Monumental Art Research Articles

Monumental Art by F. Tetianych in the Context of Transavant-Garde Traditions

The purpose of the article is to analyse the decorative and monumental works of the Ukrainian artist Fedir Tetianych, created in the 1970s, and to identify the traditions of the transavant-garde in their design and methodology. The research methods are based on the fundamental principles of art historical analysis with the involvement of interdisciplinary connections (psychology, cultural studies, and philosophy). The method of epistemological analysis is used in the process of clarifying the concepts of a number of art historical concepts, in particular, neo-expressionism, transavant-garde, mythopoetics. The systematic-analytical method is used to highlight the artistic and technological features of F. Tetianych's monumental works as an original example of the Ukrainian transavant-garde. The scientific novelty of the study is to identify the formative and compositional achievements of F. Tetianych's monumental works, which stylistically correspond to the traditions of the transavant-garde of the last third of the twentieth century. Conclusions. After analysing the monumental works of F. Tetianych, which were created in the 1970s, it can be argued that this period was important in the formation of both the philosophical and poetic doctrine of “Fripulia”, the author's original mythopoetics, and interesting techniques and methods of implementation, which involved the use of industrial and consumer waste. The described artistic and technical techniques and methods of F. Tetianych, who belonged to the representatives of the “unofficial” art of Ukraine, correspond to the traditions of the transavant-garde and are in tune with the style of many foreign artists of the last third of the twentieth century.
 Keywords: neo-expressionism, transavant-garde, mythopoetics, monumental art, techniques, methodology, research.

The Legacy of Soviet Monumental and Decorative Art (on the Example of Tselinograd, Republic of Kazakhstan)

The development of virgin lands (also known as tselina – previously uncultivated or unexplored areas of land, which have not been affected by humans and are typically located in rural or remote regions) has not only boosted the economy but influenced the development of art in Kazakhstan, particularly in Akmolinsk (in 1961 it was renamed Tselinograd, the current name of the city is Astana). Muralists M. Antonyuk and V. Tovtin made a significant contribution to the artistic and aesthetic image of Tselinograd. The purpose of the study is to identify the role of Soviet monumental and decorative art in designing the aesthetics of urban space and to substantiate its historical and cultural value. In this study, the features of stained-glass windows, marquetry, and monumental mosaics of Tselinograd were analysed. Their value as works of art was analysed, the specificities of incorporating national character are described, and their influence on the cultural development of the city is explained. The level of skill of the artists, including the ability to “embed” the artwork in the architectural image of the building is emphasised. The uniqueness of the monumental mosaics of the Soviet period is proved. Conclusions are drawn about their role as agitation. The need to preserve the works of monumental art for future generations is emphasised. This is an important part of the historical period – thoughtless “modernisation” of residential buildings, indifference to and devaluation of the artistic and cultural heritage of the Soviet past are not acceptable.

Black tenement house in Lviv: figurative and plastic solution

The main idea. The purpose of the article is a thorough analysis and research of the architectural and artistic features of the residential building on Rynok Square No. 4 in Lviv as a unique example of the synthesis of various types of art, which is reflected in its exterior and interior. Main objective. The main object of the study is the analysis of the synthesis of various types of arts in the architecture of residential tenements in Lviv, namely in the Black House, as a representative example of Renaissance construction. Methodology .The research uses general scientific and special approaches and methods. The main research methods were based on empirical, theoretical and deductive ways of reproducing the synthesis of arts in the Black House. The analysis and systematization of data on the main elements that create the interaction of various types of art are applied. Results. Studying and tracing the peculiarities of the formation of the synthesis of arts on the example of Lviv residential tenements of the XVI-XVII centuries will allow us to reveal the wealth of the city's cultural, historical and architectural heritage, and will enrich the scientific and cultural context of modern Lviv. The problem for a comprehensive study of the monuments of Lviv is the limited number of stone houses that have remained preserved, if not in their original state, then at least in a state that gives an opportunity to imagine the wealth of decorations and architectural details. Among them, we can single out a valuable historical and artistic monument – building No. 4 on the Rynok square in Lviv. Conclusions. The Black House is a valuable example of a richly decorated burgher's dwelling of the Renaissance period and one of the noblest both externally and internally. Originally, the synthesis of arts in it was formed by superimposing sculpture, stone carvings and polychrome decoration on the typical system of ordering the building, which was characteristic of the city. The process of combining various types of art has been ongoing since the building of the Black House until now. It is possible to distinguish V separate stages of formation of the synthesis of arts in the Black House. In the future, it is important to investigate and clarify the origin and iconography of the sculptures on the facade of the building. Create and perform a graphical hypothetical reconstruction of the facade based on the restoration data obtained from comprehensive studies of 2016-2019.

