Razgovor Emmanuela Fayea s Philippeom Lacoueom-Labartheom, Pascalom Oryjem, Jeanom-Edouardom Andréom i Brunom Tackelsom
Emmanuel Faye's interview with Philippe Lacoue-Labarthe, Pascal Ory, Jean-Edouard André and Bruno Tackels
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Emmanuel Faye's interview with Philippe Lacoue-Labarthe, Pascal Ory, Jean-Edouard André and Bruno Tackels
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The problems of using games in children’s choreography as an important mean of formation of an active life position of every personality and its adaptation to the modern social-economic conditions are considered in this article. Formed under the influence of modern social order of social transformation in our country actualized the problem of providing a new level of education of national consciousness of the individual, which inevitably leads to reform the system of education, which is based on individually oriented education, modern scholars considered from the standpoint of the methodology of the system approach. Our society is in a restructuring of all spheres of human activity, which means that now need not only specialists in the traditional sense of the word, and people with a new type of thinking, creative and enterprising people. Updating a creative personality problems of education requires rethinking the content of all social institutions responsible for the readiness of the young generation for life and work. Significant potential for education of creative activity of young people have entertainment institutions, amateur associations, including dance groups. We know that dance – the most beloved and most popular form of amateur art – promotes physical development and aesthetic education of the younger generation. Children's dance groups, combining teaching and educational creative work, the result of which is a product of creative work child develop her imagination. Repetition of movements, tasks, sketches, improvisations on the theme, creative games to make life a joy, thrills, causing aesthetic sense, creating opportunities for identification initiative. With the game of solved many problems that are not solved in other classes, strengthens health, produced a sense of community, fellowship, develops ear for music and creativity, and adjusted formed character. These tasks are priorities for the development of personality of children. Early involvement of children in folk art, folklore influences positively the formation of harmoniously developed personality in them. This contributes to the systematic teaching and playing activity which is the main component of the classes in choreography. In the formation of individual important use of rhythmic dance-games through which developing character, will, perseverance, ability to mobilize forces to show resourcefulness, ingenuity, activity. When playing activity of children created favorable conditions for a balanced overall psychological state of attention, perception creative imagination, memory, which also promotes language development, quick thinking and ingenuity. Precise and quick execution of movements, coordination of actions during the game, especially when it is carried to the music (Music and dance games) formed the aesthetic tastes of children, they learn to notice the beauty of dance movements. The basis of the content and subject of games scene assigned certain images and objectives. They also present a detailed action figures, which are often opposed. Plotless games – a kind of mobile games. Their main task is to educate children to move in accordance with the nature of music and musical composition form. In games with singing expected formation of children the ability to transmit motion content and images songs, music and general nature of the means of musical expression. The game – the only activity in which the process is given more importance than the result. The motive of the game in the early school years, says researcher N. Kudykina is in the process of their implementation. However gameplay are the result serves, and the result – intermediaries in the process. During the National Games rhythmic and choreographic character in children produced such personal qualities as civic consciousness. The games are manifested traits and volitional qualities, ideological commitment, moral beliefs. All of this together determines the behavior of the child, his attitude to the environment and respect for everything beautiful. Games and dancing are taught to children shared collective actions contributing their associations, fostering a sense of friendship, mutual respect, justice, and honesty. Funny Games and dances stimulate the nervous system and cause increased higher activity of the brain associated with associative, intellectual and volitional processes that positively affect the overall condition of the child. Traditional games and entertainment is a valuable teaching tool. Because of their content are intertwined words of folk songs, nursery rhymes, potishky relevant theatrical scenes and imitation movements, they are able to create appropriate conditions for socialization. Folk mobile music games give children gymnastics, but not one that baffles their nerves and soothes, brings new experiences and discreetly, without the knowledge of children developing them not only physical strength, but united in a training body, spirit and mind . This approach to education today is extremely important because it forms the logical child – future citizens of our country
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Dante Gabriel Rossetti started working on his poem “Jenny” almost a decade earlier than his painting, Found. Although both of his works are about the issue of the fallen woman, “Jenny” particularly stands out as it reflects the poet’s conflicting attitude towards the issue of the fallen woman which sympathises and condemns the fallen woman at the same time and unravels the male hypocrisy that was prevalent during the Victorian Age. Caught in the middle between a wish to represent the condition of the fallen woman and fearful of Victorian outcries of censorship, Rossetti reduced Jenny to an object of pure speculation with her silence and inaction. Subjecting Jenny to the speculations of the male gaze and authorial power throughout the poem, Rossetti shows that his poetic persona is not actually that different from the conventional representatives of patriarchy. Hence, the aim of this study is to discuss the problematic stance of Rossetti’s poetic persona, who, despite the fact that he continuously emphasises his disinterest in sensual delights and expects praise in return, is yet typically reflective of Victorian patriarchal hypocrisy with his relentless comparisons initially between himself and Jenny and then his cousin Nell and Jenny.
