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National Identity in the Exhibition of the Silesian Museum: A Case Study Based on the Methodology of Dispositive Analysis

Author(s): Veronika Kolaříková / Language(s): English Issue: 1/2024

This study presents research on the exhibition Encyclopaedia of Silesia at the Silesian Museum in Opava. The aim of the research was to identify the form of Czech national identity that is constructed and reconstructed by this exhibition, by focusing on the elements and narratives through which Czech national identity is presented and constructed. It also examines whether these elements replicate the prevailing ideas and stereotypes related to this identity in society. The research takes the form of a case study based on dispositional analysis, and showed that the narrative of Czech national identity appears in the exhibition. This confirmed that national identity can emerge not only in national museums but also in other types of museum – in this case a regional museum in which national and regional identities are intertwined.

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СТИЛЬ КЛАСИЦИЗМ У НАСТІННОМУ ЖИВОПИСІ ХРАМІВ КИЄВО-ПЕЧЕРСЬКОЇ ЛАВРИ

Author(s): Maryna Afanasiyivna Bardik / Language(s): Ukrainian Issue: 1/2024

The purpose of the article is to study the features of the classicism style in mural paintings of the Kyiv-Pechersk Lavra churches. The research methodology based on the complex using of historical and cultural analysis, art study one, biographical method. The scientific novelty of the study. The implementation of the classicism style in the mural painting of the Kyiv-Pechersk Lavra is discovered. The archival descriptions of murals, photos, cartograms have been put into scientific circulation. On the basis of records, the stylistic signs of classicism in the mural paintings of the side-altar of the St. apostle and evangelist John the Theologian of the Great Church and the interior of the Church of Nativity of the Most Holy Theotokos have been researched. It has been revealed, thanks to which principles of the construction of composition and colour, as well as specific decorative elements classicist mural paintings have been created in the compartments of these churches. On the basis of stylistic analysis and analysis of archival documents, the working hypothesis for the improvement of the attribution of mural painting of the Church of Nativity of the Most Holy Theotokos has been proposed. Its connection with the painting baroque decoration of the Great Church (Dormition Cathedral) has been observed. Conclusions. The classicism style was represented in the mural painting of the Kyiv-Pechersk Lavra churches in the 19th century. The murals of the side-altar of the St. Apostle and evangelist John the Theologian of the Great Church and the interior of the Church of Nativity of the Most Holy Theotokos were created in the classicism style. The painting decorations of the side-altar and the church were formed on the general principles of classicist composition, such as strict symmetry, a calm and clear rhythm, an ordered structure, and emotional restraint. The artist painted a number of elements of the classicist architecture such as caissons, elements of the Corinthian order, rust, etc. He created the illusion of bas-reliefs and stucco moulding thanks to the use of the grisaille technique. He painted illusory gilt frames of various shapes that bordered the compositions, stylized monochrome ornaments. He chose blue (the symbolic colour of the Theotokos) and shades of gray as dominants for colour. The analysis of the artistic style and records made it possible to propose the working hypothesis regarding the authorship and time of creation the murals of the Church of Nativity of the Most Holy Theotokos. They were painted, as well as murals of the side-altar of the St. Apostle John the Theologian by Kornilii Voloshynov during 1837–1838. In the mural painting of the church, in the plots and locations of the compositions there were borrowings from the baroque decoration of the Church (Dormition Cathedral).

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РОМСЬКА ТЕМАТИКА В ПЕЙЗАЖАХ (НА ПРИКЛАДІ ТВОРІВ РЕАЛІСТИЧНОГО ЖИВОПИСУ ДРУГОЇ ПОЛОВИНИ ХІХ СТ.)

