Traditional Folk Research Articles

Политико-идеологические предпосылки интронизации казахского султана Ураз Мухаммеда в Касимовском ханстве

Research objectives: The Kazakh sultan Uraz-Muhammad, who happened to find himself in the territory of the Moscow Tsardom in 1588, was elevated to the throne of the declining Kasimov Khanate in 1600. His arrival in this Turkic enclave yurt, which had been ruled by the Greater Horde dynasty (Sheikh-Avliyar, Shah-Ali, Sain-Bulat, Mustafa-Ali) for a considerable period since 1516, was a political innovation by the Kazakh sultan that remains not fully explained. At that time, representatives of other branches of the Chingisids, such as the significant group of Kuchumoviches (Shibanids), who were likely no less prominent than the Kazakh khans tracing their lineage to the Ordaids or Tukay-Timurids (more recently, primarily to the former), existed in the Moscow Tsardom. The general assessment expressed in the literature that Uraz-Muhammad’s enthronement in Kasimov was an action related to “the further implementation of the eastern policy of the Moscow Tsardom,” according to A.V. Belyakov’s words, lacks sufficient specificity. Therefore, the authors of this article considered it necessary to conduct a more detailed analysis of this issue. Research materials: The authors examined the historiography of the issue of Uraz-Muhammad’s appearance in the Moscow Tsardom, as well as the political situation at the turn of the 16th and 17th centuries in both the state and the Kazakh Khanate. Sources such as Kadyr Ali-bek’s “Jami al-tawarikh,” Siberian chronicles, as well as folk legends and traditions found in G.F. Miller’s work “History of Siberia” and Siberian Tatar local history writings were utilized. Results and novelty of the research: The conducted research allowed us to conclude that Moscow’s choice of a candidate like the Kazakh sultan Uraz-Muhammad for the Kasimov throne in 1600 was dictated by the politico-ideological considerations of the ruling elite of the Moscow Tsardom. These considerations were explained by the new challenges in the field of eastern policy that emerged on the eve of the 16th and 17th centuries, which were of great importance to the Moscow Tsardom.

SCIENTIFIC AND METHODOLOGICAL PRODUCTION OF THE DEPARTMENT OF UKRAINIAN APPLIED LINGUISTICS FOR TWENTY YEARS

A review of the scientific and methodological output of the teachers of the Department of Ukrainian Applied Linguistics for two decades was carried out. Established in 1996, the department has become a strategically important structural unit both for the popularization of the Ukrainian language in a foreign language environment and for the significant improvement of the scientific-instrumental level of professional speech of students of other faculties of the university. To ensure successful teaching work, it was necessary to have appropriate educational materials both for teaching the Ukrainian language to foreign students and for students of various professional fields, improving their mastery of the native (state) language and scientific and professional vocabulary. Among the publications of the department are textbooks, manuals, dictionaries, phrasebooks, materials for reading in a foreign-language audience, collections of scientific works, in which acute issues of the methodology of language teaching to foreigners were considered and are being considered, materials on linguistic and regional studies, which included texts on the history of Ukraine, its culture, art, folk traditions. The department became a pioneer in the development of national standards for the Ukrainian language for foreigners, developed a scale of levels of Ukrainian language proficiency, requirements for knowledge, abilities and skills of foreign citizens, which became the basis for both the Standard of the Lviv National University and the State Standard. In lectures and practical classes in a professional direction, the main attention is focused on the Ukrainian language course through the prism of language norms and special terminology in order to bring students closer to their future profession, to produce a literate, competent, highly cultured specialist. Key words: Ukrainian languageas a foreign language, Ukrainian language of specialization, business Ukrainian broad casting, scientific and methodical products of the department.

