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In the article semiotic structure of civil buildings forms, which serves for different informative and ideological functions in architecture are considered. An attempt of scientifical systematization, which lay down in famous buildings and structures basis, is made. Essence and role of symbol in real design and future architecture forecasting by historical analogies method is discovered.
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In the article is examined a semiotics of aesthetic sign is in conception of Jan Mukarzhovskiy. An aesthetic sign is examined in correlation with the aesthetic function of activity, by an aesthetic norm and aesthetic value. Some positive moments of conception of aesthetic sign of Jan Mukarzhovskiy and the new model of aesthetic sign is offered on the basis of his conception are indicated here.
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Purpose of Article. Is to identify the features of the iconography of the plot "Abraham Sacrifice", the definition of its classification, and the analysis of the iconographic canon of the XVIII-XIX centuries. the characteristic of the investigated iconography on examples of concrete sacred objects. Methodology of the study envisaged the use of general scientific methods (analysis, synthesis, analogy), comparative and typological methods based on an interdisciplinary (cultural and artistic) approach. Scientific novelty. Defines the spheres and symbolic significance of the Ukrainian iconography "Sacrifice of Abraham" in the seventeenth and nineteenth centuries. Its use in temple art, in particular, altars. Identify the types of canons studied in the interconfessional context. Conclusions. The religious theme that caused the turbulent emotions, disputes, differences of historical facts, in particular, confessional neglect, inconsistency of iconographic interpretations in art, imperfection of the literary sources studied, etc., should be considered "Sacrifice of Abraham." The father's reference to the true death of his son, found an echo among the majority of the artists of the world, because there is no such country where this important event from the Bible was not told, which influenced the further development of mankind as a whole. A vivid example of this is the artifacts of sacral art investigated in the article, which require detailed analysis and expert examination of specialists.
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The phenomenon musical semiosis and its genealogical sources were going from mythological model as bases of semiosis musical texts is considered in article. The mythological model as foundation integrity of a piece of music is connected with structure of a mythological universum and forms a structural code, which receives concrete semiotic an embodiment in the text.
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The purpose of the article is to determine the specificity of sound design as a sign system in the structure of the film. The methodology of the study includes a semiotic approach and the involvement of some poststructuralist concepts (in particular, an "empty sign"), there is also a postphenomenological optics of view and a media theory of Boris Groys. Scientific novelty lies in the fact that for the first time an attempt has been made to reveal the conceptual core of sound design from the position of the simulated index field and the ontology of the submedial surface. Conclusions. If the movie as a whole is trying to create the impression of a "true story", it is logical to assume that individual components of the film perform the same function, not excluding the sound.
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Purpose of the article. In the first article on the semiotics of the Ukrainian and Polish avant-garde, his philosophical aesthetic and cultural context was considered, in particular, in light of the ideas of the Lviv-Warsaw Philosophical School. To continue this problem, the semiotic parallels (homology) in the works of the Ukrainian and Polish avantgardists of the first third of the twentieth century are being analyzed. On the basis of the unity of cultural, aesthetic semiotic and art-study analysis of artistic achievements of artistic avant-garde in Ukraine and Poland, an understanding of the cultural and historical peculiarities of the creative dialogue of artists working in