Demonstrative symbolization of national identity in the design of the Olympic ceremonial costume

The purpose of the article is to analyze the Olympic ceremonial costume of the XVIII Winter Olympic Games "Nagano-1998" and set the components demonstratively symbolizing the national identity in the design of clothing of the Olympic ceremonial costume. Methodology. Heuristic methods in art analysis were used to solve the set tasks, namely: visual observation; description; an attempt to establish components demonstratively symbolizing national identity in the design of Olympic ceremonial costume clothing; logical generalization of the obtained results. Scientific Novelty. According to the results of the art analysis of the Olympic ceremonial costume of foreign teams participating in the competitions (USA, China, Greece) of the XVIII Winter Olympic Games "Nagano-1998", one of the determinants of artistic and informational identification of the Olympic ceremonial costume was established for the first time and its components, which demonstratively symbolize a national identity in the design of clothing. Conclusions. Art analysis of the Olympic ceremonial costume, the reflection of socio-political influences of the historical context on its formality and informational compliance with the principles enshrined in the Olympic Charter [5, p. 11–12] competitions, give us reason to establish for the first time a demonstrative symbolization of the national identity of the design of clothing of the Olympic ceremonial costume as one of the determinants of artistic and informational identification. Given the ceremonial guidelines for identity in costume, which have been followed by all teams since 1936, the most important manifestation in this period (1998) is the semiotic accent in costume. Expression of their state independence, national identity, as well as the importance and identity of their culture at the turn of the era, with the help of such demonstratively symbolizing national identity in the design of Olympic ceremonial costume components, such as 1) Construction - the formation of the suit and the material used are tectonically displayed on the figures of athletes. By designing items of clothing, a visual image is built, which allows obtaining a silhouette identifying result; 2) Sign - stylization of the sign/signs is done by applying a pattern, graphic elements, combinations of graphic elements, embroidery, and possibly other creative innovative stylizations on clothes and accessories. Signs visually identify athletes, allow you to read the underlying meanings of the semantic information content of the costume; 3) Color – appealing to the colors of the national flag and reproducing with the help of color images of well-known objects of cultural heritage are the most popular methods of identifying the country during the Olympic parade. However, when choosing a color and its outflow, its compliance with the values in the host country and the prevailing trends overtime is taken into account. 3) Color – appealing to the colors of the national flag and reproducing with the help of color images of well-known cultural heritage sites are the most popular methods of identifying the country during the Olympic parade. However, when choosing a color and shade of color, its compliance with the values in the host country and the prevailing trends of the time is taken into account. It is worth noting that the visual image that translates national identity can be obtained by combining these components in the design, both together and separately, which was found during the art analysis of the Olympic ceremonial costumes of sports teams of the United States, China, and Greece. Key words: design, costume, Olympic ceremonial costume, identity, identification, symbolization, demonstration.

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.

Zenoviy Flinta’s artistic ceramics of 1960-80s: Stages of development of the author’s creative manner and influence of artist’s painting on his artistic ceramicsand Ukrainization

The works of Zenovia Flint, an outstanding artist, teacher and nonconformist ceramist, who embodied in his ceramic works of the 1960s and 1980s his own picturesque informal searches and philosophical images-allegories in the author’s manner, are analyzed. For the first time, the systematization of directions and stages of formation of Z. Flint’s authorial style in the field of artistic ceramics was performed, as well as an art analysis of the influence of the artist’s painting on his ceramics.

