack portrait is a significant contribution to the popularisation of Ukrainian history and art, as well as the promotion of patriotism and national-cultural identity.

Keywords: Natalia Pavlusenko, historical Cossack portrait, historical painting, picture, "Heroes of Cossack Ukraine" project, historical figures, Cossack hetmans.

Restoration of Monumental Painting in Ukraine in the 1950–1960s. Social Aspirations and Ideological Collisions

Viktor Karpov — Wed, 20 Dec 2023 00:00:00 +0200

The purpose of the article is to consider the peculiarities of restoration of sites of monumental painting of Ukraine in the post-war years 1945-1960s in the context of the influence of social, economic, and ideological factors. The research methodology consists in the application of general scientific and special research methods, in particular, analysis, synthesis, induction and deduction, generalisation and abstraction, semitic, descriptive, which together made it possible to obtain well-founded conclusions. The scientific novelty consists in outlining the general directions and approaches in preserving the artistic heritage of the post-war period of the 1950s-1960s, identifying gains and losses. Conclusions. Against the background of the global scale of the destruction of cultural heritage monuments, which required the implementation of complex monument protection and restoration tasks, the foundations of scientific methodology in the field of restoration of wall paintings were formed. The increase in the pace and volume of the restoration of cultural and artistic monuments after the Second World War was affected by new challenges caused by the lack of a material, technical and methodological base, qualified human resources, and shortcomings in the organisation of work. At the same time, deep destructive manifestations caused by atheistic state policy with a pronounced totalitarian colour have become fatal for a number of Ukrainian historical and cultural monuments, introducing a contradictory character into the establishment of the restoration work in the country. Thanks to the active position of leading cultural figures and the founders of the new Ukrainian restoration school of monumental art – Luka Kalenichenko, Olha Plihusch, Yevhen Mamolat, the first post-war decades became decisive in the formation of the national restoration and monument protection industries.

Keywords: monumental painting, restoration, restoration workshop, preservation of monuments.

Theological Programme, Analogies, Innovations in Mural Painting of the Exaltation of the Precious Cross Church of the Kyiv-Pechersk Lavra in 1894

Maryna Bardik — Wed, 20 Dec 2023 00:00:00 +0200

The purpose of the article is to investigate the theological programme, continuity and originality of the mural paintings of the Exaltation of the Precious Cross Church of the Kyiv-Pechersk Lavra in 1894. The research methodology is based on historical and cultural analysis, as well as art historical analysis. The scientific novelty of the study. The theological programme of the mural painting of the Cross Exaltation Church of the Kyiv-Pechersk Lavra in 1894 has been studied: its genesis, ideological basis, main theme, thematic plot lines, and thematic hierarchy have been determined. The continuity principle is defined as the basis of the connection between the original (the 18th century) and renewed (1894; Daniil Davydov) decoration of the Cross Exaltation Church. The pictorial compositions analogies to the paintings of the compartments of Lavra Great Church (Dormition Cathedral) according to the programme of the 1720s are observed. Secondary analogies with some compositions in the Lavra Trinity Gate Church are also indicated. Along with analogies, the differences in the thematic, compositional, and stylistic interpretation of the paintings have been investigated. The academicism features in the mural painting of 1894 have been analysed. The originality of themes and plots addition in the mural paintings with icons in the iconostasis and the altar has been revealed. Conclusions. The mural painting programme’s primary source of the Cross Exaltation Church of the Kyiv Pechersk Lavra has been the programme of painting the interior of Lavra Great Church (Dormition Cathedral) in the 1720s. The renewed mural paintings of 1894 inherited the original decoration of the Cross Exaltation Church. Analogies with the paintings of the Great Church can be traced to the theme and general compositional schemes. A partial analogy to the mural painting of the Trinity Church narthex has been used as a component for another theme. Innovations in the paintings of the Cross Exaltation Church have been manifested in the formation of a peculiar thematic hierarchy, a change in compositional elements, and a transition from the baroque style to the traditions of academic sacred painting. The originality is manifested in the presentation of emotionally saturated subjects in the altar icons and paintings, due to which a calm and sublime rhythm of the wall compositions are created. Some icons are a plot addition to the murals. Several thematic lines are revealed in the mural painting, namely the sacrifice of the Saviour on the cross, the sacrifice of a man to God, the meeting of a man with God, the Divine Liturgy and Church of Christ. The main theme of the church painting decoration is the glorification of Christ’s atoning sacrifice and the Precious and Life-giving Cross of the Lord as the instrument of His victory and our salvation. The ideological basis of the mural paintings theological programme is a line from the Epistle of the Apostle Paul to the Hebrews [Hebrews 19:39–40, 20:1–2].