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Nader treats selected cycles from Władysław Strzemiński’s so-called “war drawings” (1939-1944) as a particular mode of visual testimony where a liminal experience is constructed from an observer’s position. Nader reads the drawings as an “abstract” or “universal” idiom. Her interpretation is based on Strzemiński’s “empirical method” as outlined in his The Theory of Sight. She examines the autobiographical and referential value of the works discussed, exploring each cycle of drawings with reference to the artist’s experience and understanding, as well as the particular framework of wartime events that Strzemiński witnessed – deportations under the Soviet Occupation of the Eastern Borderlands, the resettlement of the Polish population of Litzmannstadt and the mass murder of Jews. Using both historical and neuroaesthetical frameworks (based on the work of Vilayanur S. Ramachandran and William Hirstein), Nader proposes to describe Strzemiński’s wartime drawings in terms of neurotestimony: a visual image that supposes not only an active process of seeing but also a process of understanding that must begin on the level of the body’s neurological phenomena.
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This paper will look at the Estonian artist Raul Rajangu’s early series Soviet Midnight (Nõukogude öö, 1981–1982) as an Estonian version of Eastern European sots art. It will argue that Rajangu in the early 1980s, just like Russian sots art artists in the 1970s and 1980s, developed a keen interest in one of the highly ideological domains of the Soviet Union: the visual sphere. This interest was manifested in his playful appropriation of the iconic images of Soviet visual culture, such as reproductions of Lenin, party members reviewing a parade, the Soviet governmental car Chaika and the vacuum cleaner Raketa. Together with certain early works of the group SOUP 69 artists Andres Tolts and Leonhard Lapin, these images allow us to talk about Estonian sots art. However, some differences between political art practices in the centre and on the periphery of the Soviet Union will also be outlined under late socialism.
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The paper expands upon Kafka's “Metamorphosis” as the extreme representation of alienation neurosis caused by “the arbitrary character of the infinite and by existential absurdity” (Chira, 183). From a methodological point of view, we will turn to good account the concept of “time's thermodynamical arrowˮ which reveals “the sense of time where disorder or entropy increases” (Hawking, 113). In order to properly approach the individual disorder and the mental and spiritual dislocation of Kafka's character, Jung's psycho-analytical theory, Bachelard's aesthetics and Chira's interdisciplinary studies will be also taken into account and closely observed in our analysis of the dramatic effects of the extreme form of alienation described in “Metamorphosis”.
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The article presents a “preposterous” updating of Don Quijote, in the face of trauma,contemporary slavery, and the importance of a social face-to-face, or interface, to help people to come out of their isolation inflicted on them by violence. The argument begins with the“updating” of a literary monument, an instance of cultural heritage that never lost its relevance for whatever era in which it functions. The focus on trauma makes this particularly necessary, since those on whom the stagnation and isolation violence cause has been inflicted,must be helped socially. Taking seriously not that but why some people seem “mad” is a collective task for humans. We can all contribute to that remedial interfacing. Through its special complexity, subtlety and temporality, art can facilitate this. The video installation DonQuijote: Sad Countenances presents an attempt to do this. Especially the episode “Who Is Do Quijote” is central in the article. There, some characters discuss the value and possibility of history, the authorship of Cervantes’ novel, and the importance of the literary imagination, while the figure of Don Quijote, in front of a large mirror, exposes himself to an artist-photographer who tries to capture his face.
