Artistic Preferences Research Articles

The Impact of the Preferences of High School Students on Art on Their Personality Traits

Art has long been regarded as a reflection of the human experience, with its diverse forms and styles offering glimpses into the depths of human emotions, thoughts, and beliefs. Thus, it is widely acknowledged that art appreciation is subjective. Starting from our subjective initiative, from a certain perspective, art preferences are related to the inherent personality characteristics of individuals, and even a group of people with similar personality characteristics have the same art preferences, which leads to one intriguing area of investigation revolves around the potential connection between art preference and personality traits. Art preference refers to an individuals subjective liking for specific artistic styles, genres, or themes. It is a personal aspect of aesthetic experience that has long fascinated scholars and art enthusiasts. Meanwhile, personality captures enduing patterns of thoughts, feelings and behavior that shape our interaction with the world.

MIKHAIL AND IVAN MOROZOV AS СOLLECTORS OF RUSSIAN ART

In the art history literature dealing with collectors Mikhail (1870– 1903) and Ivan (1871–1921) Morozov, researchers are primarily interested in the artistic stratum connected with European, mainly French, art. The issues of collecting Russian painting, the choice of certain Russian artists, refl ecting the tastes of collectors, the change of artistic preferences in the late 19th and early 20th centuries, almost never attracted the attention of scholars. This article attempts at determining the approach developed by brothers M.A. and I.A. Morozov in collecting Russian art. In this context, it seems logical to analyze some features of their collections: what names and works the Moscow collectors chose, whether it was conscious and deliberate or spontaneous (as the literature characterized the formation of the Russian part of the Morozovs’ collection). Unfortunately, researchers have not always found arguments in favor of the collectors’ choice of certain Russian masters. At the same time, experts convincingly prove that with regard to works by iconic figures of European art, the choice and purchases were carefully thought out, right down to “booking” in advance a place in the hall for a particular masterpiece. Another question is far from idle: can we talk about the common ground for the Morozovs’ aesthetic views and, accordingly, about a certain continuity in their collections? The analysis of their Russian part allows us to conclude that the collections broadly and voluminously represent the panorama of the main Russian art currents from early Plein Air to Impressionism, from the first World of Art works to Symbolism, from imitations of Cézanne and Gauguin to independent avant-garde experiments of Russian painting in the 1910s. One of the characteristic features of the collection of the younger brother, Ivan Morozov, was fi gurative (object) art, as he was not attracted to objectless painting.

Carved support beams of the Hetmanate

The article examines the carved support beams from the apartments of representatives of the families of the Cossack elders and the Orthodox clergy of the Hetmanate from the last quarter of the 17th till the end of 18th centuries. The creation of multi-ornamented support beams was a kind of confirmation of the social status of the owners of the houses and their artistic preferences, and an expression of the skill level of the master carvers of that time. The aim of the study is to analyze all the support beams of representatives of the Cossack elders and clergy of the 17th and 18th centuries known today and to achieve general undertanding regarding the specifics of these monuments of the material culture of the Hetmanate. For the first time in historiography, on the basis of information about the support beams preserved in museum collections and highlighted in scientific publications, a comprehensive general analysis of these monuments as a phenomenon of material culture was carried out. As a result of the analysis of information about 22 carved support beams of the 17th-18th centuries from the territory of the Hetmanate, it was concluded that the common features of these monuments are the presence (with some exceptions) of straight Orthodox crosses and inscriptions in the Church Slavonic language in the centers of the artefacts. In the ornamentation of the support beams, features characteristic of the late baroque and classicism can be traced. At the same time, both simpler and more richly decorated artefacts exist. The second group includes support beams from the houses of individual representatives of the Cossack elders. Each support beam was a visual manifestation of the owner's wealth and social status, and of their artistic preferences against the background of generally accepted cultural canons. At the same time, carved support beams are examples of the skill of Ukrainian master carvers of the early modern era, which need to be preserved for future generations. In general, the images on these products are permeated with Christian symbolism, although they also contain some symbols that occur in pagan sign systems.

Technology as Resistance: Pioneers of Korean Media Art from the 1960s to the 1990s

Abstract This paper calls for a reassessment of early-stage Korean avant-garde and experimental art as the cornerstone of Korean media art. The aim is to discern a new genealogy of media art in Korea by tracing and linking the activities of early avant-garde artists and media art pioneers who have been neglected in the dominant art historiography, which has shown a preference for painting and video art. My detailed analysis of the experimental artists of the 1960s and 1970s, small groups in the mid-1980s, and the Art Tech Group in the early 1990s demonstrates how they revealed and articulated their spirit of resistance against academism and the mainstream using technology, thus following a different trajectory from that of the avant-garde and media art in Europe and North America.

