Portraits of the 1950s–1970s from the Funds of the Kharkiv State Academy of Design and Arts

This article examines the stylistic and imaginative features of the academic portraits created by the students of Kharkiv Art and Industry Institute (the KAII) in the 1950s and 1970s, which are now kept in the collections of the Kharkiv State Academy of Design and Arts (KSADA). It was found that the leading principle in the KAII teaching system during that period was the tradition of realistic portraiture, which was based on the principles of academic tonal drawing and volumetric-plastic representation of the form. The KAII applicants had a high level of professional training in art disciplines, and later the administration of the institution offered the best of them to join the teaching staff of the Institute (O. Martynets, N. Mynko, A. Demura, Ye. Bondarenko). The main components of the art education system of the Kharkiv Academic School of Painting in the 1970s underwent some changes due to the revision of the course of training for artists. Thus, in the 1950s the institute trained specialists only in the fields of “easel painting”, “theatrical and decorative painting”, “sculpture” and “easel graphics”, and in the 1960s new specializations in design education were opened: “interior and equipment”, “industrial design”, “industrial graphics and packaging”. Curricula for teaching drawing and painting for the new specializations were created on the basis of methodological materials of I. Repin Leningrad Institute of Painting, Sculpture and Architecture; V. Mukhina Moscow Higher Art and Industrial School, and Leningrad Higher Art and Industrial School. The paper shows that later the teaching methods for all the professional disciplines were adapted and improved by the KAII teachers under the influence of the latest requirements of that time. It is outlined that under the guidance of artists-teachers Yefrem Svitlychnyi and Mykhailo Rybalchenko, their students performed academic works that were influenced by monumental and decorative art and design, which flourished in Ukraine at that time. In most of the educational works in the 1960s and 1970s, certain stylistic changes can be traced in comparison with the paintings of the previous years. The analysis of academic works of that period shows a symbiosis of the easel and decorative forms.

Naina Velichko: «A picturesque stroke is like a successfully found rhyme»

Представляем интервью с Наиной Величко, художником, дизайнером, педа гогом, автором исследований по русской декоративной росписи, популяризатором русского народного искусства. Наина Величко – обладатель медали и диплома Союза дизайнеров России, участник международных фестивалей и выставок. Работала в Австралии и Новой Зеландии, Голландии, Китае, Болгарии, Франции. Наина Величко родилась в Баку в армянской семье. Окончила Минский институт культуры. Живет в Москве с 1983 года. Автор книг «Русская роспись», «Мезенская роспись», «Роспись в стиле Лубок» и др. Помимо профессиональных достижений, Наина Величко невероятно интересная, открытая и свободная личность, человек мира и красоты. We present an interview with Naina Velichko, an artist, designer, teacher, author of studies on Russian decorative painting, and popularizer of Russian folk art. Naina Velichko is a holder of a medal and diploma from the Russian Union of Designers and is a participant of some international festivals and exhibitions. She worked in Australia and New Zealand, Holland, China, Bulgaria and France. Naina Velichko was born in Baku to an Armenian family. Graduated from the Minsk Institute of Culture. Has been living in Moscow since 1983. The author of the books «Russian paintings», «Mezen painting», «Paintings in the style of Lubok» and others. In addition to her professional achievements, Naina Velichko is an incredibly interesting, open and free person, a person of peace and beauty.

Liturgischer Alltag auf einer Großbaustelle des 13. Jahrhunderts: Zur Funktion einiger Konsolen in den Seitenschiffen des Bamberger Domes

This article, which is the result of a cooperation between building archaeologists and a historian of art and liturgy, sheds light on the original function of the stone consoles in the eastern aisles of Bamberg Cathedral, on which the most famous medieval sculptures now stand, including the Bamberg Rider. They date from the time of the building phase shortly after 1201–1202, when the western part of the Ottonian predecessor building was still in use, while in the east the new choir was under construction. A wall separated the two parts, in which openings were inserted. The consoles did not originally serve as sculpture bases, but as supports for weather protection for processions, as a partition wall in front of the fragile choir screen reliefs, and as a platform for ongoing work in the zones above. Only later were the consoles adopted for sculptures and provided with decorative painting, remnants of which are still preserved today.

