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Спомняне на себепортретирането. От постмодерно отсъствие на канон до жанрова амбивалентност и отмиране

Author(s): Bogdan Aleksandrov / Language(s): Bulgarian Issue: 2/2019

The phenomenon of self-portrayal resulting from accumulations and developments during the Italian Renaissance period is under discussion in this text through the optics of Postmodernity. Changes that have occurred with the progress of technique in mirror positioning – auxiliary equipment in self-portrayal – have led to a radical change in the ways of creating and perceiving of self-portrait. Conditionally transmitted in self-portrayal, the “Casimir Effect” helps to understand the notion of self-portrayal decline. Postmodern self-portrayal represents not only the creator but paradoxically it includes the viewer within itself too, in a more general sense, its potential audience as well in one with the events in which it is encompassed as a phenomenon.

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Становлення «простого» стилю в композиторській творчості другої половини ХХ - початку ХХІ ст.

Author(s): Anton Trofimov / Language(s): Ukrainian Issue: 3/2019

The purpose of the article is to formulate the appropriate picture of the ―simple‖ style in the Music Art of the second half of the 20 and the early of the 21st century on the basis of the scientific definitions of the musical style at the beginning of the 21st century. Methodology. The appeal to the problematic of musical style has the interdisciplinary nature and requires a complex approach that brings the traditional aspects of art studies and the general humanitarian aspects of this scientific work together. On the one side, we use the methodology of musical studies which allows us to focus on the musical approach itself. On the other side we appeal to general art studies and aesthetical philosophic studies that are dedicated to the problems of the postmodern and its ideological base, and this allows us to understand and to assess the processes that take their places in modern art space. The scientific novelty of the research lies in the consideration of the ―simple‖ style of the composer artwork during the second half of the 20th century and the beginning of the 21st century. This style has its own specific features and peculiarities of the interactions between the ideological figurative system and composition techniques. The results obtained give us a greater understanding of the composer's work at the turn of the centuries and complement the existing scientist‘s views concerning the perception of the ―simple‖ style in music in the 21st century. The conclusions. In modern times the aesthetics of the ―new simplicity‖ appears as a sign of the commenting mindset for which all historical languages and dialects turned out to be relevant. It‘s not unusual that the works of the composers who appealed to the ―simplicity‖ remind us of some sort of improvisation on the style. These works are becoming characterized by specific featureless construction of the notation which is similar to student exercises on the classical harmony in the Conservatory which results in loss of the author‘s intonation. Perhaps it can be assumed that the waiver of the ―newness‖ in favor of familiar exampts composers from the creation of new mater ial in some way. Thus within ―new simplicity‖ the echoes of what has been said by others become the subject of the musical expression and declare not so much the individuality of the creator itself but the waiver of it. Based on the four concepts of the simplicity set forth in this research (―simplicity‖ as simplification; ―simplicity‖ as an embodiment of minimalism; ―simplicity as an ―asceticism‖ and escape to a selfimposed poverty; ―simplicity‖ as a waiver of newness), it appears that these composers appeal to each of these conсepts. A concept of modern composer‘s individual style seems to be open-ended. It also starts to mutate under the influence of the new philosophical aesthetical ideas of the post-modern era. This problem also has an impact on the other art issues and the balance between the ―our own‖ and ―somebody else‘s‖ ones, ―my own‖ and ―collective‖ one, the ―simple one‖ and the ―complex one‖.

