УКРАЇНСЬКІ ХУДОЖНИКИ - ФУНДАТОРИ СТАНОВЛЕННЯ НАЦІОНАЛЬНОЇ КУЛЬТУРИ ТА ПРОФЕСІЙНО - МИСТЕЦЬКОЇ ОСВІТИ НА ЗЛАМІ СТОЛІТЬ (ХІХ - ХХ СТ.)

The publication, based on the study of biographical and autobiographical information, characterizes the educational, professional artistic, and educational activities of Ukrainian artists of the middle 19th - early 20th centuries. The author touches upon the problems of the direction of the high society of the middle 19th - early 20th centuries. on the development of Ukrainian culture and education; highlights biographical and autobiographical information about Ukrainian artists of the 19th - 20th centuries; discusses the role of educational activities of Ukrainian artists, their influence on the formation of public opinion.

Music and choreography interaction in the stage dances of musical theater productions of the 17th – the first half of the 18th century

The compositional features were considered and the portals of the facades of buildings of the late 19th and early 20th centuries were classified. in Kyiv. Their symbolism, structure and structural construction, stylistics and characteristic architectural and decorative features were studied. The purpose of the study: to investigate and analyze the compositional, stylistic and semantic features of the portals of the facades of buildings of the late 19th and early 20th centuries. in Kyiv, to develop the principles of classification of portals and conduct their classification. Methodology. The research was conducted on the basis of the following methods: empirical, theoretical and empirical-theoretical. The empirical method includes observation, photo-fixation, graphic sketches and constructions, comparisons and generalizations. Theoretical techniques include: going from the abstract to the concrete, abstraction, concretization, identification and separation. Most of the work was carried out using empirical and theoretical methods. The results. Photographs, graphic sketches and classification of building portals of the late 19th and early 20th centuries were carried out. in Kyiv based on the developed compositional-constructive and stylistic principles of classification. It was found that the portals are located mainly on the main compositional axes of the facades of historical buildings, namely on the main vertical divisions, which are highlighted by risalites, bay windows, attics, towers and often changed scale and shape of windows. The role of the portals in the overall composition of the building and the problem of violation of the compositional integrity of the facades due to the replacement or destruction of individual parts and elements of the portals have been revealed. In particular, as a result of unsuccessful repairs and renovations in some buildings of the historical center, the entrance doors were replaced with faceless, rough, unscaled ones, which distorted not only individual facades, but also entire sections of the urban environment. The scientific novelty and practical significance of the research lies in the identification of the compositional and semantic features of the portals of the facades of Kyiv buildings of the late 19th and early 20th centuries, as well as in the detailed analysis of the compositional structure, constructive and stylistic components of the portals. A scientific novelty is the developed classification of the portals of the historical buildings of Kyiv. The research will contribute to the deepening of theoretical and practical knowledge about the peculiarities of Kyiv portals of the specified period, which can be used in the restoration and reconstruction of buildings of the late 19th - early 20th centuries. in Kyiv. The developed classification of portals will be a useful educational reference material for students - future architects and designers who are interested in the peculiarities of Kyiv's historical buildings.

Can the 16th and early 17th centuries in Poland‐Lithuania and some other east‐central European countries be characterized as a “Golden Age” in human capital? We trace the development of a specific human capital indicator during this period: numeracy. We draw upon new evidence for Poland and Russia from the early 17th century onwards; and for Belarus, Ukraine, and Lithuania from the 18th century onwards; controlling for potential selectivity issues. Poland had quite high levels of numeracy during the early 17th century, but these levels subsequently fell below those of even southern Europe. As in other countries in the area, numeracy levels in Poland were lower than those of western Europe during the 17th, 18th, and early 19th centuries. This finding might support the hypothesis that the second serfdom process, which gained momentum during the 17th century, was one of the core reasons why human capital accumulation was delayed in eastern Europe. The major wars in the region also had devastating effects on numeracy levels. (KEYWORDS: Central‐Eastern Europe; historical Demography; Eastern Europe; Human Capital; Numeracy; Age‐Heaping; census microdata)

