AN IMMORTAL POEM IN THE WORKS OF UKRAINIAN ARTISTS

For the first time, the article highlights the continued interest of researchers and artists in the memorial of ancient Russian literature of the end of the 12th century, "The Tale of Igor’s Campaign" at the present stage. The peculiarities of the decoration of editions dedicated to the poem performed by domestic artists in the second half of XX — beginning of XXI centuries are investigated. The pearl of ancient Russian literature of the end of the XII century, «The Tale of Igor’s Campaign» does not leave many generations of its admirers indifferent. The 200 th anniversary of the release of the monument of Ukrainian culture has passed, and the interest in the «The Tale of Igor’s Campaign» has not subsided. The magic of this work continues to attract new researchers and artists. Anniversary dates helped to increase interest in the landmark. On the occasion of the 150 th anniversary of the first printing of the poem, J. Hnizdovsky in New York illustrated and artfully decorated the anniversary edition. A quarter of a century the design and illustrations for the poem were performed by Kyiv’s I. Selivanov. G. Yakutovich’s editions, created in the Dnipro publishing house as souvenirs, look like real masterpieces. The engravings of G. Yakutovich were already heard in another edition of «The Tale of Igor’s Campaign», which came out of print in the Kiev publishing house Veselka in 2008. In 1989, the publishing house «Soviet School» published a thorough edition of «The Tale of Igor’s Campaign», illustrations, layout and decoration of which were made by V. Lopata, and the editing and notes by O. Mishanych. The artist’s works are multifaceted in composition and imbued with special drama and symbolism with expression. Equally interesting was the 2015 edition, commissioned by the State Committee for Television and Radio Broadcasting of Ukraine under the Ukrainian Book program. Particularly noteworthy are the graphic works by V. Yefimov from Odessa and M. Bondarenko from Sumy region, who embodied their preferences and unique manners in the work on the poem.

YULII MYKOLAIOVYCH YATCHENKO (1928–2020). MEMORIES OF THE ARTIST [publication of the document]

The article is a publication of the memories of Yulii Mykolaiovych Yatchenko, a Ukrainian painter, graduate of the Kyiv State Art Institute (KSAI), student of S. Hryhoriev, M. Sharonov, H. Melikhov, and K. Ieleva. Yulii Yatchenko dedicated almost his entire life to pedagogical and organizational work: Director of the Republican Art Secondary School named after T.H. Shevchenko, Professor of the Department of Drawing and Vice-Rector for scientific work of the KSAI, as well as he headed the Directorate of Art Exhibitions of the Ministry of Culture of the USSR. The manuscript work «Memories of the Artist» of Yulii Mykolaiovych Yatchenko was prepared by him for printing in 2014. The manuscript contains two parts: «Memories of the Artist. The Story» and «Work on the Images of Princes and Kings». Now the first part is published, in which the author recalls both his training at the KSAI (now — «the NAFAA») and the methods of work and education of the teachers; describes moments of the creative process over the painting «With the Dream of Peace. Rescuing Works of Dresden Art Gallery by Soviet Troops in 1945» (1959) and other major paintings; revives in memories trips to Dresden and communication with the management of the Dresden Gallery, visits of the Ukrainian delegation for culture to Portugal, creative trips to Lithuania and Latvia, stay in Sedniv and Kanev; as if relives the pleasant moments associated with personal exhibitions in the halls of the National Academy of Fine Arts and Architecture. Yulii Yatchenko also draws attention to the issues of pedagogy, drawing teaching methods, reflects on the needs of creative youth. Finally, the author dives into his childhood memories, verbally describing his family and his ancestors. The feature of «Memories of the Artist» of Yulii Yatchenko is the absence of a rigid chronology and informality of presentation; the artist wrote down his own memories in the sequence in which they surfaced in his memory. After reading the «Memories», there is a feeling of personal communication with Yulii Mykolaiovych Yatchenko. The publication is a unique original testimony of the artist, a representative of that generation, whose creative path began in the difficult postwar period, in times of severe ideological constraints. The material of his memories is useful for teachers, graduate and undergraduate students, as well as connoisseurs of art in general and the creativity of Yulii Mykolaiovych Yatchenko in particular.