Author(s): Vyacheslav Boyko / Language(s): Ukrainian Issue: 1/2024

The purpose of the article is to analyse the Roma theme in the landscape painting in the works of artists-realists of the second half of the XIXth century. The research highlights the motives, related to the traditions of the Roma, which attracted the realistic direction artists’ attention. It is reviewed that the majority of Roma images and their traditional life style of the second half of the 19th century were presented in the painting works with the introduction of the landscape storylines. The research methodology includes the following methods: historical-cultural method and analytical one, a method of the historical-artistic typology and logical-generalizing method. These methods made it possible to follow the development of Romani subjects in the landscape art of the studied period. The scientific novelty of the article is an attempt to fill up the lack of research on the chosen topic and the need to introduce it into the scientific circulation as such, which will make the Roma topic in the context of realistic landscape painting in the world fine art of the XIXth century interesting for the researchers, historians etc. Conclusions. The research consists of the several stages. The first one is the analysis of the historiographical base, which has allowed to emphasize the relevance of studying the dialogue of the landscape and Roma images in the works of realist artists. During the second research stage, the peculiarities of the landscape genre in the realism direction works are characterized. In addition, the canvases of August von Pettenkofen (1854), Kharyton Platonov (1877), David Bates' (1886) and Franciszek Streitt (1885–1886) were singled out from the array of the artistic works and described in the context of the interdependence of the landscape and Roma images and (or) scenes from Roma life. Finally, it is shown that the landscape does not contrast with the Roma theme in these works, moreover it is a tool for its highlighting. Therefore, it is logical to conclude that the landscape line was used by realist artists as a logical component of the romance of nomadism in the XIXth century.

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УКРАЇНСЬКИЙ ПОРТРЕТНИЙ ЖИВОПИС XVIII–ПОЧАТКУ ХІХ СТОЛІТЬ У ЗІБРАННІ ДНІПРОВСЬКОГО ХУДОЖНЬОГО МУЗЕЮ

Author(s): Iryna Ivanivna Nesen / Language(s): Ukrainian Issue: 1/2024

The purpose of the article is to analyse the collection of Cossack portrait painting of the 18th-early 19th centuries from the collection of the Dnipro Art Museum, with further classification of genre types and the role of specified works in the development of Ukrainian portraiture. The research methodology is based on a combination of general scientific and special methods of cognition. The leading tools of the research toolkit are analytical, historical-chronological, and systematic, which make it possible to thoroughly consider the material in art history and historical contexts, to obtain results for further searches in order to clarify attribution. The scientific novelty of the research lies in comprehensive study of artworks of particular collection of Cossack portraits of the 18th-early 19th centuries from Dnipro Art Museum collection, in which, next to famous historical figures (I. Samoylovych, I. Mazepa, I. Skoropadsky), we see little-known images (the scribe I. Nevinchany, the bishop Joseph). Their artistic and historical significance in the development of national portrait painting is determined. Conclusions. The eight portraits from Dnipro Art Museum collection considered in the article gave the author opportunity to research a number of portraits of Cossack figures of the 18th century, to trace important facts of creation of artworks group from first formation period of museum collection by efforts of Dmytro Yavornytskyi. The character analysis of the portraits proved the presence of main genre varieties in the collection – ktitori, epitaph, secular ceremonial and chamber types. Particularly important for research is the portrait of Hetman I. Mazepa, which shows an easel variation of the founder portrait. Most of the considered artworks represent the baroque in their stylistics, instead "Portrait of Pavlo Rudenko" by the brush of Volodymyr Borovikovskyi shows characteristics of a classical portrait. The artworks considered in the article specify the stylistics of national types.

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МОДЕРНЕ УКРАЇНСЬКЕ МИСТЕЦТВО: ЄВРОПЕЙСЬКА ТОТОЖНІСТЬ ЧИ ОКРЕМІСТЬ

Author(s): Zlata Sapelkina / Language(s): Ukrainian Issue: 1/2024

The purpose of the article is to identify the features of Ukrainian modernism as a unique socio-cultural phenomenon. The research methodology is based on a systematic approach to the study of the problem and includes synchronous and diachronic methods of scientific knowledge, as well as analysis, comparison, generalisation, and extrapolation. The scientific novelty lies in the attempt to find historical parallels between the events of the early 20th century, which influenced the figurative rethinking of reality in art, and postmodern trends of today. Conclusions. Considering modernism in the Ukrainian socio-cultural space, it was found that art was not only characterised by keeping up with European times in gaining experimental experience, but also by a philosophical basis aimed at self-identification. Thus, for many Ukrainian artists, a complete break with traditional art became impossible, and the search for the answer to the question "who we are" became the reason for the integration of centuries-old ethnic codes into the art space of the modern era. Thus, the phenomenon of modernism in Ukrainian culture is primarily associated with the reflection of the historical and cultural paradigm and the search for autochthonous meanings.

