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The Second International conference on development of history of art and cultorology in Eurasia 30th January, 2015 «East West» Association for Advanced Studies and Higher Education GmbH, Vienna, Austria Vienna 2015 «The Second International conference on development of history of art and cultorology in Eurasia». Proceedings of the Conference (January 30, 2015). «East West» Association for Advanced Studies and Higher Education GmbH. Vienna. 2015. 78 P. ISBN–13 978-3-903063-02-0 ISBN–10 3-903063-02-9 The recommended citation for this publication is: Busch P. (Ed.) (2015). The First International conference on development of history of art and cultorology in Eurasia. Proceedings of the Conference (January 30, 2015). Vienna, OR: «East West» Association for Advanced Studies and Higher Education GmbH, Vienna. Editor Petra Busch, Austria Editorial board Egor Rachynski, Ukraine Rostislav Komarov, Russia Slavka Konstantinova, Bulgaria Jennifer Mathieson, Scotland Alajos Fazekas, Hungary Proofreading Andrey Simakov Cover design Andreas Vogel Contacts “East West” Association for Advanced Studies and Higher Education GmbH, Am Gestade 1 1010 Vienna, Austria Email: [email protected] Homepage: www.ew-a.org Material disclaimer The opinions expressed in the conference proceedings do not necessarily reflect those of the “East West” Association for Advanced Studies and Higher Education GmbH, the editor, the editorial board, or the organization to which the authors are affiliated. © «East West» Association for Advanced Studies and Higher Education GmbH All rights reserved; no part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without prior written permission of the Publisher. Typeset in Berling by Ziegler Buchdruckerei, Linz, Austria. Printed by «East West» Association for Advanced Studies and Higher Education GmbH, Vienna, Austria on acid-free paper. Fine and applied arts and architecture 3 Section 1. Fine and applied arts and architecture Bobiak Diana Dmytrivna, Carpathian National University named after V. Stefanik, Art Institute postgraduate student, the Department of Design and Theory of Art E-mail: [email protected] DEVELOPMENT TRENDS OF PRYCARPATHIAN TAPESTRY ART AT THE BEGINNING OF THE 21ST CENTURY Abstract. The article suggests an analysis of the peculiarities of modern artists’ tapestries from Ivano-Frankivsk region and also covers means for artistic expression and creative approaches, applied in the compositions of their works. In this article, the author clarifies the possibility of professional artists- weavers to develop in this course. Keywords: weaving, carpet, tapestry, woven work. Problem statement. One of the kinds in decorative and applied arts is tapestry, a wall carpet wo- ven by thread cross weaving depicting plot composition or various decorative patters, etc. Such woven works bear exhibitional meaning and they also serve as a decorative design of the interiors. The artists accomplish tapestries by bravely combining different forms on the plane, herewith emphasizing all the elements of the image with the colours, which deliver the creative concept to the best possible extend. In the works of Precarpathian artists, one can follow vast variety of materials, weavings and “author’s” techniques, abstract and other symbolically-rendered images, etc. Analysis of the latest studies and published works. The researchers, in general, have tracked a development issue of Ukrainian rug making and tapestry art. Historical data on the origin and peculiari- ties of Ukrainian carpets making were collected by the ethnographer, D. Shcherbakivskyi in his works “Ukrainian carpet” (1927)1 and “Ukrainian art” (1938). In the work of A. Zhuk “Ukrainian Soviet carpet” (1973), we can find almost the most complete information on composition schemes of the tapestry along with the chosen language for a subject carpet of 20–60ies of the 20th century2. In addition, another source, which is of 3 high value for us, is a study of a scientist Ia. Zapasko, “Ukrainian folk rug making” (1973)4, describing compositional structure of a subject carpet. An issue of tapestries matching the interiors has been raised by the researchers L. Zhohol in the works “Decorative art in the interior of the dwell- 1 Shcherbakivskyi D. M. Ukrainian carpet: former studios / D. M. Shcherbakivskyi. – K.: Ukrainian Museum, 1927. – 159 p. 2 Zhuk A. Ukrainian Soviet carpet / A. Zhuk. – K.: Naukova dumka, 1973. – 166 p. 3 Zapasko Ia. P., Ukrainian folk rug making / Ia. P. Zapasko. – K.: Mystetstvo, 1973. – 110 p. 4 Ibid. 4 Section 1. ing house” (1973)1, “Decorative art in the interior of the public places” (1978)2, “Decorative art in the modern interior” (1986)3 and N. Hasanova in her study “Textile in the design of the