Mythological Images and Their Interpretations in Jewish Art of Eastern Galicia, 18th – 19th Century

This study analyzes the mythological representations of sea creatures, the hippocampus, and the Leviathan in the Jewish art of Eastern Galicia. It identifies the formation of a distinctive symbolic and sign system within Jewish art, serving as a means to convey fundamental religious and philosophical principles. The prohibition of anthropomorphic depictions contributed to the development of an entire cycle of animalistic and botanical images, illustrating the diaspora Jews' conceptualizations of the Land of Israel, the Jerusalem Temple, the Gardens of Eden, the commandments of the Torah, and the Talmud. Based on the study of artworks, including preserved illustrations from the destroyed synagogues in Khodoriv and Hvizdets during the Holocaust, as well as ritual objects such as Torah shields, Torah reading pointers, Hanukkah lamps, and the decoration of tombstones-matzevot, it has been established that Jewish art developed its own program of ornamentation and the use of symbols and signs. The features of the iconography of mythical sea creatures have been identified. It is emphasized that the traditional representation of the hippocampus as a creature with the body of half horse and half fish in Jewish art monuments was replaced by depictions of a creature with the body of half goat and half fish, or half lion and half fish. Such transformations can be explained by the influence of folklore and the reinterpretation of folk art. The symbolism of the hippocampus is associated with perceptions of the sea that surrounds the Land of Israel and serves as a metaphor for the transition to another, beautiful, paradisiacal world. The iconography of the depiction of the Leviathan is also connected to its symbolism. The Leviathan coiled in a ring is a traditional symbol of anticipation of messianic times, and the Leviathan coiled around a city or specific structures embodies the concept of the temple, alluding to a sacred space, as the skin of the mythical creature will be used for the tent of the righteous. Representations of the hippocampus and Leviathan on tombstones-matzevot embody the idea of anticipating messianic times and resurrection. The exploration of symbolism in Jewish representational and decorative art provides insight into the traditional Jewish culture of Eastern Galicia.

Ярославские традиции в церковной стенописи Тверского края эпохи классицизма

In the article an attempt is made of clearing up the source of the North-East Tver region artistic culture flourishing in the 19th century that especially became strikingly apparent in church wall-painting. Beginning with the early 19th century the painters from the city of Yaroslavl were actively working in the Tver region and introduced various traditions of Yaroslavl into the fine arts. One of the characteristic features of the Yaroslavl painters’ language was the combination of Old Russian and West European devices in the classicism stylistic context that found a reflection in the Tver region monuments. At present the phenomenon of different trends coexistence in the beginning of the 19th century is well known in the specialized literature through the example of icon-painting. A similar occurrence took place in the monumental art but so far it hasn’t been investigated in the scholarly literature. The works of the Yaroslavl painters Banshchikov and Smirnov are preserved in the Resurrection cathedral in Kashin as a masterpiece of wall-painting without renovations or restorations. Through the example of the cathedral paintings the devices of the Yaroslavl painters are being analyzed, in particular the use of the rare Old Testament cycle in the painting programme created on the basis of the popular German engravings from Christoph Weigel Bible (1695). A comparison of the Yaroslavl painters’ style in the Korsun Icon of the Mother of God church in the village of Zelentsovo and a number of the North-East Tver region murals is carried out. The analysis of the interregional connections and the study of the Old Russian traditions firmness in the classicism period favour the deepening one’s knowledge about the view of the Russian art development in the first half of the 19th century. For the Yaroslavl region bordering the Tver region districts Yaroslavl as a strong monumental art centre became one of the main sources of the new artistic traditions.