similar ideological and aesthetic paradigms is achieved. Methodology. The research is based on the aesthetic-semiotic concepts of the representatives of the Lviv-Warsaw School of Philosophy (S. Baley, R. Ingardin, S. Lisse, L. Hvysteck) and the founders of the semantic philosophy of art (K. Bell, B. Croce, S. Langer, G. Rickert) and modern semiotics of culture (Y.Mukarzhovsky, Y.Loman, U.Eko). Interdisciplinary synthesis of philosophical and cultural, aesthetic and art-study approaches is used. Scientific novelty. From the standpoint of modern semiotics, for the first time, symbolic complexes and semantic contents in the works of the Ukrainian and Polish avant-garde are analyzed. Models of semiotic parallels (homologies) are created in the works of leading artists of Ukraine and Poland of the first third of the XX century. The method of extrapolation of the aesthetic-semiotic ideas of the Lviv-Warsaw School of Philosophy is used to understand the similarity and dialogism in the artistic imagery of individual artists. Conclusions. Phenomenological, intuitive, neo-positivist orientations of scientific and artistic and aesthetic thinking have caused cubistic, futuristic, abstract, and constructivist quests of avant-garde artists. The aesthetic principles of the semiosis of avant-guardism in Ukraine were laid by V. Kandinsky, K. Malevich, O. Bogomazov, in Poland - T. Piper, V. Steshinsky, G. Stazhevsky. The development of the Ukrainian and Polish avant-garde of these times is, in particular, a kind of "dialogue" between artistic groups and individual artists in Warsaw and Kiev, Krakow and Lviv. The intellectual atmosphere of these creative "competitions" is symptomatic of the scientific and philosophical positions of the Lviv-Warsaw School of Philosophy with its neo-positivist and phenomenological orientations, and especially - the semantic philosophy of art, which corresponded to the establishment of a new semiosphere of avantgarde imagery. The peculiarities of the dialogue of the artists are analyzed on the examples of aesthetic-semiotic and artistic parallels between V. Kandinsky and Y.T.Pyper (theoretical justification of the avant-garde in art), K. Malevich and V. Stshinsky and G. Stazhevsky (the search for suprematist and constructivist artistic language ), O. Bogomazov and artists of the "Krakow group" (the path from Cubism and Futurism to expressive and lyrical abstraction). I t is summarized that the semiotics of the Ukrainian and Polish avant-garde of the first third of the 20th century coincides in the sphere of "significant forms" of non-classics in fine arts.
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The purpose of the article is to establish the philosophical-aesthetic and culturological context of the Ukrainian and Polish avant-garde of the first third of the 20th century formation. The essence and significance of the main ideas of the Lviv-Warsaw Philosophical School for the emergence of avant-garde imagery, homological understanding of the problems of semiosis, sign and meaning in Ukrainian and Polish cubism, futurism, abstractionism, suprematism, "formalism", "unism" are revealed. The methodology of the research is based on the aesthetic-semiotic conceptions of the Lviv-Warsaw School of Philosophy (S. Baley, R.Ingarden, S. Lisse, L. Khvistek) representatives, the founders of the semantic philosophy of art (K. Bell, B. Croce, S. Langer, G. Rikert) and modern culture semiology (J. Mukarzhovsky, J. Lothman, U. Eco). The interdisciplinary synthesis of philosophical-cultural, aesthetic and art criticism is used. Scientific novelty. Semiotics and aesthetics of the Ukrainian and Polish avant-garde art are revealed from a perspective of the philosophy of the Lviv-Warsaw school for the first time. The ideological significance of the philosophical "turn" and "perceptual revolution" of the early 20th century is shown. For the origin and embodiment of modern ideas in the works of artists of Ukraine and Poland. Conclusions. A conclusion is based on the worldview and scientific influence of the "perceptual revolution" of 1905-1915, philosophical and aesthetic as well as art criticism and cultural studies in the neo-positivist, phenomenological and semiotic concepts of the beginning of the 20th century, using works of the Lviv-Warsaw School of Philosophy, theoretical works of Ukrainian and Polish avantgardists (A. Bogomazov, K. Malevich, T. Piper, L. Khvistek, etc.).
