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ДО ПИТАННЯ ПРО ПРИЧИНИ ЗАКРИТТЯ ЄВРЕЙСЬКОГО ТЕАТРУ ІМЕНІ ШОЛОМ АЛЕЙХЕМА В ЧЕРНІВЦЯХ

Author(s): Olexander Bezarov / Language(s): Ukrainian Issue: 4/2018

The reasons for closing the Jewish Theater named after Sholem Aleichem in Chernivtsi in 1949 – 1950s are elucidated in the article. It is known, the State Jewish Theater of the Ukrainian Soviet Socialist Republic (USSR) was established in Kharkov 1925, and in 1934 was located in Kiev. After the accession of Northern Bukovina to the USSR in 1940, the theater, according to the decision of the Arts Committee, was transferred to Chernivtsi. In 1941 – 1944 the theater was evacuated and returned to the city only on February 9, 1945. According to the twentieth anniversary of the theater, it was named after Sholem Aleichem, and a number of leading stage artists received the honorary titles of the USSR. Nevertheless, in the beginning of 1950 the theater was unexpect-edly closed by the decision of the central authorities, and all of its property was transferred for storage to the Chernivtsi Ukrainian Drama Theater. Scientific novelty. As a result of analysis of archival documents, drawing on the opinions of researchers that are known in modern historiography, author can make some conclusions which, in his opinion, will create a more clear idea of this problem. In particular, the author is convinced that neither the financial indebtedness of the theater nor the “nationalist repertory policy” of the theater’s management could be the main reasons for the decision of the central authorities to stop its activities.

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Походження галицьких перегородчастих емалей

Author(s): Olena Vitaliyivna Bilyk / Language(s): Ukrainian Issue: 39/2017

Purpose of Article. The study aims to evaluate and prove the reliability of the production of crosses with partitioned enamels in the ancient Galich in the second half of the XII century. The methodology of the research is to apply art-study, analytical, and comparative research methods, which allowed, based on the analysis of the arts and archaeological source, to discover the similarities and differences in the made-up jewels and relics of the ancient masters found in the territory of the Galician land. The scientific novelty of the study involves the art-study analysis of previously unknown works of jewelry art, based on the analysis of which was established existence in Galich in the XII century, an original art school for the production of sacral products in the technology of partitioned enamels. Conclusions. As a result of the research, it was found that the establishment of the production of cross-engolpions in the Galician Principality dates back to the middle of the XII century when the Galician masters seized one of the most complex craft professions - glasswork, which is confirmed by archaeological excavations. The mentioned fact allowed to move from using Byzantine smalt to local enamel production, introducing a new interpretation of sacred works. Findings of the Galician crosses with partitioned enamels convincingly testify to the flowering of the enamel affair in the ancient Galich in the second half of the XII century.

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Медіальна перспектива мовно-знакової еволюції музики (на матеріалі українських камерно-інструментальних композицій межі ХХ – ХХІ століть)