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Становлення європейського піанізму кінця XVIII – першої половини ХІХ ст

Author(s): Maria Pavlivna Kalashnik,Anton Oleksandrovych Genkin / Language(s): Ukrainian Issue: 3/2019

The purpose of the article is to systematize the information about the phenomenon of "pianism" available in the works on theory, history of culture and art and to investigate the dynamic system characteristics of European pianism of the late 18th - first half of the 19th century. The methodology is based on the concepts and theoretical conclusions in the field of art history and cultural studies. With the aim of disclosing the phenomenon of European pianism as a hierarchical and dynamic systemic fact, the research methodology consisted of the following methods: theoretical generalization, analysis, synthesis; historical and systematic approach. The scientific novelty of the research is determined by the fact that the information on the determinants of the ―pianism‖ phenomenon has been summarized of the scientific literature, the concept of pianism has been formed as a phenomenon of musical and performing culture, which is revealed as a hierarchical, dynamic, open system, and the main vectors of development of European pianism of the late XVIII - first half of the XIX century are also characterized in the article. Conclusions. Developing for about sixty years, ―pure‖ pianism held its ground, taking various forms during its formation and evolution. In the most general terms, stands out the intra-pianistic (immanent) form, which bears the semantic "radiation" of piano-performing art and the extra-pianistic (all-around and extra-musical) form. In the first of them, the installation for perfection and harmony reigns, which index the image of beauty and the clarity and equality of the game in motor skills (mainly manual) is adjacent to the ―illusiveness‖ of the sound, which is achieved with the help of textured-pedal means. In the future, there will be an enthusiasm for the octave technique while maintaining the main condition - cleanliness and clear articulation of the performing ―language‖. The second form of manifestation of the aesthetic ideal of pianism in the "era of virtuosos", while maintaining its "purity", is aimed at attracting pianistic means to a wider range of spiritual, meaningful and stylistic phenomena. Piano motility and cantilena (―singing‖) are interpreted as a symbolic expression of two main figurative and semantic spheres of the romantic worldview: games and lyricism, which act as different facets of personal self-expression. So ―piano‖, which lies at the basis of the aesthetic ideal of ―pure‖ pianism, turns out, on the one hand, the sound emblem of romanticism, and on the other hand, it is a conductor of general musical (specific) ideas of a certain historical time. The coexistence of multidirectional artistic tastes in a single historical plane makes it possible to interpret the ―virtuoso era‖ under the sign of ―polyphony‖ with the asynchronous updating of its various tendencies. The main figure of this era, if viewed from the inside, still remained a virtuoso pianist, who only in the second half of the XIX century gave way to an interpreter pianist. That is, other musicians slowly grew alongside the figures of virtuoso pianists, whose work was more connected with interpretational tasks and broader - comprehension of piano performance in terms of its cognitive abilities, capable of conveying as much as possible, even comprehensive content.

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Становлення київської академічної баянної школи: 50–80-ті роки ХХ століття

Author(s): Vitalii Fedorovich Okhmanyuk / Language(s): Ukrainian Issue: 3/2018

Purpose of the article is based on a generalization of the scientific and pedagogical experience of the accordionist Art of the Kyiv Academic School in the 50s - 80s years of the XX century, the tendencies of development and its functional peculiarities. Methodology of research is to apply the objective-historic, historic-cultural, creative-activity, comparative, typological, chronological, systematic, and structural-functional methods. Scientific novelty of the work involves the specification of pedagogical and interpretive characteristics of the accordionists' activity of the Kyiv oblast in the 50s - 80s years of the twentieth century, the highlighting of the specific aspects of the performance art of the representatives of the academic accordions school. Conclusions. Renaissance of the accordions performances of Ukraine in the 50s - 80s years of the 20th century, in particular, the Kyiv Accordion School, became a vivid testimony to creative interpenetration, evolution in the world of music culture, through the modernization of the instrument, the academicization of theoretical and practical preparation of accordionists, the development and improvement of technical implementation techniques, treatment and mastering of the methods of general musical pedagogy and the use of the achievements of the theory of the game on related instruments, enrichment of the repertoire due to the original composer creativity, and practice of translations and transcriptions.