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The purpose of the research. In the first article on the semiotics of the Ukrainian and Polish avant-garde, his philosophical aesthetic and cultural context was considered, in particular, in light of the ideas of the Lviv-Warsaw Philosophical School. To continue this problem, the semiotic parallels (homology) in the works of the Ukrainian and Polish avant-gardists of the first third of the XXth century are being analyzed. On the basis of the unity of cultural, aestheticsemiotic and art-study analysis of artistic achievements of artistic avant-gard in Ukraine and Poland, an understanding of the cultural and historical peculiarities of the creative dialogue of artists working in similar ideological and aesthetic paradigms is achieved. Research methodology. The research is based on the aesthetic-semiotic concepts of the representatives of the Lviv-Warsaw School of Philosophy (S. Baley, R. Ingardin, S. Lisse, L. Hvysteck) and the founders of the semantic philosophy of art (K. Bell, B. Croce, S. Langer, G. Rickert) and modern semiotics of culture (Y. Mukarzhovsky, Y. Loman, U. Eko). Interdisciplinary synthesis of philosophical and cultural, aesthetic and art-study approaches is used. Scientific novelty. From the standpoint of modern semiotics, for the first time, symbolic complexes and semantic contents in the works of the Ukrainian and Polish avant-garde are analyzed. Models of semiotic parallels (homologies) are created in the works of leading artists of Ukraine and Poland of the first third of the XX century. The method of extrapolation of the aesthetic-semiotic ideas of the Lviv-Warsaw School of Philosophy is used to understand the similarity and dialogism in the artistic imagery of individual artists. Conclusions. Phenomenological, intuitive, neo-positivist orientations of scientific and artistic and aesthetic thinking have caused cubistic, futuristic, abstract, and constructivist quests of avant-garde artists. The aesthetic principles of the semiosis of avant-guardism in Ukraine were laid by V. Kandinsky, K. Malevich, O. Bogomazov, in Poland - T. Piper, V. Steshinsky, G. Stazhevsky. The development of the Ukrainian and Polish avant-garde of these times is, in particular, a kind of "dialogue" between artistic groups and individual artists in Warsaw and Kiev, Krakow and Lviv. The intellectual atmosphere of these creative "competitions" is symptomatic of the scientific and philosophical positions of the Lviv-Warsaw School of Philosophy with its neo-positivist and phenomenological orientations, and especially - the semantic philosophy of art, which corresponded to the establishment of a new semiosphere of avant-garde imagery. The peculiarities of the dialogue of the artists are analyzed on the examples of aesthetic- semiotic and artistic parallels between V. Kandinsky and Y.T. Pyper (theoretical justification of the avant-garde in art), K. Malevich and V. Stshinsky and G. Stazhevsky (the search for suprematist and constructivist artistic language), O. Bogomazov and artists of the "Krakow group" (the path from Cubism and Futurism to expressive and lyrical abstraction). It is summarized that the semiotics of the Ukrainian and Polish avant-garde of the first third of the 20th century coincides in the sphere of "significant forms" of non-classics in fine arts.
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This article investigates the local characteristics of the cultural space of Ukraine. Semiotics is proposed as a methodology of studying the cultural landscape, the parameters of its application in a cultural discourse. Formation of new communication technologies contributes to the intensification of cultural exchange in the information society through the development of new sign systems. Iconic-symbolic communication apparatus is focused on the development of the space in which time-space appears in a new form of computer information and symbolic world. Virtualization space Inter-net reality influences the formation of intercultural relations, the global network erased time-space boundaries, communi-cation and accelerated changes from verbal to symbolic and symbolic.The transformation of the modern world space caused by the formation of new communication technologies, in-tensification of cultural exchange in the information society, the increasing mobility of mankind, as well as transnational association of professionals from different disciplines and certain groups in the association, partnership, influencing deci-sion-making and national ideological world community.Referring to semiotics as a cultural landscape research methodology, we define the parameters of its application in culturological discourse. The subject of semiotics as a science is the information system is a system that carries information, and basic core of the system – system of signs. The development of semiotic thought has the following sequence: statement – text – discourse – and intertext infosfera. Coherent set of expression extends to text, discourse is characterized by both linear and paradigmatic aspect. In terms of intertext and infosfera reflected the unity of cultural space – artistic, scientific and technical. In its evolution infosfera reaches the noosphere. The transition of the biosphere to the noosphere is associated with the appearance semiosfery.
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The purpose of the work. This study is related to semiotic understanding of the category "sign" in the context of early medieval discourse. Despite the fundamental body of academic research of the work of a prominent Christian philosopher St. Aurelius Augustine the blessed, the iconic doctrine of the thinker, dispersed in various treatises, remains poorly understood. The methodology of research involves the application of an analytical method, which resulted in the identified basic concepts of symbolic theory. This method allowed us to analyze and summarize the profound reasoning of the theologian, which contributed to the formation of a structured knowledge of signs, which still has not lost its relevance. Scientific novelty lies in the selection of a semiotic understanding of the category "sign" in the context of landmark doctrine Augustine the blessed. Analysis and comparison of the different provisions of the thinker showed that the sign was conceived not only as a tool of interpretation of the Holy Scriptures, but also acquired the meaning of a universal essence, which was the knowledge of the world. Conclusions. Understanding of the main provisions of the landmark theory of Augustine the blessed suggests that it is in the treatises of the thinker for the first time in the history of Western medieval thought stated semiotic understanding of the category of "sign" that was practically the only almost to the end of the XVII century. The distinction between things natural and the data allowed the thinker to carry out the distribution of Existence on cultural and natural, to indicate that anything functioning as a sign, if in the process of perception the awareness of something else, but herself.
