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Minor Mountain Elohim, Feminine Face of Yahweh and Assyrian Apotropaic Fad. Some Remarks on the Margins of: Izaak J. de Hulster, Joel M. LeMon, Image, Text, Exegesis. Iconographic Interpretation and the Hebrew Bible

Author(s): Wojciech Kosior / Language(s): English Issue: 1/2021

Review of: Wojciech Kosior - Minor Mountain Elohim, Feminine Face of Yahweh and Assyrian Apotropaic Fad. Some Remarks on the Margins of: Izaak J. de Hulster, Joel M. LeMon, Image, Text, Exegesis. Iconographic Interpretation and the Hebrew Bible (London: Bloomsbury T&T Clark, 2015), pp. 336.

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ТИПИ ІКОНОГРАФІЇ «ХРИСТА – ДОБРОГО ПАСТИРЯ» У РАННЬОХРИСТИЯНСЬКОМУ ТА ЗАХІДНОЄВРОПЕЙСЬКОМУ МИСТЕЦТВІ XV – XVII СТ.

Author(s): Oksana Shyroka / Language(s): Ukrainian Issue: 4/2020

The purpose of the article is to trace the peculiarities of the development of Christ the Good Shepherd iconography from the samples of the Early Christian Era (3-4th centuries) to later interpretations in the West European art of 15-17th centuries. Scientific novelty. the article is the first attempt to unify and comprehend the iconography of Christ the Good Shepherd at all stages of its development, including an allegorical image originated from the ancient prototype and symbolical depiction of Jesus Christ with a lamb on his back popular in the West European art of 15-17th centuries. Methodology. The work on the article was studied with the use of the method of formal art analysis. The symbolism of the works in terms of their sacral meaning was studied with the use of the iconographic method. The hermeneutical method was used for outlining the origin and development of the iconography of Christ the Good Shepherd from the viewpoint of the controversy between Christianity and Paganism, Catholicism, and Protestantism. Conclusions: Based on the images of the early Christian period and West European art of the 15-17th centuries, four types of images were singled out: 1. A Good Shepherd as a barefaced young man with the lamb on his back; 2. The barefaced young shepherd with a crook, harp, or bucket of water standing next to the flock of sheep; 3. Jesus Christ as the Pantocrator, an adult man with the lamb on his back; 4. Jesus resurrected, often bare, with the wounds on his legs and arms, with the lamb on his shoulders.

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Fashion, Dress, Costume: a Proposed Terminological Clarification in the Historical Research of Women’s Clothing

Author(s): Sonia Doris Andraș / Language(s): English Issue: 24/2021

This paper delineates the conceptual variations between the notions ‘fashion’, ‘dress’ and ‘costume’ in English-language texts on women’s garment histories using relevant examples from interwar Romanian periodicals. The aim is to offer a more precise formulation, as these three terms have largely been used interchangeably. This paper is built on an interdisciplinary model stemming from fashion studies towards semiotics, sociology and cultural and art history. I define ‘fashion’ as a permanently changing progeny of modernity linked to capitalism and consumerism, but also to modernism and technological progress. ‘Dress’ is a generalised term for clothing worn in a variety of contexts connected more to identity or activity. ‘Costume’ narrows the scope of ‘dress’ to a particular style or outfit suggesting specific markers of social position, occupation or ethnicity and can often be deemed as necessary for admission, recognition or acceptability in certain contexts. ‘Fashion’ would then chiefly apply to cultural studies or history, ‘dress’ to anthropology or sociology and ‘costume’ to ethnology or media and art history. Using interwar Romanian examples, this paper offers a viable terminological clarification regarding genre, subject, scope and usability for historical sartorial themes.