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СТАРОВИННИЙ ТЕАТР ТА МУЗИЧНЕ МИСТЕЦТВО КИТАЮ

Author(s): Marina Olegovna Antoshko / Language(s): Ukrainian Issue: 37/2020

The purpose of the article is to study the problem of ancient Chinese theater and the influence of musical art on the ancient traditions of the country. The methodology of the study is to use historical and biographical methods in the study of this topic. The scientific novelty of the article is to study the feasibility of the problem of the worldview of ancient China, based on the musical traditions and theatrical life of the country. The historical names of the philosophers who influenced the development of the system of music and education, which affected the cultural traditions of the countries of the East, were distinguished. Conclusions. Based on a study of ancient theater and music, the country has identified a distinctive Chinese culture. The problem of studying the worldview system of ancient China as the basis for the emergence of the musical tradition has interested many scholars because it influenced the cultural life of the countries of the East. Philosophical views influenced both theatrical life and the musical art of the country. Thus, China's cultural traditions were based on ancient Chinese philosophies: Confucianism, Taoism, and Buddhism. Special attention was paid to the issue of education, in particular aesthetics, in China. Music education has played an important role in China's culture. Confucius emphasizes the comprehensive development of man while emphasizing the morality of the individual. Therefore, China's theatrical art is distinguished by cultural unity and originality. Musical load played a big role. The Chinese worldview is based on a vision of nature as a living organism. The first sprouts of musical and theatrical art emerge. XII-XIII centuries marked the birth of Chinese opera. The Chinese theater was in full understanding of the people. The musical side of the classical theater is characterized by an unbroken unity of sound, words, and dance. Circle of images, moods, techniques of acting is characterized by a certain type of melody, rhythm, composition of the orchestra. The topics of the ancient theater and Chinese art are interesting and not fully understood, which necessitates further development in the study of this issue.

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Старото изкуство в архивите на Института за изследване на изкуствата. Състояние, проблеми, перспективи

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Старото изкуство в архивите на Института за изследване на изкуствата. Състояние, проблеми, перспективи

Author(s): Ruslan Stoychev / Language(s): Bulgarian Issue: special/2021

The article comments on the state and problems of the Fine Arts Archive among the collections of the Institute of Art Studies (IAS). The archival items there can be divided into three main groups, the most significant being thosecreated within the framework of projects (including international ones) led by former and current researchers of the Institute. The formation and replenishment of this archival array is in direct relation to the approaches of the respective scientific discipline, its thematic fields and the interest of scholars in one or another manifestation of art during different periods of their careers. Under the project named “Cultural Heritage in the Archives of the IAS: an Interactive Map of the Arts in Bulgaria” there has been developed and put forward an archival description system that 1) takes into account the specifics of the respective science and inherent methods of documentation, 2) covers the maximum number of information carriers and 3) meets the needs of both Institute researchers and outside users.

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Створення театралізованого художнього образу образу сучасника в народно-сценічній хореографії

Author(s): Viktor Andriyovich Lytvinynko / Language(s): Ukrainian Issue: 39/2017

Purpose of Article. The study deals with the development and research of original methods for creating an artistic image of a contemporary in folk and stage choreography. A significant role in the mentioned creative process is conducted by the professional skills of the ballet masters that in specific cases are not entirely careful with the enrichment of art pieces peculiarities with other expressive elements of dance, and perceive it as a requirement to take a few expressive and artistic means of choreography and mix them into one. Methodology. The research methodology is based on the use of comparative and critical methods. The specified methodological approach allows revealing and analyzing the distinctive features of the application of expressive and artistic means in the creative and production work of famous ballet masters of Ukraine, to identify distinctive features of their implementation due to the genre and type of the dance art. Scientific Novelty. The scientific novelty of the work lies in the extension of the associative process of creative imagination of a ballet master and director, which acquires a particular poetry while listening to music, and, also, to identify the areas of the dance’s idea preservation, identity and originality of the dance pattern or manner of a performance, with a multiplying of the mentioned aspects by the achievement of the professional folk choreography art to raise it above the original. Conclusions. Carrying out stage performance of folk dance, where the main character is an image of a contemporary, the ballet master, combining in musical and visual synthesis various arts, and possessing all the expressive means of dance, should understand that "none of the types of dance is accidental. It reveals the temperament of the people, the system of movements coordination, which is different in different peoples, the relationship between movements and music, connection with the history and life of the people” [6, 10].