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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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The purpose of the article. Determine the culturological components of the formation of fashion activity as a scenic phenomenon. Methodology of the research is based on the analytical method in the study of artistic peculiarities of the development of visual culture; historical - in the reconstruction and rehabilitation of the socio-cultural field of reality and functions of art; culturological - for the complex definition of ideological and stylistic paradigms of transformations of figurative artifacts of culture. Scientific novelty. Fashion as the integrity of aesthetic and cultural preferences in the context of globalization processes of the late XX - early XXI centuries becomes an active actor in the alternative globalization movement. Together with the processes of universalization and actualization of cultural and historical potential, fashion is understood as a global practice of cultural creation. Fashion is interpreted as a form of human cultural activity; it generates the potential of a model business, a culture of everyday life, a spectacular culture, and the like. Conclusions. Fashion in the context of world culture is a certain cultural and historical anthropology that represents the integrity of the person, as well as fashionable innovations in the context of various forms of the form: genre, stylistic, which gives an opportunity to see the limits of human creativity, the limits of the fashionable embodiment. The fashion carries the image of a grotesque. Fashion is also a fundamental mechanism of cultural cultivation, the specificity of which is expressed in the constitution of the processes of form-building in culture. Thus, by itself the design of fashion, fashion, stage, openness to another, and at the same time the desire to be self-sufficient and beautiful space, this indicates that the fashion is opened in different contexts of cultural development, in particular in design, theater, advertising, cinema, virtual reality. All these contexts somehow give different paradigmatic states, images of all that living, juvenile organism of the society, which can be noted as a fashionable universe that correlates with the universe scenic.
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The purpose of the research is to broaden the field of understanding of the mysterious foundations of the theatrical art from the point of view of the unity of meanings that are in the process of constant birth, growth, transformation and replacement by new relatively complete disclosure of transcendental and meaningfulness as complete mutual penetration, free solidarity of spiritual and material, ideal and real essences. The methodological basis of the research is the fundamental philosophical-theoretical and cultural tradition of Western European and Russian thought, including the development of consciousness in the general process of cultural and historical life in its deepest foundations: through the transformation of "life-meaning", and the idea of the mystery is interpreted as interpreting the value-essential layers and aspects of being. The comprehension of the mystery from the point of view of the transgressive essence is a substantial center around which the study of its spiritual dimensions, nature, dialectics, Methodological research strategy tends to the synthesis of cultural, art and axiological approaches, providing for the expansion of analysts' optics, understanding of the deep semantic structure of the mystery. Scientific novelty consists in the substantiation of the semantic organization of the mysterial structure, its value-content characteristics in the context of the art-cultural and cultural aspects of existence and manifestation of the mysterial, which allows us to identify the energy-form-forming components of it. The conclusions: the primacy of the spiritual over the empirically concrete appears as the axiology of the conceptual substantiations of the mystery, which can serve as the paradigm of the ascent of man to the desired point where God, where the Spirit, where there is some, lying outside the unfolding of the metaphysical space in which new layers are opened creating meanings, building awareness of their place in the world and a correct understanding of how to be to "appear as a person."
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The purpose of the article is to consider contemporary Baroque receptions in Ukrainian artistic practices in the interconnection and intersection of cultures of different epochs. One of the options for such a connection of cultures is the reception. The methodology of the research consists of theoretical and interpretive models of analysis, the method of modeling the world-view characteristics of baroque sensuality in modern receptions (theoretical and cultural). The scientific novelty consists in the consideration of the project activity "Open Opera Ukraine" (performance "Didon and Aeneas" G. Purcell), in the disclosure of the relevance of baroque receptions in the modern process of growth. For the modern reconstruction of the composer's conception and baroque stage aesthetics, the authors of the project used the method of historically informed performance. The aesthetic-educational and ethical functions in this project are inseparable. The comprehension of a genius musical work, uniquely combined with the word about him, strengthens his essence as an amazing pearl - "perola barocca". Conclusions. The reception of the culture of the "golden aura" of the great epochs (Baroque) contributes to the restoration of cultural identity, warns against multicultural fragmentation, creates conditions for the establishment of links between cultural epochs. Art is a definite space in the holistic field of culture. Some of its species interact with the sociocultural environment. As a holistic system, they are historically volatile, evolving under the influence of various cultural and historical factors. The development and dissemination of modern information technologies not only brings to life new kinds and genres of art but also directly influences the process of creation and implementation of works of art, the nature of their perception by a wide audience. Awareness of the fact that modern man loses integrity, the traditional forms of art are destroyed and encourages us to turn to the baroque culture. Baroque aesthetics reminiscently turns into one of the main markers of mass culture.