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СУЧАСНЕ МИСТЕЦТВО В ТЕОРІЇ ТА ПРАКТИЦІ

Author(s): Olena Stalyevna Afonina / Language(s): Ukrainian Issue: 1/2021

The purpose of the article is to summarize information about the study of artistic practices of contemporary art in the aspect of psychological concepts of study. The methodology of the work is based on the use of general scientific research methods. A comparative analysis is applied to conceptualize the provisions of psychology for the analysis of works of contemporary art. The scientific novelty of the work lies in the introduction of conceptual provisions from psychoanalytic research to the analysis of works of musical, visual, choreographic art of the late XX - XXI centuries. Conclusions. The concepts of psychologists (K. G. Jung, R. Atkinson and R. Shiffrin, D. Anderson and G. Bauer, L. Brooks, A. Paivio, J. Santa, P. Vollen, S. Lauri and M. Weber) reveal the mechanisms of perception of modern art. Characterization of mnemonic processes of memory with such operations: orientation in the semantic structure of the material, dismemberment and grouping of semantic elements, establishing links between the structural units of the text, recoding verbal information into figurative, consolidating the material, memorization in general, and in parts occur in creative processes and processes of perception of the majority cultural codes. The use of concepts (quotation, allusion, reminiscence, contamination) to the analysis of works of contemporary art is confirmed by the results of research by psychologists on the perception of cited visual, auditory, verbal information, which evokes allusions or reminiscences to previously known material, but now with new connotations on the example of works by Yu. Gomelskaya, A. Zhivotkov, A. Kozarenko, R. Poklitaru, A. Rodin, E. Stankovich.

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КИЇВСЬКІ МИТРОПОЛИТИ В МИСТЕЦЬКОМУ ПРОЦЕСІ КИЄВО-ПЕЧЕРСЬКОЇ ЛАВРИ КІНЦЯ XVIII – ПОЧАТКУ ХХ СТОЛІТЬ

Author(s): Maryna Afanasiyivna Bardik / Language(s): Ukrainian Issue: 2/2021

The purpose of the article is to discover the mechanism of Kyiv Metropolitans influence processes in the monumental painting of the Kyiv-Pechersk Lavra. The research methodology is based on complex using historical and cultural analysis, art study analysis, hermeneutical and biographical methods. Scientific novelty. Based on archival materials the author determines the specific means of Kyiv Metropolitans influence the evolution and preservation of the Kyiv-Pechersk Lavra’s sacral painting in 1786–1917. This influence is investigated in the theoretical and practical aspects. The scheme of the Metropolitans influences the mural painting processes is revealed: the Spiritual Council (preparatory stage) – Metropolitan (decision) – the head of the painting workshop (responsible for fulfillment) − artists (fulfillment). The Metropolitans leading role in forming the painting programs of temples and preserving the Lavra’s artistic tradition has been proved. Conclusions. In theoretical works, reports to the Holy Synod the Metropolitans gave thoughts and facts that entered the art history of the Kyiv-Pechersk Lavra. They directly influenced the artistic process: controlled and directed the processes of evolution and preservation of mural painting, financial and personnel issues. Their influence was implemented in visas and codicils (visas were an information basis for painting dating). Their orders were performed by the head of Lavra’s painting workshop (icon-painting workshop). Metropolitans took care of preserving Lavra’s artistic traditions and artistic features of painting compositions. Heads of the painting workshop ensured the continuity in mural paintings, they followed the imitation principle. The interpretation of the artistic tradition was reflected in new mural paintings. Metropolitans determined the painting programs of Lavra’s churches

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Образы кошачьих в каменной пластике средневековой Абхазии (по данным новых находок Маркульской экспедиции)

Author(s): Galina V. Trebeleva,Suram M. Sakania,Vasilii A. Lobkovskii,Andrei S. Kizilov / Language(s): Russian Issue: 5/2021

Two items with feline images were found in 2019 in the course of works at the Markul settlement: the first was a bas-relief depicting the paws of a leopard on a slab discovered during excavations at the Dalniy Tower of the Markul settlement, and the second was a drawing of a lion’s figure on a stone which was found in the area of the Jal-Akuaskia temple. The authors offer for scientific discussion these recent discoveries and highlight the two major tendencies in use of the classical image of the lion in the Christian Art of Abkhazia. The first tendency is the replacement of lion with leopard, which is found on a slab from the excavations of the Markul settlement and on the Lashkendar Temple in the Tkvarchal region; the second tendency is a continued tradition of depicting the “Fierce Beast” on the bronze axes of the Kobano-Colchis culture. To validate these tendencies, the analysis involves the available images of felines on stone in archaeological finds in Abkhazia and Sochi, Abkhazian toponymy and linguistic data, a review of features of the fauna and climate of the Abkhaz region.