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Стела XVI в. из с. Кумух — высокохудожественное произведение исламского искусства

Author(s): M.M. Mammaev / Language(s): Russian Issue: 13/2021

The article examines the features of decorative decoration of the tombstone of the beginning of the 16th century from the village of Kumukh (Lak district, Republic of Dagestan). Earlier this stele drew attention of art critics, historians, epigraphists, but as the monument of stone-cutting art and highly artistic work of Islamic art not studied in detail. Proceeding from a skillful carving of the stele, the accurate, clear, well thought decor composition, calligraphic Arab inscriptions in a harmonious combination with a vegetable ornament, the author considers it as highly artistic work of medieval stone-cutting art of Dagestan. The author admits the possibility of dating the stele a little earlier than previous researchers, namely the beginning of the 16th c. taking into account the features of its artistic. Judging by the size, decoration of the stele and epitaph, it can be believed that the buried man had a high lifetime social status and died as a martyr (Arab. shahid al-sa'id) in the battle during the military confrontation between the Ghazi-Kumukh shamkhals and Kabarda princes.

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Стенописите в църквата „Св. Петка“ в село Таваличево

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Стенописите в църквата „Св. Петка“ в село Таваличево

Author(s): Tsveta Kuneva / Language(s): Bulgarian Issue: 1/2022

The Church of St. Petka (Paraskeva) in the Kyustendil area village Tavalichevo has not, as of yet, been subject to thorough analysis by art historians. It is mentioned in some summarizing studies and in publications by local historians and by restorers, specifically after the discovery of preserved paintings in 2012. The original temple‘s architecture is typical for the post-Byzantine period, with murals by icon painters of local significance. Today the wall paintings are well preserved on the vault and eastern wall, but partially preserved on the southern and northern walls. They date back to the end of the 16th or the beginning of the 17th century. A great part of the images have never been published and/or identified up to this point. Amongst them the scenes from the Life of St. Nicholas deserves special attention. The wall painting program is traditional for late medieval Balkan art, but presents some interesting iconographical features (such as the figure of St. Paraskeva of Rome or the fan-like backrest on the throne of the Virgin of the Annunciation) and contributes to the overall understanding of the art trends in Bulgaria during that period.

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Стенописната украса в трапезарията на Бачковския манастир и нейното ритуално предназначение

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Стенописната украса в трапезарията на Бачковския манастир и нейното ритуално предназначение

Author(s): Totka Grigorova / Language(s): Bulgarian Issue: 1/2020

This article discusses two seventeenth-century images in the murals of Bachkovo Monastery refectory. The first, “Virgin Mary in Paradise,” part of the scene “Last Judgement,” is in apse of the eastern wall. The second, “Deesis,” is painted in the abbot’s apse. The placement of the compositions is uncharacteristic for that time and this type of building. It underscores the central place of the image of Virgin Mary in the refectory and the monastery. Among the many meanings of the two figural compositions what stands out is Virgin Mary’s role as Mediatrix. This role of the God’s Mother relates, first, to repentance of liturgy during the Great Fast and, second, the refectory as a place of prayer. Mary as Mediatrix is indirectly related to the ritual “Raising of the Panagia,” performed in the refectory. It glorifies Virgin Mary in the context of the Eucharistic ritual.

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СТЕФАНОС К. НИКИТАС – КЪСНОВЪЗРОЖДЕНСКИ ЗОГРАФ И ДУХОВНИК ОТ ТРАКИЯ

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СТЕФАНОС К. НИКИТАС – КЪСНОВЪЗРОЖДЕНСКИ ЗОГРАФ И ДУХОВНИК ОТ ТРАКИЯ

Author(s): Simeon Tonchev / Language(s): Bulgarian Issue: 1/2021

In the article, there is a complete review of Stephanos Nikitas’ work, as well as unknown works of his are showed. For the first time unfamiliar biographical facts regarding him and his religious and political activity are presented.