GRAPHIC LITERATURE: DEFINITIONS, HISTORY, COMPONENTS

The article defines for the first time the concept of graphic literature a special kind of book and magazine graphics, which has become widespread in world art practice over the past century. It emphasizes that graphic literature combines elements of fine arts, literature, and cinema. It reveals the essence of graphic literature in the narrative of history through a sequence of images. It reviews the history of formation and development of this art form in world and Ukrainian art history. It outlines the specific features of graphic literature in certain countries. It gives the names of personalities who influenced its origin and spread around the world. The article is mainly focused on the analysis of the history of graphic literature development in Ukraine. It outlines the contribution of Ukrainian artists of the 20th century to its development. It emphasizes the reasons for the negative attitude to graphic works of literature in Soviet times. It considers in detail the spread of works of graphic literature in Ukraine at the beginning of the 21st century. It names Ukrainian personalities and specialized publishing houses that actively develop modern graphic literature. It outlines the basic structure, some important elements, and technique of graphic works. It emphasizes the similarity of the design of works of graphic and fiction. It reveals the main purpose of graphic literature in the most effective way to convey the main idea of a literary work to the reader and to get him/her interested with the help of visual images. It examines the genre diversity of graphic literature in Ukraine in the last decade. It analyses the dependence of the genres of graphic works on the age restrictions of the readership. It reveals the necessity to further study and analyse such graphic works from the art point of view. Graphic literature combines publications in which the narration is conveyed through hand-drawn and textual images in a certain sequence.

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.

THE ROLE OF CUSTODIAN IN THE FORMATION OF ART WORKS COLLECTION (on the example of educational and methodological funds of the Drawing Department of the National Academy of Fine Arts and Architecture)

The article considers the peculiarities of formation of the collection of educational and methodical funds of the Drawing Department of the National Academy of Fine Arts and Architecture (NAFAA). The purpose of the study is to identify the role of the custodian in the process of forming the collection; determination of special professional requirements and specific range of job responsibilities of the keeper of museum collection of the institution of higher art education by studying the history of the collection. On the basis of the study of NAFAA archival materials and conversations with employees of the Academy, the list of persons responsible for the preservation of the collection of educational and methodical funds of the Drawing Department since 1937 has been established. It was found out that the position of the person responsible for the preservation of the collection of educational and methodical funds of the Drawing Department, during second half of the 20th century and the beginning of the 21st century, had different names: Head of the drawing studyroom, Educational master, Master of industrial training, Head of the educational laboratory of the Drawing Department. People who worked with the funds mostly had higher art education (or intended to acquire it): they were practicing artists, graduates of painting, graphic arts, restoration, theory and history of art, pedagogical or architectural faculties. It was noted that the process of transferring art values took place between the responsible employees without any documentary support, and the employees themselves were changing their positions almost annually until the 1990s. It was proved that the absence of appropriate position of funds keeper in the staff schedule of the KSAI-NAFAA, which requires a professional education in art history and knowledge of museum management methods, had a negative impact on the preservation of collection. Thus, the museum, which is planned to be established under the NAFAA in the near future, should become a special structural subdivision. Along with its main activity related to the acquisition, recording, storage, conservation (preservation) and restoration of museum treasures, the NAFAA museum should perform an important educational and methodological function. To the typical duties of the Head keeper of the NAFAA museum collections there should necessarily be the requirement to know the history, methods and techniques of teaching artistic disciplines, as well as to have pedagogical experience.