Keywords: sacral culture, Orthodoxy, academic painting, baroque painting, mural painting, sacral painting, Ukrainian painting, Great Church, Dormition Cathedral, Cross Exaltation Church, Holy Trinity Gate Church, Daniil Davydov.

Colour Therapy: Psychological and Physiological Aspects

Ilona Dorohan — Wed, 20 Dec 2023 00:00:00 +0200

The purpose of the article is to reveal the significance of colour therapy and to determine its methods and applications for preserving human health. Research methodology. In the course of the study, the procedures of theoretical and methodological experiments of scientists and doctors, the method of scientific comparison, analysis and synthesis of empirical data were applied. Scientific novelty. The article examines the subdivision of the science of colour studies in the aspect of colour therapy, which is experiencing a second birth. The influence of colour on a person in everyday life has always attracted the attention of researchers. Colour was the first form of therapy used by our ancestors. Even Adam and Eve, living in Eden, without realising it, were treated with the green comfort of bushes and fruits of different colour. Today, doctors are returning to treating patients with colour. After all, scientists have long proven that colour has its own character and affects the human psyche. Every day, a person is faced with many environmental factors that affect them. One such factor is colour. Everything we see is processed by our brain, and it, in turn, tells the body how to react to information, often by connecting an associative series. For example, a yellow-brown colour is similar to an orange, green – to a forest, rest, peace. Conclusions. It has been determined that colour therapy is an ancient practice based on the interaction of colour with the human psyche and physiology. Different colours can have different effects on a person's psychological state, for example, blue can calm, red can stimulate. It was found that the physiological interaction of colours is manifested through their influence on the heart rate, blood pressure and other parameters of the body. Colour therapy can be used as an additional method in the complex treatment of a number of diseases or for general well-being. For effective colour therapy, it is necessary to take into account the individual characteristics of each person, as well as cultural and social contexts.

Keywords: colour, health, therapy, physiology, psychology, treatment.

On the Issue of the Semantics of the Monumental Paintings of the Church of the Saviour at Berestove of 1643–1644

Alina Kondratiuk — Wed, 20 Dec 2023 00:00:00 +0200

The purpose of the article is to analyse the literature and sources covering the issues of studying the ideological and artistic content of the monumental painting of the Church of the Saviour at Berestove of 1643–1644. The author's main focus is on revealing the semantics of the mural's subjects and interpreting the iconology of the monumental ensemble, which will allow us to determine the place of the monument in the context of the national spiritual and artistic culture of the first half of the seventeenth century. It is planned to characterise the ideological programme of the monumental painting of the Petro Mohyla era and to identify the main accents in the system of paintings. The research methodology is based on the application of a systematic approach, an analytical method, art history, historical-comparative, historical-genetic, historical-systemic, and descriptive methods for a comprehensive consideration of the given problem and formulate well-founded conclusions. The scientific novelty is characterised by the fact that for the first time, based on a critical analysis of literature and sources, the need for a reliable semantic analysis of the monumental painting of the Church of the Saviour at Berestove of 1643-1644 was identified. Based on a thorough study of the features of the church's painting system, the leading artistic and visual themes are identified and a variant of the interpretation of the iconology of the monumental ensemble of the time of Petro Mohyla is proposed. Conclusions. Summarising, we should note, that in the process of analysing the system of paintings of the Church of the Saviour at Berestove, its integrity and the conditionality of all elements were noted. The nature of the images made it possible to identify the key areas that carry the greatest semantic and dogmatic load. The author identifies the leading theological themes in the system of paintings – the Incarnation and the Eucharistic Sacrifice – and outlines a number of subjects that represent these themes. It is noted that the theme of the Incarnation in Byzantine art acquired special significance after the victory of icon worship. The monumental ensemble of the Church of the Saviour of 1643-1644 was presented as a reminiscence of Macedonian Renaissance art. It was noted that the programmatic archaism of the system of paintings and a specific set of subjects were related to the actual tasks of the spiritual life of the time of Petro Mohyla.