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The purpose of the article is to determine the features of the inclusion of elements of national traditions in the formation of the artistic image of the fashion industry of the XXI century. Methodology. The research methodology consists of the application of dialectic, analytical methods in order to study the specifics and prerogatives of the formation of an artistic, fashionable image in the modern period, the determination of the factors that influence them; functional and instrumental - to differentiate the role and importance of the formation of a fashionable image in modern culture; comparative - to determine the content of the concepts ―fashion, ―fashionable image through the prism of turning to national traditions in the world outlook and axiological aspects. The scientific novelty lies in the fact that for the first time the influence of national cultures on the formation of the artistic image of the fashion industry of the XXI century has been studied. Conclusions. The study concluded that the fashionable artistic image is not just the artist‘s thinking process but also the final stage of the vision and perception of the world. The research is a form of reflection of the surrounding reality, which is created with the help of various fashion trends in the process of activity of representatives of the fashion industry. It has been established that a fashionable image is a unique vision of the ideal of beauty and an idea of the single character of the reproduction of appearance at a particular historical stage. It was determined that the peculiarities of appeal to national traditions in the art of the artistic image of the fashion industry of the XXI century include: 1) the national tradition remains one of the most productive sources in creating new forms, original compositions, coloristically decorative fashionable images of the modern Ukrainian; 2) the powerful influence of economic factors on the activities in the fashion industry; 3) the enrichment of elements of national traditions with new solutions with the help of modern technical and technological tools, arsenal, techniques and the acquisition of new artistic dimensions by them, most noticeably this is manifested in the modeling of clothes and interior design; 4) the influence of the historical period, social, economic, political components on the formation of the volume of the need to appeal to the elements of national traditions in the fashion industry.
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The purpose of the article is to carry out a comprehensive analysis and to disclose scientific approaches and leading conceptual ideas of the modern Canadian culturologist Paul Schafer about the role of culture and art, which provides for a high level of development of the cultural personality. The methodology of the research is based on the axiological approach, which makes it possible to select the priority of the system of cultural, aesthetic, and artistic values that humanize, cultivate, and spiritualize a personpersonality. Scientific novelty of the research is that for the first time in Ukraine the holistic scientific views of the modern Canadian culturologist D. Paul Schafer on the characteristics of the cultural personality in the period of the Age of Culture, as well as the role and importance of the art in the cultural process of mankind, have been analyzed. [P. Schafer‘s monographs "The Age of Culture" and "The Cultural Personality" have been translated from English by the scientists of the Scientific Research Institute of Spiritual Development of Man and the lecturers of the Department of Foreign Languages and Professional Communication, Volodymyr Dahl East Ukrainian National University]. Conclusions. The article deals with P. Schafer‘s main conceptual ideas on cultural personality development: the cultural personality is a necessary condition for the Age of Culture development; the art and arts education are the foundations for life of the cultural personality; the cultural personality presupposes existence of the cultural worldview that must stand above the economic worldview; the four main contexts of the research of culture as a "complex whole" are characterized (artistic, social, anthropological, ideological); the cultural personality is holistic, centered, authentic, unique, creative, altruistic, and humane; the priorities of the Age of Culture are defined; the culture is the key to the development of spirituality of a personality.
