DATING OF BURIAL GROUNDS OF THE XIONGNU ERA ALA-TEY 1 AND TEREZIN IN TUVA

Статья посвящена вопросам датировки могильников эпохи хунну Ала - Тей 1 и Терезин в Туве. В ходе раскопок получен значительный материал, включая непотревоженные захоронения с разнообразным погребальным обрядом и богатым инвентарём. Помимо широко распространённых в это время баночных керамических сосудов, железных ножей, шильев и других бытовых предметов, здесь найдены многочисленные, в том числе уникальные образцы декоративно - прикладного искусства древних кочевников - большие ажурные пряжки с зооморфным или геометрическим орнаментом, инкрустированные и гравированные пряжки - пластины из сибирского гагата, китайские бронзовые зеркала и монеты у - шу, хуннские вазовидные сосуды и пр. Для некоторых погребений получены радиоуглеродные даты. Исходя из анализа погребального инвентаря и результатов радиоуглеродного датирования, время существования этих могильников можно отнести ко 2 - 1 вв. до н. э. The article is devoted to the dating of burial grounds of the Xiongnu Epoch Ala - Tey 1 and Terezin in Tuva. During the excavations, signifi cant material was obtained, including undisturbed burials with a variety of funeral rites and rich inventory. In addition to the widely used ceramic vessels, iron knives, awls and other household items, archaeologists found here numerous and unique samples of ancient nomads’ decorative and applied art - big openwork buckles with zoomorphic or geometric ornaments, inlaid and engraved buckles - plates made of Siberian jet coal, Chinese bronze mirrors and Wu - shu coins, Xiongnu vase - shaped vessels, etc. Radiocarbon dates were defi ned for some burials. Based on the analysis of the burial inventory and the results of radiocarbon dating, the time of existence of these burial grounds can be related to the 2nd - 1st centuries BC.

Traditional arts and crafts of the peoples of Chukotka and its traditions in the modern subculture

В статье представлен обзор объектов декоративно-прикладного искусства коренного населения в Чукотском автономном округе. Материалом исследования послужили музейные коллекции Чаунского краеведческого музея, основу которых составляют предметы быта, этнографии и декоративно-прикладного искусства «оленных» (кочевых) и «сидячих» (оседлых) чукчей, эскимосов и других народов; а также архив Певекской школы искусств. Опираясь на опыт Чаунского краеведческого музея в области комплектования и экспонирования предметов декоративно-прикладного искусства, предлагается рассмотреть образцы традиционного чукотского искусства, а также его традиции в современной субкультуре. Под традиционным искусством понимается косторезное искусство народов Чукотки, а также вышивка из кожи и меха — такое разделение соответствует делению коренных жителей на кочевых и оседлых. Под современной субкультурой в данном случае понимается культура, созданная в многонациональном регионе в процессе ассимиляции местных жителей и так называемого «пришлого» населения — русских, украинцев и многих других. В результате происходили не только смешанные браки, но и взаимное обогащение культурных традиций — это ярко проявилось в проведении праздников, создании литературных произведений, а также в создании предметов декоративно-прикладного искусства. В собрании Чаунского краеведческого музея представлены подобные образцы декоративно-прикладного искусства как чукотских мастеров, так и мастеров других национальностей. The article presents an overview of objects of decorative and applied art of the indigenous population in the Chukotka. The research material was the museum collections of the Chaunsky Museum of Local Lore, which are based on household items, ethnography and decorative and applied art of the "reindeer" (nomadic) and "sedentary" Chukchi, Eskimos and other peoples; as well as the archive of the Pevek School of Arts. Based on the experience of the Chaunsky Museum of Local Lore in the field of acquiring and exhibiting objects of decorative and applied art, the author examines examples of traditional Chukchi art and its traditions in the modern subculture. Traditional art is understood as bone carving art of the peoples of Chukotka, as well as embroidery from leather and fur — this division corresponds to the division of indigenous people into nomadic and sedentary. In this case, the modern subculture is understood as a culture created in a multinational region in the process of assimilation of local residents and the so-called “newcomer” population — Russians, Ukrainians and many others. As a result, not only mixed marriages took place, but also the mutual enrichment of cultural traditions — this was clearly manifested in the celebration of holidays, the creation of literary works, as well as in the creation of objects of decorative and applied art. In the collection of the Chaunsky Museum of Local Lore, there are similar examples of decorative and applied art of both Chukchi masters and masters of other nationalities.