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МОНУМЕНТАЛЬНИЙ ЖИВОПИС ВЕЛИКОЇ УСПЕНСЬКОЇ ЦЕРКВИ В ХУДОЖНІЙ КРИТИЦІ КІНЦЯ ХІХ – ПОЧАТКУ ХХ СТОЛІТТЯ

Author(s): Maryna Afanasiyivna Bardik / Language(s): Ukrainian Issue: 2/2020

The purpose of the article is the analysis of art criticism in the late 1890s and early 1900s concerned with mural paintings in the Great Holy Dormition Church (Dormition Cathedral) of the Kyiv-Pechersk Lavra. The research methodology includes the hermeneutical method, historical and cultural, and art study analysis for the studies of the records and archival photographs of the mural paintings. The scientific novelty of the research includes several provisions. A comprehensive analysis of the publications in 1897–1901 concerned with artistic features of the Great Holy Dormition Church’ murals in 1770s−1900 has been carried out. According to the archival data, the author proved that the Lavra officials wanted to preserve the murals. The author identified the problem of the clash between the supporters of Ukrainian (baroque) and academic painting, national identity and academicism. The first of them presented the artistic features of Baroque style paintings and others presented academic paintings with Byzantine-style ornaments. Conclusions. Art criticism concerning the old (1770s, 19th century) and new (1894–1900) mural paintings in the Great Holy Dormition has been not analyzed in its relationship. The adherents of national art focused on the historical and artistic treasure of Baroque style compositions. The authors of the publications used the terminology of the fine art to form a negative assessment of the academic painting of 1894–1900. Their opponents disposed of arguments at the professional level. The publications devoted to the mural paintings in the Great Holy Dormition Church reflected the artistic life in Kyiv in the late 19th and early 20th centuries.

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ХУДОЖНІ ОСОБЛИВОСТІ КЕРАМОПЛАСТИКИ ВХІДНИХ ГРУП ЖИТЛОВИХ БУДИНКІВ ПІВНІЧНО-БРОВАРСЬКОГО МАСИВУ М. КИЄВА

Author(s): Alesia Skoromna / Language(s): Ukrainian Issue: 2/2020

The purpose of the article. The article analyses the artistic features of the ceramic designs of the individual parts of the entrance of the groups of the multi-stories buildings, in the experimental buildings of the left bank of Kyiv in 1970-1975. For example, the street A. Solovyanenko (former str. О. Boychenko), 4, 6, 16 on the Pіvnіchno-Brovarsky area. Methodology. The complex approach of the researchers on the theme provided a combination of the following scientific methods: analytical – for studying of a condition of research; system – for the study of selected monuments, archival and literary sources; comparativetypological – to describe ceramoplastics and divide it into groups; comparative analysis – to attribute these works and find analogies, determine authorship and dating; art analysis – to highlight the artistic and stylistic features and outline certain stylistic features of the works. Scientific novelty. The author for the first time introduced into scientific circulation a small group of works of exterior architectural ceramics of the Kyiv Experimental Workshop, headed by Nina Fedorova. Conclusions. The decors of the three houses differ in techniques and colors: polychrome painting and monochrome bas-relief. The artistic, stylistic and comparative typological analysis of the ceramic tiles, the archival and literary sources allowed to determine the authorship of artistic works N. Fedorova and A. Sharay. The polychrome paints ceramoplastics used in the decoration of the first two houses are innovative combinations of glazes and prefabricated enamel of N. Fedorova, while the rejection of polyphony color and graphic decorativeness underlined the details. The phyto and ornithomorphic motifs in the compositions were sometimes combined with abstract forms, in particular dots, circles, curves, spirals, etc. Small and large figure compositions were a kind of stylization of Ukrainian Folk Arts, the revival of the traditions of which were the creative credos of the workshops. In addition, the influence of iconography and stylistics of medieval Iranian arts were revealed in some images.

