Abstract
The purpose of the research is to introduce the creative achievements of N. Tsivchinskii into scientific use in the context of the formation of the art school of the Ukrainian avant-garde of Mykhailo Boychuk. The study’s objectives are to determine the origins of the formation of the muralist and arts and crafts master N. Tsivchinskii’s work, his contribution to the shape of the history of the Kazakh professional tapestry. His work reflects the penetration and deep insight into the significance of traditional cultural identity, the Boychuk school’s monumentalism inherent. One of the few surviving Boychukists who were scattered to the four corners of the earth by fate, N. Tsivchinskii developed the versatile skills, artistic language, and tradition of the Boychuk school also became one of the brightest figures in the Kazakh decorative and applied arts. The life path and work of N. Tsivchinskii reflect the most critical and tragic chapters of the country development thoroughly, which is no longer on the map. The research methods used are biographical, source-based, and historical. The methodological innovation of the research is the use of the biographical approach along with the historical one in the framework of the “new comparative history” as an effective tool for studying the artistic heritage of Kazakhstan and Ukraine in the Soviet era. The scientific novelty of the study is determined by the introduction of new information about the artist, whose work was only mentioned in the context of the Boychuk school scholars’ activities, a significant part of whose followers were destroyed during the years of the Red Terror. Conclusions. The work of N. Tsivchinskii is considered in the context of the activity of the art school of M. Boychuk, where he became an arts and crafts master. In the 1930s, in Kazakhstan, N. Tsivchinskii continued the traditions of the Boychukists, became the founder of the first carpet cooperative craft society, which became a truly significant phenomenon in the history of the formation of professional decorative and applied art in the republic.
Highlights
The relevance of the research is determined by the fact that many chapters of the history of the twentieth century and the history of art in the Soviet period remain insufficiently studied today
The staff of the National Museum of the Republic of Kazakhstan, who was present at the selection, were solidly for exhibiting the tapestry at the exhibition in the capital of Kazakhstan
Within this article, we will try to consider the artist’s resume of the Boychukian Nikolai Tsivchinskii, whose name is totally linked with the history of the formation of the professional art of tapestry in Kazakhstan
Summary
The relevance of the research is determined by the fact that many chapters of the history of the twentieth century and the history of art in the Soviet period remain insufficiently studied today. There is one chance only to restore the integrity of the picture of the events and processes of that time slowly, following Ariadne’s clue — the few available facts. This chance was the “Ornamental Rhythms of the Eurasia. From Antiquity to Modernity” exhibition, held in 2018 at the site of the National Museum of the Republic of Kazakhstan (the Kazakh NM, Nur-Sultan) as part of “Heritage of the Commonwealth. The tapestry became, the excellent reason to start a systematic study of the work of its author.
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