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Стивън Зондхайм и проблемът за ритъма, времето и пространството във филмовия мюзикъл „Суини Тод: Бръснарят демон от Флийт Стрийт“

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Стивън Зондхайм и проблемът за ритъма, времето и пространството във филмовия мюзикъл „Суини Тод: Бръснарят демон от Флийт Стрийт“

Author(s): Petar Odazhiev / Language(s): Bulgarian Issue: 2/2021

Analyzing the issues of rhythm, artistic space and time in the film version of the musical "Sweeney Todd", the aim of this study is to show how the composer's creative style influences the construction of the artistic synthesis of screen music form and to outline the challenges for the director in solving the conflict of musical dramaturgy with the peculiarities of the screen in the search for cinematic conventionality.

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Стилистични траектории във вариациите върху докомпозиционен тематизъм (Любомир Пипков, Пътуване из Албания – шестнадесет картини върху една албанска песен за струнен оркестър)

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Стилистични траектории във вариациите върху докомпозиционен тематизъм (Любомир Пипков, Пътуване из Албания – шестнадесет картини върху една албанска песен за струнен оркестър)

Author(s): Snezhina Vrangova-Petkova / Language(s): Bulgarian Issue: 2/2020

Part of the earliest history of instrumental shaping, variations on pre-compositional thematicism form a significant cultural stratum, naturally formed by the dynamics of creative choices in terms of intonation, approach to form, dramaturgy, compositional technology. Their mentality of creation is outlined by the trajectory of a particular work of art, filling the space of the theme – a model and a compositional assignment bearing the character of its era, genre, and type of thinking – to the individual composer’s realization in the variations, entering different types of relationships to the basis. The “musical paintings” by L. Pipkov are considered at the same time as an example of the functioning of this cultural-transfer mechanism and as an artistic cast of the poetics of the Balkan’s geographic topos inspired by travel.

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Стилістичні особливості проектів тиражних гутних виробів авторства Андрія Бокотея

Author(s): Mykhaylo Andriyovych Bokotey / Language(s): Ukrainian Issue: 3/2019

The purpose of the work is to find out the formative, artistic, constructive and technological features of small-scale production of the Lviv Experimental Ceramic and Sculpture Factory (hereinafter LECSF), designed by the Ukrainian artist A. Bokotey. Methodology of historiographical, biographical and artistic analysis as well as structural-functional and stylistic-typological methods are used to determine the form-building and stylistic features of the blown glass product designs. Communicative method is also used in the article. Scientific novelty. The article analyzes the stylistic features of the blown glass products, designed by one of the famoust Ukrainian artists – Professor A. Bokotey. Previously artist's heritage was highlited mostly in the context of the fine art creativity. His design activity at the LECSF wasn‘t scientifically developed before. Conclusions. The blown glass studio at LECSF, which functioned during the years 1962-2005, became the focal point for the continuation and development of the classical Ukrainian blown glass traditions. It was also a work base for glass artists from all over the former Soviet Union. The main typological groups were determined analising the selected designs by A. Bokotey, replicated during the period of the greatest prosperity of the LECSF during the 1970-1980's. Their formative features, color characteristics and technological aspects of formation and decoration were highlighted in the article.