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СПАДКУВАННЯ ТРАДИЦІЙ У НАВЧАННІ ХУДОЖНІЙ ВИШИВЦІ

Author(s): Anastasia Vitaliyivna Varyvonchyk / Language(s): Ukrainian Issue: 1/2021

The purpose of the study light the problem related to the tracking of the historical evolution of embroidery, creative activity of the people's masters (on the example of the popular master P. Vlasenko), and determine the development of educational and teaching activities in the direction of embroidery art. The problem of restoring real events of the historical and pedagogical process occurring in schools-workshops on Ukrainian lands is updated. The leading task arose the question of drawing attention to the names of the patients of the late XIX century of the twentieth century, which contributed to the development of professional pedagogy, but whose activities through prohibitions and persecution did not receive appropriate lighting and was comprehensively studied. To develop an urgent problem of Ukrainian self-identification, it is important to establish deliberately forgotten figures, restoring the stupid pages of history Methodology is based on the principles of historical and art historical analysis, methods of systematization of factual material, and typological analysis. To identify the personal contribution of masters in the development of art embroidery, a biographical method of historical, psychological, historical, and pedagogical knowledge was used. Scientific novelty. It is the disclosure of new facts and a solid analysis of the pictorial activities of patients, which were engaged in the development of decorative and applied arts. For the first time, a biographical study of the vital activity of the Master of People's Art of the Ukrainian SSR P. Vlasenko, clarified its contribution to the Ukrainian culture. Reflecting a picture of a person's life as a whole, the relationship between individual histories with the history of society is covered. Conclusions. Based on the results of the study and art historical generalization, we can draw conclusions that traditions and modernity are closely intertwined. Paying attention to the treasures of folk art, telling about the unique experience of the masters of the past, the ways of development of educational and teaching activities in the direction of embroidery art are determined. The transfer of art historical experience when teaching students the basics of composite constructions, recognizing the technological and technical execution of traditional ornamental embroidery, makes it possible to apply the surveyed skills in the future.

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ФОРМУВАННЯ І РОЗВИТОК КИЇВСЬКОЇ ШКОЛИ ХУДОЖНЬОГО ТЕКСТИЛЮ: ТРАДИЦІЇ ТА НОВАЦІЇ

Author(s): Olena Maydanets-Barhylevych / Language(s): Ukrainian Issue: 1/2021

The purpose of the article is to outline – based on analyzing the development of the Kyiv School of Decorative Arts in context of the historical and artistic process of the XXth to XXIst centuries – the main principles of specialization Art Textiles on the ground of the Mykhaylo Boychuk Kyiv State Academy of Decorative and Applied Arts and Design. The methodology consists of applying an art history approach to historical and artistic analyses of works of artistic textiles, as well as the systematic consideration of peculiarities of the Kyiv School of Decorative Arts. The scientific novelty lies in the substantiation of a phenomenon of the Kyiv School of Art Textiles, creative pedagogical and scientific-methodological means in teaching students, themes of diploma theses as an important component in preserving ethnic memory, and national-cultural identity. Conclusions. The results of the study highlight the features of the artistic language of the Kyiv School of Textiles, the specifics of scientific and pedagogical methods used in the Academy, as well as the creative guidelines of the teaching staff. Defined are prospective trends of development and strengthening of the Department of Art Textiles and Costume Modelling, principles of comprehending the conventional art and its transformation into the newest stylistic forms to meet today‘s requirements. The scientific research gives an idea of the current state of decorative art and artistic textiles, and the creative contribution of the scientific and pedagogical staff of the ATCM Department in the context of the integration of Ukrainian art into the European cultural space.