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The purpose of the article is to investigate the semiotic dominants of physicality in initiation practices, conditioned by both external and internal representations of human beings. The methodology is based on the use of psychoanalytic, structural-semiotic, philosophical-anthropological, and cultural-historical methods. Scientific novelty. The application of the structural-semiotic approach allows us to reconstruct the symbolic system of physicality as a text having an internal structure and to suggest ways of deciphering this text. The semiotic dominants of initiation physicality on the example of hair, hairstyle, mask, and various manipulations with the body are considered, characteristics of their filling are given. Conclusions. Examples of the semiotic dominants of initiation physicality prove that initiation is represented through the prism of a semiotic process in which physicality is a sign and the context and conditions of its expression are initiations. This theory of sign systems provides an opportunity to interpret the human experience as an interpretive structure in which the way a person uses a sign or acts through initiation practices determines the approach to a perfect image. Models of modern man's behavior are based primarily on the attainment of bodily perfection with the help of hairstyle, makeup, tattooing, piercing, aesthetic methods of surgery, etc. This process is an unconscious means of copying the actions of an archaic person who has used tattoos, scarring, and other manipulations of the body in rituals and rituals of initiation. A promising direction for further research is the detailed study of initiation physicality in contemporary cultural space as an appropriate model of positioning the individual in a society, which proclaims the requirements for manipulation and transformation in order to conform to the image of the body formed by that society.
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Purpose of the article. In the first article on the semiotics of the Ukrainian and Polish avant-garde, his philosophical aesthetic and cultural context was considered, in particular, in light of the ideas of the Lviv-Warsaw Philosophical School. To continue this problem, the semiotic parallels (homology) in the works of the Ukrainian and Polish avant-gardists of the first third of the twentieth century are being analyzed. By the unity of cultural, aesthetic- semiotic and art-study analysis of artistic achievements of artistic avant-guard in Ukraine and Poland, an understanding of the cultural and historical peculiarities of the creative dialogue of artists working in similar ideological and aesthetic paradigms is achieved. Methodology. The research is based on the aesthetic-semiotic concepts of the representatives of the Lviv-Warsaw School of Philosophy (S. Baley, R. Ingardin, S. Lisse, L. Hvysteck) and the founders of the semantic philosophy of art (K. Bell, B. Croce, S. Langer, G. Rickert) and modern semiotics of culture (Y.Mukarzhovsky, Y.Loman, U.Eko). Interdisciplinary synthesis of philosophical and cultural, aesthetic and art-study approaches is used. Scientific Novelty. From the standpoint of modern semiotics, for the first time, symbolic complexes and semantic contents in the works of the Ukrainian and Polish avant-garde are analyzed. Models of semiotic parallels (homologies) are created in the works of leading artists of Ukraine and Poland of the first third of the XX century. The method of extrapolation of the aesthetic-semiotic ideas of the Lviv-Warsaw School of Philosophy is used to understand the similarity and dialogism in the artistic imagery of individual artists. Conclusions. Phenomenological, intuitive, neo-positivist orientations of scientific and artistic and aesthetic thinking have caused cubistic, futuristic, abstract, and constructivist quests of avant-garde artists. The aesthetic principles of the semiosis of avant-guarde in Ukraine were laid by V. Kandinsky, K. Malevich, O. Bogomazov, in Poland – T. Piper, V. Steshinsky, G. Stazhevsky. The development of the Ukrainian and Polish avant- garde of these times is, in particular, a kind of "dialogue" between artistic groups and individual artists in Warsaw and Kiev, Krakow, and Lviv. The intellectual atmosphere of these creative "competitions" is symptomatic of the scientific and philosophical positions of the Lviv-Warsaw School of Philosophy with its neo-positivist and phenomenological orientations, and especially – the semantic philosophy of art, which corresponded to the establishment of a new semiosphere of avant-garde imagery. The peculiarities of the dialogue of the artists are analyzed on the examples of aesthetic-semiotic and artistic parallels between V. Kandinsky and Y.T.Pyper (theoretical justification of the avant-garde in art), K.Malevich and V.Stshinsky and G.Stazhevsky (the search for suprematist and constructivist artistic language ),O. Bogomazov and artists of the "Krakow group" (the path from Cubism and Futurism to expressive and lyrical abstraction). It is summarized that the semiotics of the Ukrainian and Polish avant-garde of the first third of the 20th century coincides in the sphere of "significant forms" of non-classics in fine arts.