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ЖАНРОВО-СТИЛЬОВА ДИНАМІКА КВАРТЕТУ САКСОФОНІВ У СВІТОВІЙ МУЗИЧНІЙ КУЛЬТУРІ ХІХ–ХХ СТОЛІТЬ

Author(s): Iryna Stepanovna Paliichuk,Du Bohao / Language(s): Ukrainian Issue: 1/2024

The purpose of the proposed article is to highlight the genre and style dynamics of the saxophone quartet in the world musical culture of the 19th and 20th centuries. The research methodology is based on the use of the following methods: historical – when outlining the genesis and evolution of the saxophone quartet genre; analytical and typological – when identifying the immanent features of specific works of the analysed genre and combining them into appropriate typological groups; general cultural – when reproducing the historical and stylistic context of the development of the genre (in the unity of compositional and performing components). The scientific novelty of the work consists in a panoramic study of the evolutionary process of the saxophone quartet genre in the world musical culture of the 19th-20th centuries, outlining its periodization, and determining the genre-stylistic features of individual works of the analyzed genre. Conclusions. In the process of researching the evolution of the saxophone quartet genre in the world musical culture of the 19th and 20th centuries, its periodisation is proposed: the second half of the 19th century – forming a saxophone quartet; the first half of the 20th century – crystallisation, establishment of immanent features of the genre; the second half of the 20th century – the beginning of the 21st century – modification of the saxophone quartet genre – enrichment of its genre-stylistic features, typological types. On the basis of the analytical characteristics of individual saxophone quartets, it was concluded that the analysed genre reflects the leading stylistic trends in the development of European, and more broadly, world musical culture, such as the tendency towards programming (G. Bumke, J. France, J. Absil), neoclassicism (E. Bozza), the use of pointillistic technique and dodecaphony (A. Webern), the combination of modern musical language with jazz stylistics (A. Desenclo), minimalism and jazz (F. Glass).

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ОЗНАКИ ПІЗНЬОЇ SERIA В ОПЕРІ АНТОНІО САЛЬЄРІ «АРМІДА»

Author(s): Iryna Krasylina / Language(s): Ukrainian Issue: 1/2024

The purpose of this work is to understand the specifics of identifying characters, plots, and means of musical expressiveness in the seria of the post-Neapolitan and post-Venetian era of the genre, considering that it was in the Neapolitan and later Venetian schools that the classic examples of the named opera typology emerged. The methodological basis of the work is the position of the intonation approach of B. Asafyev's school in Ukraine represented by I. Liashenko, I. Kotliarevskyi – and their numerous students who formed their own scientific schools. At the same time, we highlight the hermeneutic-comparative, biographical-descriptive, stylistic-genre methods, as they reflected the discovery of the psychology of creativity in the works of J. Huizinga, M. Eliade, and other art historians. The scientific novelty of the research is determined by the fact that for the first time in Ukrainian musicology the named composition by A. Salieri became the subject of research, the indicators of what is called today "late seria" are formulated for the first time, clarification is given regarding the interpretation of the typology of the traits of characters, typical of seria in general and those that are singled out at the level of the Viennese work of A. Salieri and other his contemporaries. Conclusions. The generalisation of information about the existence of seria from the beginning to the middle of the 18th century indicates significant changes in the conditions of the presentation of this genre in the theatre and the attitude of the public to the typical traits of characters of the classic seria, with a hagiographic shade, while the "late" version is "infected" with psychologism and a mixture of manifestations, up to the frankly pro-demonic presentation of the sorceress Armida in the opera of the same name by A. Salieri. And its very name, which is far from the ideal guidelines of Christian morality (and seria with the etymology literally translated as "serious" corresponds to the indication of the ecclesiastical meaning), is presented as the leading character, while the bearers of Christian virtues – Rinaldo and Ubaldo – according to the stage schedule find themselves "in the shadow" of the actions and expressions of the named main character.

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ЕВОЛЮЦІЯ КИТАЙСЬКОЇ ІНСТРУМЕНТАЛЬНО-ВИКОНАВСЬКОЇ ШКОЛИ ХХ – ПОЧАТКУ ХХІ СТОЛІТТЯ

Author(s): Zhu Sisi / Language(s): Ukrainian Issue: 1/2024

The purpose of the work is to determine the prerequisites and evolutionary processes of the development of the instrumental and performing school in China in the 20th – early 21st centuries. Research methods are based on cultural, historical, comparative approaches based on the principles of knowledge of nature and society. The scientific novelty consists in determining the prerequisites and development of the instrumental and performing school in China, as well as comparing the genres and features of their interaction, which contributed to the formation of new forms of music making. Conclusions. Based on the historical and musicological analysis of the evolution of instrumental and performing arts in China in the 20th and early 21st centuries, it is stated that the development of the phenomenon under study is inseparable from a comprehensive artistic process that covers the entire range of existing genres and forms. At the beginning of the 21st century, Chinese musical culture in general, and its instrumental and performing segment in particular, became an integral part of global musical development, influencing the course of evolution of world musical art. The conducted analysis made it possible to state the rapid growth of all aspects of the instrumental and performing school of the People's Republic of China, the powerful strengthening of the material base, the expansion of the field of education and popularisation of music, the improvement of the quality of training of performing personnel both in China and through the training of Chinese musicians abroad.