Author(s): Anastasia Igorivna Kravchenko / Language(s): Ukrainian Issue: 40/2018

The aim. The aim of the work is to justify the appropriateness of using the term "media" in relation to music and to identify ways of functioning of unrelated sign codes at the system-structural level of organizing musical information, which is based on the material of chamber music of Ukraine at the turn of the 20th and 21st centuries. Methodology. In the analysis of the polysemyotic compositional integrity of modern Ukrainian chamber pieces the musicological, structural-semantic, semiotic, intermedial, comparative-typological methods were used. Scientific novelty. For the first time on the material of the semiosphere of Ukrainian chamber creativity, medial perspectives of the sign-language evolution of music are highlighted and general criteria for the typological classification of intermedial links in music are outlined. Conclusions. At the present stage, philosophical and cultural universalism of musical aesthetics, which is reflected in the polylogue of musical and extra-musical stylistics, becomes the decisive semiotic and conceptually meaning. This trend causes the expansion of the logical-conceptual apparatus of musicology to polymethodological vectors – the discursive synthesis of research paradigms. Proceeding from the cultural and semiotic positions, it is quite legitimate to use the term "media" in music, the cultural and iconic complex of which demonstrates the ability to interpret and translate not only a rich palette of cultural and semantic meanings, but also a wide range of cultural and symbolic codes, which confirms the presence of medial functions musical semiotics. The presented typology of intermedial links is based on the definition of explicit and implicit principles of the functioning of unrelated symbolic codes and stylistics of artistic and extra-artistic origin in the semiotic space of musical compositions. We are talking about: 1) the multisemiotic way of organizing artistic-semiotic integrity based on the principle of explicit synthesis of stylistic-technological and expressive possibilities of music and other arts as an combination of different semiotic series; 2) the monosemiotic method, based on the principle of implicit synergy of semiotic music codes and any other artistic and extra-artistic symbolic systems, presupposing the "recoding" of some semiotic codes in the language of others. Thus, the medial perspective of the linguistic and linguistic evolution of music is the path to a universal, polyfunctional semiotics, directing the structuring of musical matter in semiotically complexly organized texts with a doubled semantic potential.

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Аналіз дисертаційних праць з мистецтвознавства (спеціальність 17.00.06) за період 1991-2010 років

Author(s): Iryna Yaremivna Matolich / Language(s): Ukrainian Issue: 40/2018

Purpose of the Article. The research is related to the analysis and systematisation of candidate’s and doctoral dissertations in the study of art, by determination of essential scientific Ukrainian centres in this field, and also by the exposure of investigational and scantily explored questions in the Ukrainian science. Methodology. Research methodology is based on application of searching-bibliographic analysis, that predicts a study and systematization of library and archived funds; historical approach – at consideration of processes and phenomena that took place during the investigated period; analytical – in a study and systematization of abstracts of thesis and comparative - at determination of features of research works of Ukrainian scientists. A scientific novelty consists in the exposure of problem and perspective directions of scientific researches and the level of their decision from study of art speciality 17.00.06 is the “Decoratively-applied art”. Conclusions. An analysis of the dynamics of conducted research in Ukraine indicates a periodic increase in the number of defended dissertations. However, there are some gaps in the subject of scientific work. Thus, the vast majority of theses are devoted to the art of the newest and somewhat less “new” periods and very few periods of the Middle Ages and the ancient time. In particular, it was discovered that in the Ukrainian art history of the studied period there are no dissertations, where art processing of bone and horn is studied. The issue considered by scientists confirms the prospect of further scientific research.

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Історико-теоретичні передумови дослідження жанру багателі в музиці

Author(s): Julia Volodymyrivna Furdui / Language(s): Ukrainian Issue: 40/2018

Purpose of the article. This study is related to the study of genre specificity bagatelle in music from early samples (XVIII century) to the present time (the beginning of the XXI century). The author considers the interpretation of the genre of bagatelle in different epochs. The analysis is subject to bagatelle who were written not only for pianoforte but also for a variety of instrumental compositions. The methodology of the research is formed by the historical-style and comparatively comparative approaches and the traditional analysis of the musicologist, which together make it possible to present the instrumental bagatelle as a genre that already has a three-hundred-year history of development and existence. The scientific novelty of the article is to find and uncover the signs of the instrumental bagatelle genre. Conclusions. Bagatelle at the stage of formation was mainly written for pianoforte and string band. Over time, its instrumental composition expanded – in the twentieth century, both wooden and wind instruments and folk instruments are used. In the 21st century, the piano presentation is in the forefront. Genre characters Bagatelles, in addition to the primary piano timbre, are also program, cyclical (gradually separated from the program, "plot"), in the work of V. Silvestrov - a deep philosophical meaning.