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In article the author investigates essence of concept a symbol in a context of the primitive fine arts. The main characteristics of primitive symbolism are defined. The analysis of concepts a symbol, a sign, the myth, an image, ritual is carried out.
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The author explores in her article the magical and sacred symbols in European painting of ancient times, their types and variations of interpretations. Scientific theories that consider art of ancient times through the prism of symbolism are analyzed. Studying magical and sacred symbols in the ancient painting remains relevant to this day as investigation of peculiarities of the phenomenon taken over the specified period will enable us to fully explore the origins of symbolism as a unique phenomenon of art and culture in general. The author states that making a study of the phenomenon of symbolism in painting, you constantly face the fact of the most widespread starting point for this phenomenon, namely – the second half of the 19th century – formation of symbolism in the separate direction. But if you scrutinize the history of birth and development of symbolism in the painting, we’ll have to go back to the most ancient development phases of not only art, but man himself, since the origins of this phenomenon are dated (for at least) the upper Paleolithic age. Unfortunately, by this time the systemic and comprehensive study of the dynamics of symbolism in the painting from the earliest cave images is missing. Therefore, in this article the author tries to gradually consider the transformation of symbolic images, starting from the most ancient art, which literally becomes the first starting point of symbolism birth in painting. Connection between Paleolithic art and ancient religious beliefs was mentioned back in 1903 in hypothesis of Solomon Reynak, according to him the rock images performed magic function and were incorporated into the system of ancient rites and rituals. André Leroi-Gourhanwrote about the origin of the so-called cave religion in his textbook paper entitled "Ancient Religions" in 1964. The author states that such connection and interdependence of ancient religious mythological beliefs and first delineations is absolutely justified and logically proved, as it is extremely difficult to imagine, within the primitive syncretism where the world appears being undivided and consistent unity, isolated, excluded from general system of life elements, such as rock drawings. "Art for art’s sake" is the product of a much later stage of human development, though still there are other opinions on this matter. In the context of mentioned research the author, referring to the scientific work made by N.Y. Soykina, provides structural semiotic approach to the study of ancient works which is characterized by understanding research array as a sign system, and calls for the release of Paleolithic art from direct ethnographic parallels. The main priority of the research is maximally set the date, reasons and motivation of creating cave paintings. Who made them and what for – that’s the main issue researchers face. One of the factors that favor not only mimetic nature of the original painting, but its involvement in ritual symbolic human actions is that almost all the pictures are in the most distant corners of the cave, and the path to them runs sometimes through extremely difficult obstacles. The author points that in addition to drawings in ritual and ceremonial "exercises" Paleolithic sculptures representing animals were used. As an example can be mentioned a unique discovery in the most distant part of the cave Montespan – a clay body of a bear, that probably was used for putting on it a head of real beast killed while hunting, because there was a real bear skull lying at the sculpture’s feet with a hole inside it, that probably served to fix it on top of the clay body. The sculpture, as well as the cave paintings, was covered with dints from the original weapons, which prove carrying magic hunting rituals. Aniela Jaffe in "Symbols in Visual Arts" focuses on the fact that a large number of rock paintings, probably was used in rituals dedicated to fertility of animals, that human survival depended on as well. At the end of the article the author concludes that even these examples are questioning only a mimetic nature of ancient art, highlighting its symbolic component, evidence of which we will find again and again in the art of ancient times.