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РОЗВИТОК ХУДОЖНЬО-ПРОМИСЛОВОГО МИСТЕЦТВА УКРАЇНИ ПЕРШОЇ ТРЕТИНИ ХХ СТОЛІТТЯ

Author(s): Alla Diachenko / Language(s): Ukrainian Issue: 2/2024

The purpose of this article is to study the development of artistic and industrial art of Ukraine in the first third of the 20th century, focusing on the main achievements, styles, outstanding representatives and their contribution, as well as on the influence of this period on the further development of Ukrainian art. Research methods. the study is based on the use of the historical-genetic method, the comparative research method, and the art analysis method. Together, these methods provided a comprehensive approach to the study of artistic and industrial art of Ukraine, provided research on its features and significance in the context of national and world cultural heritage. Scientific novelty. The synthesis of traditional folk crafts with modernist and constructivist currents is studied in detail, revealing new forms and stylistic solutions that arose as a result of this interaction. Special attention is paid to the adaptation of Western European artistic trends to Ukrainian cultural conditions. The article presents new facts and interpretations regarding the work of such prominent artists as Kazimir Malevich, Oleksandr Bogomazov, Vasyl Yermylov, Hanna Sobachko-Shostak, and Oleksandra Ekster. Their individual contribution to the development of artistic and industrial art and their influence on future generations of Ukrainian and world artists has been revealed. Conclusions. The artistic and industrial arts of the first third of the 20th century not only enriched the country's cultural life, but also contributed to economic development, raising the standard of living of the population and strengthening Ukraine's economic ties with other countries. A new perspective on the development of artistic and industrial art of Ukraine in the first third of the 20th century is proposed, which includes a comprehensive analysis of socio-political, cultural and economic factors that influenced this process. Discovered new data and interpretations expand the understanding of the role and significance of this art in Ukrainian and world cultural heritage.

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Searching for Chinese Song Dynasty Fans Related to Cultural Dimensions

Author(s): Zhi Zhan,Rosjana Chandhasa / Language(s): English Issue: 3/2024

This study examines the formation of fan culture in China during the Song Dynasty, focusing on the cultural expressions inherent in fan making. With the aim of exploring the fan culture of the Song Dynasty, qualitative research methods and descriptive analysis were employed. The cultural dimensions under investigation include connotations, beliefs, lifestyles, aesthetics, materials, and craftsmanship. To conduct this investigation, the researcher visited the Guangdong Provincial Museum and the Guangdong Provincial Arts and Crafts Mall, where a variety of fans were studied and analyzed for their design and usage patterns. The Song Dynasty in China integrated fan-making with the prevailing culture of the era. Through both practical function and distinctive design, the art adorning the fan faces showcased a wealth of calligraphy and painting from Song Dynasty culture. Over generations, this amalgamation evolved into a unique art form. During the Song Dynasty, fan culture thrived, with fan painting transcending mere decoration to become a distinct genre of painting and calligraphy. Artists of the period often utilized the fan's shape as a canvas, showcasing a diverse array of subjects and an exquisite artistic style. Both in design and production, fan makers of the Song Dynasty achieved remarkable levels of artistry. Fans were crafted from a variety of materials and in different shapes, including Paper Fans, KeSiTuan Fans, and Round Silk Fans, each exhibiting round, square, or hexagonal forms, respectively. The paintings and calligraphy adorning these fans were exceptionally refined, frequently executed by renowned artists such as Su Shi, Mi Fu, and Wen Tong, whose works adorned fan surfaces commonly. These artworks not only demonstrated the artists' skill but also reflected the aesthetic and cultural ethos of Song Dynasty society.