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Засадничі риси функціонування кафедри історії і теорії мистецтва Львівської національної академії мистецтв

Author(s): Iryna Yaremivna Matolich / Language(s): Ukrainian Issue: 41/2018

Purpose of the article. Research is related to historical development, the pedagogical and scientific activity of department of history and theory of the art of the Lviv national academy of arts, determination of its role in the development of the Ukrainian study of art. Methodology is based on application of searching-bibliographic analysis that investigates a study and systematization of library and archived funds; historical approach – at consideration of processes and phenomena of the examined period; system – by means of that it was succeeded to trace the dynamics of the art-educational activity of teachers; comparative – in determination on the significant features of research works of Ukrainian scientists. Scientific novelty consists in the decision on of main methodological principles at the activity of department of history and theory of the art of Lviv National Academy of Art and addition of history of becoming the study of art as science in Ukraine. Conclusions. Higher study of art in the western region in Ukraine is presented by the department of history and theory of the art of Lviv National Academy of Art, which history goes to 1946 – the official opening of higher art educational establishment. However, producing of specialists in the study of art was begun only in 1996. Today a department of history and theory of art is one of critical scientific centers, that at the same time with pedagogical work in preparation of specialists on the study of art carries out the searching activity, which is sent to create the new cultural art sights and restoration of well-known one, their popularization among a population.

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Балетмейстерська діяльність Вадима Федотова в контексті розвитку українського музичного театру останньої чверті ХХ століття

Author(s): Olha Sergeevna Bilash / Language(s): Ukrainian Issue: 41/2018

Purpose of the article is to analyze the choreographical work of V. Fedotov and the ways it was realized on the stages of leading musical theatres of Kyiv: Kyiv Musical Theatre for kind and youth, Kyiv Theatre of the Classical Ballet, National opera and ballet theatre named after T. Shevchenko. Methodology: use of the next culturological methods of research: historical and comparative, structural and functional, semiotic, systematical. Scientific novelty: the study of the choreographical heritage of V. Fedotov, which was created and realized during his work on stages of leading musical theatres of Kyiv. Conclusions: The main points of staging conception lied in the convincing display of choreographical characters, successful combination of classical and folkstaged choreographic systems, a creation of the logical compositional structure of ballet performances, getting rid of excessive illustrative and domestic detailing.

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Балет «Лускунчик» редакції В. Вайнонена: генезис та композиція

Author(s): Hanna Oleksiyivna Perova / Language(s): Ukrainian Issue: 41/2018

Purpose of the article – to trace the genesis and reveal the peculiarities of the composition of V. Vainonen's editors Ballet P. Tchaikovsky's The Nutcracker. Мethodology. Analysis of the scientific literature and sources, systematization, application of the chronological principle allowed to conduct a scientifically objective study. Scientific novelty. The prerequisites for the creation, the basics of the ballet master method, and the compositional features of the editors of The Nutcracker by V. Vainonen are revealed. Conclusions. The impetus for the incarnation of V. Vronsky's version of the Nutcracker ballet by P. Tchaikovsky-L. Ivanov became sociocultural (changing the policy of state bodies in relation to classical ballet from categorical denial to recognizing its importance in cultural construction) and art (appearing in the first years after the October 1917 coup of a number of avant-garde performances based on classical heritage figurative music and ideas ballet) factors. The performance has a tendency to return to classical dance in the editorial in accordance with the modern development of dance vocabulary, performing technique of ballet dancers. The ballet master updated the score, the scenario solution, provided the images with a new meaning. The source of figurativeness for V. Vainonen was the music of P. Tchaikovsky, which caused a combination of external structural orderliness and internal mood in the dance, preservation of strict classical forms. The main feature of the poetic generalization of the choreographer, realized in The Nutcracker, is the authenticity of events and characters, and despite the realistic interpretation of the approach to the aesthetics of a children's play, taking into account the peculiarities of the perception of the children's audience.