“Quid Pro Quo”: The Czech Folklore Revival Movement in the Light of Totalitarian Cultural Policy

The paper deals with the transformation of society and culture in totalitarianism through the example of the Czech folklore revival movement between 1948 and 1989. While describing the main objectives of communist cultural policy, the paper observes the reasons for the mass development of folk ensembles in the 1950s, the gradual transformations to their activity, and the philosophy behind it. The degree of cooperation between folk ensembles and political power, as well as the exploitation of these troupes to promote the communist regime, was varied. Politically-engagé performances by such ensembles and their participation in events organized by the totalitarian state apparatus have resulted in many Czech people adopting a negative attitude towards the folklore revival movement as a whole. In the fact most members of these ensembles were not motivated by politics – for many of them, this leisure activity was an escape from reality to the romantically viewed world of folk tradition.

Tomar naam, amar naam, Vietnam Vietnam! Folk styles and solidarity in the Bengali new wave cinema

ABSTRACT The Bengali new wave cinema of the 1960s and 1970s addressed historically important world events through an aesthetic inspired by Marxism and long-standing anti-colonial traditions dating to the middle nineteenth century. At the same time, an aesthetic derived from folk and artistic traditions was embraced as a cultural style in the middle twentieth century by local Marxist progressive theatre and writers’ associations. In 1968, the Bengali film director Ritwik Ghatak published a short speculation for the Bengal Youth Festival explaining the scenario for “A Film I want to make about Vietnam.” The film was not made, but the imagined detail is very much in the style of the Bengali new wave. Also important—and made, so we can see it—is Satyajit Ray’s short film “on” Vietnam, Two: A Film Fable (1964). The two films express, in different ways, the enthusiasm among Bengali intellectuals for Vietnam at the time when revolutionary youth solidarity with the anti-imperialist struggle was strong. What were Ghatak and Ray thinking with these films “on” Vietnam? Can they tell us anything of the times, the engaged role of film, the director as intellectual agitator, the politics of solidarity from afar? By evaluating the reception of historically focussed film from the perspective of the Bengali New Wave, I show how that cinema’s fascination with Vietnam evokes both much older folk traditions, yet now leads to a more worrying contemporary coda with the adaptation in 2019 of the old slogan by the Hindutva right to include Jai Ram.

Mardin İli Bazı Dağlık Bölgelerinde İnsan Tüketimi Amaçlı Yenilebilir Bitkiler Üzerine Bir Araştırma

This research was carried out to determine the ethnobotanical studies of edible wild plants in some parts of Mardin province, a historical city of Upper Mesopotamia, in the Southeastern Anatolia Region of Turkey, between the years 2018-2020. The wild plants consumed as food by the local people living in the villages of Mardin province and their usage patterns were determined. Face-to-face interviews were conducted with 80 people and ethnobotanical information forms were prepared. The local and scientific names of the identified plants were included and their usage purposes were determined. As a result of the study, it was determined that 131 plant species were used as edible in folk tradition.

Ukrainian National Stylistics of Stage Vocabulary of Modern Children's Musical

The article is devoted to the issue of the reflection of Ukrainian national stylistics in the productions of children's musicals on the stages of domestic theaters in 2010-2020s. It was revealed that the appeal to the traditions of folk culture takes place in the context of the leading modern trends in stage art, thanks to the synthesis of which a unique color of the artistic image of the performance is achieved. The research revealed that the most important cultural and artistic principles of the Ukrainian national stylistics of the stage vocabulary of the modern children's musical are the reproduction of a living tradition and the author's directorial approaches to the interpretation of folklore forms. In some cases, the representation of the Ukrainian folk tradition in a historically authentic form is characteristic, but mostly the directors emphasize a certain stylization and conventionality of the national color - traditional elements are used to create the atmosphere of a folk tale in a modern interpretation. Characteristic stylistic coloring is achieved by using authentic material, folk chants, dances, elements of traditional Ukrainian decor, creating well-known folklore images.