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The Evolution of Dong Small Songs and Cultural Change in Chinese Folk Music

Author(s): Shiqi Ping,Sayam Chuangprakhon,Piyapun Santaveesuk,Lin You / Language(s): English Issue: 3/2024

This study investigates the cultural evolution and contemporary significance of Dong's small songs within the realm of Chinese folk music. Through ethnographic fieldwork, interviews, archival research, and thematic analysis, the historical roots and socio-cultural dynamics of Dong's small songs are explored. The literature review delves into the cultural significance, historical evolution, preservation efforts, and challenges faced by Dong small songs, highlighting their role in reflecting regional identities and cultural change. The material and methods section outlines the qualitative research approach, including participant observation, semi-structured interviews, and archival data collection. The research results illuminate the multifaceted nature of Dong small songs, showcasing their adaptability, transmission processes, and contemporary expressions. Suggestions for future research emphasize the need for continued preservation efforts, innovative presentation platforms, and collaborative initiatives to ensure the sustainability and appreciation of Dong's small songs in the context of evolving cultural landscapes.

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ГЕНЕЗА МУЗИЧНОГО ВІДЕОКЛІПУ ЯК ПОПУЛЯРНОЇ ФОРМИ СУЧАСНОЇ АУДІОВІЗУАЛЬНОЇ КУЛЬТУРИ: ЕКСПЕРИМЕНТИ З ВІЗУАЛІЗАЦІЄЮ МУЗИКИ

Author(s): Hennadii Puhachov / Language(s): Ukrainian Issue: 3/2024

The purpose of the article is to reveal the peculiarities of the development of the music video clip in the context of the historical interaction of musical and audiovisual culture. Research methodology. General scientific methods of cognition were applied, in particular analysis and synthesis, systematisation of theoretical data, the method of structural-functional analysis, which made it possible to reveal specific aspects of the interaction of music and various forms of artistic practices in the space of audiovisual culture; a typological method, with the help of which various features of the music video clip in the structure of modern audiovisual culture are revealed. Scientific novelty. The genesis of the music video clip as a popular form of modern audiovisual culture is studied; the problem of integration of visual images and music as part of artistic practices in historical retrospect is considered. Little-known works of foreign scientists, the problems of which are correlated with the subject area of research were introduced into scientific circulation. Conclusions. The genesis of the music video clip testifies to the significant role of artistic practices in the process of image and music interaction at the early stages, which contributed to the invention of new creative ways of representing the imaginary – animation and montage proposed by avant-garde artists; videos and video installations created by mastering the television image; music videos that opened a new dimension for experimentation, becoming an influential form of modern culture. Artistic history of analogue interactions between cinema and music during the 20th century demonstrates the antecedent conditions of production, perception, and socio-political context that were necessary for the mass popularization of the music video as an established form. Thanks to the early experiments in the formation of visualised music, the music video as a new form of audiovisual art gained cultural value, which allowed it to play a significant role at the modern stage. The music video played and continues to play a key role in the socio-cultural space. The technological evolution from analogue to digital means of production and display has accelerated the development of both the form and the aesthetics of the music video, which emphasises one of the most important roles of art in society – to provoke thought and encourage a rethinking of social, political and cultural conditions and surroundings, using this is the main means of communication, including popular music.

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ОБРАЗОТВОРЧЕ МИСТЕЦТВО, ДЕКОРАТИВНЕ МИСТЕЦТВО, РЕСТАВРАЦІЯ

Author(s): Volodymyr Ovcharek,Andrii Kravets / Language(s): Ukrainian Issue: 3/2024

The purpose of the article is to analyse the use of fair plots in the works of Pieter Bruegel the Elder, to reveal their symbolism in presenting the panorama of contemporary society. The methodology of the work consists in the application of such scientific research methods as: historical – when examining the artist's paintings in the context of the historical era in which he lived and worked; analytical, which made it possible to single out works with a fair plot from the artist's creative heritage; synthetic, thanks to which observations acquired through analysis became the basis for formulating a general conclusion; comparative art analysis is applied to reveal the specifics of Bruegel's genre painting depicting fairs. The scientific novelty of the work consists in the actualisation of the study of the work of the Dutch artist Pieter Bruegel the Elder, which presents fair scenes that enabled the artist to comprehensively present the motley society of that time in an artistic manner specific to the artist. Conclusions. Pieter Bruegel the Elder's paintings are filled with hidden meaning, the depicted events are connected with history, contemporary politics, reflect the thoughts and ideas of the author, that is, they are symbolic. Bruegel is one of the founders of Dutch genre painting – a direction of fine art in which the painter's attention is devoted to ordinary, everyday, multifaceted life, in the centre of which are people. Using fair plots, the artist discovered new themes and images for art. With the help of fair scenes, Bruegel depicted a generalised picture of the life of society, recorded the traditions and daily life of his contemporaries. The artist's paintings are historical documents that make it possible to track the activities of his compatriots. Pieter Bruegel the Elder, thanks to his creative, innovative abilities, a keen sense of the urgent problems of his people, acquired many followers who copied his paintings, in particular from fair themes, developed his plots. For the artist, the fair plots became a conceptual basis that contributed to the comprehensive artistic reproduction of the national characteristics of the Dutch people, as well as a means of figuratively embodying his creative ideas. The fair theme of the paintings allowed the artist to depict the peculiarities of the modern multifaceted life and activities of the Dutch people, to demonstrate the transformational processes that took place among different layers of the population, to present his own vision of the panorama of the contemporary society, the miniature format of which was the fairs.