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ЖИВОПИС ГЕННАДІЯ ГОРБАТОГО: КРИПТО-РЕАЛІЗМ ЯК ПОДОЛАННЯ ІМІТАЦІЇ ДІЙСНОСТІ

Author(s): Iryna Mishchenko / Language(s): Ukrainian Issue: 1/2021

The purpose of this article: analysis of Gennady Gorbaty's painting, in the work of which the transition from a realistic reflection of the world to the art of postmodernism, characteristic of Ukrainian art of the late 20th century, was reflected in a peculiar way. The methodology is the application of art analysis, methods of comparison and generalization, biographical and historical approach. The scientific novelty lies in the discovery of the peculiarities of the transformation of the traditional for Soviet art reflection of reality into visual practices of the late 20th – early 21st centuries on the example of the work of a particular artist. Conclusions. Gennady Gorbaty studied at the Kyiv State Art Institute (1981–1987), so his formation was significantly influenced by the traditional school of painting with a mostly realistic reproduction of the world around it and a purely academic hierarchy of genres. The socio-political situation in Ukraine in the late 1980s and early 1990s not only contributed to the liberation from such a view of art, but also intensified attention to the development of both contemporary world art and modernist manifestations that existed in the culture of the first half of the 20th century. At the same time, many artists became interested in the history of Ukraine, especially in its tragic or dramatic pages, which led to the emergence of numerous compositions with a complex system of symbols and associations, elements borrowed from the paintings of past eras.

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МОНУМЕНТАЛЬНІ ТВОРИ ВІЛЬГЕЛЬМА КОТАРБІНСЬКОГО З КОЛЕКЦІЇ НАЦІОНАЛЬНОГО МУЗЕЮ МИСТЕЦТВ ІМЕНІ БОГДАНА ТА ВАРВАРИ ХАНЕНКІВ

Author(s): Oleksandra Sakorska / Language(s): Ukrainian Issue: 1/2021

The purpose of the article is to systematize and provide the art analysis of the monumental works by Ukrainian-Polish artist Wilhelm Kotarbinski from the collection of the Khanenko Museum. The main target is to put into scientific circulation four friezes and two compositions for desudeports of the Khanenko Museum, to describe the compositions and to perform their attributive analysis. The methodology of the article is to apply general scientific and particular approaches and methods of research of the given theme, that allow to outline the time frame of creation of paintings, attribute individual plots, and find compositional prototypes. Involves the use of complex and analytical methods in systematizing and generalizing theoretical material, as well as methods of morphological, compositional, artistic, stylistic, and complex analysis when working with illustrative material. The scientific novelty of the work consists lies in an in-depth art analysis and dating of the monumental works of Wilhelm Kotarbinski from the collection of the Khanenko Museum. The specifics of the artist's artistic method on the example of his works for the Red antechamber of the Khanenko Museum are considered. The information set out in the article indicates the time frame for the creation of the entire decoration of the museum. The monumental decorative ensemble of the Red Antechamber is a striking example of the interior of "historicism", and in this context has not been considered in detail. The analysis of Kotabrinsky's compositions, their scientific attribution, the found prototypes of separate images reveals a method of work of the artist and tendencies of an epoch in fine and decorative art. Penetration into the artistic image of Kotarbinsky in the context of the era of historicism and the artistic life of the city of Kyiv brings complexity and depth to the work. Conclusions. The article summarizes the world and Ukrainian scientific experience of studying the artistic heritage by Wilhelm Kotarbinski. The following attributions have been introduced into scientific circulation: the time frame for creating the original decorative decoration of the Red Antechamber of the Khanenko Museum has been determined, iconographic prototypes for Wilhelm Kotarbinskie's frieze "Allegory of Ancient Egypt", "Allegory of the Orient Countries" have been found.

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Metodele informaticii şi sistematizarea cercetării picturii medievale româneşti (I)