Усні сповіді біженців від російсько-української війни як фольклорний та історичний матеріал

The article is devoted to new research on the cultural adaptation processes of Ukrainian refugees in Poland using their questionnaires and records of oral testimonies about their experiences. Human confessions have become valuable material for folklorists, ethnologists, and historians, so their documentation as archival sources is important. The studies use a comparative method of analysing the collected texts. Attention will be paid to using human confessions as source material reflecting the Ukrainian mentality, folk traditions, and national identity. A joint Ukrainian-Polish project will be presented between the Rylsky Institute of Modern and International Studies of the National Academy of Sciences of Ukraine and the Institute of Archaeology and Ethnology of the Polish Academy of Sciences.

How can traditional folk crafts be protected? Rethinking the “Productive Approach to Safeguarding” Traditional Intangible Cultural Heritage

How can traditional folk crafts be protected? Rethinking the “Productive Approach to Safeguarding” Traditional Intangible Cultural Heritage

Death Beyond Death: Jian Spirits in Chinese Popular Belief

Abstract This article* examines the origins and development of notions about jian spirits, beings into which, according to Chinese folk tradition, the souls of the dead transform after their demise. An analysis of the few available references to jian in Chinese literature and folklore suggests that the first mention of jian as ‘ghosts of ghosts’ appears relatively late, in the 13th century, as the result of a combination of two independent traditions: the written jian formula used in apotropaic practices from at least the Tang period (618–907), and a complex of ideas about the mortality of ghosts and their posthumous fate that took shape in the early Middle Ages, possibly under the influence of Buddhism. A detailed development of the ghosts of ghosts motif occurs as part of High Qing supernatural discourse in the works of writers Pu Songling and Yuan Mei. By the end of the 19th century notions that had been created by such literary representation were inherited by the popular belief system. The evolution of ideas about jian, which continues to the present, as far as one can judge from the supply on the market of magical paraphernalia and the material of modern supernatural web novels, provides a vivid example of how new concepts of Chinese folk religious tradition emerge and transform.

ТЕХНОЛОГІЇ ЗАЛУЧЕННЯ УЧНІВСЬКОЇ МОЛОДІ ДО УКРАЇНСЬКИХ ТРАДИЦІЙ ЗАСОБАМИ ЕТНОДИЗАЙНУ

Ethno design as at teaching has deep roots in Ukrainian people’s lifestyle, which are an effective means for aesthetic, humanistic and national education of schoolchildren, this ethno cultural environment become particularly relevant during the development of the New Ukrainian school. Folk crafts vividly reflect and best preserve the traditional educational ideal of the Ukrainian people, which is contained in the works of decorative and applied art, available for students to perceive and understand. A decisive factor in the ethno-cultural and labor education of modern youth is various forms of their involvement in Ukrainian traditions and folk art, in particular, familiarization with the technologies of making Ukrainian folk toys, which occupy an important place in the upbringing and educational process of student youth. The knotted doll is a unique technology, because this type of folk art is an ethno design project that combines several types of traditional Ukrainian decorative and applied art. In the process of making a knotted doll, such authentic techniques as: ornaments from different ethnographic regions of Ukraine, traditional embroidery techniques, fabric dyeing with biological dyes, weaving, vybiyka (wood printing on fabric), beading, felting from wool, art ceramics, technologies for modeling artificial flowers from paper, fabric, wood shavings, creating wax headband accessories, ancient techniques and methods of tying head scarves and shawls, sewing and decorating head covers – are used. Among the variety of forms, methods and means of ethno design that contribute to the involvement of student youth in Ukrainian traditions, a number of simple and effective educational technologies have been identified and presented in our research, such as: museum-pedagogical activities, visits to cultural and artistic events, exhibitions of works of folk art, thematic exhibitions-presentations use of audio and video recordings from ethnographic expeditions, etc. Of particular importance in the popularization of folk art among young people is personal communication with the bearers of traditions in the format of creative meetings with masters of folk art, visits to master classes, personal exhibitions and workshops of folk masters. The described technologies of youth involvement in folk art affect the development of the cognitive and emotional sphere of the individual, his creative abilities, contribute to the creative and productive educational activities of students. Key words: ethno design; folk art; Ukrainian knotted doll; traditional technologies of making and decorating a folk doll; aesthetic, humanistic, national education of students; technologies for familiarizing young people with folk traditions.