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Cogitations about symbol of the modern culture, which under influence global processes change in simulacrum and lose its essence, are presented in article. In society of the consumption, where rules the advertisement, belongings are changed sign, which in turn become the simulacrum. These processes the most keen reflects the art so author analyses some modern processes of the transformation in music.
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The aim of the study is to analyze the place and role of symbols in the cultural space of humankind. Methodology of the study. The authors have used cultural-historical, hermeneutic, descriptive and integrative approaches. The scientific novelty. The meaning-creative function of symbols contributes to the emergence of a single cultural space of the certain group, promotes cultural identification, generates a common content, provides guidelines for individual existence, transmits cultural values into the future. The use of symbols is adaptive. Conclusions. A symbol is one of the most ambiguous concepts in culture. As far as it represents the deep level of culture, its meaning cannot be deciphered straightforwardly, rationally; on the contrary, it must be experienced and felt “emotionally” gradually deciphering all its meanings. Symbols bear a deep cultural and semantic load, tracing back to ancient times and reflecting archaic thinking. Symbols act as a peculiar language and try to give an answer to the most difficult questions of being. They direct the thought beyond the limits of the individual life horizon and acquire a new, unexpected sound depending on the recipient’s understanding. A symbol as an accumulator of cultural memory permeates all cultures “translating” archetypes into the language of culture, therefore, for its interpretation it is necessary to move along the cultural “vertical” trying to understand its primary meanings.
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The article analyzes the features of culinary ("honey") code specifying its relationship with ritual semiotics on the basis of liminal ritual-magic concept of archetypes in the context of Ukrainian wedding
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The aim of the article is to specify the symbolism of Monsalvat and Valhalla in the chronotop-sacra of the opera myth by R. Wagner ―Lohengrin‖. Research methodology is based on the principles of the mythology opera studies, music onomatology (the study of the mythologized toponymy); intromythological, encyclopaedic (the consideration of a ―new myth‖ as a romantic docta stilo), functional and typological, mythological and symbolic types of analysis. Scientific novelty. An attempt is made at revealing the characteristic aspects of functioning of the mythologized oronyms in the chronotop-sacra. Instead of the mythologized oronym Valhalla in Ortrud‘s ―prayer‖, the proper names of the former rulers of the German-Scandinavian world are introduced, which contain a hidden plot of the sacred mountain of the old world. Valhalla and Monsalvat had similar functions in different historical epochs (the world mountain of resurrection, a castle with a sacred hall, a lodging of celestial warriors of light), providing them the meaning of semantic twins. Christianization has caused the displacement of pagan mythology outside the sacral chronotop: in one mythological picture of the world there is no place for two sacred objects whose functions coincide. Valhalla, having taken an underground locus, turns into the rival of Monsalvat. The opera transmythology of ―Lohengrin‖ is based on the unification of mythologized stories of Valhalla and Monsalvat in the plot unity. Their confrontation is considered as the battle of Wunder and Zauber, an important role in the development of which has a mythologeme-image of the enchanted knight. The introduction of the name of Parsifal contributes to the addition of plot analogies with Klingsor – the castle-mountain, the embodiment of Zauber, another rival of Monsalvat from the last Wagner‘s opera. The time of the development of the action of ―Lohengrin‖ is considered as the day of the destroyed Klingsor. Conclusions. The theme of the confrontation between light and darkness often translates into the mythologeme ―magic mountain‖ through the composer‘s usage. The symbolism of Monsalvat and Valhalla in the musical drama is identified through the usage of mythology opera studies as an art based on the synthesis of the basic principles of mythology and opera studies, the application of the fundamentals of musical onomatology, common in both areas of mythologized onomastics: anthropo- and toponymy. Through the symbolism of the explicit (Monsalvat) and implicit oronyms (Valhalla and its analogues – Venus the mountain, Klingsor) in the mythologized toponymy operaasmyth there is an elucidation of the insight of confrontation between light and darkness, Christianity and paganism. The drama of the opera is interpreted as a duel of Monsalvat and Valhalla for dominating over the Brabant (Midgard) and Asgard.