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IMPLEMENTATION OF SAVING FUNCTION AS THE MAIN FUNCTION IN ACTIVITIES OF EUROPEAN VISUAL ARTS MUSEUMS DURING WORLD WAR TWO

Author(s): Yurii Vakulenko / Language(s): English Issue: 3/2024

The purpose of the article is to research the saving function implemented by the personnels of the visual arts museums during the Second World War on the territory of Ukraine and of the Western European countries, research the actions of the museum workers seen as sociocultural projects from a scientific point of view. The research methodology lies in the application of historical methods due to which the origin and the development of historical processes and events are being explored in their chronological order with the scope of finding out the historical connections and patterns by means of a modern analysis of how the museum workers fulfilled their positions' tasks during the war. Empirical and theoretical methods are being used. Such methodological research allows the explorers to analyse the ways of the task fulfilment aimed at saving as the main function of all the activities carried out by European art museums during the wars in the twentieth century. The scientific novelty is in a new generalising scientific view on the fulfilment of their positions' tasks by museum workers and military men of a specially founded unit whose goal was to save the museum objects of the world's art heritage under the threat of illegal deeds of the aggressor country. Conclusions. The sociocultural planning of the activities of the European museums' workers used the stereotyped marketing methods aimed at the implementation of saving as the main function. It is necessary to point out that, due to full-scale hostilities on the European territory, the priority function the museums workers wanted to implement was saving and evacuation of museum collections from the hostilities area, as well as conservation works. After the evacuation and restoration in a safe area, the museum personnels, when it was possible, focused their attention on the function of the art works' exhibition.

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«ХВИЛІ МАРТЕНО» У МУЗИЦІ ФРАНЦУЗЬКОГО АВАНГАРДНОГО КІНЕМАТОГРАФУ ПЕРШОЇ ПОЛОВИНИ ХХ СТОЛІТТЯ (НА ПРИКЛАДІ ТВОРЧОСТІ А. ОНЕҐҐЕРА)

Author(s): Dmytro Holubov / Language(s): Ukrainian Issue: 3/2024

The purpose of the study is to reveal the figurative, semantic and symbolic specificity of the interpretation of the timbre of "Martenaut waves" in the music of the French avant-garde cinematography of the first half of the 20th century, including in the work of A. Honegger. Research methodology. Cultural-historical, interdisciplinary historical-cultural, as well as analytical-musicological methods were essential for this work. The scientific novelty of the work lies in the fact that it introduces for the first time into the circulation of art historians the materials related to the film music of A. Honegger and its timbral specificity, marked by an appeal to the semantic and expressive features of the "Martenaut waves". Conclusions. At the turn of the 19th and 20th centuries, as a result of rapid scientific and technical progress, cinematography came to the forefront of world art. The unity of cinematography as a synthetic art and music is strengthened by the emergence of sound cinema in 1926-1927, in which music is recorded on the same film as the image. The use of electric musical instruments, including "Martenaut waves", becomes organic in this process. Thanks to their unusual timbre, they acquired the meaningful status of the embodiment of "the materialisation of the intangible." The world of hallucinations and dreams, mystical spiritual revelations and unusual natural phenomena – such was the range of images that were conveyed with the help of this instrument in French film music of the 1930s and 1940s. A. Honegger worked most fruitfully in this field during the mentioned period, whose creative output includes more than forty soundtracks, including those using "Martenaut waves". One of the first films in which the expressive timbre of this instrument is used was the science fiction film "The End of the World" (1931) directed by A. Gans, as well as the animated film "Idea" (1934) directed by B. Bartosh and artist F. Mazerel. In the musical accompaniment of these films, the timbre of the "Martenaut waves" occupies almost the most important place, revealing the connection of the instrument with the sphere of the Sacred and the Cosmic and the spiritual and stylistic searches of European modern culture.