Non-invasive study of the dyes and pigments in the Chinese woodblock New Year paintings

Woodblock New Year painting is a traditional Chinese folk art that flourished during the 19th and early 20th centuries. These paintings feature a wide variety of colors, particularly after the introduction of synthetic colorants from Europe in the late 19th century. The scientific identification of dyes and pigments used in these paintings can provide valuable insights into the socio-historical context of the time. However, the history of materials used in the printing of New Year paintings is still lacking adequate information. In this study, we employed a combination of spectroscopic and imaging techniques, including Macro X-ray fluorescence imaging (MA-XRF), hyperspectral imaging, and Raman spectroscopy to identify the dyes and pigments used in two Yangliuqing New Year paintings. Our analysis revealed the presence of both traditional pigments and synthetic colorants, such as vermilion, Prussian blue, and methyl/crystal violet. We also discovered several color-matching techniques used to create light pink, light orange, and dark purple hues. These findings suggest that synthetic colorants were gradually replacing traditional pigments in China due to the growth of global trade at that time. Furthermore, our research provides valuable information for the conservation, preservation, and display of New Year paintings.

TRADITIONS OF OUTERWEAR OF VOLYN

The aim of this paper is to prove the hypothesis: the main traditional characteristics of the formation of outerwear reflecting regional peculiarities are reflected in the modern ethnic costume of Volynians. The following tasks are set: to analyze the fragmentary life evolution of Volyn folk outerwear; to specify and identify features in the formation and formation of ethnic outerwear of Volyn; to show that it is on the archaic cultural basis of the Ukrainian people that it is possible to consider the transformation processes in the ethnic outerwear of Volyn. Methods used in the study: Among the research methods used, we paid special attention to the following: historical retrospectives, structural-functional, descriptive, and systemic methods (in particular, third-generation systemic methods), etc. Research methodology. The evolution of certain fashion trends, the emergence and development of various fashion trends cannot be imagined without the influence of ethnic identity. Therefore, in the scientific discourse of modern art history, the problem of the formation and development of ethnic Volyn outerwear, its characteristic identical features and distinctive features of forming occupies a special place. Therefore, the study of the transformation processes of Volyn folk costume is relevant in highlighting the spiritual culture and art of the ethnic group, as well as in terms of the evolution of rituals and customs in the regional aspect. The relevance of the study is highlighted in the work of contemporary Ukrainian fashion designers, as ethnic clothing is an important component of modern Ukrainian culture today, combining ancient folk traditions with modern technologies. Ethnic clothing style is always relevant and favorably perceived at fashion shows.

Passing On—The Power of Oral Transmission

Abstract Living Documents is a series of looped live installations developed between 2017 and 2019 based on five artist-choreographers and how they work. The project was initiated by Dominik Grünbühel and Charlotta Ruth as an artistic response to the following research question: What is liveness and what can it be? The research was directed towards the necessity—but also difficulty—of documenting live performances. This text reflects how the method of passing on (in Swedish, tradera) through the collaborative process with choreographer Anna Öberg, whose practice is based in Swedish folk dance, has come to influence the documentary approach. By resonating how passing on in the cosmology of Folk Traditions is different to other methods of physical and oral transfer, Öberg together with Ruth develop how passing on can be valuable beyond the realm of Folk Tradition. Specifically, they unfold the ways in which this multi-sensorial transfer of material and knowledge from person to person and context to context can inspire documentary and reflexive translations between media and different aesthetic realms and thereby contribute to creative ways of sharing knowledge in the field of artistic research.