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Жінки в українському балеті: до історіографії дослідження

Author(s): Valentina Anatoliyivna Zakharova / Language(s): Ukrainian Issue: 41/2018

The purpose of the article is to systematize the main work on the role of women - dancers, choreographers, teachers - in the establishment of the Ukrainian ballet school, presented by the work of scientists and art critics and other publications. The methodology of the research is based on the use of historical, bibliographic and descriptive methods with a projection on art study analysis. Scientific novelty. The article is the first attempt to systematize the material on the research of female ballet performances in Ukraine. Conclusions. The analysis of sources on the history of the establishment of ballet art in Ukraine and the beginnings of the formation of a national school of ballet performances gives grounds to assert about the accumulated factual and historical material. However, the study of the formation and the current state of women's ballet performances in Ukraine has not yet become the subject of systematic interest on the part of scientists. At the same time, these issues, as well as the emergence and formation of women's classical dance, will further cause a research interest in connection with the relevance of artistic innovative searches, the activation of feminist movements, general deepening of the relevance of gender issues in contemporary socio-cultural processes.

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НАПРЯМКИ ТА СПЕЦИФІКА ПРОФЕСІЙНОЇ МУЗИЧНОЇ КУЛЬТУРИ БУКОВИНИ ДРУГОЇ ПОЛОВИНИ ХХ СТОЛІТТЯ

Author(s): Iryna Yaroshenko / Language(s): Ukrainian Issue: 34/2018

The purpose of the article is to characterize and consider the directions and specifics of the professional musical culture that took place in Bukovina in the second half of the twentieth century. The methodology of the research is to apply materials that characterize the dynamics of the development of trends that contributed to the development of musical culture and the creative work of those artists who determined their activities. The scientific novelty of the work is that for the first time the characteristic features of the Bukovyna artists movement of the second half of the twentieth century in various components of it were studied: composer's work, public, conductor-choral performance, that is, those achievements that contributed to the revival and development of professional-performing and cultural-educational traditions of Bukovina.

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РИСИ ХОРОВОЇ ТВОРЧОСТІ УКРАЇНСЬКИХ КОМПОЗИТОРІВ - ПІСНЯРІВ 50-70-Х РОКІВ XX СТОЛІТТЯ

Author(s): Natalia Pertsovа,Veronika Yurievna Dorofieieva / Language(s): Ukrainian Issue: 33/2018

The purpose of the article is to highlight the peculiarities of the choral works of Ukrainian composers and songwriters of the 50's and 70's of the XX century - I. Shamo, G. Mayboroda, P. Mayboroda, and O. Bilash. The methodology is to use the analytical, comparative and historical method. The scientific novelty consists in distinguishing the characteristic features that are related to the creative techniques of composers and singers in the field of choral heritage. Conclusions. In the artistic works of I. Shamo, G. Maiboroda, P. Maiboroda, O. Bilash the leading place is given to the song genre. It is a connection with folklore, which manifests itself in the interest of the type of choral processing, the borrowing of individual intonational-rhythmic elements, and harmonious features in-copyright works.

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ОСМОГЛАСНИК КАЛЛІСТРАТА 1769 РОКУ: АВТОРИЗАЦІЯ ГРЕКОМОВНИХ ПРИЧАСНИКІВ І ХЕРУВИМСЬКИХ ПІСЕНЬ

Author(s): Yevgeniya Ignatenko / Language(s): Ukrainian Issue: 35/2019

Purpose of the article. The Greek Oktoechos, created by the Kiev monk Kallistrat in Moldavia, is a unique musical manuscript, in which the Greek, Moldavian and Ukrainian-Belarusian traditions of church chanting combines. The objective of our study is to authorize the Greek-language Communion Chants and Cherubim Songs from Kallistrat’s manuscript; to collect the information about composers whose works Kiev monk written down; to present the Oktoechos in the context of the Byzantine musicology’s current problems; to outline the significance of Kallistrat’s manuscript. Methodology. The comparative method of research of the Greek-Byzantine musical manuscripts and Kallistrat’s Oktoechos is applied. Scientific novelty. For the first time in the musicology, the Greek-language Communion Chants and Cherubim Songs from Kallistrat’s Oktoechos were authorized. It turned out that the Kiev monk written down the works of the prominent Byzantine musicians of the second half of the 17th century – Protopsaltis Panagiotis Chrysafis the New and the priest Balasis, as well as famous composers of the last quarter of the 17th – the first quarter of the 18th century Joachim Salabasis and Antonios Hiereus.