The article explores the development of teaching methods in fine arts as a key factor in the formation of art-pedagogical education in Ukraine at the beginning of the 20th century. During this period, the issue of teaching methodology in Ukrainian art institutes became the subject of profound reflection and professional analysis in the publications of prominent artist-educators. The revolutionary events of the early 20th century encouraged the construction of a higher art-pedagogical education system based on the foundations of Ukrainian national culture. Methods and methodology. To address the defined objectives and achieve the aim of the study, a set of interrelated scientific methods was employed at various stages of the research: Historical and pedagogical analysis – used to substantiate the periodization of the development of future artist-teachers' training within the context of the evolution of higher art education in Ukraine; Structural method – applied to define the essence of the key concepts of the research and to analyze the main facts in the history of higher art education development; Comparative method – aimed at identifying common and specific features in each of the defined periods concerning the training of future artist-teachers, as well as theoretical and practical achievements in various higher art educational institutions. Scientific novelty. For the first time, the theoretical and methodological foundations of training future artist-teachers within the development of higher art education in Ukraine are revealed. The content, forms, methods, tools, and prospects for creatively applying the experience of training artist-teachers in the context of higher art education reform are described. Based on archival materials, the formation of a national methodology for teaching fine arts in Ukraine at the beginning of the 20th century is also characterized. Results. 20th century marked a pivotal moment in Ukrainian art education, characterized by a synthesis of the Ukrainian aesthetic worldview–rooted in sacred and folk traditions–with leading European art movements such as Cubism (A. Exter, O. Hryshchenko), Futurism (M. Semenko), Ukrainian versions of Expressionism (O. Novakivskyi), and Constructivism (V. Tatlin). Ukraine also gave rise to original, indigenous avant-garde movements, including the cubist sculpture of O. Arkhipenko, the Cubo-Futurism of D. Burliuk and O. Bohomazov, Suprematism (K. Malevich), Constructivism (V. Tatlin), “color-writing” by V. Palmov, the Neo-Byzantinism of the Boichuk brothers, and the “Ukrainian style” seen in the works of H. Narbut, the Krychevsky brothers, and O. Saienko. At the beginning of the 20th century, the creative work of many Ukrainian artists demonstrated a synthesis of European avant-garde aesthetics with ethno-national consciousness and symbolic archetypes of the "folk soul" expressed through sacred semiotic codes. The study identifies the significant role of artist-educators who developed original teaching methods based on the synthesis of Ukrainian ethnopedagogy, sacred art, and advanced European educational practices. These approaches contributed to the emergence of a national system of art education aimed at reviving Ukrainian cultural identity and discovering a distinctive national artistic style. Innovative methodological foundations included principles of synesthesia, formal-technical analysis of color and space, and mastery of artistic techniques. The goal of these methods was to define effective educational strategies that enabled students not only to acquire basic artistic knowledge and skills, but also to understand the essence of the subject and develop professional competence. For the first time, academic programs in art institutions incorporated educational standards that integrated theoretical instruction with practical training, thereby enhancing the preparation of qualified specialists in the field of fine arts. The article highlights the importance of teaching methodology as an integrative component of both pedagogy and art in the formation of a modern Ukrainian system of art-pedagogical education, contributing to the development of a national methodology in higher artistic training. Conclusions. The conducted research demonstrates that the methodology of teaching fine arts at the beginning of the 20th century became a significant factor in the development of art and pedagogical education in Ukraine. During this period, profound transformations in the educational process occurred, driven by both socio-cultural challenges and the aspiration for national revival. The creative approaches of educators were grounded in a deep exploration of Ukrainian sacred art and a pursuit of a national style as a visual code of modern Ukrainian identity. The formation of a national methodology for teaching fine arts in early 20th-century Ukraine played a key role in shaping art and pedagogical education. This methodology not only served as the foundation for training a new generation of teachers but also laid the groundwork for the emergence of a Ukrainian art school–one that integrated rich national traditions with a modernist drive for innovation and universality.