GLOBAL TRENDS IN THE CREATION OF THEME ENTERTAINMENT SPOTS

Entertainment is one of the most important areas of people’s social practices, which significantly affects the state of society. Satisfaction with the quality and availability for the society is the development quotient of the country’s economy and its social sphere. In fact the formation of the entertainment industry is a direct consequence to reach a certain level of population income, when there is available cash. The practice of creating special conditions for the organization of entertainment processes led to the introduction of a potential entertainment industry, which has developed by the end of the 20th century. The article provides an overview of modern world trends in the design of theme recreational facilities based on the analysis of foreign and local experience. Their features and techniques used in creating a theme space are revealed. There are the examples of the most famous and iconic theme recreational facilities.
 The research purpose is to conduct the analysis of the existing theme recreational facilities and provide the recommendations for the designers. The presence of a theme leisure facility contributes to the development of the city and the region in general, they contain a whole infrastructure for receiving and serving the visitors. A theme recreational facility is a separate entertainment object created for the commercial purposes based on a popular theme (from literature, history, cinema, music, etc.), which is the tool for selecting and mythologizing space, is used in the elements of environmental design, complex symbolism, attractions etc. The analysis of the research work showed that the subject of the structure can be determined by the places associated with historical events, natural objects and conservation area, buildings and structures, memorial monuments, the works of architecture and urban planning, original engineering structures, objects, related to the life and activities of people, technical exhibits, art monuments, archaeological monuments, folk custom, modern or future achievements, etc. In order to unite people of different ages, the adult population are involved as the organizers of a short family trip, the main theme of the park is not only entertaining, but also informative.
 The scientific novelty of the research is in the fact that the regularity and possibility of applying this method allows to get a working tool that will help to design theme entertainment complexes.

STAVROPOL MEMORIAL BY VUTKE IN THE CONTEXT OF THE HISTORICAL MEMORY CONCEPT

The 20th century showed the inconsistency of ideas about the predictability of historical processes, as a result of which the idea of the essence of humanitarian knowledge was subjected to rethinking. Consequently, some researchers come to the idea that the aim of historical science is to preserve historical memory. However, it is not the memory of past events; we are talking about a new type of memory. In this interpretation, memory has its own value as an object, and not just as a way of storing a large amount of knowledge about the past. The new methodology, which developed during the 20th century, allows us to look at many monuments of monumental art from a different point of view, as well as explain the fate of the Stavropol memorial, erected by O. Vutke in 1922–1923 and demolished in 1936.

INNOVATIVE METHODS OF PLANNING AND RECONSTRUCTION OF HISTORICAL HERITAGE BUILDINGS USING A 3D SCANNER

During the war, many houses were completely or partially destroyed. Damaged residential buildings, historical buildings are of particular importance as monuments of architecture and art and cannot be restored. Thanks to the bombing, a whole historical era was lost. For restoration and rebuilding or reconstruction, qualitative analysis and assessment of the degree of destruction are required. There are many well-known methods of assessing the destruction and damage of buildings, which were used by architects and urban planners. The following types of technical inspection of the condition of buildings are known: general inspection and continuous inspection of destroyed buildings; diagnosis of the construction of buildings to obtain the opinion of experts on the development of a project for the repair or reconstruction of the building; carrying out an engineering and technical examination to determine the condition of the entire building or individual load-bearing structures and to identify the degree of damage or deformations. There is a problem of their restoration, rebuilding or reconstruction. To solve this problem, it is necessary to determine the degree of damage and develop a project of reconstruction or reconstruction, for this: determine the factors of deformation, damage to the structure of buildings; find out the level of danger in the operation of the building and its structures; calculate the possibility of increasing loads on the structure and its bearing capacity; reveal the possibility of additions to existing structures and endurance. Various methods are used for examination: visual, mechanical, impression method, sclerometric, hammering or removal of metal rods, ultrasonic or pulse, radiometric and electrophysical methods. Innovative methods - GIS technologies are fast, accurate and do not require large expenditures of time and money. These are methods of computer diagnostics of building damage, among them the laser scanning method, which has a number of advantages, as it makes 50,000 points per second, scans the surface of the damaged building outside and inside the building, and is remotely controlled by a specialist in a given program. Next, they conduct computer processing of the removal, calculations of damages and their degree. Next, they build a 3-D model of the reconstruction of the building. Laser scanning of historical buildings will help restore destroyed or damaged historical monuments of architecture, which are valuable for future generations and are the historical heritage of the Ukrainian nation. Keywords: planning, reconstruction of destroyed buildings, objects of historical cultural heritage, 3-D scanner, innovative methods, reconstruction of post-war Ukraine.