Author(s): Bogdana Irimia / Language(s): Romanian Issue: 3/1976

Le perfectionnement de la recherche scientifique dans le cadre de l'ample action d'inventaire systhémathique des oeuvres d'art appartenant au patrimoine culturel national réclame l'utilisation des méthodes modernes d'analyse documentaire. L'expérience des autres pays a démontré que l'utilisation des méthodes de l'informatique peuvent être appliquées avec succès et offrir des résultats intéressants dans le domaine de l'histoire de l'art. Ces méthodes utilisées dans le cadre des recherches sur les ensembles de peinture murale du moyen âge de notre pays permettent l'élaboration d'analyses détaillées, rigoureusement scientifiques, comparatives, tant du point de vue iconographique que du point de vue du style, qui constitueront une base de discussions concernant les nouvelles méthodes modernes d'investigation, appliquées à l'avenir dans les recherches individuelles et en vue de l'utilisation des analyses obtenues à l'aide du calculateur électronique. Pendant cette première phase de la recherche il convient que les représentations picturales soient formalisées, décrites selon un schéma type, élaboré par nous en fonction des caractéristiques formelles et matérielles générales et particulières des images. Différentes catégories de fiches systhématisées, formant un corpus de documents se référant aux divers thèmes iconographiques analysés chronologiquement, ou classifiés, ou bien aux cycles iconographiques ou ensembles de peinture murale représentatives, constitueront des répertoires détaillés, ayant une double function: 1. nécessaires aux recherches individuelles, constituant d'utiles instruments de travail; 2. nécessaires aux analyses éléctroniques, après avoir été tout d'abord codifiés et introduits dans la mémoire du calculateur. L'application conséquente des mtéhodes de l'informatique aux analyses iconographiques et de style auront comme résultat l'élaboration d'études statistiques concernant les solutions structurales dans leur diversité, études se référant à des principes nouveaux de classification des images et des théories nouvelles d'ordre esthétique. Ces analyses permettront en fin de compte l'élaboration de tableaux scientifiques comparatifs, de statistiques concernant l'évolution des peintures murales du moyen âge dans les différentes zones du pays. Quant aux modalités de calcul éléctronique, il est nécessaire que les historiens d'art, en collaboration avec les mathématiciens, élaborent un „lexique documentaire" qui sera utilisé à indexer le stoc d'informations résultées de la recherche des peintures murales, qui seront réceptionnées par le calculateur. Les résultats finals obtenus par l'exploitation automate des documentations se montreront utiles à l'élaboration des études comparatives d'iconographie et de style, des études statistiques, de l'évidence centralisée et à la vérification des Les recherches à l'aide du calculateur éléctronique peuvent être également hypothèses appliquées avec succès dans les domaines de l'histoire de l'art, en assurant un système organisé et des méthodes d'investigation se basant sur la technique de la classification, méthodes qui garantiront des données d'une rigueur scientifique à l'appui des analyses complexes et diversifiées. Dans ce processus, le rôle de l'historien d'art est particulièrement précieux, ses connaissances étant en permanence impliquées dans la vérification de la cor-rectitude des résultats des analyses éléctroniques. L'application des méthodes de l'informatique dans le domaine de la recherche des peintures murales du moyen-âge en Roumanie, contribueront de façon certaine à la modernisation des recherches scientifiques.

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Vitejia armatei române în războiul din 1877-1878 reflectată în creaţii ale pictorului Oscar Obedeanu

Author(s): Mircea Dumitru / Language(s): Romanian Issue: 3/1976

Evénement à de profondes significations pour l'histoire de la Roumanie, la guerre de 1877—J878 a attiré l'attention de nombreux créateurs, de divers domaines de la culture nationale. Parmi les plasticiens roumains s'inspirant de la participation héroïque de l'armée roumaine aux combats avec les Turcs, à côté des maîtres de préstige, comme Nicolae Grigorescu, Sava Henţia et George Demetrescu-Mirea, il est aussi à remarquer la création du peintre Oscar Obedeanu (1867—1915), dont le Musée d'Histoire de la R. S. de Roumanie a récemment fait l'acquisition de plusieurs dessins. Spécialiste reconnu de la peinture historique roumaine à caractère militaire, Oscar Obedeanu a illustré dans ses dessins, d'une manière véridique, réaliste et suggestive, maintes scènes des combats menés par les Roumains pour l'indépendance. Les dessins laissent voir non seulement une documentation attentive de l'auteur sur des faits historiques militaires mais, en égale mesure, son talent à bats, l'héroïsme des soldats roumains en des scènes individuelles ou collectives.