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An Anonymous Painter in the 1680s in Western Lemkivshchyna. Characteristics of His Style

Author(s): Agnieszka Gronek / Language(s): English Issue: 2/2019

The purpose of the article is to characterise the style of the creator of the icons from Maciejowa and Krolowa Ruska from the 1680s housed in the Regional Museum in Nowy Sacz (southern Poland) and to ascribe other surviving works in western Lemkivshchyna to his workshop. The research was conducted using the method of stylistic and comparative analysis, and, to a lesser degree, iconographic analysis. Scientific novelty. For the first time, the picturesque style of the Western Lemkoshine of the XVII century, which belonged to anonymous authors, was researched.Conclusions. As a result of research conducted in this manner, it was possible to ascribe over 40 icons to this anonymous painter, exhibited in the Regional Museum in Nowy Sacz, the Parish Museum in Grybow, the Orthodox church of Saints Cosmas and Damian in Berest and Saint Demetrius in Bogusza.

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Musical Ethos of the Epoch of Middle Ages

Author(s): Tetiana Borisivna Kablova / Language(s): English Issue: 2/2019

The research is aimed at studying the concept of musical ethos, as a characteristic universal in the conditions of the cultural space of the Middle Ages. The mentioned topic forms the following task: to indicate the main aspects of the formation of the concept of ethos of music in the Middle Ages. The methodology of work is to use comparative, historical and logical methods, a hypothetical and deductive method, which suggests the need for the existence of universal concepts in artistic cultural space, where there are certain concepts that are studied in the Middle Ages. Music is considered by the author as a form in which spiritual and real are combined. Scientific novelty. The musical ethos of the Middle Ages is primarily studied from the standpoint of the church, while at the same time not losing its material essence of scientific novelty. In the cultural space, the musical ethos is a spiritual core, a moral and psychological platform, on which the figurative and aesthetic model of contemporary humanity of life and worldview is built up. The musical ethos is characterized as the perfect embodiment of the material musical substrate, in the process of mastering the typical signs of time. Conclusions. The musical ethos is seen as a definite universal notion. It is the musical ethos that embodies the socio-psychological orientation of the world picture and the general mental setting for the formation of the cultural-civilizational process, its ability to generate and cultivate new types of reactions, ideas, and tastes in these forms. Thus, the musical ethos appears to be the genesis for the implementation in artistic forms of the preferences and cultural images.

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Художньо-інтерпретаційний дискурс Бахіанства у глокалізованому просторі (на прикладі рецепції клавірної творчості композитора у Львов)

Author(s): Stepan Stepanovich Solansky,Zoryana Mykolayivna Lastovetska-Solanska / Language(s): Ukrainian Issue: 2/2019

The Purpose of the Article is to investigate the artistic and interpretive discourse of J.S. Bach’s clavier creativity, its reception in Lviv as an object of globalized cultural and artistic surroundings. The methodology of the research is based on the application of historical, musicological, artistic and critical, culturological and analytical approaches, which enabled to analyze the basic principles of the criteria of globalization, the intensity of global and local interactions and the speed of the global reactions on the example of reception and the spread of Bach’s creativity, to trace certain models of interpretation in the historical perspective, taking into account historically formed artistic priorities and tastes of Lviv residents. Such a methodology made it possible to accentuate the modern and postmodern stages of the globalization of cultural and spiritual processes in the projection into the interpretive discourse of Bach’s creation in a specific region. The scientific novelty consists in formulating the definition of artistic and interpretive discourse, in expanding the notions of the globalized and glocalizated socio and cultural surroundings, in the study of the performing discourse of the Bach’s clavier works in Lviv through the prism of its artistic and cultural traditions and achievements. Conclusions. The dominant views of the interactions between global and local are the active apperception of recognized world models of the interpretation of Bach’s clavier music in Lviv. Its artistic and interpretive discourse and traditions of reception are characterized by a symbiosis of external factors and internal conditions. The simultaneous existence of romantic, authentic performances, the performing of works by the German composer with jazz pianists enriches the rich palette the Bach’s Compendium in the glocalizated artistic and interpretive space of Lviv.