Understanding Senior Adults' Needs, Preferences, and Experiences of Commercial Exergames for Health: Usability Study.

Many senior adults are at risk of mental and physical disorders due to a lack of sufficient exercise. Therefore, adherent exercise should be urgently promoted to improve senior adults' muscle strength, preventing falls and conditions caused by physical and cognitive decline. However, off-the-shelf exercise games, so-called exergames, are mainly targeted at the younger generation or children, while senior adults are neglected, when this age group strongly needs exercise. Exergames could serve as a health intervention for promoting exercise. This study aimed to investigate senior adults' experience, perceptions, and acceptance of game technology to promote exercise in order to suggest game design guidelines. In this usability study, participants engaged in playing Nintendo Switch and Xbox Kinect games, after which semistructured interviews were conducted. Before the gameplay, the participants provided their background information, exercise habits, and use of technology products. Next, all participants completed a workshop including 3 activities (brief instructions on how to play the games: 20 minutes; playing the selected exergames: 80 minutes; semistructured interviews: 20 minutes) for 2 hours a day for 3 days each. The participants played the latest Nintendo Switch games (eg, Just Dance, Boxing, Ring Fit Adventure) and Xbox Kinect games (eg, Kinect Adventures!, Mini Games). Just Dance, Zumba, and Boxing were played in activity 1; Ring Fit Adventure and Mini Games in activity 2; and Kinect Adventures! in activity 3. Reflexive thematic analysis was applied to identify the relative themes generated from the interviews. In total, 22 participants (mean age 70.4, SD 6.1 years) were enrolled in the workshop in May 2021. The results of the generated themes included incomprehension of game instructions, psychological perception of game technology, and game art preferences. The subthemes generated from game art preferences included favorite game genres, characters, and scenes. There is a significant need for customized game tutorials considering senior adults' cognitive and physical aging. Furthermore, the adventure game genre is preferable to other games. Humanlike game characters are preferable, especially those with a fit and healthy body shape. Nature scenes are more enjoyable than indoor stages or rooms. Furthermore, the game intensity design and playing time should be carefully planned to meet the World Health Organization's criteria for physical activity in older adults. Intelligent recommendation systems might be helpful to support older adults with various health conditions. The guidelines suggested in this study might be beneficial for game design, exercise training, and game technology adoption of exergames for older adults to improve health.

Мирискусники и генезис акмеистических исканий (по поводу обзора одной выставки)

The article presents the experience of comprehension V. Narbut’s publication “Mir Iskusstva” (“The World of Art”) in the St. Petersburg newspaper “Theater and Sport”. The article, dedicated to the exhibition of the same name, is written in the genre of art criticism, unique for the poet’s creative biography, and is perceived as a capacious manifestation of the author’s artistic preferences. The significance of comprehension this publication is due to its chronological correlation not only with the beginning of the poet’s creative path, but also with key events in the history of Russian literature at the beginning of the 20th century.

Art in times of crisis

AbstractWe trace the long‐term performance of the UK art market across a broad set of crises: world wars, economic recessions, financial crises, inflationary periods, and changes in monetary policy. By means of digitalized historical auction archives, we construct art price indices from the early twentieth century onwards and disclose that annual art auction value grew, in real terms, more than seven‐fold over this period. The arithmetic annual real return and risk amount to 3.6 per cent and 20.1 per cent, respectively. Art returns plummeted at the onset of wars, but turned positive in the second half of wars when they outperformed stocks, suggesting that art was seen as a safe haven in times of political turmoil. During wars, smaller – and thus more transportable – paintings obtained higher returns. Art returns are sensitive to economic and financial crises, with the largest slumps occurring during the Great Depression, oil crisis, recessions of the early 1980s and early 1990s, and the Great Recession. We also document changes in art preferences for paintings’ sizes, schools, liquid art, and artists’ nationalities across crises. Art enters a broad optimal asset portfolio both in non‐crisis periods and during war times.

Comparison of clinician preference and HIV-ASSIST recommendations in antiretroviral therapy decision-making: A single center experience from Turkiye.