Folk magic in the Philippines, 1611–39

While studies of commerce and trade in Manila's ‘Golden Age’ are common, the impact of the city's multiethnic society on the daily lives of its inhabitants has often been harder to gauge. Based on 98 Inquisition cases, this article examines the widespread use of folk magic in colonial Manila, offering new insights into cultural interactions and inviting new reflections on the nature and extent of colonial domination. Folk magic—also known as hechicería—was an important part of cultural life within Spanish communities across the empire in the early modern period. Encompassing a variety of different practices, including the use of love charms, luck charms, spell-casting, and divination, it offered individuals opportunities to mediate their relationships, particularly with members of the opposite sex. These practices connected European folk traditions with Asian knowledge of botany, medicine, and spirituality to fulfil the needs of the Spanish community for magic. At the same time, this blending of Spanish and Asian cultures was subversive of colonial authority. Folk magic practices challenged the progression of ‘pious imperialism’ that pitted Christianity against indigenous traditions, creating spaces of cultural exchange where the balance of power between cultures was more evenly felt than often assumed.

Representing Russia's Orient: From Ethnography to Art Song by Adalyat Issiyeva (review)

Reviewed by: Representing Russia's Orient: From Ethnography to Art Song by Adalyat Issiyeva David Salkowski Representing Russia's Orient: From Ethnography to Art Song. By Adalyat Issiyeva. (AMS Studies in Music.) New York: Oxford University Press, 2021. [xxi, 406 p. ISBN 9780190051365 (hardback), $61; also available as e-book, ISBN and price vary.] Music examples, illustrations, maps, bibliography, index. Of the many important terms Adalyat Issiyeva introduces to the nonspecialist reader in this remarkable book, perhaps the central one is inorodets, [End Page 621] meaning literally a person "of different descent" (p. 10). Applied to ethnic non-Russians in the Russian Empire, the term highlights one of the fundamental contexts underlying this study: the vast landmass of the Russian Empire was inhabited by a multitude of ethnic, cultural, and linguistic groups who were regarded as "others" by European Russians. Issiyeva cites a surprisingly candid Russian military officer who notes the irony that it is the local community (in this case, the Chuvash people), not the minority, governing Russians, who were the "others" (p. 68). This paradox of imperial incorporation and the way Russians negotiated it through scholarly and cultural production animates the pages of this impressive study. While on its surface Issiyeva's work is an investigation of musical representations of imperial "others" in nineteenth-century Russian music, it accomplishes far more, giving a deep, fluid, and incisive analysis of the relationship between empire and ethnographic knowledge. Through meticulous and detailed work with sometimes obscure sources, she provides an account of the development of (musical) ethnography in imperial Russia. This in turn establishes essential context for understanding the better-known names of Russian music, as they are themselves products of a multi-ethnic, expanding empire. The subtitle of the book reflects both its structure and a greater trajectory of knowledge production. Issiyeva's first three chapters concern the representation of the Russian Empire's non-Russian ethnicities within folk song and ethnographic studies about the folk music of Russia's Asian subjects. The second group of three analyzes the ways in which this knowledge of imperial "others" was metabolized by composers and institutions into art song, a genre that, as Issiyeva notes, has often been overlooked by scholars of Russian nationalism and orientalism, in comparison to opera and symphonic music (p. 6). In chapter 1, Issiyeva focuses on representations of imperial others in a number of folk genres, including the bylinas (an epic oral form of poetry), soldier songs, and children's songs. This story rhymes with larger European narratives of seeking national identity in the folk traditions of an imagined past while also speaking to the specific challenges of imperial governance. A particularly compelling example is found in Alexander Nikulin's Collection of Songs Compiled for Children, published in two editions in Polish-speaking Vilna (present-day Vilnius, Lithuania) in 1870 and 1881 (Sbornik pesen sostavlennyi dlia detei Aleksandrom Nikulinym [Vilnius: A. G. Syrkina, 1870] and Sbornik pesen sostavlennyi Alexandrom Nikulinym, odobrennyi Uchenym Komitetom Narodnogo Prosvyashcheniia dlia upotrebleniia v shkolakh Vilenskogo Uchebnogo Okruga [Vilnius: A. G. Syrkina, 1881]). Issiyeva notes that from the first edition to the second—which spans a decade of uprisings and repressions in the imperially controlled Kingdom of Poland—an innocuous children's collection expands into an ideological tool (pp. 37–38). These Russian-language songs, approved for use in Polish schools, use stereotypes of Caucasian subjects to demonize the "bad" imperial other (the "evil Chechen" of Mikhail Lermontov's "Cossack Lullaby") and model the proper integration of the "good" subject, exemplified by assimilated Georgians in the song "Appeal." Issiyeva notes that the melody of this latter song contains references to both Mikhail Glinka's art song "Do Not Sing for Me Thy Song of Georgia" and an aria from A. Verstovskiĭ's Askold's Grave (p. 39), thus folding these "good" neighbors into an imperial frame on a musical level. [End Page 622] In chapter 2, Issiyeva demonstrates the role of scholars in supplying knowledge of local customs and traditions in Russian Asia to imperial officials as well as the ethnographic work generated by certain military officials themselves. This chapter also shines important light on the history of ethnography outside Europe. For instance...