Today Vasyuchyn is a small village with about one thousand inhabitants. The settlement had urban status and was one of the famous craft centers in the past. There was a quarry here, where high-quality natural alabaster stone was mined and processed. Vasyuchyn alabaster had a snow-white color and was famous as a beautiful material for decorating walls, carving sculptures, tombstones and decorative architectural details. Actually, Vasyuchyn alabaster was called in the 17th century "Ruthenian marble" and products made from it were exported abroad. A small alabaster industry operated here at the beginning of the 20th century. The ancient history of the manufactory is unknown to current residents. In this regard, the publication aims to reveal the history of the settlement and perform a hypothetical reconstruction of its architectural and planning structure at the time of the 17th century. A special task is to determine the location of the former Vasyuchyn alabaster manufactory, whose activities were associated with famous sculptors and entrepreneurs of the late 16th and early 17th centuries - Herman van Hutte and Heinrich Horst. The quarry and workshop for the production of alabaster stone sculptures have probably been operating in Vasyuchyn for a long time, but the Dutch masters are responsible for raising it to a new artistic level. Vasyuchyn is one of the lost towns of Galicia. In the 14th-17th centuries, it was a private town with a very rich history. Although the history of Vasyuchyn was quite short from 1444 to 1620, its urban structure was developed and did not differ from neighboring settlements with a city rights - Knyahynychi, Khodoriv, Zhuriv, etc. In the western part of the settlement there was a midtown with a small square market square and a church. A feature of Vasyuchyn was that a mill was located next to the market square. The midtown of Vasyuchyn was surrounded by water obstacles on all sides. The water wheel created natural favorable conditions for defense. The system of defensive ramparts covered the midtown from the western and southern sides. Assessing the remains of the ramparts, which have survived only in the western part of the settlement, we attribute them to the bastion system of fortifications of the Old Dutch school. The mid was probably fortified at the turn of the 16th and 17th centuries, when an alabaster factory operated here. The urban structure of the city belonged to the so-called conjugated type of cities, when the castle and the midtown formed a combined defense system. Vasyuchyn Castle had two phases of development. The older defensive yard was located on an artificial island in the middle of a swampy Swirzh river valley.The remains of earthen ramparts have survived from this object. The new castle was located in the southern part of the midtown. Unfortunately, no buildings or fortifications have survived from it. A palace complex with a manor house was planned on the site of this object at a later time. Its planning structure reflected in the draft plan of the settlement from 1846. In order to reconstruct the architectural and spatial structure of the castle, which probably had a Renaissance character, it is necessary to conduct deeper historical and cartographic studies. The town of Vasyuchyn in the 16th-17th centuries should be attributed to the conditional artistic capitals of the Renaissance in Galicia. The products of the alabaster workshop exported to the many cities of Eastern and Central Europe. Artistic works made of Vasyuchyn alabaster noted in Kraków, Warsaw, Poznan, Wroclaw, Czarnów, Rymanów, etc. Many works made for local shrines - in the cities of Lviv, Sambir, Felshtyn, Uniw, etc. The revival of the alabaster industry, especially in the direction of using alabaster stone in an artistic aspect, can be the foundation of a new economic progress of the community.

During the 19th and early 20th centuries in the Arkhangelsk North, sea fishing and hunting were exercised by artels (collective associations). It can be explained by the region’s severe climate and difficult conditions for fishing and hunting, which make working by oneself impossible. This paper is relevant due to the almost complete lack of studies on the internal organization and legal status of sea fishing and hunting artels on Novaya Zemlya and Spitsbergen in the 19th and early 20th centuries. Moreover, studies on these associations are necessary for further research into the Russian experience of sea bioresource exploitation in the Arctic during the 19th and early 20th centuries. The paper aimed to examine the structure and legal status of sea fishing and hunting artels on Novaya Zemlya and Spitsbergen throughout the aforementioned period. The materials included legal acts that regulated the work of artels in the 19th and early 20th centuries, published sources about fishing and hunting artels on Novaya Zemlya and Spitsbergen, as well as documents kept in the State Archives of the Arkhangelsk Region. To perform the analysis, the author utilized the historical-systematic and historicalgenetic methods. The article dwells on the rules and customs that existed in Novaya Zemlya and Spitsbergen artels during the period under study, revealing how the structure of these associations had been changing. In conclusion, the author identified the applicable area of law for these artels in the 19th and early 20th centuries as well as the principles that contributed to their preservation.

Комерційна освіта в Україні виникла у XIX ст. завдяки ініціативі громадськості, підприємців і передових вчених як освіта молоді для служби в приватних та державних торгово-промислових закладах. У роботі проаналізована діяльність комерційних освітніх закладів України кінця XIX – початку XX століття.