Background: HIV-ASSIST is a free, continuously updated, clinically validated online algorithm tool that synthesizes participant- and virus-specific characteristics and provides ART decision support based on the goals of maximizing viral suppression and tolerability. The aim of this study was to analyze the concordance of clinicians' ART preferences with HIV-ASSIST recommendations and the influencing factors. Methods: We conducted a cross-sectional retrospective cohort study using electronic medical records of people with HIV (PWH) followed in the Infectious Diseases and Clinical Microbiology Department of Health Sciences University Izmir Tepecik Training and Research Hospital. The concordance between prescribed ART and HIV-ASSIST recommendations was evaluated. Results: The study included 101 participants (92 male, 91.1%), median age was 35 (20-67), and 24.8% of participants were treatment-experienced. The concordance between prescribed ART and HIV-ASSIST recommendations was 90.1% (absolute concordance 60.4%). The concordance rate was 89.5% (absolute concordance rate was 64.5%) in treatment-naive participants; 92% (absolute concordance rate was 48%) in treatment-experienced participants. Factors that were associated with discordance in the multivariate analysis were co-trimoxazole prophylaxis and hyperlipidemia. Conclusion: The recommendations of the HIV-ASSIST algorithm were found to be highly concordant with the ART prescriptions of our clinicians.

FORMATION OF THE ART DECORATION OF THE DUNGHUAN CAVES UNDER THE INFLUENCE OF EXTERNAL FACTORS

The influence of external factors on the formation of the figurative concept of Dunhuang wall paintings is analyzed. The purpose of the article is to highlight the processes of forming the artistic decoration of Dunhuang caves under the influence of external factors.
 The relevance of the research topic is due to the need to draw the attention of world scientists to the problem of research and preservation of the Dunhuang complex, since some of the frescoes are in a state of emergency and the exchange of experience of restorers from different countries is necessary for their preservation.
 The tasks of the study were to determine the role and significance of external factors in the activation or decline of the Dunhuang complex, and based on this to argue the dependence of the figurative concept of Dunhuang wall paintings on external factors (political, ideological, economic, social, natural and climatic).
 It is proved that the appearance of the Dunhuang Buddhist cave temple complex and the processes related to its construction were largely determined by external factors: at first, the commitment of the rulers of China to the new religion of Buddhism contributed to the activation of the process of creating new sanctuaries, and later under the influence of local philosophical and religious traditions as well as cultural and artistic preferences, there is a transformation of Buddhist fresco traditions borrowed from India, which acquires a local color in the conditions of China. It should be noted that while preserving the general canonicality of wall painting in the process of developing artistic skills, it acquires greater realism and the means of artistic expression are diversified with portraits of benefactors, scenes from their lives and landscape compositions.

Study Deskriptif Pembuatan Sunai Pondok Kandang Muko Muko Provinsi Bengkulu

This research focuses on the traditional musical instrument called Sunai, which is a wind and melodic instrument made from telang Kapa bamboo. The study aims to explore the organology of Sunai, including the manufacturing concepts, materials, processes, and sound production techniques. A qualitative research method with an ethnomusicological approach was employed.The research reveals that Sunai making involves several stages, such as material selection, drying, cutting, and creating tone holes according to the artist's preferences. Sunai is classified as an aerophone instrument, producing sound through the air. The instrument is commonly played during public events like weddings and the annual Gandai Dance, typically performed at night after the Isha prayer and concluding before dawn. This study specifically examines Mr. Ma'rup's unique technique in making Sunai, which differentiates his instruments from those made by other artisans. The findings highlight the distinctive characteristics of Mr. Ma'rup's Sunai. The research findings contribute to a deeper understanding of Sunai as a traditional musical instrument and its significance in the cultural heritage of Bengkulu.

GENESIS OF THE VISUAL CONCEPT OF CAVES INTERIORS OF THE DUNHUANG TEMPLE COMPLEX (4TH – 14TH CENTURIES)