Transformation of winter costume in Yakutia in the era of modernization of the late XIX – mid XX centuries.

This article examines the process of changing everyday clothes in Yakutia in the late XIX – mid XX centuries on the example of a winter suit. This historical period was marked by active modernization processes in the region, which also affected the material culture of the population. The issue of adaptation of residents of the Far North to new economic conditions is relevant in this regard: how the transition from the traditional way of life to Soviet culture took place. The hypothesis of the present study is that the culture and technologies of traditional tailoring of fur and leather have been preserved in the studied period precisely because of the need for the population to self-sustain themselves with winter clothing in conditions of shortage of goods and raw materials. The chronological framework of the study covers the period of the end of the existence of the traditional Yakut costume and ends in the middle of the twentieth century. To study the winter costume, photographic materials were used, which depicted samples of everyday clothes. Photos from the photo funds of the Yakut State United Museum of History and Culture of the Peoples of the North named after Em. Yaroslavsky, which includes images from both public and private collections, are considered. In addition, consultations with informants were held to supplement the data. This topic has not yet become the subject of special study, since the costume of this period is no longer ethnic. Nevertheless, in our opinion, it is interesting in the context of studying the adaptation of folk traditions to modernization processes. Using visual and field sources, the transformation of casual clothing in Yakutia of the studied period is considered. The authors of the article came to the conclusion that in the era of modernization there was a sharp change in the way of life, which affected the material culture of the inhabitants of Yakutia. Unification in the wardrobe of citizens of the Soviet state in the first half of the twentieth century could not always cover the needs of residents of specific climatic zones, including residents of the northern republics. This contributed to the preservation of traditional technologies of manual production of winter clothing.

The clash of digital and traditional monsters: Slender Man adaptations and the Balkan culture

Free movement inside the internet universe and the ability to adapt to almost every culture they encounter enable monster creations to develop through this process of exploring cultures other than theirs. Perhaps this is one of the qualities that contemporary monster creations need to have in order to become and stay alive. In this article, I argue that the Slender Man myth seems to have adapted in terms of monstrosity in many cultures of the world, where its digital quality is its greatest strength and at the same time its greatest weakness in cultures that do not have the capacity or interest to create an equivalent to it. Instead, the lack of a digital aspect makes the folklore of these countries like the Balkan ones more significant, which sabotages the adaptation of digital monsters into a non-digital monster culture that prides itself on its traditional folk stories and legends, like the rich Balkan culture. These digital products in return end up lost within certain cultures, as they do not have the means or the capacity to develop and adapt because of the clash of the digital and the traditional.