Artist of «troubled silence.» Mykola Bezdilny

The purpose of the article is to highlight the peculiarities of the paintings of the amateur artist of the period of socialist realism Mykola Bezdilny and to draw parallels with the professional art of the 1970s and 1980s. Methodology. Methods of systematization, art analysis, historical and comparative methods are applied. The scientific novelty is to identify the influence of centralized creative structures of the second half of the twentieth century for the self-realization of artists who acquired creative skills in their own way. In particular, the figure of the artist Mykola Bezdilny was chosen for the analysis as a bright representative of the amateur Ternopil region, who showed the ability to admire not only different genres and types of fine arts but also constantly analyze other interpretations of the painting, "try", "move" in technical and philosophical and aesthetic terms. The obtained results are important for further research of the problems of amateur and amateur fine arts in Ukraine. Conclusions. It is determined that M. Bezdilny, as a bright representative of socialist-realist amateur art, reached a high level of painting due to systematic work and interaction with professional painting. It focused on the true essence of the work, its depth, the transfer of harmony of nature, rather than the external beauty of the picture. Against the background of features that are characteristic of the work of many amateur artists and amateurs revealed a clear tendency of M. Bezdilny to his favorite plot, composition, constant change of sound of paint, attempts at impressionistic dynamic brushstroke, and complex color.

The thematic evolution of customer engagement research: a comparative systematic review and bibliometric analysis

Purpose This study aims to serve as an important resource for customer engagement (CE) researchers by presenting a comprehensive, up-to-date and objective assessment of the status and evolution of the CE literature. This purpose is achieved through simultaneous consideration and separate analyses of both the marketing/service and hospitality/tourism literature where CE research dominates. Design/methodology/approach This study integrated three review techniques, including a systematic review technique, evaluative technique and relational technique, to present a state-of-the-art analysis of 236 articles. It provides an updated picture of scientific research on CE, as well as the thematic evolution and structure of the CE literature across the two disciplines. Findings Through a comprehensive review of the CE literature in marketing/service and hospitality/tourism domains, the present study findings build a robust foundation to evaluate how this strand of literature has developed and evolved over time. More importantly, a comparative and quantitative analysis of marketing/service and hospitality/tourism journals delivers actionable insight for hospitality and tourism scholars. Research limitations/implications This study reframes the scientific knowledge regarding the evolution of CE literature, along with interrelation patterns, to advance relevant studies in hospitality and tourism. Findings offer a broadened perspective on the concept’s scholarly development and current research trends, thereby charting a new path for future research. Originality/value By adopting three review techniques, to the best of the authors’ knowledge, this state-of-the-art analysis is the first to compare and synthesize a large volume of marketing/service and hospitality/tourism research, assembling a springboard from which to evaluate how CE studies have developed.

Content of the concept of “ethnic painting”: articulation of the problem

This article analyzes the concept of “ethnic painting”, Russian and Western sources on the topic, as well as controversial approaches towards its interpretation. It is established that the Russian science avoids using the concept of “ethnic painting” to ambiguity of its content. The most commonly concepts in sphere are “national art”, “ethnocultural manifestations”, “territorial-ethnic nature of painting”, “national peculiarities”, and “national distinctness of art schools”. In Western literature, the concept of “ethnic painting” is attributed to both, folk art and professional art. Parallel is drawn between the concept of “national culture” and “ethnic culture”. The research is based on the painting of Circassians (Adyghe) of Russia and Turkey. Using the methods of comparative studies, comparative typology and art analysis, the article explores the works of contemporary Circassian painters of Turkey and Russia, revealing the specificity and universal characteristics of their paintings. The works of professional artists, which meet certain characteristics, should be referred to as “ethnic painting”. The author describes the key attributes and functions of plastic arts that allow classifying it as the concept of “ethnic”: 1) figurative characteristics (visualization of mythological and epic heroes and plotlines, ritual and common culture); 2) translation of ethnic mental characteristics and values; 3) design of ethnic identity and solidarity by means of painting; 4) introduction the art of painting not only to the elite, but other social classes as well; 5) usage of public instruments for proliferation and popularization of painting through education and enlightenment; 6) comprehension of ethnic art as a crucial element of national art; 7) development of ethnic art through various contaminants (ethnocultural content and modernist form or technique; modern content in the traditional genre or form).

The Wilhelm Kotarbinski’s Monumental Art in the Collection of the Khanenko Museum

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