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The purpose of the article is to determine the cultural and aesthetic problems of the formation of a communicative environment as a factor in the harmonization of the globalization problems of our time. Methodology. The methodological basis of the study is the dialectical principle of cognition, systemic, sociocultural, historical approaches, fundamental provisions of the theory and history of culture. Common scientific and interdisciplinary research methods are used: analysis and synthesis, induction and deduction, comparison, generalization, formalization. The scientific novelty of the results is to identify the key problems of perceiving the subjective dimension of culture in the space of the modern communicative environment. Conclusions. The aesthetic-ecological dimension of cultivating and communicating provides an opportunity to move away from excessive metaphors and see the culture in its constitutive subjective principles of human identity. It is noted that the categorical list of descriptions of the perception of the aesthetic environment cannot be purely psychological, it is not an instrumental means of feeling the harmony of the substance. Thus, the lifelike creative stream that permanently updates the planet, man and its non-aggressive activity, amateur activities translate the aggressive element of the interaction of actors of globalization processes into a phase of harmonious unification of efforts. Aesthetic images of selfdetermination on the brink of their implementation require to play as a substantive leak when the game plays in people as a harmonizing turn of the essence.
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The purpose of the article is to study the problems of styles and styles, which led to the unification and merging of independent trends in the fine arts and architecture of the period of origin and the formation of socialist realism. Scientific novelty. Features of the emergence and development of the synthesis of arts in the USSR and its largest republic – Ukraine still remains unexplored. In the author's proposed interpretation of the synthesis of arts of the "Soviet model" criterion of the holistic perception of the stylistic unity of paintings, sculptural and architectural works is the totalitarian dependence of the artist from the hostile society. According to the author's version, the perception of architectural problems in Ukraine in the given period is considered in the arts, political and economic area and proves the crime of the ideology of totalitarianism. The methodology of the research of the declared theme is to combine art studies and historical intelligence. In accordance with the set tasks in the article applied research methods, complementary cultural, historical, art-study aspects. Chronological analysis and synthesis, comparative, biographical and cross-cultural methods were also used. Scientific novelty consists of highlighting and studying little-known facts, which confirm the author's doctrine concerning the distortion of the concept in the Soviet society of a concept as a synthesis of art. The association of fine arts with architecture was perceived more predominantly from the point of view of the works of Soviet ideologues, historians, art historians. The question of the indifference and lack of resistance in the conditions of a totalitarian cultural dictatorship concerning the interrelation of spatial arts and architecture at the angle of culturological interpretation was not considered at all. Conclusions. The analysis of architectural styles, their tasks, ways of development, the definition of the role of a person in the work (painting, sculptural, architectural), the influence of society and its dependence, comparing the current time with the events seventy years ago – is the way of true revival. The result of this work was an attempt to understand, study and make correct conclusions about the phenomenon of the synthesis of Ukrainian art and architecture of pre-war years. The only answer to the questions can be only solid cultural and artistic intelligence that will reveal the truth about the little-studied period of Ukrainian culture.
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The purpose of the article is to specify the essence of the biographical approach, to reveal its role in interpreting material and spiritual achievements of the mankind and to establish its significance in the discourse of artistic country studies on the basis of thorough analysis and summary of the works in the spheres of sociology, culture and art studies. Methodology of the research consists in implementation of analytical, culturological, historical, axiological and systematic methods in order to reveal the sense of the biographical approach in the discourse of artistic country studies. Scientific novelty. The authors of the article specify the essence of the biographical approach, provide arguments in favour of its efficiency in culture interpretation and substantiate its importance for realizing the achievements of artistic country studies. Conclusions. Analysis of the works dedicated to the issue of biographical approach enabled the authors to ascertain that it is a specific scientific trend aimed at the study of anthropological processes, the basis of which is the ontological chronicle of a particular person, projection of their inner world, methodology of studying personal experience and fixation of this experience in history with the purpose to understand the very essence of the civilization. The direct object of the approach mentioned above is the description of an individual‘s life and creative functioning from the moment of birth to death, and its subject is a social and artistic situation that gives certain meaning and ideological wholeness to human existence. Chronicle is a portrait of the epoch, which reveals conceptual principles of certain age. Highlighting the world outlook of a creative personality, the biographical approach interprets the person‘s existential ideas, discovers their relations to the events of social and political life, as well as material and spiritual achievements of the mankind. Paying attention to the major events in the chronicle of an artist, modern art studies reconstruct and interpret the sense of the previous epochs and helps to find the sense of the person‘s life. Biographical approach as a way to study the artistic culture of the region promotes discovery of the peculiarities of its development within certain period, finding the ways to transform material and spiritual spheres and acknowledgement of the postulate that history is created by people and the process of art formation in the region depends on activities of its prominent figures.