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Метафізика постмодерного фігуративу в українському мистецтві кінця ХХ — початку ХХІ століття

Author(s): Tatiana Mironova / Language(s): Ukrainian Issue: 39/2021

The purpose of the article is to study the artistic traditions and conceptual innovations in the works of Ukrainian artists of the XX-XXI centuries. In contemporary Ukrainian art, figurative language is produced simultaneously with the renewal of public consciousness and in certain aspects directly contributes to its formation. Figurative imagery using Ukrainian artists of this cultural period is not only the result solely of sensory experience, they also absorb the institutionalization of social experience that allows them to reflect different levels of reality. The methodology is the cultural-semiotic analysis of the forms of manifestation of visualization of modern art culture. The application of a systematic approach allowed us to study semiotic systems that contribute to the comprehensive disclosure of the problem of the semantics of modern forms of visualization. The integrative approach has enabled research in new forms of visualization of modern artistic language, which combines informational and aesthetic functions. Due to the revealed changes, traditional images are visualized with the help of a new artistic language, which does not correspond to the traditional meanings of the artistic image. The scientific novelty of the work lies in understanding the metaphysics of postmodern figurative art in contemporary Ukrainian art. A characteristic feature of the development of modern culture is the rapid social transformation, covering all areas of human activity. For the structure of art, the nature of which is due to constant change and renewal, the problem of the relationship between tradition and innovation is important. Thus, contemporary artists in their figurative, non-figurative and conceptual practices use the memory of artistic culture and artistic traditions as a mediator between the past and the present. Ukrainian art practitioners build a multiple and diverse artistic and image system based on the mechanism of interaction of traditions and innovations, involvement in the creative process of specific stylistic combinations of past and present, and reflection on cultural realities. Conclusions. Ukrainian culture is being revived in the following main directions: the process of self-consciousness and the formation of national historical memory has intensified, and the vector of development of social consciousness has been determined. Also, due to the weakening of totalitarian control, upgraded ideological and spiritual social norms. In the context of freer cultural development, artists use simple and clear images in various unusual contexts, often visualizing the determinants of the renewal of the collective consciousness. At the same time, the entry of domestic art into the world art arena meant the urgent need for rapid change in all spheres of art. This speed led to a number of complex problematic issues related to the difficult interaction of traditions and innovations, as well as folk and classical in contemporary art, determined the formation of a new series of images.

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Семантика традиційної жіночої хустки як джерело сучасних дизайнерських новацій

Author(s): Olena Ivanenko / Language(s): Ukrainian Issue: 39/2021

The purpose of the article is to reveal the influence of the semantic-symbolic system of traditional women's clothing on the formation and development of trends in a modern design using the example of a scarf. Methodology. Comparative-historical and historical-typological methods have been applied in order to identify the tendency in the development of a headscarf as an element of a woman's costume; the hermeneutic method, which helped to understand and interpret signs and symbols as components of traditional culture; systemic method (for considering the system of symbols of a woman's headscarf as a cultural and artistic phenomenon); the method of art history analysis (according to M. Bakhtin and A. Losev); a method of a functional nature (for identifying the main functions of the elements of a semantically sign system and revealing their significance for expressing aesthetic, sacred and ethical motives), etc. Scientific novelty. The semantics of the headscarf as an element of the female national costume, the peculiarities of the coloristic and compositional solutions of the decorative design of the female headscarf are investigated, the main ornamental motifs and forms are analyzed in the context of their use in modern design; revealed and substantiated the influence of the semantic-symbolic system of the traditional women's headscarf on the development of modern clothing design; the semantisation of the elements of the system of symbols of the traditional women's headscarf has been carried out; the features of the integration of the elements of the ornament of the traditional national headscarf into the designer clothes of the 20th century are characterized; analyzed the problems of meaning and its expression by means of pictorial and colored symbols in a modern woman's headscarf. Conclusions. Preserving the ancient sacred symbolism of the canvas, characteristic of the mythological consciousness, as well as mastering the centuries-old experience of Christian understanding, the headscarf has remained an integral part of the traditional female costume for many centuries. In the design of the 21st-century women's scarf. semiotics of color is actively used, which acts as a symbolic guideline for associations that have developed in history, culture, and philosophy. Floral images are the aesthetic value of the subject environment and are realized in the process of artistic creativity of designers, enriching the aesthetics of human ecological space. At the present stage, the appeal of domestic clothing designers to the ethnic style makes it expedient to deepen the understanding of its semantical sign system. Revealing the peculiarities of the semiotics of the color of a traditional Ukrainian women's headscarf, research and analysis of its symbolism provide a modern designer with an almost unlimited dimension for creativity and contribute to the strengthening of national self-awareness.