Keywords: Church of the Saviour at Berestove, monumental painting, Macedonian Renaissance, post-Byzantine art, system of paintings, semantics, iconology, theological programme, ideological and artistic content, spiritual culture, archaism, Era of Petro Mohyla.

Goryan Rotunda in the Context of Traditions of Monumental Painting of the 13th and 14th Centuries

Yuli Skakandi — Wed, 20 Dec 2023 00:00:00 +0200

The purpose of the work is to study the traditions of monumental painting of the Goryan Rotunda near Uzhgorod in the context of the development of art of the XIII-XIV centuries. The research methodology lies in the application of the analytical approach in order to highlight the peculiarities of the monumental paintings of the Goryan Rotunda. An important element of the research was observation and description, which made it possible to investigate and outline the evolution of the development of the traditions of monumental painting in the context of the general artistic trends of the 13th and 14th centuries. The novelty of the research lies in the systematisation and generalisation of research on the monumental painting of the Goryan Rotunda, which belongs to the outstanding monuments of the XIII-XIV centuries. Conclusions. Amazing frescoes even today impress visitors with the high skill of execution and at the same time the simplicity and vitality of the characters. The harmonious colour of wall paintings, graceful plots and elegant silhouettes of images are filled with deep spirituality and evoke a pleasant feeling of beauty. Today, scientists are of the opinion that the frescoes in Goryany, those on the surface, represent the era of the early Renaissance and were made in the 14th century by the unsurpassed Italian masters of the Giotto school, but they were then applied on top of images painted here much earlier. The main plots are "Annunciation", "Flight into Egypt", "Passion", "Gifts of the Magi", "Christmas", / "Resurrection". It is likely that the new frescoes were commissioned by the family of the Italian Counts of Drugeti, who have been the owners of our lands since 1318 and ruled here hereditary for 360 years. The researchers recognised the technology of their execution – this is a complex technique that is no longer used today: a wet, "fresh" surface absorbed a 10-centimeter layer of paint during painting. Scenes from the New Testament are depicted on the walls of the temple, which run in two lanes, without destroying the impression of the integrity of the interior.

Keywords: Goryan rotunda, monumental paintings, architecture, colour, frescoes.

Monumentalism as an Essential Feature of V. Hegamyan's Work

Oleksii Zhadeiko — Wed, 20 Dec 2023 00:00:00 +0200

The purpose of the work is to investigate monumentalism in V. Hegamyan’s artistic works as a characteristic feature of the artist's creative manner. The research methodology combines a set of such methods as analytical, semiotic, art history, biographical, which in the end made it possible to achieve objective research results. The scientific novelty of the work consists in the systematisation and generalisation of the artist V. Hegamyan’s work, in particular, the disclosure of the essential features of monumentalism as a defining feature of the majority of his works. Conclusions. The name of the Odesa artist V. Hegamyan, who was the founder of the graphic faculty of the Odesa pedagogical institute, is little known to the general public of researchers of Ukrainian fine art. It has been found that the peak of the artist's creative search and revelation falls in the 1960s and 1970s, when V. Hegamyan painted numerous works, combining elements of monumental style and traditions with the colour energy of modern painting, moving away from socialist realist (academic) painting and creating unrealistic images. The monumentality of his works was manifested in the fact that he experimented a lot and fruitfully with the form, which was always dynamic. Accordingly, with all the conventionality of the figures, V. Hegamyan achieved real similarity, verisimilitude and expressiveness, creating a semantic multi-layeredness and endowing them with symbolism and ambiguity. He constantly worked on improving the technique and created his own artistic style in art, which consisted of a combination of graphic, pictorial and monumental techniques. The deepest level is archetypal symbolism, which transcends the boundaries of cultural regions and eras. In this aspect, V. Hegamyan consistently avoids straight-line allegoricality: symbolic subtexts naturally emerge from the subjects of the paintings and the means of expression chosen by the artist. This is what makes his works multifaceted: additional meanings are superimposed on specific images. The peak of the artist's creative activity during the Soviet period coincides with the emergence and development of such an artistic phenomenon as nonconformism, to which V. Hegamyan, although he did not belong, became a symbolic figure for many artists of that time.

Keywords: Velery Hegamyan, monumentalism, works of art, Odesa period of creativity, nonconformism, drawing, symbols, symbolism, artistic composition.