WAYS OF ARCHITECTURAL REVALUATION OF ARCHITECTURAL SUBSTANCE IN THE HISTORICAL ENVIRONMENT OF THE CITY

The multifaceted problem of the relationship between the old and the new in the structure of cities subject to reconstructive transformation covers not only the range of tasks for the integration of historically composed and new buildings, but also a number of ambiguous issues of architectural revaluation of historical architectural and urban planning substance. lost elements to improve the aesthetic value of the urban environment and further preserve its integrity. If the solution of issues of urban coherence of historical and new buildings is based on the variability of the respective location in the urban structure of urban formation, the ways of architectural revaluation are based on the principles of volumetric and tectonic perfection of historical substance. ensembles, often by means of finely tempered harmonization of old and new architectural solutions (Hereditary development of compositional and spatial features of the city center). European urbanism of the twentieth century. He also knows cases of architectural revaluation of large urban complexes, such as in the process of restoration after the military destruction of the historic areas of Warsaw and Gdansk, where the problem of restoring the architectural integrity of buildings was combined with issues of restoration, reconstruction, modernization and necessary rehabilitation. on the legitimacy of such revaluation measures, which were not based on the restoration of authentic historical heritage, but in fact on its reproduction "from the ground up", based not only on scientifically sound materials, but often on architectural conjecture, method of analogues, etc. The controversy over the architectural revaluation of historic buildings began in the late nineteenth century, when the issues of conservation and restoration in a set of reconstructive urban planning tasks began to require immediate resolution. Renowned British art critic John Ruskin, reacting sharply to the imperfections of restoration work that led to significant distortions and even distortions of valuable historical substance in various countries, said: «Reproduction from nothing of something that was once great and beautiful in architecture is as impossible as return to life…» (Рёскин 81–82).

THE HISTORIC ENVIRONMENT OF THE CITY: THE ESSENCE AND PRINCIPLES OF PROTECTION

The article considers the actual problem of preserving the traditional environment for the historical city in the conditions of active development of urban infrastructure. Based on the analytical study of previous research and morphological analysis of components, it proposes to define the historic environment as a monument protection category, which determines the space of a historical city, organized in a characteristic landscape by inherited historic planning and system of buildings and structures, characterized by historical and cultural content. The article proves that the material basis of the city's historic environment is a historically inherited spatial framework formed by traditional buildings. Accordingly, to protect the environment of the ancient city means to preserve the inherited historic spatial framework in a state that does not change its spatial structure and does not lead to identity loss. The article also raises issues of practical solutions to the protection of the historic environment of ancient cities.

PARTICULARITY OF ARTWORKS BY VASYL KORCHOVYI VASYL

This article explores Vasyl Korchovyi’s artistic heritage, his unparalleled style, and notable manner of working. Vasyl Korchovyi is a Ukrainian sculptor, graduate from National Academy of Fine Arts and Architecture, representative of the Academic school of sculpture creation. This sculptor has not been neglected today and is an often and widely recognizable guest and/or participant of/in numerous exhibitions, art competitions, and sculpture symposiums including the latest one, the Xth Kaniv International Sculptural Symposium (September–October, 2021). Despite that, his artworks have been discussed in a quite occasional and random way in artistic articles and other kind of publications. This is the reason of why this study focuses on the major subjects and gentres used by Korchovyi for his artworks, as well as on his manner and techniques for working with stone. The studу is one of the first-ever attempts to use the art criticism approach to evaluate three sculpture works by Korchovyi: with two of them being complete and one piece still unfinished: the work from the Kaniv sculptural symposium above. First, Altar of Dionysus, an indoor sculpture, carved of sandstone, is discussed. It depicts a bacchante, a woman who holds a bowl and a grapevine, with her hair ingrown in the branches and the two goat heads that flank the composition on both sides; the attributes associated with fer­tility, sweet delight and also with wild Dionysian origin, while calm or even being asleep at the moment. Second sculptural work is the tombstone of Vasyl Korchovyi’s father, Ivan Sobko. For this reason, its design is marked with Korchovyi’s personal feelings and sentiments. The composition of the sandstone-made sculptural part of the tombstone represents an angel with outstretched wings, inscribed in the area of a trefoil cross. The openwork pattern of weaves of winding shoots with remains of leaves in some places adds depth to the background framed with smoothly polished parts of the surface, where the figure of angel is located, and carefully surround the upper part of the medallion with a photo of the deceased one; the composition that brings the feeling of a deep anguish and imminence, the painful emotions to be eventually accepted.