Medale pośmiertne Augusta II Wettyna

The author describes in detail a number of examples of medallic, graphic and artistic works associated with the medals of August II Wettyn. The most important goal of the creators of these medals was to popularize the figure of the deceased ruler – August II Wettyn – in commemoration of whom the medals were made. The main purpose of the research work was to demonstrate the relationship between the described monuments of art.

Classification of the Human Image in the Eastern Halychyna Monumental Art of the Early 20th Century

Eastern Halychyna has always been a territory on the border between the cultural paradigms of the East and the West. At the end of the 19th - the first third of the 20th cen. this region became the center of the multicultural environment formation, where certain typological groups of anthropomorphic images were determined at the regional-provincial level. It was reflected in monumental art, in particular temple murals, stained glass and mosaics, as well as architectural decor and monumental sculptural plastic, such as monuments and plastic tombstones. The subject of this research is the characteristic features of the images of the Human in the interiors, exteriors and spatial environment of the cities, towns and villages of Eastern Halychyna of the Early 20th century. The relevance of this topic arises from the fact that, as a result of long-term silence, concealment and destruction, the artifacts of the outlined period have been introduced into scientific circulation only in the last three decades and require not only a final description and fixation, but also analysis and systematization, which have not yet been fully carried out. At the same time, the monumental art of that time developed on the basis of art synthesis, therefore there is actually a need to outline certain pictorial typological groups for their classification and more detailed study. The research method is the classification of the most characteristic images, taking into account the philosophical and aesthetic principles of contemporary anthropomorphic imagery and the artistic and stylistic features of the work of artists of the specified period. Main scientific issue is in the circulation and research of several little-known works of monumental art of Eastern Halychyna of the first third of the 20th cen. and the formation of several typological groups of human images as proposal for their classification. It is based on the analysis of the largest and most representative examples of the monumental art of Eastern Halychyna in sculpture and painting of that time. In conclusion three large typological groups were formed: biblical-mythological, historical (national)-symbolic and symbolic-impersonal images in the monumental art of Eastern Halychyna of the Early 20th century.

Green space and planning structure optimisation ways in parks and monuments of landscape architecture

Renovation of urban space is not possible without new approaches to the formation of green spaces of the landscape gardening heritage. In restoring parks-monuments of landscape art, simultaneous consideration of ecological and biological foundations, preservation of the historical structure of plantations and landscape planning framework, as well as meeting the modern needs of users of these spaces is an important issue. The research aims to formulate practical recommendations on the main ways to optimise the planning structure and green spaces, as well as means of protecting biodiversity in parks and monuments of landscape art. The study used general scientific methods (analysis and synthesis, field research) and special methods (dendrological, cartographic, historical, and architectural analysis, and computer methods for processing graphic data). During the pre-project stage of the study, the prerequisites for the formation of Zhovtnevyi Park in the structure of the Chernivtsi landscape were identified. A list and description of typical plant species typical for the area were provided. In addition, the pre-project study analysed conflicts in the park, which were divided into the following main groups: transport and pedestrian, functional, natural, anthropogenic, and visual. The interconnection of different types of conflicts and their impact on the conservation of biodiversity of green spaces in the park was revealed. As a result, new elements of the planning structure have been formed that improve the landscape-spatial organisation of the park's territory and contribute to the optimisation of green spaces. The project developed and analysed in this study has selected an assortment of plants that enrich the biodiversity of park plantings and can be used in the design of other urban parks. The example of the project for the maintenance and reconstruction of Zhovtnevyi Park in Chernivtsi demonstrates practical planning approaches and recommendations aimed at maximising the preservation of the natural landscape and enhancing its functional and artistic features

An Example of the Use of Photogrammetry for Archiving the Shapes of Natural Materials and Creations

We can find cultural monuments everywhere. Smaller ones are often made from available and cheap natural materials - stones. However, due to the weather, due to their smaller dimensions, are often subject to vandalism, damage caused by careless handling or accidental damage. Sometimes they are just pieces of stone, but they have a deeper meaning in connection with cultural value, and for example by studying them in office spaces in the form of 3D models. In our contribution, we focus on the protection, study and preservation of such cultural and artistic monuments made of natural materials or generally stone natural formations or even large stone or brick surfaces. In our article, we want to focus on the practical feasibility rather than the mathematical background, as we believe that this information is much more useful in practice. We point out that it is advisable to use drones to check the condition of materials.