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Стилістичні та іконографічні особливості ікони "Успіння" з колекції Національного художнього музею України

Author(s): Olga Olegivna Ryzhova / Language(s): Ukrainian Issue: 3/2018

The purpose of the study is to find out the features of the style and iconography of the monument and to consider the icon in the broad context of the Kiev and Lavra iconography of the XVIII century. The methodology of the research is to use the principles of historicism and comparative analysis. Specifics of material structure of the icon are identified with technical and technological studies, that included optic studies of the surface of the painting in the visible direct and side light source, in the infrared (IR-) and ultraviolet (UV-) radiation range, layered visual microscopic study of the surface of the paint layer, sampling of soil and paint layer; determination of soil composition and pigments of the paint layer. Scientific novelty is in revealing the stylistic and iconographic features of the monument, namely: in the icon composition the sacred historical aspect of the sanctuary's existence is emphasized, the style of the icon indicates that the icon painter was familiar with the icons and engravings of the monasteries of Kiev, Chernigov, the artistic tradition of the Armory Chamber; In the process of research, stylistic analogies are found among the monuments (icons and engravings) of the Lavra and Chernigov artifacts (icons and engravings) origin, icons of the artistic tradition of the Armory Chamber, as well as an icon from the collection of the Pskov State Unified Historical Architectural and Art Museum of the Reserve (Inventory No. 1601), which for today is the only iconographic analogue of the icon from the NCHMU among the monuments of icon painting. Conclusions. Based on the results of complex (stylistic, iconographic and visual optical) studies, it became possible to determine the creation of the icon "Assumption" (Inventory No. I 61, NXMU) to masters from Lavra. In particular, it is more likely to attribute the execution of the icon to Ivan Shchirsky.

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Стиль та виконавська інтерпретаціясучасної фортепіанної мініатюри

Author(s): Olga Mykolayivna Zhukova / Language(s): Ukrainian Issue: 3/2018

The purpose of the article is a comprehensive consideration of modern piano miniatures in the relationship between stylistic and performing issues, defining inherent miniatures of characteristic features that are manifested in the unity of the content and form of the work. The methodology of the research is based on a combination of general scientific, artistic and cultural approaches, including stylistic, genre, comparative-historical, as well as a set of methods and analytical approaches developed in the field of hermeneutics and interpretation theory. Fundamental works in the field of aesthetics, literary criticism and musicology have become the theoretical basis of work in the study of style - from stylistic tendencies of time to the style of a separate work. Of particular importance to the work is the fundamental work of K. Zenkin, devoted to the study of piano miniatures in the work of romantic composers. The scientific novelty of the research is determined by the application to the little-studied subjects - piano miniature of the second half of the XX – beginning of the XXI century. For the first time, through the prism of the miniature, the content and genre-style features characteristic of piano music are analyzed, new trends in the field of performing the interpretation of the genre of piano miniatures are revealed. Conclusions. By absorbing the heterogeneity of style gains of the era, the piano miniature reflects the most influential tendencies of time associated with neoclassicism, neo-romanticism, neo-folklore, avant-garde, minimalist, and jazz currents. At the same time, the miniature embodies many artistic concepts of postmodernism, associated with the ideas of "new eclecticism", "new simplicity", "new religiosity", "new aesthetics of the number". The genre of contemporary piano thumbnail is a multifaceted musical phenomenon, which is clearly revealed in various aspects of its existence. The modern piano miniature not only deeply reflects the spirit of our era, but also has a rich potential of communicative and artistic qualities.

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СТИЛЬ ШИНУАЗРИ В КОНТЕКСТЕ РАЗВИТИЯ ОРИЕНТАЛИЗМА В ЕВРОПЕЙСКОМ ОПЕРНОМ ИСКУССТВЕ XVIII ВЕКА (НА ПРИМЕРЕ ОПЕРЫ К. В. ГЛЮКА «КИТАЯНКИ»)

Author(s): Ming Li / Language(s): Ukrainian Issue: 33/2018

Purpose of the article is to identify the specificity of the development of the orientalism and its historically significant manifestation – style «shyunazury» – in the context of European opera of the 18th century. (On the example of the opera Ch. W. Gluck «Chinese women»). Methodology of the research is based on the integrated use of historical and cultural approaches, as well as methods of systematic and stylistic analysis.