THE DIMENSION OF «EXPERIMENTAL CULTURE»: ANATOMY, SOCIAL PEDOLOGY AND PHYSIOLOGICAL REFLEXOLOGY AS COMPONENTS OF ART EDUCATION AT THE KYIV ART INSTITUTE

The article examines the problems of art education in the 1920s of Kyiv Art Institute in the context of interdisciplinary links and tasks of ideological education. The educational process in art educational institutions, such as Kyiv Art Institute, received its ideological and philosophical basis in the early Soviet period, according to which traditional approaches to art education were deconstructed, curricula were changed, new disciplines were introduced, etc. Understanding the essence of the educational process in this period is the key to understanding the artistic culture of the early USSR in general. In the course of this study, both general scientific methods, such as formal analysis, historical, biographical, typologically systematic, problem and logical, and empirical, as well as cultural and historical, which belongs to art history methods, were used. For the first time, this study highlights the origins and stages of formation of such disciplines as Anatomy, Social Pedology and Physiological Reflexology, which were taught at Kyiv Art Institute in the 1920s of the 20th century. The article makes up for an insufficiency in the data about the history of development and scientific and methodological approach in teaching these disciplines based on the autor’s processing of archival documentation kept in the funds of the Central State Archive Museum of Literature and Art of Ukraine. The aim of the article is to study the curriculum of the Kyiv Art Institute in the 1920s of the 20th century on the basis of primary sources, to analyze new approaches and interdisciplinary connections of the new curriculum, the place and significance of such disciplines as Anatomy, Social Pedology and Physiological Reflexology. The article is based on primary sources and archival data, such as abstracts of lectures on Ukrainian, Pedology, Anatomy, Philosophy, which were listened to by Professor O. K. Bohomazov, were found by the author of the article in the funds of the Central State Archive Museum of Literature and Art of Ukraine.

SCENOGRAPHY AND COSTUME IN JAPANESE KABUKI THEATER: TRADITIONS AND MODERNITY

The article explores the history of traditional Japanese Kabuki theater, the stages of its formation and the basic principles of dramaturgy in retrospective and in modern times, the role and symbolic value of costumes, as well as the general features of theater performances. The modern trends of the theater were analyzed and issues of the space of its scene were investigated. Obvious conservatism of kabuki and its fundamental dissimilarity to the theater of the European model were noted. The process of evolution of the Kabuki theater was studied, which responding to the challenges of modernity, acquires new elements and features, together give rise to the fundamentally new phenomenon in the theatrical art. It has been determined that the logic of construction and development of the theater and stage space in Japanese traditional Kabuki theater derived from the need for specific interaction between the performer and the audience. With the formation of the theater, its audience expanded at the same time, in particular due to the privileged strata. The premises of theater and its stage also evolved. Eventually, the design features of Kabuki theater space became not only a prominent element in the interaction between the performers and spectators, but also an important factor that predominantly determined the characteristics of dramaturgy. In Japanese Kabuki theater, such methods as makeup, hair pieces and costumes are simultaneously those means of expression that are necessarily included in the process of staging a performance, and determine its content and storyline, as well as determine the nature of the performer’s acting. These means are kind of sign and symbolic system, which has to be read by the spectator in order to fully understand the nature of performance. The peculiarities of the costume allow us to read in advance nature of the character in performance, to guess his or her actions, etc. The peculiarity of Kabuki is that the play script is dictated by the performers themselves, but not by the scriptwriter. The director as an independent figure in Kabuki theater comes to the first plan only in the modern era, and it is mostly characteristic of innovative and experimental theaters. It is worth noting that given the challenges of modernity, Kabuki still acquires new elements and features, together generating a fundamentally new phenomenon in the art of theater, and in general, Kabuki remains a traditional theater.