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Парадигма християнського славослів’я у творчості г. Ф. Генделя

Author(s): Anzhelika Anatoliyivna Tatarnikova / Language(s): Ukrainian Issue: 2/2019

The purpose of the article is the identification of the poetic-intonational uniqueness of «Te Deum “Dettingen”» by G. F. Handel in line with the christian worship tradition. The methodology is based on the intonational concept of music from the perspective of intonational-stylistic, etymological analysis inherited from B. Asafiev and his followers, as well as on interdisciplinary and historicalcultural approaches. The latter allow revealing the spiritual-semantic and stylistic specifics of «Te Deum “Dettingen”» by G. F. Handel in the context of not only the individual author's style, but also the evolutionary paths of the spiritual choral art of Europe. The scientific novelty of the work is determined by the fact that it first summarized the poetics of «Te Deum “Dettingen”» by G. F. Handel in the spirit of the christian worship tradition. Conclusions. Choral art G. F. Handel is associated with England, its political, cultural, historical and choral tradition. One of the “signs” of this connection can be considered his five compositions on the texts of Te Deum (in the english version). The two largest Handel Te Deum – Utrecht (1713) and Dettingen (1743) – are dedicated to ending the war of the spanish inheritance and the victory of the british and allied austrian troops over the french near Dettingen. «Te Deum “Dettingen”» by G. F. Handel was born at the intersection of, on the one hand, the arsenal of musical rhetoric, coupled with images of glory, praise (quarterliness, trumpet sounds, d major, etc.), on the other – appealing to the invoice-intonation formulas of spiritual and singing praise of praise, genetically going back to the tradition of the early middle ages, in particular, to ambrosian singing (antiphon, responsory, melismatic anniversary singing, etc.).

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Традиції культури мистецької франції та фортепіанні концерти К. Сен-Санса

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

The purpose of the article is a realization of organic character to the lyrical concept of piano concerto in the French tradition, presented Concerto С.Saint-Saёns, actual intonation expressiveness which is determined "nеоcymbolism" (on E.Markova) to pоstvаnguard in music and "nео-Gоthic in art" in Ukrainian refraction of post-pоstvаnguard (see to work O.Novikova and others.) The methodology of the work is culturology approach in science about 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 mimеsis of J.-J. Rousseau. The base place occupies the method of the 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 of art. Scientific novelty of the work is concluded in that for the first time in musicology of Ukraine matches up the intonation formation is proto-symbolism, symbolism and nео symbolism begin XXI centuries in concrete manifestation of the genre filling in themes and in composition particularities of the structure of the artifact; for the first time Concertos Network-Sansa and, first of all, Second and Fifth became the theme and hermeneutic analysis in aspect actual intonation fullness of the manifestation, in correspondence to symbolism gravities of post-avanguarg. Conclusions. The creative activity of C.Saint-Saёns chronology and by style preferences is connected with proto-symbolism and proto-neoclassicism trends, which assist the ascent a symbolism, but subsequently nеоsymbolism art of verges XIX-XX and XX-XXI cent., differing salon estheticism and animated honouringп of national tradition and French artistic insight first of all. The majority from created Sant-Saёns of symphonic compositions pertains or to the genre of the concerto directly, or are such essential expressiveness and instrumental composition, presenting composition; including this 5 Piano Concerto. Of them, popular Second demonstrates style eclectic significant for the symbolism approach, but brilliant play-off reproduces "diamond style" of classicists french pianism, which osculation find beside S.Rahmaninov and, more so, besides A. Skrjabin. The concert principle of the thinking of Sant-Saёns is determined by address to spiritual headwaters creative activity and forms natural parallel to the ascent of the interest to church art, lifted on height by the creative activity of C.Franck and V. d'Indy.