A study on the classification of Chinese folk instruments based on deep learning

Due to the Internet's tremendous expansion in recent years, digital music has seen explosive growth. It is becoming increasingly important to provide fast and accurate music retrieval for users, and music information retrieval has gradually become a research hotspot. Among them, the classification of musical instruments is one of the hot research directions. As an important part of the world's musical instruments, the Chinese folk musical instrument tradition has great research value, but there is less research in this direction. Traditional music classification methods can be roughly divided into two steps: manual feature extraction and traditional machine learning. But traditional music classification has several shortcomings, as follows. Firstly, manual extraction of music features has a high error rate and it is very difficult to ensure the accuracy of the features, and the labor cost is high; secondly, traditional machine learning still has problems with multiple classifications and training on large scale data. Therefore, in this paper, based on previous research, the original data features are extracted from the Mel Frequency Cepstrum Coefficient (MFCC), which is a feature that can represent musical timbre, and deep learning is proposed to be used to classify traditional Chinese folk instruments. This paper finds that the results of identifying and classifying Chinese folk musical instruments using different classical classification methods are compared when the training set and test set data are the same. According to the experimental results, the use of KNN has the best performance among these classification methods.

Study on the metaphorical nature of textile fiber artworks of non-heritage

Fiber art is closely related to human life, modern fiber art on the basis of the performance of traditional fiber art, from the material, form and color to break the traditional mode, pay more attention to the spiritual connotation of fiber art works themselves, pay more attention to visual resonance and Starting from the basic theory of metaphor, the metaphorical expression methods in different Starting from the basic theory of metaphor, the metaphorical expression methods in different fields are analyzed and elaborated. The metaphor of contemporary fiber art is extremely important and forward-looking for inheriting and carrying forward China's traditional culture. Taking the connotation of the traditional culture of the 24 solar terms as the starting point, this paper Taking the connotation of the traditional culture of the 24 solar terms as the starting point, this paper explains, summarizes and studies the presentation and expression forms of traditional Chinese folk art on the traditional culture of the 24 solar terms. and conducts in-depth research and detailed analysis from the perspective of the artistic display of fiber works, and integrates the design concept of the project is based on the concept of modern fiber works to reproduce new vitality and charm of traditional culture.

RESTORATION OF TRADITIONS IN THE DEVELOPMENT OF PROVINCIAL SLOBOZHANSKY SACRED ARCHITECTURE

In this way, the two living cosmos of the spiritual and sacred - ethnos and theos - are combined again, the times of the creation of elite (aristocratic-official) architectural and artistic culture - the baroque and classicist tradition - are combined with the continuous time-space of folk sacred culture. The meaningful series of complex and largely forgotten spiritual symbols, which, however, constitute the deep essence of the folk tradition, are reunited. It has been proven. that the first nationally conscious and effective searches for a new uniqueness and originality of national architecture and art originate precisely from the era of modernism and ethnically rooted folk-style (national-romantic) architecture genetically related to this trend. It has been proven that one of the Slobojan architects who successfully developed deep traditions of temple architecture in the modern era was the last Kharkiv diocesan architect (1907-1917) Volodymyr Mykolayovych Pokrovsky. Namagannya yaknaishvidshe to remember three-quarters of the delay in an hour of miserable panuvannya of the atheistic sovereign doctrine of the treasury of sacral architecture once again forced professional designers to turn around until the nadban of the past. After a long break and severe wrongful losses, the creative artists of susilla and mystetsky distillation in the gallery mastered the new and traditional plastic richness of modern church symbols. As in the largest places and creative processes, the processes are least painless, in the regional periphery there is a pardon and a little mor. And it’s not less than the fact that the most ruins appeared here in the past, ale th, the main rank, the one who traditional innovations at the most important gallery, the sacred everyday life was long overdue, stretching out life for many generations, pcs scientifically rapist prizupineno. Tim more importantly assess the whole depth of the living tradition of Slobozhan sacred architecture can be directly far away. Keywords: development, principles, foundations, sacred architecture, regional traditions.