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Ceramiche decorate della fine della Romanizzazione dal Comasco

Author(s): Fulvia Butti / Language(s): Italian Issue: 1/2024

The ‘ugly ware’ of the age of Romanisation has the characteristic of presenting a series of very widespread types of decoration; within this general category, the area of Como is distinguished by specificities: the prevalence of globular vessels without rim and very simple decorations that are frequently repeated. The study of vases that have never been published and the re‑examination of vases that have already been published allows us to find many similarities and to increase comparisons; they are dated from the Augustan to Tiberian periods and are usually of low quality. With great probability, it can be assumed that there were pottery factories in the area.

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ОЗНАКИ КУЛЬТУРНОГО НАЦІОНАЛІЗМУ В МУЗЕЙНО-ГАЛЕРЕЙНІЙ ДІЯЛЬНОСТІ ДЕКОЛОНІЗОВАНИХ КРАЇН АЗІЇ

Author(s): Kateryna Gamaliia,Yevheniia Artemenko / Language(s): Ukrainian Issue: 44/2023

The purpose of this article is to define a system of approaches to the formation of the national and cultural identity of post-colonial Asian countries through the prism of their museum and gallery activities of various forms of ownership. Research methods. The research is based on the theory of postcolonialism, stylistic, iconographic, biographical and comparative-historical methods are applied. The scientific novelty lies in the fact that for the first time, against the background of three Asian countries (Taiwan, Singapore, the Philippines), the development of a postcolonial cultural policy strategy and the functioning of museums, galleries, and other types of artistic organisations were examined. Conclusions. As a result of the comparative analysis, it was found that all the above-mentioned states have a common problem of the primary multiculturalism of societies, which, together with the experience of colonial dependence, led to the hybridisation of culture. Their museums and galleries are in close interaction with the state and are interdisciplinary centres of knowledge. The art of the indigenous population is a priority in terms of study and exposure, but the art of the ex-colonizers has not completely disappeared from the exhibition halls. Each of the countries builds its own special type of cultural relations with the former occupier. The research is useful practical training for art historians, especially museum workers, cultural managers, as well as for civil servants in the field of culture, historians, political scientists.

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ТРАНСФОРМАЦІЙНІ ПРОЦЕСИ ЕСТРАДНОЇ МУЗИКИ В СУЧАСНОМУ КУЛЬТУРНОМУ ПРОСТОРІ УКРАЇНИ

Author(s): Natalia Ovsyannikova / Language(s): Ukrainian Issue: 44/2023

The purpose of the research is to disclose the essence and directions of transformations in the pop music of Ukraine, identify their influence on the cultural space, and shape the musical identity of the country. The methodology of researching transformation processes in pop music in contemporary Ukrainian cultural space includes the following stages: analysis of theoretical studies ‒ studying scientific literature on the research issues, including domestic and foreign works in musicology, cultural studies, social psychology, and sociology of culture; empirical research ‒ analysing the repertoire of Ukrainian pop performers, their creativity, and audience perception; interpretation of the obtained results, development of conclusions, and recommendations. Methods such as content analysis, comparison, and synthesis were used for analysing theoretical sources. For collecting empirical data, methods like content analysis, sociological surveys, and expert assessment were employed. The scientific novelty of the research lies in the fact that, for the first time, comprehensive investigations have been conducted into the transformative processes of popular music in the contemporary cultural space of Ukraine. The study identifies the main directions of transformation in pop music, analyses their causes, and explores their consequences. Conclusions. The transformation of popular music is a natural process that reflects changes in the cultural space of society. It occurs under the influence of factors such as globalisation and internationalisation of culture, the development of new technologies, and shifts in the social and cultural demands of the audience. The transformative processes in Ukrainian popular music signify continuous development and adaptation to changes in the contemporary cultural landscape. They define new musical trends, shape cultural identity, and contribute to mutual understanding between national and global musical heritages. Research into these processes is essential not only for understanding popular music as a cultural phenomenon but also holds practical significance. Supporting the development of popular music in Ukraine is crucial, fostering the creativity of talented performers and promoting Ukrainian popular music. It is important to closely monitor changes in genre structures, musical technologies, and the social and cultural demands of the audience to react timely and appropriately.