Results of the dendroflora inventory and assessment of the plantations of the Tomylivskyi Park, a monument of landscape art

A landscape assessment was carried out and the integral value of the plantations of the Tomylivskyi Park-Monument of Landscape Art of local importance was determined. According to the integral assessment, the plantations of the park's I and III sections are classified as particularly valuable, and II and IV sections as of limited value, which is explained by the presence of a slightly larger number of mistletoe-infested, dead and dry-top trees, as well as the spread of self-sowing invasive species. The landscape of the park corresponds to the first stage of recreational digression, as the area of roads, paths and grounds occupies less than 5 % of its territory. The high total recreational score of the Tomylivskyi Park-Monument allows it to be classified as the highest first class in terms of recreation. The taxonomic composition of the park-monument is represented by 76 species. It has been established that the Pinophyta division includes 8 species grouped into one class, one subclass, two orders, two families and 5 genera. The Magnoliophyta division includes 64 species, 2 hybrids, 2 cultivars, which are grouped into 47 genera, 22 families, 19 orders, 6 subclasses and 1 class. As a result of the inventory, it was established that currently there are 2446 woody plants on the territory of the Tomylivskyi Park-Monument, of which 596 are trees, 1843 are shrubs, and 7 plants have a tree-shrub life form. The average age of the greenery in the park is approximately 60–70 years. The first trees were planted in 1940. Among the trees, the most common are Robinia pseudoacacia L. – 96, Ulmus capriofolia L. – 72, Tilia platyphylos Scop. – 56, Celtis occidentalis L. – 38, Corylus colurna L. – 37, Acer platanoides L. – 36, which is 56 % of the total number of trees found in the park. 77 specimens of dead and dry-top trees that are drying out and have lost their decorative effect are to be removed. Sanitary pruning is required for 87 trees, which is 14.5 % of the total number of trees in the park. The main reasons for the deterioration of the sanitary condition of the trees in the plantations of the park are the invasion of Viscum album L.; changes in climatic conditions, in particular, a decrease in precipitation and a decrease in soil moisture reserves, which led to the loss of Betula pendula, Juglans cinerea L.; excessive tree density and competition between trees for light, moisture and mineral nutrients, which affects their weakening and pest damage (Picea abies (L.) H. Karst, Buxus sempervirens L.) Key words: landscape analysis, integral assessment, stages of degradation, taxonomic composition, durability, sanitary condition, introductions, invasive species, recreational value.

MONUMENTAL ART IN ARMENIA/MONUMENTAL ART, FRESCO PAINTING/

Armenian monumental art is the undisputed leader of the early medieval and medieval art of artistic culture, with its varieties. Armenian monumental art, as well as monumental painting - mural painting, are anchored mainly on Christian themes, which increases its artistic value even more. Modern Armenian monumental works, both monumental and mural, are inspired by the national traditions and customs of medieval art, why not also by thematics. However, often these things have relative independent significance, are the important dominant of the complex. Such works are distinguished by the depth of philosophical meditations on the world, the sublimity of man, and the primacy of the principle of imaging. Other types of works of Armenian monumental art do not carry high ideas and harmoniously decorate walls, roofs, facades and other surfaces in architecture, and border on decorative art with their architectural ornamental expressions (sometimes this direction is indicated by the term monumental decorative art). However, there is no strict boundary between these two types of monumental works of art. The history of Armenian monumental art testifies that our artists have stood at the intersection of three ways in terms of creativity: custom, rule, innovation. That is the reason why their art is not unambiguous and uniform, it is diverse and special. In the field of mural painting, the characteristic features on which modern Armenian art is based, with its inexhaustible artistry, stand out. Monumental art (monumental and mural art) has existed in Armenia for three millennia and continues today. It is not only progressive, but deeply in line with the pretentiousness of Armenian art, with clearly expressed tendencies of monumentality.