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Z dziejów poetyckiej recepcji rycin do Tryumfów Petrarki: Mikołaj Rej, Maciej Stryjkowski, Stanisław Witkowski

Author(s): Radosław Grześkowiak / Language(s): Polish Issue: 1/2020

The article deals with the poetic reception of six woodcuts made by Hans Brosamer for Petrarch’s Triumphs which were at the disposal of the printer Maciej Wirzbięta. Mikołaj Rej wrote a cycle of epigrams devoted to them that was included in the second edition of Źwierzyniec of 1574. In his epigrams, he made use of the scenes depicted in the woodcuts to formulate general moral advice. One of the engravings of the series, displaying the Triumph of Fame, was the subject of epigrams also by Maciej Stryjkowski (1574) and Stanisław Witkowski (1609). Both authors presented a successful interpretation of the engraving and its individual elements. The same graphic inspiration makes it possible for us to compare the sensitivity and technique of three Old-Polish poets.

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Andreas Vesalius and the „Fabrica” in the Age of Printing. Art, Anatomy, and Printing in the Italian Renaissance, ed. Rinaldo Fernando Canalis, Massimo Ciavolella

Author(s): Wojciech Kordyzon / Language(s): Polish Issue: 1/2020

Review of: Wojciech Kordyzon - Andreas Vesalius and the „Fabrica” in the Age of Printing. Art, Anatomy, and Printing in the Italian Renaissance, ed. Rinaldo Fernando Canalis, Massimo Ciavolella, Turnhout 2018, Brepols (Cursor Mundi, vol. 33), ss. XXIV, 332

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Female Post-Revolutionary Voices – Literature and Art without Men

Author(s): Paulina Niechciał / Language(s): English Issue: Spec. Iss./2019

After the Islamic Revolution of 1979, Iranian women writers with their feminist issues successfully stepped into mainstream literary discourse, focusing on topics previously omitted, emphasizing socio-cultural gender issues and contributing to the development of specific attitudes and values among readers. The article comments on the post-Revolutionary women’s criticism in Iran expressed through literature and art, that has been aimed at not only the political establishment, but also the wider patriarchal cultural patterns. The example analysed in the text is the novel Women without Men by Shahrnush Parsipur – an important contribution to Iranian post-Revolutionary literature that helped to shape feminist discourse and inspired future generations of writers and other artists, contributing to the fact that women’s issues have gained a new meaning in contemporary Iran. On the example of Women without Men, as well as the works of Shirin Neshat – a widely recognised Iranian visual artist – inspired by the novel, the article shows how Iranian female artists have engaged in the struggle for women’s issues and are advocates of change in the Iranian society shaped by the male-dominated culture.

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Logo as the Greatest Symbol of Brand

Author(s): Jana Galera Matúšová / Language(s): English Issue: 2/2021

The visual identity of a brand is what comprises a substantial part of its value, as it is the logo and the symbols used by a brand that distinguish it from competition and confer its competitive advantage. Logo can even be perceived as a work of art, which, however, beside its artistic value, needs to respect several principles. It needs tofulfil all the requirements posed on visual form, such as aesthetic aspect, as well needing to be a visual representation of what the brand has to say and how it seeks to operate on the market. The aim of the article is to clarify the issue of branding, which is closely related to the creation of the logo, on the basis of available domestic and foreign literature and online and magazine sources. The methods of description, analysis and synthesis were applied in the paper, particularly a descriptive approximation of theoretical knowledge relating to brands and logo creation presented by both domestic and foreign authors and by internet and magazine sources, connecting separate parts into a coherent whole and the analysis of the use of logo by individual brands.

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