THE SACRAL NATURE OF STRAW MOSAIC BY OLEKSANDR SAJENKO (Review of the creative works of Ukrainian artist O.F. Sajenko)

The publication aims to draw the attention of Ukrainian scholars and researchers of Ukrainian cultural heritage to study the work of a unique domestic artist of monumental and decorative art, whose name is included in the list of prominent figures of world heritage of the twentieth century - Alexander Saenko. O. Saenko's artistic heritage includes more than 500 works of painting, graphics and monumental and decorative art: decorative panels, carpets, tapestries, etc. But O. Saenko possessed the technique of straw inlay most perfectly. He subtly felt the diversity of sacred energies that give "joy to people." It was in the colors of straw that O. Saenko saw such energy. O. Saenko's paintings are not only artistically perfect, but also the vast majority of them are filled with nationalpatriotic content. Among them, one of the most famous is the decorative painting "Kozak Mamai" (1928, 1936). The analysis of O. Saenko's paintings shows that they are deeply folk, and therefore perceived as modern in their content and style.

INTANGIBLE CULTURAL HERITAGE AS A TOURIST RESOURCE

Despite a complex and often tragic history, the Ukrainian people have inherited from previous generations a powerful array of cultural heritage sites, much of which has survived to the present day. Represented by a tangible and intangible component, cultural heritage in society fulfills the ambitious tasks of forming civic consciousness, a sense of national dignity, patriotism and pride in the glorious historical past. In addition, it is able to successfully implement such tasks as the formation of the tourist image of the territories, by attracting the attention of tourists to increase the demand for recreation in the region and thus solve a number of socio-economic problems of the latter. Unlike tangible cultural heritage, the objects of which are mostly known to the general public, elements of intangible cultural heritage are often unknown not only to foreign tourists but also to citizens of the state. In this regard, given the uniqueness of many elements of the intangible cultural heritage of Ukraine, as well as their ability to become a powerful tourist resource, it is obvious the need for greater promotion, the formation of a stable interest in them. Undoubtedly, the inclusion of elements of intangible cultural heritage in the National List and the UNESCO Representative List, as well as holding various thematic festivals, master classes with folk artists, organizing exhibitions of their works, creating and disseminating advertising and information products on the subject. Currently, the National List of Elements of Intangible Cultural Heritage has 26 items, Petrykivka Decorative Painting as a phenomenon of Ukrainian ornamental folk art, Cossack Songs of Dnipropetrovsk Region and the Tradition of Kosovo Painted Ceramics are included in the UNESCO analogue. The Crimean Tatar ornament ornek and the culture of Ukrainian borscht are waiting to be included in the UNESCO List. Being a valuable tourist resource, intangible cultural heritage is able to develop the tourist potential of the territory and form the competitive advantages of the tourist product in the world and national tourist market.

ARTISTIC EMBROIDERY AS A FACTOR OF INTERDISCIPLINARY RELATIONS BETWEEN THE DESIGN AND ARTISTIC MODELING OF CLOTHING

This article discusses the main aspects of intersubject relations of the subject "Modeling and artistic design of clothing" with special disciplines of professional training of bachelors in the field of artistic embroidery – such as" Performing skills in artistic embroidery"," Improving skills in artistic embroidery"," Technology and materials science"," Technical drawing"," General composition"," Design"," Academic painting"," Decorative painting"," Academic drawing"," Decorative drawing","color Science and coloristics". Attention is drawn to the fact that the work programs of academic subjects based on interdisciplinary connections affect the development of independence, conscious activity, and cognitive interests of students.

Ladislav Trakal’s Art and Crafts Workshop of Decorative Painting in Kharkiv (1899–1921)