In the late 19th and early 20th centuries, periodic outbreaks of plague occurred in South Asia. Plague epidemics covered the territories of India, China, Iran (Persia), Afghanistan and the Russian Empire. At the turn of the 19th – 20th centuries, the Russian government developed special comprehensive programs to protect the border from the penetration of the terrible infectious disease in the territory of the Turkestan region. Special attention within the framework of those programs was paid to the solution of international political, economic and medical problems related to the sanitary and epidemiological situation. The main objective of the article is to assess the role of the Russian government and scientific community in the development of sanitary and prophylactic measures to combat plague on the border of the Russian Empire with Iran and Afghanistan. Analyzing the documents deposited in the fonds of the Russian State Military History Archive, the author of the study concludes that the measures taken by the government of the Russian Empire to control the plague were generally effective and contributed to the prevention of major outbreaks of the disease in the territory of the Turkestan region in the late 19th – early 20th century

Ethnic themes were actively used by Ukrainian artists in the second half of the 19th and early 20th centuries. This is the period of the establishment of the realistic direction in painting, and therefore the principles of painting were based on the objective reproduction of reality. Artists tried to make art accessible to the people, carried out educational activities and tried to draw attention to socio-economic problems. The painting of this period is full of ethnography. It presents traditional clothing, folk architecture, dishes, crafts, customs, rites and traditions, so the main goal of this study is to prove the potential of this type of fine art as one of the components of the source base of ethnological research. The work used general scientific methods of analysis, synthesis, comparison, descriptive, and the research itself was built on the principle of historicism to explain the context in which the development of the realistic genre took place on Ukrainian soil. A serious role in the study of this issue is played by the iconographic method, which makes it possible to analyze the themes of the works and to isolate the ethnographic component. The main result of the study is the generalization and systematization of information about the work of prominent Ukrainian painters, related to ethnic specificity, as well as the formation of an idea of the general trends in the development of Ukrainian painting in the territories that were part of the two empires, and the interpretation of key differences in the representation of the traditional culture of the people artists of various historical and ethnographic regions. The conclusions of the work demonstrate the need for further investigations in this direction, aimed at researching the traditional culture of the Ukrainian people, reproduced by painters in their paintings. Their activities were carried out using the method of observation, recording the available ethnographic material, which, in turn, confirms the similarity of the method of work with ethnographers of that period. Therefore, the main conclusion of the study is the importance of involving the artistic heritage of the 19th and early 20th centuries. to the source base of ethnological research.

The purpose of the article is to outline the role of Kharkiv in creation of the veterinary education system in the south of the Russian Empire, to highlight the achievements of Polish scientists in that process, and to popularize the knowledge of this aspect of the Polish-Ukrainian history as an example of fruitful collaboration between Poles and Ukrainians during the period of statelessness of both nations. At the beginning of the 19th century, Kharkiv became one of the first cities of the Russian Empire where foundations of veterinary education were laid. A special department was formed at the university: the Veterinary School, which later became the Veterinary College and the Veterinary Institute. During the 19th and early 20th centuries Polish scientists created a system of veterinary education in Eastern Ukraine. The most important role was played by Karol Wiśniewski, the pioneer of veterinary education in Ukraine as a whole, Napoleon Halicki, the first and long-standing head of the Veterinary College, and Jerzy Poluta, one of the authors of the plan for its conversion into the Veterinary Institute. Considering their great services, the Polish scientists deserve to be remembered. Their memory is preserved by the Kharkiv State Zooveterinary Academy, the main research and educational centre in Eastern Ukraine and heir to the scientific traditions initiated in the 19th century.