“Chinese table screen” from the collection of the National Art Museum of the Republic of Sakha (Yakutia): on the question of determining the plot

Статья посвящена изучению музейного памятника декоративно-прикладного искусства XIX века «Китайский настольный экран», раскрытию его сюжета, уточнению времени создания. Экран, как и большие ширмы, использовался в интерьере зданий, исполняя утилитарную и эстетическую функции, применялся для защиты пламени свечи от движения воздуха. Особенность традиционного китайского экрана — это его мобильность, декоративность и привлекательность используемых в декоре материалов. Как элемент традиционной культуры он отражал идею корреляции вещей в мире, нес в себе понятия красоты и совершенства в художественно-эстетическом оформлении интерьера. Всякая вещь — это уникальный кодовый знак этнокультуры, указывающий на своеобразие национального характера, представления об окружающем мире. Несмотря на то что со сменой эпох менялся стиль, декор, вводились новые материалы, отшлифованная веками традиционная вещь оставалась удобной и эстетичной, отличалась безукоризненной отделкой и высокой практичностью. На основе анализа художественного произведения и изучения специальной литературы автор интерпретирует сюжет, изображенный на настольном экране. В ходе исследования предмета на изображении были выявлены такие мифологические персонажи, как популярная даосская «восьмерка бессмертных», представителей которой часто изображали на произведениях изобразительного и декоративно-прикладного искусства, легендарный Лао-цзы, древнекитайский философ VI–V веков до н. э., один из основателей философского учения Дао. На панно с даосскими святыми узнаются: древнее божество Си-ван-му — хозяйка персиков долголетия, покровительница домашнего очага Хэ Сянь-гу, Шоу-син — божество долголетия, красавица и чадоподательница Би-ся юань-цзюнь и божественный земледелец Шэнь-нун. Все они прибыли на пир к царице Запада Си-ван-му. This article is devoted to the study of the museum monument of decorative and applied art of the 19th century “Chinese table screen”, understanding its plot, clarifying the time of creation. The screen, like large screens, was used in the interior of buildings, performing utilitarian and aesthetic functions. Moreover, it was used to protect the candle flame from air movement. The peculiarity of the traditional Chinese screen is its mobility, decorativeness and attractiveness of the materials used in the decor. As an element of traditional culture, it reflected the idea of the correlation of things in the world, carried the concepts of beauty and perfection in the artistic and aesthetic interior design. Every object is a distinctive code sign of ethnoculture, which indicates the uniqueness of the national character and perceptions of the surrounding world. Despite the fact that with the change of epochs, the style, decor changed and new materials were introduced, the traditional objects polished for centuries remained comfortable and aesthetic, distinguished by impeccable finish and high practicality. Based on the analysis of the artwork and the study of special literature, the author interprets the plot depicted on the table screen. During the study of the object and its image, author identified such mythological characters as the popular Taoist «eight immortals», whose representatives were often depicted in paintings, prints and decorative arts, the legendary Lao Tzu, an ancient Chinese philosopher of the 6-5th centuries BC, one of the founders of the Dao teaching, sitting on a bull. On the panels with Taoist saints, the ancient deity Xi wangmu — the mistress of longevity peaches, the patroness of the hearth He Xiangu, Shouxing — the deity of longevity, the beauty and child-giver Bixia Yuanjun, and the divine farmer Shennong are also recognized. They all came to the feast of the Queen of the West Xi Wangmu.

plurality of Tuban Regency

The COVID-19 pandemic necessitates the use of all sectors in communication through online media based on using Internet networks and audio-visual technology. Gedog Tuban Batik fabric has the potential to develop the motifs and coloring of the fabric that can be done by batik artisans. Meanwhile, the impact of COVID-19 has resulted in a decline in the economic activity of artisans. To overcome this, a method of empowering the Tuban community is needed so that they can continue to produce Tuban batik. The community is equipped to express themselves through audio and visual media as well as coloring and motifs for developing Gedog batik with the citizen journalist method and applied art. This is an ethnographic research using qualitative methods. The data collection techniques were done through in-depth interviews and observations. The results of the study show that through the empowerment of local resources, the Tuban community has an alternative activity, namely batik making in order to survive during the pandemic. The residents of Tuban are agents of information in terms of how to produce, distribute, and exhibit Gedog batik through their smart phone technology.

Icon-Pendant with an Image of the Saint Warrior-Horseman from the Excavation of the Mangup’s Palace. Old Rus’ or Byzantium?