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The article reveals the richness of the symbols and rituals of the Ukrainian folk culture, organically linked with the people's festive aesthetics with versatile ritualization of the national lifestyle in all its manifold forms such as icon painting, embroidery, painting, etc. It is declared the availability of the intrinsic, natural connection of the national calendar with the cultural and historical memory.The calendar holidays and ceremonies are branched folklore complex in which the rational social experience and religious and magical beliefs, the folk aesthetic tradition and archaic customs organically combines. The annual agricultural circle is fixed by the winter, spring, summer and autumn holidays, rites and customs. The important components of the celebration of Ukrainian calendar holidays have been the ritual table, the household and family magic, the celebration of the ancestors, the predicting of the the future, the ritual rounds of the mummers with the congratulations and other theatrical performances, the folk entertainments and so on. The folk festivals are accompanied by the performance of the traditional calendar-ritual songs associated with each season of a year. Consequently, none of the ritual action and the preparation for it is without the folk art with its signs and symbols, the artistic approach to its realization.The ceremony is the important part of the tradition, which is the basis of the archetypal symbols of the world ordering of the every nation, This collective conditional symbolic act vividly embodies the ideals and spiritual well-established artistic values and is the specific figurative and symbolic action, through which the most important events in the public and private life are issued, authorized and marked, the forms of the communication are enriched and the socialization process is activated.So the rite appears as the logical conclusion of functioning of the ethnocultural colored universe, stands as the final decisive cultural component that provides the traditions of the semantic completeness and integrity. All genres of the Ukrainian art have the richness of the Christian symbols. The Ukrainian art of the icon painting is a gem of the world sacred art, in which the sincere faith and deep understanding of life's journey and destiny of the man in this world are objectified. These priceless of philosophical and artistic achievements of the mankind have always been unique and relevant to each stage of the cultural development.Recently, the interest in the sacred art, including the icon art especially is growing. Perceiving the icon as the highest achievement not only in the material, but spiritual culture, the modern masters are actively studying it, popularizing, creating, somehow referring to the rich experience of the past art history.The independent development of the iconography was continued in the Byzantine Empire near the end of the eleventh century. And, since then, according to S. Bezklubenko it just remarked, all that is produced in the next century. The set of themes, motives and images in the Orthodox art tradition is marked by the sustainability of the artistic symbolism that appears through the prism of the ethnic and cultural history of the calendar ritualism, social and consumer specifics and the specifics of the artistic styles. These are personalized the iconography of Bohdan Khmelnytsk, plot personalized iconography of the Cossack Mamay, the iconographic specifics of the Baroque, Renaissance, classical, etc. in the overall context of the national culture.The archaeological evidences of the scientists determine the birth of the ornamental motifs in the embroidery in the period of the development of the Old Slavonic agricultural community. Then it emerged the general features of the traditional Ukrainian art of the art embroidery, essentially ceremonial on its essence, preserved to the present. For example, at the towels they were not just applied and decorative purposes, but also for use in the ritual actions. The ornaments were embroidered with the distinctive symbols that using certain rituals of influence on the lives and health of the believers, serving them the reliable talisman.Thus, the Ukrainian folk culture has inherented the richness of the symbols and rituals, connected with the festive folk aesthetics, with the multifaceted ritualization of the folk lifestyle in the variety of its forms such as iconography, embroidery, painting and so on. Although the Ukrainian national study of the fine art in the context of the traditional symbolism shows the facts of the historical and cultural borrowing, caused by its historical dynamic and close relationship. Its essential artistic qualities and significant differences are formulated, particularly given the thoroughness of the folk imagery and symbols of the cultural specific of the regions.
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This article attempts to examine iconography altars symbolic and allegorical content, such as: "Christ in the bowl", "Repentance of Peter" and "Еagle-eye". Showing relationship of these images with the Orthodox and Catholic artistic tradition. Based on the analysis of works of sacred art are determined by the scope of the functional purpose of the altar, his relationship with the Liturgy, because of the spread of the cult of the Holy Sacraments in Ukraine. Rare Iconography "Penitent Peter" on the altar of national historical and ethnographic reserve "Pereyaslav" enriches symbolic and allegorical compositions Ukrainian sacred art – a good proof, as appealing to the basic mysteries – the mystery of repentance, which is the basis liturgical services during the Liturgy of Preparation.
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