The cave temple complex of Dunhuang is a unique example of a large-scale synthesis of arts in the interiors of sanctuaries of the 4th – 114th centuries. The article systematizes the scientific source base, the materials of the graduate student's own field studies, and on their basis, the periodization of wall paintings and sculptures is analyzed and the peculiarities of the genesis of the figurative concept, methods of artistic expression, common plots, etc. are determined.
 The innovation of the presented research consists in summing up the evidence base for known theses. This is traced by various defining features, which are specific plots in different periods, compositional structure, polychromy, methods of detailing. Using the example of the wall painting with Buddha, the well-known chronology of the three stages of the development of the wall painting is visually argued and detailed:
 – 1st stage – period of development (Northern Liang Dynasty (401-439), Northern Wei Dynasty (439-534), Western Wei Dynasty (535-556), Northern Zhou Dynasty (557-581));
 – 2nd stage – the period from prosperity to decline (Sui dynasty (581-618), Tang dynasty (618-907), Five Dynasties and Ten Kingdoms (907-960), the Northern Song dynasty (960–1127);
 – 3rd stage – period of borrowings (Xi Xia dynasty (1038-1227), Yuan dynasty (1271-1368).
 A comparison of the stages of the development of frescoes and sculptures and the periods of the appearance, flourishing and decline of various genres of wall painting (religious Buddhist, portrait, landscape) showed that despite the fact that the political and economic situation, the cultural and artistic preferences and religious commitment of the rulers equally influenced the activation of the development or the decline of art, the stages of development of mural painting and sculpture do not always coincide. In the same way, the period of the appearance and spread of various subjects was analyzed and it was proved that the canonical Buddhist images also underwent significant changes, giving rise to new and new compositions (for example, the appearance in the Tang era of the composition "Buddha in Nirvana" with a giant figure of the Buddha, or the spread of sculptures of a multi-armed Guanyin in the Yuan era).

The Ukrainian Identity of the Calligraphy of Grigory Skovoroda in the Context of Multi-scriptural Writing

The purpose of the study: Conduct a paleographic and cultural analysis of Hryhorii Skovoroda’s manuscripts. To find and describe the most characteristic letters and calligraphic methods inherent in the philosopher, and to emphasize the features of the eighteenth-century handwriting in general. To form a paleographic database of letters that can be used to create fonts and designs for modern projects that emphasize the aesthetics of the Ukrainian Baroque. Research methods. Systematization of scientific sources, artistic analysis, synthesis and generalization of the obtained results, method of comparative analysis, creation of a paleographic database and systematization of empirical material based on it. Scientific novelty. For the first time in Ukrainian science, the manuscripts and handwriting of Hryhorii Skovoroda were examined from the point of view of paleographic and calligraphic analysis in the context of multicultural influences of the European and Greek writing traditions. Characteristic features of Hryhorii Skovoroda’s handwriting have been identified, which can be used to determine the attribution of certain texts to the philosopher. Based on this research, practising calligraphers and type designers can create inscriptions and fonts in the style of the Ukrainian philosopher. Conclusions. The individuality of the philosopher’s handwriting reflected not only the philosophical view of the author, his character and aesthetic preferences, but also the multicultural spirit of the late Ukrainian Baroque era. The study of Skovoroda’s calligraphy made it possible to fill the gap in the little-studied field of paleography related to eighteenth-century writing and aesthetics and to give impetus to the representation of these results in contemporary design and typeface projects. However, it is not enough to explore the visual connections between Skovoroda’s handwriting and artistic preferences, it is important to continue the started line of style and use this aesthetic of letters in the modern context of searching of the Ukrainian identity.

Research on the Preference of Public Art Design in Urban Landscapes: Evidence from an Event-Related Potential Study

As urbanization quickens, the role of public art in urban landscape design gains prominence. Nevertheless, how stylistic characteristics of landscape public art affect aesthetic preferences remains insufficiently discussed, particularly with objective assessment methods. The use of event-related potential (ERP) can offer neurophysiological evidence to support research and practice in landscape art design. We employed a 2 (artistic features) × 2 (professional proficiency) repeated-measures design, involving abstract and figurative experimental stimuli; both experts and non-experts participated, with their aesthetic reactions and relevant electroencephalographic data recorded. Behavioral findings show a preference for figurative public artworks regardless of professional background. From neurophysiological outcomes, stimuli elicit an elevated N100 during early perceptual processing, signifying increased attentional resources. During aesthetic processing, figurative stimuli more effectively evoke positive emotions, particularly among professionals, yielding a heightened P200 response. Conversely, abstract stimuli may evoke a higher N200 amplitude, reflecting augmented negative biases. Nevertheless, non-experts exhibit no marked differences in their stimulus responses during aesthetic processing. Research indicates that low-level physical attributes of public artworks are initially noted, while the visual processing of artistic traits lies at a higher perceptual level, necessitating specialized expertise involvement. Furthermore, the complexity of visual perceptual processing plays a significant role in the assessment of landscape art preferences. This study not only offers crucial reference indices for designing urban landscapes that satisfy diverse public aesthetic needs but also lays the foundation for neural techniques to assess landscape design preferences and expands the field of landscape design research.

