Традиційна практика хатнього настінного розпису в сучасному науковому осмисленні та інтерпретації

Abstract

Starting from the middle of the 19th century a great deal of materials is dedicated to the home wall painting as an original traditional practice. These works are diverse according to the level of comprehension. The investigations are summarized partly in the studies of the second half of the 20th century. Hence longstanding researches of a wall painting have required systematization, considerable revaluation through the lens of time and realities of the Ukrainian culture of postmodernity. The culturological, ethnological and Art Studies investigations of the wall paintings are analyzed in the article from the late 1980s till the present time. The most typical aspects and trends of the investigation of this artistic practice in the works of O. Naiden, V. Kushnir, N. Zozulia are distinguished. The novelty of scientific interpretation of this phenomenon in the studies of Yu. Smolii, O. Shestakova, N. Studenets, A. Chudnivets and other scholars is described. The works, dedicated to the paintings of separate regions and centres, especially the village of Petrykivka in Dnipropetrovsk oblast, are analyzed. The newest conceptual principles of the studies of traditional folk art, the wall painting in particular, in the published works of the NAS of Ukraine Maksym Rylskyi Institute of Art Studies, Folkloristics and Ethnology are described. These are The History of the Decorative Arts of Ukraine, Decorative Arts of Ukraine Through the Centuries and other editions. A considerable empirical material is recreated in the parts of collective monographs. It is based on a thorough study of collected volumes, archival sources, materials of field investigations. In particular, the authors have treated, systematized, analyzed and interpreted the works from the largest museum collections of the samples of Ukrainian wall painting. Also the transformations of the wall paintings in modern cultural space are represented. A new interpretation of this artistic practice in the heritage of the artists of Vinnytsia, Khmelnytskyi, Kirovohrad, Kherson and other oblasts of Ukraine is revealed.