FEATURES OF SPATIAL ORGANIZATION OF PARKS, MONUMENT OF GARDEN AND PARK ART IN THE TRANSCARPATHIAN REGION

The article presents the results of the study of the spatial organization of parks, monuments of garden and park art in the Transcarpathian region, the structural elements of the park composition, directions for optimizing the territory are determined.
 An important component of the cultural and historical heritage of Transcarpathia are man-made landscapes-monuments of garden and park art Historically, most parks and squares were created on the territories of castle and palace complexes, private estates, and were established as arboretums – collections of rare plants. Bushes and trees were successfully acclimatized on their territories, which later replenished the assortment of species for industrial forestry, greening of cities and villages. The most interesting from the point of view of spatial organization are parks, which architectural works – monuments of architecture of different periods and styles.
 In many cases, it is the buildings that determine the features of the architectural and planning solutions of the parks; they are the centers to which the elements and components of the garden and park composition obey. The authors of the planning decisions of Transcarpathian parks-monuments are unknown, they were probably laid out by the owners of estates, guided by their vision of the style of gardens and parks.
 However, all the studied objects have special features characteristic of works of art: harmony, scale, proportionality of elements, emphasis on the main thing in the composition, attention to details. Seven parks meet these requirements: Shenborn, Grabar, Ploteni, Pereni, Podzamkovy, Wagner, Loudon, Square. They are different in area, located in different conditions, consist of different elements, but fully reflect the relationship of man to nature as a source of inspiration and beauty.

Image and text: to the question of textual sources of typological parallelism in the Iconography of Western European Art of the XII century.

One of the iconographic trends that became especially articulated in the XII century is the strengthening of the role of typological logic in the selection and organization of subjects within the iconographic program of monuments of decorative and applied art, book illumination and stained glass. Interest in this kind of visual exegesis, based on the symbolic parallelism of the Old and New Testaments, generates experiments in the field of iconographic programs, which leads to the appearance in the late XII – early XIII centuries a number of monuments in which detailed typological cycles are used (the Klosterneuburg altar, typological stained glass windows of French and English cathedrals). The subject of the research in this article is the connection of the described iconographic trend with texts of a theological, theosophical and liturgical nature. Despite the fact that some of the mentioned texts have already been involved by researchers of Christian iconography for the interpretation of pictorial programs, a special study of the sources of "typological iconography" in the XII century has not been implemented yet. Based on the analysis of a number of texts and iconographic analysis of fine art monuments, an attempt is made to identify a group of sources that could be familiar to the compilers of iconographic programs. Among the monuments of fine art, works created in the Rheno-mosan region (as well as derivatives of this tradition) are of particular interest in the XII century. In this group of works of art (including processional and altar crosses, phylacteries, portable altars, works of stained glass and book illumination), searches in the field of typological iconography are consistently realized.

Revolutionary Conservation and the Evolution of Conservatism: I. E. Grabar and the Design of Socialist Monument Protection Policy in the Russian Soviet Socialist Republic

ABSTRACT This article presents the formulation of socialist conservation policy under Soviet regimes. It shows how, with the realization of the Marxist-Leninist-Stalinist doctrine, a specific attitude toward the preservation of artistic monuments and cultural heritage emerged and how it changed in the course of the great historical ruptures leading up to the disintegration of ‘real socialism’. Special attention is paid to the work of Igor Emanuelovich Grabar, who had a central influence on Soviet monument preservation as a whole. The article presents the problems of formation of a specifically socialist conception of monument preservation, which began with the first socialist revolution at the beginning of the last century and influenced other countries under the rule of communist parties.

Studies of Art of the Russian North at the State Russian Museum (1940—1970)