Introduction. The article is devoted to the icon-pendant with the image of the horseman St. George the Warrior, discovered in 2020 in the cultural horizon of the late 13th–14th centuries at the research site of the Mangup’s Princely Palace. Methods. The study is complex. The traditional methods of art history analysis and the method of analogies, widely used in archaeological science, are used in the description and attribution of the sign icon. The dating of the product is established using one of the most important stratigraphic methods in archaeology. In explaining the historical context of the find, the available data from archaeological and narrative sources on the history and culture of Mangup at the end of the 13th–14th centuries are used. Analysis. The value of the icon, in addition to its clear archaeological context and the iconographic type of the holy rider-triumphant, which is rare for Byzantine applied art, lies in the expansion of our source base on the spread of the cult of St. George in the Late Byzantine period of the history of South-Western Crimea, represented before that mainly by the churches of Eski-Kermen and Mangup. Results. Despite the general proximity of the iconography and the technique of making the Mangup find and numerous similar products from the territory of Old Rus, there is no reason to consider it as an icon-pendant of Ancient-Russian origin. The conducted research definitely indicates a weak study of this category of Christian objects of personal piety on the territory of Byzantium, the lack of their cataloging and the study of special issues. In this regard, the conclusion that the icon belongs to the number of finds of the Byzantine circle from the cultural layer of the Mangup settlement, made in one of the provincialbyzantine centers, seems to be the most objective.

Creating the "The Goddess of the Hearth" Panel Using Collage Technique

The purpose of the article is to describe one of the forms of professional training of future leaders of the studio of decorative-applied art, namely, the implementation of a creative project of ethnocultural orientation. Students of the Chuvash State Institute of Culture and Arts made a panel in the collage technique «The Goddess of the hearth». At the first stage of the project, the literature on the topic of Chuvash mythology was studied. Based on the analysis of literary sources – the works of P.V. Denisov, V.K. Magnitsky, D. Mesarosh, A.K. Salmin the main characteristics of the deity «Hertsurt» were identified, which is the keeper of the hearth, the goddess of the right ordering of domesticity in Chuvash mythology. The article provides a technical and technological substantiation of the manufacturing process and describes in detail the sequence of creating the panel «The Goddess of the hearth». The author emphasizes that authentic patterns for embroidery were used, as well as traditional for the Chuvash colors, elements of clothing, utensils. It is noted that the project as a whole contributed to the formation of the main professional competencies of future leaders of the studio of decorative-applied art – to have the skills of making art products in folk traditions.

Inspiracje podhalańskie w meblach regionalnych Józefa Kulona

Abstrakt: Twórczość Józefa Kulona obejmuje szereg dziedzin związanych ze sztuką użytkową. Najbardziej znanymi jego projektami są meble regionalne, zwane także wiejskimi, inspirowane formami mebli ludowych. Były one wykonywane w spółdzielniach należących do Cepelii. Najliczniejsze tego typu projekty Kulona powstały dla Zakopiańskich Warsztatów Wzorcowych. Analizując ich formy, można wydzielić dwa typy. Pierwszy – najliczniejszy, charakteryzuje się użyciem wyraźnie zaznaczonych elementów konstrukcyjnych z płycinami wypełnionymi deseczkami lub ażurem o pofalowanych krawędziach, naśladujących ornamenty ludowe, do niego możemy zaliczyć takie zestawy jak Janosik, Kierdel, Redyk czy Kacwin; i drugi – różniący się nie konstrukcją, a jedynie ornamentyką, to meble o miękkich liniach zdobionych stylizowanym, wyciętym konturowo dłutem ornamentem animalistycznym. Ich powierzchnia była często opalana i szczotkowana, tak by uzyskać wyraźny, jaśniejszy rysunek słojów. Przykładem mogą być komplet Miś czy nieznane mi z nazwy meble, które można artyście przypisać. Od lat 60. artysta tworzył wystrój licznych wnętrz użyteczności publicznej, by wymienić tylko kilka: świetlicę Spółdzielni Pracy „Pieniny” w Krościenku (1968), świetlicę Spółdzielni Pracy AW, Koniaków (1968), część wyposażenia schroniska Ślęża (1966). Józef Kulon projektował również pojedyncze sprzęty dla osób znanych, na indywidualne zamówienia, m.in. w 1966 r. ławy dla wiceprezydenta USA H. Humphreya, w 1967 r. łóżko dla gen. Charlesa de Gaulle’a oraz łóżko dla Jana Pawła II w ośrodku wypoczynkowym biskupów polskich w Zakopanem. Summary: Józef Kulon’s oeuvre includes a number of branches related to applied art. His best known designs encompass regional furniture, also called cottage furniture, inspired by forms from folk furniture pieces. Kulon’s furniture was manufactured in Cepelia-run Cooperatives. The biggest number of his designs were created for the Zakopane Model Workshops. When analysing their forms, two types can be distinguished. The first, and the most numerous, is characterized by the use of clearly pronounced structural elements with panels filled with slats or openwork of wavy edges imitating folk ornaments, which include such sets as Janosik, Kierdel, Redyk, or Kacwin; the second type does not feature a different structure, but differs in ornamentation, with its pieces boasting soft lines decorated with a stylized contour chisel-cut-out animalistic ornament. The pieces’ surface was often scorched and brushed in order to obtain a clear lighter outline of rings. The latter type is exemplified by the set Miś [Bear] or other furniture pieces, unknown to me by their name, and which can be attributed to Kulon. Beginning with the 1960s, the artist created the décor of numerous interiors of public service, such as, to name a few: the common room of the ‘Pieniny’ Workers’ Cooperative, Krościenko (1968); the common room of the AW Workers’ Cooperative, Koniaków (1968); and a part of the furnishing of the Ślęża mountain hostel (1966). Furthermore, Józef Kulon designed customized furniture pieces for celebrities, e.g. in 1966, benches for US Vice President Humphrey; in 1967, a bed for General Charles de Gaulle; and a bed for John Paul II in the Zakopane Holiday Resort of the Polish Bishops.