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ОСОБЛИВОСТІ ТВОРЧОЇ РЕАЛІЗАЦІЇ СПІВАЧКИ ЗОЇ ГАЙДАЙ В УКРАЇНСЬКОМУ КІНЕМАТОГРАФІ СТАЛІНСЬКОЇ ДОБИ (1930-1950-ті рр.)

Author(s): Olena Katsalap / Language(s): Ukrainian Issue: 44/2023

The purpose of the article is to investigate one of the aspects of the professional activity of the Ukrainian singer Z. Gaidai – participation in filming during the period of Stalinism in the 1930-1950s. Within the framework of the research of the specified problem, to show the specificity and artistic significance of the film material on the singer's work, as well as its importance in the context the creative biography of the performer and cinematographic heritage of Ukraine as a whole. The methodology of the work consists in the application of the source study method to analyse archival documents containing information on Z. Gaidai‘s participation in filming, as well as other materials on the topic of research; specific historical method – to determine the influence of socio-political processes of the Stalin era on cultural and artistic life, in particular, on the work of the domestic film industry; bio-bibliographic method – to determine the place of this aspect of the singer's activity in her creative biography; general scientific methods (analysis, synthesis, generalisation) – with the aim of thoroughly studying the issue and forming a reasoned conclusion. The scientific novelty of the article consists in the expansion of information about the creative activity of Z. Gaidai in the 1930-1950s, the study of new aspects of it, in particular those related to participation in filming, in the assessment of the specificity and artistic value of the filmed material, as well as its significance in creative biography of the singer and the history of Ukrainian cinematography. Conclusions. The analysis and assessment of the results of Z. Gaidai‘s participation in filmmaking during the Stalinism of the 1930-1950s made it possible to reveal the degree of interest of cinematographers in the personality of the singer and her desire to further popularise her work and leave a mark in cinema. However, the totalitarian Stalin era influenced the course of the filming process, determined the specificity of the content and essence of the material offered to the singer and, as a result, its somewhat dubious artistic value, in particular in the context of the domestic film heritage. The "Shelved" concert film "Ukrainian Melodies" generally put an end to the short film career of Z. Gaidai, which prevented her from fully realising herself as a film actress and forced her to focus exclusively on vocal and creative activities.

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ІДЕОЛОГІЯ САРМАТИЗМУ ТА ЇЇ ВТІЛЕННЯ У ПОЛЬСЬКІЙ ФОРТЕПІАННІЙ МУЗИЦІ XIX – ХХ СТОЛІТЬ

Author(s): Natalia Petrovska / Language(s): Ukrainian Issue: 44/2023

The purpose of the study is to identify the genre-stylistic specificity of the reproduction of the spiritual and ethical instructions of Sarmatism in Polish piano music of the XIX-XX centuries. The research methodology is based on the application of the following approaches: genre-stylistic, etymological, interdisciplinary, historical-cultural, which reveal the peculiarities of the reproduction of Sarmatian ideology in Polish piano music of the specified period. The scientific novelty of the article is determined by its analytical perspective, which takes into account the peculiarities of the reproduction of the Polish "Sarmatian" image of the world Polish piano (dance) music of the XIX-XX centuries. Conclusions. The Polish national "image of the world", which was historically formed on the basis of the noble ("Sarmatian") spiritual and ethical tradition, formed in the heyday of the Polish-Lithuanian Commonwealth, and appealed to such dominant qualities as pride, honour, knightly service, honouring the merits of the family, family patriarchal values and traditions in their high spiritual and religious sense, in many ways determined the specifics of Polish culture and the genre and style preferences of its musical art, focused on revealing the special significance of the song and dance tradition in its salon representation. The poetics of polonaise, mazurka, Krakowiak, thought and other genres related to it, corresponding to the spiritual and patriarchal traditions of Biedermeier in its Polish guise (―Warsaw Biedermeier‖, ―noble Biedermeier‖), also determined the historical and evolutionary paths of development of Polish piano music of the 19th and early 20th centuries (F. Chopin, Z. Noskovskyi, V. Malyshevskyi, M. Karlovych, M. Zavadskyi, K. Szymanovskyi, L. Rogovskyi, A. Panufnik) and reproduction of the national "noble-Sarmatian" quality in it.

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