The article attempts to outline the activities of Kharkiv art and craft workshop of decorative painting, headed by a Czech creator Ladislav Trakal in 1899. The introduction of some new archival documents into scientific circulation showed that there was a close connection between the pedagogical system of Rayevska‑Ivanova’s school, founded in 1869, and Trakal’s decorative‑handicraft workshop. The 4‑year industrial art school in Prague, which Trakal graduated from in 1896, did not have the status of a higher art institution at that period of time. When Trakal arrived in Kharkiv and headed the decorative‑handicraft workshop, which was housed in an edifice that Colonel Borodaevsky devised to Kharkiv Society for the Dissemination of Literacy, Trakal got on a well‑worked ground, which was prepared by Rayevska‑Ivanova. In 1869 this outstanding person, the first woman‑artist with a European level education and a diploma from St. Petersburg Academy of Arts in Russian Empire, founded an industrial art school in Kharkiv. Later, in 1896 she was forced to leave teaching at her school due to a complete loss of vision. However, the need for specialists of this profile did not disappear. Kharkiv was experiencing a real construction boom, and decorators, one of whom Trakal was, were in great demand. Although Trakal’s workshop did not become as multidisciplinary as Raevska‑Ivanova’s school, it used a lot of the pedagogical system developed by the founder of industrial art education in Kharkiv, to its advantage. Trakal’s workshop gave its students an initial industrial art education, prepared them for the activity in decorative painting. Unlike Rayevska-Ivanova who taught free of charge in her private school for more than 27 years, trying to lay solid foundation of industrial art education in Kharkiv, Trakal turned out to be a rather enterprising person. He successfully completed highly paid orders for the decoration of buildings in Kharkiv and also opened his own private studio. Having a good command of Russian, Trakal easily entered Kharkiv’s artistic life. He actively participated in exhibitions, where he showed his paintings, made in the Art Nouveau Style with an enhanced symbolist sound. However, the question remains about how bright and original this artist was in comparison with artists from other Ukrainian cities (M. Zhuk, Yu. Mykhailiv, M. Sapozhnikov). Similarly, the contribution of other art institutions to the development of some of Trakal’s students who eventually became famous masters, also requires further studying.

PEDAGOGICAL POTENTIAL OF DECORATIVE PAINTING IN THE FORMATION OF PROFESSIONAL COMPETENCES AT FUTURE ADDITIONAL EDUCATION TEACHERS

Статья посвящена проблеме определения педагогического потенциала декоративной живописи для формирования профессиональных компетенций будущих педагогов дополнительного образования. Дается характеристика понятий «потенциал», «педагогический потенциал», «декоративная живопись», раскрывается содержание понятия «педагогический потенциал декоративной живописи». Результаты анализа перечисленных определений показали, что декоративная живопись имеет еще не полностью задействованный художественным образованием потенциал. Приводимое в статье обоснование понятий «педагогический потенциал» и «педагогический потенциал декоративной живописи» позволяет утверждать, что в процессе создания произведений в технике «декоративная живопись» у будущих педагогов дополнительного образования развиваются следующие качества: интеллектуальные способности, которые помогают обучающимся стилизовать натуру; конструктивное мышление, используя которое студент трансформирует объемы, деля их на плоскости; осознанное владение техническими приемами декоративной живописи; определение воспитывающего характера сюжета произведения. Все это учит студентов преобразовывать форму, пространство, выстраивать перспективу изображения, выбирать цветовые сочетания в зависимости от назначения объекта. Педагогический потенциал декоративной живописи позволяет рассматривать его возможности не только в конкретный промежуток времени, но и в долгосрочной перспективе: выделенные характеристики позволяют выстроить стройную систему овладения профессиональными компетенциями обучающимися, используя учебные дисциплины, изучаемые со второго по четвертый курс: «Декоративно-прикладное искусство», «Декоративно-монументальная живопись», «Декоративно-станковая живопись», «Монументальная живопись». The article is devoted to the problem of pedagogical potential of decorative painting in the formation of professional competences at future additional education teachers. The article reveals the concepts of potential, pedagogical potential, decorative painting, and pedagogical potential of decorative painting. The analysis of the above-mentioned concepts showed that decorative painting has a much greater potential for arts education. The justification of the concepts of pedagogical potential and pedagogical potential of decorative painting given in this article allows the author to state that when creating decorative painting works, future additional education teachers develop the following abilities: intellectual abilities, that help students to style the model; abilities of constructive thinking, that helps student to transform volumes; conscious knowledge of the techniques of decorative painting; abilities of determining the educational character of the storyline in their work. All this teaches students to transform form, and space, to build the perspective of the image, to choose color combinations depending on the purpose of the object. Pedagogical potential of decorative painting also allows us to consider its prospects not only in a specific period of time, but in the long term as well: the highlighted characteristics allow to build a well-balanced system of mastering professional competences with the help of such educational disciplines as «Decorative and Applied Arts», «Decorative and Monumental Painting», «Decorative and Easel Painting», «Monumental Painting».