Ceramics of Halychyna in the late 19th – early 20th centuries. Scientific and professional schools. Technologies. Personalities.

An analysis of numerous artefacts of the first third of the 20th century suggests that the production of many varieties of art-and-industrial ceramics developed in Halychyna, in particular architectural ceramic plastics, a variety of functional ceramics, decorative tiles, ceramic tiles, facing tiles, etc. The artistic features of Halychyna art ceramics, the richness of methods for decorating and shaping it, stylistic features, as well as numerous art societies, scientific and professional associations, groups, plants and factories specializing in the production of ceramics reflect the general development of this industry in the first half of the century and represent the prerequisites the emergence of the school of professional ceramics in Halychyna at the beginning of the 20th century. The purpose of the paper is to analyze the formation and development of scientific and professional schools of art-and-industrial ceramics of Halychyna in the late 19th – early 20th centuries. The research methodology was chosen, in accordance with the specific factual material, the goals and objectives set in the work, developed on the basis of a systematic approach and the principle of historicism, using the method of complex art analysis, synthesizing the research capabilities of comparative historical, functional, typological research methods. The principle of consistency assumed the consideration of certain issues, in accordance with the sequence of processes that took place in such a popular variety of professional decorative applied art as art ceramics. Due to this approach, the authors tried to focus on a detailed elucidation of the ways of building professional creativity in an inextricable relationship, taking into account the characteristics of a certain material, the needs of appropriate material support, and the establishment of technological processes. Furthermore, such a presentation of the paper material has provided a clearer indication of the possibilities and prospects for the development of the artistic ceramics art. In the process of work, the authors were aware that all the problems related to the art of the first half of the 20th century, including the development in the production of art ceramics in Halychyna, are only at a certain stage of thorough study. That is why this work is one of the stages on this path. In this regard, this study was interpreted by the authors not as one that should finally exhaust the chosen topic, but on the contrary – the work should create an opportunity for further more detailed study of individual phenomena, the work of artists, or the analysis of groups of specific pieces of art.

SCIENTIFIC RESTORATION OF WORKS OF DECORATIVE AND APPLIED ART IN THE SYSTEM OF HIGHER ART EDUCATION

The article is devoted to the issues of scientific restoration of works of decorative and applied art in the system of art education at the National Academy of Fine Arts and Architecture. The processes of formation and improvement of the experience of the artist-restorer for the preservation of historical and cultural monuments are defined. The importance of solving the cultural and professional development of the future artist-restorer in the field of restoration of works of decorative and applied art is emphasized. The topic studied by the author raises a number of issues of the methodology of studying works of decorative and applied arts in the research work of future artists-restorers. The purpose of the study is to develop and substantiate basic theoretical know­ledge in the field of research, restoration, conservation and storage of works of decorative and applied arts from metal, ceramics and organic materials. Training of restoration specialists is carried out in various educational and scientific institutions of Ukraine. At the present stage of development of scientific restoration, this industry needs innovative approaches and updating of old methods. Thus, at the National Academy of Fine Arts and Architecture you can get a specialty artist-restorer of monumental painting, artist-restorer of sculptures and decorative arts from metal, ceramics, organic materials (fabrics, leather and bone). Restoration occupies the most important place in museum work and combines a set of knowledge and skills that provide storage of works of art made of metal, ceramics and organic materials. Disciplines on the restoration of sculpture and works of decorative and applied art are part of the training of specialists in the specialty «Restoration of works of art» within the acquisition of practical skills in research, restoration, conservation and storage. Training of future artists-restorers in the system of higher professional education taking into account modern requirements of conservation and restoration is based on such principles as scientific, connection of theory with practice should be carried out on authentic monuments — museum exhibits that promotes formation of professional competences, acquisition of professional experience, responsible attitude to historical and cultural monuments. The obtained results deepen the idea of research methods, restoration and conservation of works of decorative and applied arts from metal, ceramics and organic materials. Theoretical provisions are important at the problem-theoretical level, because the training of restorers requires a strong scientific and methodological base.