Introduction. The article considers the trends in the development of Soviet historiography of Russian anti-war thought in the second half of the 19th and early 20th centuries. Analysis. The interrelation of the evolution of the views of Soviet researchers on pre-revolutionary pacifism with socio-political changes in the USSR is revealed. The negative assessments of “bourgeois pacifism” expressed by V.I. Lenin had a significant impact on the study of peacekeeping in the second half of the 19th and early 20th centuries. Methods and materials. In the existing historiography, only certain aspects of the problem are considered. Among the most important methods and approaches used in writing this work are the historical-systemic and historical-comparative methods. The source base of the study was primarily scientific works, reference and encyclopedic publications, and journalistic materials. Results. The authors propose to single out three stages in the history of the study of Russian anti-war thought in the second half of the 19th and early 20th centuries in Soviet times. The most distinct features of the first stage (lack of significant research on the topic, harshness, and categorical assessments) emerged in the mid-1920s and were traced until the mid-1950s. Against the background of political changes in the USSR and the growth of public interest in the problem of maintaining peace, there was a serious increase in research interest in the history of Russian anti-war thought. Peacekeeping ideas were considered during this period primarily within the framework of legal, historical, and philosophical studies. The third stage became noticeable at the end of the 1980s, which manifested itself in a significant increase in works on the history of domestic pacifism and its terminological “rehabilitation.” Authors’ contribution. N.Yu. Nikolaev revealed the trends in the development of Soviet historiography of Russian anti-war thought in the second half of the 19th and early 20th centuries. S.P. Ramazanov analyzed methodological approaches and carried out general scientific editing of the article.

The report presents the changes that took place in nahiya Kara Lom between the late 17th and early 18th centuries. It is based on published and unpublished Ottoman documents – detailed cizye and avariz defters, stored in the Ottoman Archives in Istanbul and at the Oriental Department in Sofia. They were composed in the late 17th – first half of the 18th centuries. At the turn of the 18th century, very significant transformations took place in this region, which changed its appearance and state fundamentally. The main focus of the study is on the demographic and religious changes and processes in the region. They were expressed in the sharp decline of the population. This process was specific to the whole region, and its causes can be traced to many factors that have had a detrimental effect. These included climate change, plague epidemics, population migrations, economic problems in the Ottoman Empire, and the process of Islamization. They led to a decline in the population of Kara Lom, which can be described as a demographic crisis. In the vortex of this crisis, there was a “change” of the confessional image of the nahiya, i.e. a radical change in the religious model of the district, which had disastrous consequences for many settlements in the region. The report provides possible explanations for the demographic and religious transformations in nahiya Kara Lom, which shaped the area in the next century as we know it today.

The article deals with the features of constructing the image of a false ruler in German chronicles of the late 13th and early 14th centuries. Describing modus operandi of the false emperor Frederick II of Staufen (acted in the Lower Rhine in 1284—1285) and giving characteristics the social groups that sympathized with him medieval historiographers looked for an image, which could serve for them as a prototype in their description of medieval reality. The author found out that this prototype was Antichrist, the character of Apocalypse as an ideal imitatior, i.e. a person, which claims were totally false. The medieval exegetics this character acquired characteristic properties and attributes. The medieval exegetists created to this character various features and attributes. Medieval chroniclers, resynthesized the idea of “imitator” creating the image of the false emperor, reworked such “signs” of the Antichrist’s “repetition” as some details of the Christ’s biography, convincing eloquence, generosity, creation of miracles.

This study explores Wirid Hidayat Jati, a composition by Raden Ngabehi Ranggawarsita finalized in 1862, and its role in shaping Javanese Islam during the 19th and early 20th centuries. The text incorporates Sufi doctrines, particularly the principle of manunggaling kawula Gusti (the union of humanity with the Divine), which is closely related to the concept of martabat tujuh (seven dignities) in Sufi tradition. Employing a historical research design and textual analysis, this study collected data from primary sources, namely the Wirid Hidayat Jati manuscript, as well as secondary sources such as historical records, pesantren archives, and scholarly works. The data were analyzed using content analysis and historical interpretation to identify core mystical and ethical themes and to examine their influence on the religious practices of Javanese Islam. The findings reveal that Wirid Hidayat Jati, through its reading, teaching, and interpretation by santri and Ranggawarsita’s followers, contributed to the dissemination of Sufism and reinforced practices that harmonized Islamic principles with Kejawen values. As a spiritual guide, the text not only influenced devout Muslims (santri) but also adherents of Kejawen, and its impact continued into the early 20th century. In conclusion, Wirid Hidayat Jati reflects Ranggawarsita’s Sufi philosophy and demonstrates the formation of a distinct Javanese Islamic identity characterized by adaptability and cultural syncretism.