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The purpose of the article is to reveal the essence of the process of the introduction of corporate culture in the system of the aesthetic orientation of professional training of TV presenters. The methodology involves a comprehensive approach with the use of analytical, systematic, and comparative methods, which makes it clear that the ideal of art education needs a meaningful content, creating optimal conditions for corporate culture in the system of aesthetic life of students of higher education and arts. The scientific novelty of the work lies in updating the concept of corporate culture in the context and in connection with the formation of professional training of broadcasters. Conclusions. As a result of the conducted research, it is established that in the conditions of creative higher education the implementation of the aesthetic orientation of students' professional training is carried out by forming the personality of the artist with harmoniously combined professional, moral and aesthetic, psychological qualities and is provided with purposeful educational activities. The most important aesthetic qualities in the process of forming the corporate component of aesthetic training of future TV presenters are the following: respect for the history, culture, dignity, ethical ideals of each people; interest in the national language, customs, traditions, as well as feelings of mutual tolerance and delicacy as to the national "other" mentality, spiritual values, and carriers of another culture and opinions that do not coincide with one's own.
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The purpose of the article is to analyze the transformation of the golden background semantics in Ukrainian sacral mural paintings in the 1850–1900s a case study of Kyiv-Pechersk Lavra‘s cathedrals, Kyiv St. Sophia Cathedral, Kyiv St. Volodymyr‘s Cathedral. Methodology is based on the comparative and iconological methods, art study analysis, including iconographic one to study painting decoration cathedrals and the development of the golden color module semantics. The scientific novelty of the work is to discover the transformation of the Byzantine semantics of the golden background in Ukrainian sacral murals of the second part of the 19th – early 20th century. The cathedral in there was a return to the golden color module in the direction of Byzantine aesthetics has been determined. According to the archival documents the transformation of iconography and the ideological content of the murals after the use of the golden background have been observed. The analysis of the murals of the famous Kyiv Orthodox cathedrals in the aspect of the features of the golden background semantics and the correlation of symbolic and decorative functions is carried out. Conclusions. The semantics golden background in Ukrainian sacral mural paintings has changed in the 1850–the 1900s. The return to the Byzantine tradition of the golden background for the creation Divine world image in the temple space was held at Kyiv St. Sophia Cathedral, when in the main part murals the golden color module was used as the basis. The same combination of symbolic and decorative functions of golden light was inherent to the decoration of the Kyiv-Pechersk Lavra‘s Dormition Cathedral. The symbolism of gold is inferior to the balance of the general composition in Kyiv St. Volodymyr‘s Cathedral. The decorative function submits symbolic one in the Lavra‘s Sts. Anthony and Theodosius church with the Refectory.
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Purpose of Article To characterize the main features and peculiarities of the icons as one of the main elements of the Ukrainian interior. The methodological basis of the research is a comparative-historical approach for determining the degree of influence of state-building processes on the formation of cultural-historical, artistic and aesthetic laws of the formation and development of the Ukrainian interior and the concrete-inductive method that determines the philosophical perception of icons and the forms of its interpretation. The scientific novelty consists in identifying certain features of the influence of the icon on the formation of a modern Ukrainian interior as one of the main aesthetic and cultural elements of the design of a home, a workplace, etc., which, in their unity, are called to create and organize a holistic, harmonious, comfortable, animated compositional space. Conclusions. The research reveals the role of the icon as one of the main traditional elements of the Ukrainian interior as the only spiritual and sacred phenomenon in the cultural and religious life of the Ukrainian people. The icon in the Ukrainian interior is part of an indivisible whole, which determines the interaction of the human world and the world of images, destroys the distance between them. The icon in the interior in a certain way abolishes a clear line between the real and transcendental worlds, forms the space in which the person is, influencing his imagination. Consequently, during the perception of the icon in the Ukrainian interior, a dense communicative connection is established in a home or a workplace: a person (believer or not) - a work of art - a prototype.
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