Chromatic and spatial image statistics predict infants' visual preferences and adults' aesthetic preferences for art.

Aesthetics has been characterized as a triadic interaction of perceptual, emotional, and conceptual neural systems (e.g., Chatterjee & Vartanian, 2014). There has been much empirical effort to identify the visual features that contribute to the perceptual component of this triad (e.g., Mather, 2020). Here, we measured infants' visual preferences and adults' aesthetic preferences for 40 of van Gogh's landscape paintings and investigated the contribution of the chromatic and spatial image statistics of the art to infants' and adults' responses. We found that infants' and adults' responses were significantly related: infants looked longer at the art that the adults found more pleasant. We also found that our combination of chromatic and spatial image statistics could account for around two thirds of the variance in infant looking and adult pleasantness ratings. The amount of variation in the luminance and saturation of the art's pixels contributed to both infants' visual preferences and adults' aesthetic preferences, potentially identifying two "perceptual primitives" of aesthetics that can be traced back to early sensory biases in infancy. We also identified important differences in the types of image statistics that predict infants' and adults' responses. We discuss the findings in relation to theories of aesthetics, natural scene statistics, and infant vision and perception.

The relationship between image statistics and aesthetic preference for art and natural scenes

The relationship between image statistics and aesthetic preference for art and natural scenes

“Ozyn shigyr” in Modern Tatar Poetry

The article for the first time considers the most active form of modern Tatar poetry - “ozyn shigyr”. It is noted that this form is not identical to the “long poem”, it has oriental roots. In Tatar literature, “ozyn shigyr” with its unique thematic and aesthetic features was formed in the 1920s and 1930s in the era of experiments to create “new poetry of the revolutionary time”. The revealed features of the genre “ozyn shigyr” of this period are a contextual background for studying the functioning of this form in modern Tatar poetry. The focus is on the work of the young poet Lilia Gibadullina, the author of three poetry collections. In her work, “ozyn shigyr” occupies a leading place, the analysis of her most famous poems to the modern Tatar reader allows us to determine the structural, figurative and motivational features, aesthetic attitudes, artistic preferences of the genre. So, in “ozyn shigyr” by L. Gibadullina, the main place is occupied by existential-evaluative motives. The lyrical heroine analyzes the events of her life, and repeated symbols or symbolic images turn them into the history of the people, the country, humanity in general. Among the identified techniques, the flickering of motives and intertextual dialogue are important, with the help of which a multiplicity of contexts and meanings is created. Thus, it is established that the genre of “ozyn shigyr” in modern Tatar poetry has its own characteristics that arise in dialogue with the traditions of Tatar poetry and make its form different from the “long poem”.

Digital Art and the Metaverse: Benefits and Challenges

As a concept that is somewhat under emergence, the notion of the Metaverse varies across different academic articles. Yet there is a shared view on the benefits to its ongoing implementation, particularly for digital art, where the technology can provide a new metric for artists to showcase and sell their artwork to a global audience with minimal barriers, and for consumers to have an unbounded experience not limited by physical space or museum entry fees. In this article, a contribution is provided to a broader conversation about the future of the digital art and the Metaverse and its role in shaping our online culture. We discuss the concept of the Metaverse, its structure, the role of artificial intelligence and the benefits (and limitations) the technology holds for digital art. For a case study, we develop a 3D art gallery housing an art collection generated using artificial-intelligence-based techniques such as diffusion models. A total of 67 individuals are surveyed from three pools (two in-person and one online-based), with questions relating to the future of digital art, the Metaverse and artificial intelligence. Findings include that the majority of participants were familiar with the concept of the Metaverse and overall, they had a predominately optimistic view of both the use artificial intelligence for art, and the use of the Metaverse to support digital art, with 85.3% of the participants having already seen artificial-intelligence-based artwork. The identification of consumer segments further highlights the importance of finding customised solutions, considering consumers’ heterogenous preferences for AI-generated art. Research presented in this article will be beneficial for those looking to explore the Metaverse for artwork and develop virtual galleries, and the findings further highlight the Metaverse as a potential democratising force in the art world.

