Folk Art of Ukraine

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Folk Art of Ukraine
FOLK ART OF UKRAINE
"Folk Art" Ukrainian magazine
Union of Folk Art Masters of Ukraine
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#11-12 (3-4).2000
pages 50-53

page 50
Liubov Sannykova

MOTHER, BLESS ME

Reviewing training programmes on potting, pysanky painting, embroidery, weaving, wood-carving, tapestry and others Liubov Sannykova found in them the lack of systematization, knowledge from ethnology, folklore, Ukrainian folk art. A lot of research works were published for the last years on the problem of the subject and learning of art culture. The most complete information is given in the "Ukrainian Art Culture" textbook ("Lybid" publishing house). But there as well you can't find distinct systematization. Three angle paradigm, that was formulated by P, Kharchenko in the 80-s, becomes the first methodology in learning of culture. Embryology, genetics, psychology "I", that are the essence of any culture, lie in the basis of the analysis system. Taking as a guide researches of Ukrainian scientist V. Danylenko, the author gathered material, followed the evolution of the image of the Great Woman-Mother in its different forms of folk art, both in material and time. According to V. Danylenko, "primitive image of "Oranta" appears as the ancient antrophamorphous image of the earth, that calls favour of heavenly forces for impregnation". Yuriy Shylov conducted a set of lectures for the teachers of the School of Folk Art in Fastov (Sannykova was the head of the School), where he developed the theory of his teacher: "All plots and images are ... archaetypes ... This is reflection ... of a man's conception ... , forming of embryo of birth and revival of soul". This symbol is on rushnyky, national shirts, pysanky etc.



illustrations to be ready
page 52
Ostap Hanko

POSTAVMUKY POTS

Probably pottery existed in the village Postavmuky Chornukhynskyi region already before the abolition of serfdom, and from 1860 it became a leading trade. Flourishing of pottery lasted till the collective farm era. The centre stopped its existence in the 60-s - 70-s and finally at the beginning of the 80-s. The value of the centre lays in the folk character of the pieces of art that were made there. On finding out that there exists little published information on the Postavmuky trade, Ostap Khanko from Poltava provides interesting data which he had written in 1992 from the words of a porter M. Demchenko.



illustrations to be ready
page 52
Taras Lekhman

THE WAY OF SAVING FOLK ART

In the "Zmagannia" ("Contest") magazine issued in Sokal in 1931 - 1932 the article by Petro Stefanyshyn "Resque Samples of Folk Art" was published. In his article publicist and poet Petro Stefanyshyn presented his own concept as to the saving of folk art and the ways of its implementation. Even from the point of view of the present it is rather actual. According to the author folk art saves nation from rendering lifeless, degeneration. It will save nation. The author calls to strengthen our moral forces on the background of national art. The author of this information is Taras Lekhman.



illustrations to be ready
page 53
Zoya Navrotska

ON GUARD OF TRADITIONS

The works of 90-year-old master from Volodymyr-Volynskyi strike by their originality. These strong handmade works, weaved from straw, rod and reed maces show the art image of village everyday life, that has its roots in the depth of folk culture. The shapes of each work are vivid, they go out from harmonic correlation of proportions. Every losyp Romashchuk's work is a story about a grain-grower, his thoughts, his life. His works are not lost in the modern interior, but on the contrary bring special color, appear as a kind of unique things, look like relic of national school and culture. The author of the narration is Zoya Navrotska.

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National Union of Folk Art Masters of Ukraine
Kiev, Ukraine

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