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Естетичні традиції українського барокового іконопису в сучасному сакральному мистецтві

Author(s): Alexander Petrovich Tsugorka / Language(s): Ukrainian Issue: 2/2019

The purpose of the article is to determine the influence of the aesthetic traditions of Ukrainian Baroque on the development of modern icon painting. The research methodology is based on modern art criticism and cultural studies, which are based on interdisciplinary and integrated approaches. For the purpose of the study, the following were used: historical and cultural (to study the historical dynamics of the formation, formation and development of the Ukrainian Baroque style) and historical and comparative methods (to study the specifics of the evolution and transformation of the aesthetic traditions of Ukrainian Baroque in retrospect); the method of artistic analysis (to identify the specifics of the baroque iconography’s imaginative system); typological and system-structural methods (for the effective structuring of iconographic artworks, authorship, chronology and relationships with the aesthetic traditions of Ukrainian Baroque), as well as the method of stylistic art history and comparative analysis (to identify the specifics of pictorial style and technical and technological techniques characteristic of modern Ukrainian icon painters. Scientific novelty. The historical, political and socio-cultural factors that influenced the formation of bar features full-time icon painting on the territory of Ukrainian lands in the XVII – XVIII centuries, the characteristic features, aesthetic and stylistic specifics of the iconographic art of the Ukrainian Baroque era are defined, current trends, problems and prospects for the development of the aesthetic traditions of Ukrainian Baroque in the domestic icon painting are outlined. Conclusions. Socio-cultural space and the space of social art in Ukraine is characterized by extremely favorable conditions for the development of the modern iconography and creative experiments in the context of baroque styling, including the creation of icons inspired by the aesthetics of Ukrainian Baroque. The use of elements of Ukrainian icon painting XVII–XVIII centuries modern artists, the use of three-dimensional perspective, the image of Christ, the Virgin, archangels and apostles in national dress, with typical Ukrainian features – a symbolic hint of the need to search for holiness in real life.

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Zapadna kapija Beograda - vizura umetnika

Author(s): Tijana Duka / Language(s): English,Serbian Issue: 9/2019

Rad se bavi pitanjem Zapadne kapije Beograda kroz kontekst različitih umetničkihvizura, razmatranjem načina na koji zdanje autentičnim graditeljskim vokabularomi prepoznatljivom siluetom postaje jedna vrsta umetničke inspiracije, podstičućiimaginaciju brojnih stvaralaca. Polazeći od vizure autora, arhitekte Mihajla Mitrovića,koja je iznedrila kreaciju i osoben vizuelni pečat Kapije, fokus razmatranja usmeren je nasagledavanje raznolikih individualnih umetničkih doživljaja građevine, praćenim krozrazličite medijume.

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PERGAMENT KAO PODLOGA ZA PISANJE, TISKANJE I SLIKANJE

Author(s): Sanja Serhatlić / Language(s): Croatian Issue: 40/2019

The Department of Paper Restoration in Dubrovnik, at the Croatian Conservation Institute, celebrates its 20th anniversary in September of 2019. The beauty of the job of paper restorers and related material lies in creativity and diversity. Two-dimensional and three-dimensional pieces of paper, parchment and leather are restored. Drawings (pencil, charcoal, pastel, ink), paintings (watercolor, gouache, oil ...), posters, maps, charters, banknotes, scenography, signets, antependia, globes, manuscripts and printed books. The oldest works of art restored in the Department dates back to the 12th century, while those dated from 20th century are also being restored. Choosing a restored piece of art for this article was almost impossible, but we decided to elaborate on the 1993 story of saving a charter on parchment, found in a lead tube burning in the building of the Inter-University Center in Dubrovnik. However, this article will generally deal with parchment and its restoration.

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