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СТИЛЬОВІ ДОМІНАНТИ КИТАЙСЬКОГО МИСТЕЦТВА ХХ СТОЛІТТЯ Й ХУДОЖНЯ ПРАКТИКА ТАЙВАНЮ

Author(s): Ting Liu Ke / Language(s): Ukrainian Issue: 35/2019

The Purpose of the Article is a clarification of the specifics of the interaction Pan-China cultural tradition with regional cultural quality of musical Taiwan, geographically and political turned out to be in active and historically ambiguous interaction with continental chinese art with 1950-th before the end XX centuries.

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СТИЛЬОВІ ОСОБЛИВОСТІ АНСАМБЛЕВОЇ МУЗИКИ К.СЕН-САНСА У ГРІ ПІАНІСТІВ ОДЕСИ

Author(s): Lilia Mykhaylivna Shevchenko / Language(s): Ukrainian Issue: 2/2019

The purpose of the article is to mark the particularities a style manifestations С. Saint-Saёns in french ensemble music and naturalness of the understanding her musician Odessa. The methodology of the work is culturology approach in the science of art, presented including school of B.Asafiev in Ukraine, begin which are fixed french Ars nova begin XIV century and are turned in riverbed theatrical mimesis of J.-J. Rousseau. The base place occupies the method of genre-style benchmark analysis, hermeneutic, historian-descriptive methods, allowing within metaphysicians of the histories (A.Losev, N.Konrad) fix the semantic parallels of the formation of the humanitarian sphere and expressiveness to art. The scientific novelty of the work is determined by theoretical independence of the indication of ensemble style to С. Saint-Saёns as prоtоnеоbаrоque with the devil of nеоrоcоcо that is correlated with style preferences of nеоsymbolism (on E.Markova) of the music end XX-begin XXI centuries. Also, for the first time independence musician, Odesa is accented in Ukrainian musicology in mastering chamber-instrumental heritage С. Saint-Saёns, particularly his compositions with piano participation in the ensemble. Conclusions. The composer turned out to be the direct legal successor of salon instrumental art, in which greatly piano participation in that coloring clavier type, which presents the french style piano art and supplies the aesthetics "light" pianoforte of the epoch to Restorations. For this art, meaningful аnti-theatric manner of discharge from absurdities and roughnesses to lives for the sake of creation creative "oasis" of artistic serving to Beauty. Étude-prelude mechanics occupies the leading position in technology of the expression, which was realized as base creative factor in performance art to musician of the Odessa, which gave to Ukraine creative duo pianist of O. and V. Shcherbakovs, ensemble of "Harmonies of the world", specialized on performance of the music of the modernist style and symbolism artistic line, in which compositions of С. Saint-Saёns have played a significant and independent role.

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Стильові особливості сцени «оплакування» з плащаниці церкви Зішестя Святого Духа села Шкарівка Київської області

Author(s): Viktoriya Pavlivna Mazur / Language(s): Ukrainian Issue: 2/2019

The purpose of the article. The publication attempts to determine the iconography, the manner of painting and dating of the folk art monuments from the wooden church decoration of the Central Ukraine in the first half of the XVIII century. Methodology. Within the framework of the article and on the basis of the art research studies, the main task is the introduction of the folk art monument, i.e. the Shroud from the Descent of the Holy Spirit in the village Shkarivka, Bilotserkivskyi district, Kyiv region, into the scientific circulation. Scientific Novelty. In the study, the attention of the scientific community is focused on the art studies research of the discovered unique folk art monument. The work proposed for publication is part of the research results on the development and modification of the decoration of wooden church architecture on the territory of Central Ukraine in the first half of the XVIII century. Conclusions. According to the results of the author's art studies of iconographic and stylistic features of the painting, the Shroud of the Church of the Holy Spirit's Descent in the village Shkarivka, in Bila Tserkva district, Kyiv region, we have grounds to include them in the artistic heritage of the XIX century with possible later additions.

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