The Relationship between Multicultural Effectiveness and Artistic Preferences

This research explored students’ artistic preferences for musical and visual arts (paintings) from different world cultures, outside the dominant Western European and Anglo-Saxon art field. The main goal of the research was to examine the possibility of predicting these preferences based on multicultural personality traits, within the concept of multicultural effectiveness. A total of 427 participants took part in the study. The following instruments were used: General Data Questionnaire, Multicultural Personality Inventory, Musical Preferences Questionnaire, and Painting Preferences Questionnaire. The results indicated a significant correlation between age and musical preferences, as well as between artistic experience (attending theatre productions and art exhibitions) and musical/painting preferences. Among the multicultural personality traits, only open-mindedness and cultural empathy positively correlated with artistic preferences. Results of regression analysis in which preferences were used as criteria showed that, after demographics of participants and their artistic experience have been controlled for, open-mindedness positively predicted musical and painting preferences, while both open-mindedness and cultural empathy proved to be significant positive predictors of painting preferences. Other significant predictor for both preferences was attending art exhibitions. Musical preferences were related with older age, while vocational high school education predicted higher preferences for paintings. Although predictors explained relatively small amount of criterion variance, the obtained results confirmed that multicultural personality dispositions have little, but significant contribution to world artistic preferences.

The Personality Predictors of Art Preferences in Children

Art has been considered as a means of enriching oneself with values, transferring socio-cultural experience and traditions. Children articulate their wonder and excitement while engaging with an artwork and it is evident through their spontaneous responses. Aesthetic experience is regarded as fundamental to human existence. Experiencing and enjoying artworks help children to encounter diversities and prepare them for a facing challenge in life. The objective of the present quantitative study is to explore the relation between personality traits and art appreciation of children. The sample constituted sixty children of grade IX from the state of Telangana. The number of boys and girls participated in the study from rural and urban backgrounds are equal and children are in the age group of 13-15 years. Children’s artistic preferences are measured by showing 48 images of artworks of two dimensions: ‘abstractedness’ and ‘complexity’. The ‘abstractedness’ dimension include representational/realistic, semi-representational and highly abstract artworks and the ‘complexity’ dimension encompass low complexity, medium complexity, and high complexity artworks. Each group has four types of paintings: landscape, portrait, still life and animal representations. The results of analysis of the relation between children’s personality traits and their art preferences using Pearson product-moment correlation coefficient (r) reveals that Agreeableness and Conscientiousness is moderately positively correlated with the perceived attractiveness of abstract paintings which is statistically significant. The results do not show any statistically significant correlation between Openness to Experience and perceived attractiveness for abstract artworks. Further, there exists a low negative correlation between Neuroticism and perceived attractiveness for abstract artworks which is statistically significant. There are no significant correlations between children’s personality traits and perceived attractiveness for Realistic, High Complexity and Low Complexity artworks. The research findings are an indication for teachers to better design their classroom activities for enriching the lives of children.

ARTISTIC LIKES AND AESTHETIC ORIENTATIONS IN THE WORKS OF KOSTY GORDIENKA “PRO COMMUNE”

The research focuses on the fact that showing the destruction of the patriarchal world of the Ukrainian village as a heroic struggle between light and darkness, a tragic past and a happy future, transferred to the plan of the present time, glorification of the economic and social innovations of the Bolsheviks, related to collective farming, determines the general thematic dominant in literature of a socialist orientation. The article focuses on the fact that forced to adapt to the format of the then government, Kost Gordienko changes his artistic preferences and aesthetic orientations, but also masters the methods of developing ideologically oriented prose that corresponded to the voluntarist intentions of revolutionary culture. It is emphasized that Kostya Gordienko’s attention is focused on the problem of the Ukrainian village during the period of drastic social changes, on the topic of the land-nurture and its owners, which was understandable and close to the writer due to many objective reasons. In the picture of the world modeled by Kost Gordienko, the concrete and realistic representation of the Ukrainian village during the period of Soviet “reformation” is fundamental, hence the noticeable stylistic, plot and figurative homogeneity. It is indicated that in order to realize his creative intentions, the novelist uses essay genres, which gave a much larger space for reproducing the dynamics and panorama of the “new time”, for depicting the actual everyday life of “communist life”. The stylistic manner of the writer has a narrative-journalistic and artistic-informative character, characterized by the use of extensive factual material. The conclusions indicate that Kostya Gordienko’s works of 1928–1930, which are diverse in terms of style and poetics, demonstrate the process of the writer’s adaptation to political and ideological requirements: first, the combination of an individual artistic vision and defined political attitudes, then the subordination of artistic thinking to the dictates of power. The most popular small-format genres – essays and short stories – are focused on reproducing the dynamics and panorama of the “new time”.