The article reflects the actions of the central bodies of the country, overseeing the art activities in the area of study, preservation, conservation, restoration and promotion of Russian medieval art in the 1940s—1970s as an indicative system of a comprehensive integration approach.The relevance of the work is to activate information on the formation of the rhetoric of the scientific community of the 1960s on the problem of studying monuments of Karelia and the Russian North, unknown until the specified time or registered, but did not have the status of a protected monument. By the exhibition “The results of the expeditions of the museums of the RSFSR on identification and collecting works of the Old Russian art” (1966), the consolidation of museum forces and capabilities of the governing bodies for the study of works of art in the complex of restoration, protection, scientific, educational potential increased.The purpose of the article is to show the result of joint efforts of representatives of the RSFSR cultural departments and members of the museum community in the study, preservation, replenishment and presentation to the public of a number of materials of the culture of the Russian North. The author considers the coordinated actions that led to a landmark event — the reveal of a gap in the national art studies and its filling by means of expeditions, conservation of art monuments on the ground, restoration work in workshops in Moscow and Leningrad, exhibition activities, scientific discussions, participation in conferences and congresses, publication activity.The events successfully implemented in the designated thematic plan — the study of the culture of the Russian North, determined the vector of development of the study of the art of icon painting of Novgorod and Moscow lands in the 1970s and 1980s. The author notes, that in the subsequent period, such large-scale and fruitful events were not held. The close-knit work of the Ministry of Culture of the Russian Federation, several departments of the State Russian Museum, and other museums of our country lasted throughout the period of 1940s — 1970s. Thus, this example can be regarded as the only indicator of a large-scale project in the history of Russian art, including scientific research, expeditions, restoration, educational activities and conferences.

Sacred and Architectural Objects of Pereiaslav Skansen: Preservation, Development, Prospects

The article analyses the preservation, development, and further prospects of the functioning of the sacred and architectural objects of the Pereiaslav open-air museum in the conditions of the full-scale Russian-Ukrainian war and the post-war reconstruction of the Ukrainian state. A review of the history of the construction and operation of church buildings was carried out. Their architectural features are characterised. The circumstances of museification are considered. Particular attention is paid to the peculiarities of the coexistence of museum exhibits and religious buildings and the visitors' perceptions of this phenomenon. It is shown that during the totalitarian era, as a result of the state struggle against religion, a huge number of Ukrainian sacred monuments were destroyed, but thanks to the ascetic activities of museum workers, some of them were saved. It was revealed that M. Sikorskyi, M. Zham, together, not only saved sacred objects from complete destruction, but also restored the previous appearance of monuments, thereby preserving them for the contemporaries and descendants. It has been clarified that what the totalitarian Soviet government could not destroy, now it is trying to destroy the criminal Putin regime, therefore, there is an urgent need to carry out a 3-D recording of all historical, cultural, and artistic monuments in Ukraine, if possible, in order to successfully restore them in the event of possible damage to the original appearance of objects. It has been proven that sacred sights are an important component of the development of cognitive types of tourism. The importance and necessity of including the sacred monuments of the museum and the city of Pereiaslav in tourist routes are argued. Their sacral-tourist potential for the development of excursion-religious tourism is determined. The further effective use of sacred monuments for the further development of the tourist resource is substantiated. The results of the research can be used by museum workers, local self-government bodies, and tour operators to develop and substantiate prospective plans for the optimization, improvement, and development of tourist activities based on the sacred heritage of the museum for its popularisation on the domestic and international market for tourist services.

Создание мемориального комплекса «Героям Сталинградской битвы» на Мамаевом кургане: историческая память, искусство и советская монументальная пропаганда

Introduction. The article, based on a wide range of sources, described the creation of a memorial complex on Mamaev Kurgan in the hero city of Stalingrad/Volgograd and related public and non-public discussions. Methods and materials. An attempt was made to comprehend this process through the prism of the general dynamics of the formation of historical memory of the Great Patriotic War and the development of Soviet monumental art in the 1940s and 1960s. Using the method of actor-network analysis, the author of the article tries to reconstruct the goals, motives and actions of the main circle of interested parties (actors) who participated in the creation of the memorial complex “Heroes of the Battle of Stalingrad”: the highest state-party leadership of the USSR, municipal authorities, residents of the hero city, representatives of the creative community (architects, sculptors, writers, artists), as well as veterans – participants in the battle on the Volga. Analysis and Results. Based on the study materials, it is concluded that all these “historical memory designers” contributed to the creation of a unique monument-ensemble on Mamaev Kurgan, opened in 1967, guided not only by commemorative, but also by political-ideological, financial, career, status, moral-ethics and aesthetic motives. The need to erect a large memorial in the context of the Khrushchev campaign to combat excesses in architecture and criticism from individual members of the public demanded that the authors of the project, led by sculptor E.V. Vuchetich, transform it and adapt it to new realities, and also updated the process of forming the concept of the “Lenin’s plan of monumental propaganda”.