interior” (1987) 4. Ukrainian tapestry was first fully studied by H. Kusko in the thesis “Generation and development of a Ukrainian Soviet tapestry” (1987), who, based on the best samples, succeeded in highlighting its development, elaborated the typology and mentioned the artists, whose works are distinguished among the others 5. Furthermore, in some articles, the scientist analysed the prospects for the development of artistic textile and educational teaching programs and methods in Lviv. The scientist O. Nykorak in her monograph “Modern artistic textiles of the Ukrainian Carpathians” (1988) analyses interior artistic textiles, made by the artisans of the Carpathian region. The author describes in details decorative carpet compositions and colouristic features of these wares6. General information on the 20th century decorative art of Ukraine, including on the development of the tapestry art, is covered in the common work of the scientists T. Kara-Vasylieva and Z. Chehusova “The 20th century decorative art of Ukraine. In search of “the great style” (2005)7. The researcher O. Iamborko in her work “Tapestry in the context of Ukrainian fine arts of the 1960-1990ies” (2008) and in a number of articles analyses decorative-aesthetic features of the 1960-2000ies tapestries through the perspective of fine arts. The author reveals both the sources and the principles of Ukrainian tapestry development along with its connection with the decorative and fine arts8. The object of the article is to define the peculiarities of the tapestry art of Ivano-Frankivsk region along with its perspective development at the beginning of the 21st century. Statement of the primary material. Tapestry is such a variety of artistic weaving defined by constant searches of different forms and innovative means for decorative expressiveness 9. In her work (1978), an artist and art critic, L. Zhohol, systemizes Ukrainian tapestry by distinguishing phytomorphic (plant-form), zoomorphic (animal-form), anthropomorphic (portraying a human being) motifs along with topical images (reproduction of true-life events)10. All these and many other compositions find the representation in geometric shapes or relative forms of artwork ornament. At the beginning of the 21st century, the combination of various nonconventional materials and techniques of performance was traced in decorative and applied arts, in particular in tapestry. Creative and exceptional imaginative solutions of the weavers are caused by the demands of the observers, by their desire to see deep and complex con- tents of the work. However, despite 2000ies embody an era of innovations (in particular, wide usage of “individual techniques” and graphic compositions by the artists), the germs of abstract transformation 1 Zhohol L. E. Decorative art in the interior of the dwelling house / L. E. Zhohol. – K.: Budivelnyk, 1973. – 112 p. 2 Ibid. – 200 p. 3 Zhohol L. E. Decorative art in the modern interior / L. E. Zhohol. – K.: Budivelnyk, 1986. – 110 p. 4 Hassanova N. S. Textile in the design of the interior / N. S. Hassanova. – K.: Budivelnyk, 1987. – 88 p. 5 Kusko H. D. Generation and development of a Ukrainian Soviet tapestry: Experience of historical and theoretical interpretation of the issue: thesis of the candidate of sciences: 17.00.06 / H. D. Kusko. – M.: 1987. – P. 16 6 Nykorak O. I. Modern artistic textiles of the Ukrainian Carpathians / O. I. Nykorak. – K.: Naukova dumka, 1988. – 222 p. 7 Kara-Vasylieva T. V. The 20th century decorative art of Ukraine. In search of “the great style” / T. V. Kara- Vasylieva, Z. A. Chehusova. – K.: Lybid, 2005. – 280 p., fig. 8 Iamborko O. Ia. Tapestry in the context of Ukrainian fine arts of the 1960-1990ies: thesis of the candidate of art history: 17.00.05 / O. Ia. Iamborko. – L.: 2007. – 204 p. 9 Zhohol L. E., Kara-Vasylieva T. V. Possibilities of tapestry are endless [Text] / L. E. Zhohol., T. V. Kara-Vasylieva // Culture and Life. – May 22, 1980. – № 21. – P. 2. 10 Zhohol L. E. Decorative art in the interior of the public places / L. E. Zhohol. – K.: Budivelnyk, 1978. – 200 p. Fine and applied arts and architecture 5 of the reality had already appeared in the middle 70ies of the 20th century. However, so called “associative approach” in decorative art was spread only in the second half of the 80ies1. At the beginning of the 21st century, no one observed any great interest in tapestries as a monumen- tal work that is why very often the artists create tapestries of small size (up to 50 cm), so called “mini- do”. Landscape themes dominate considerably, as the artists derive their inspiration from the nature. By combining natural forms with abstract ones, sometimes with deconstructive ones, the artists create unexpected effects and unique rhythmic silhouettes, which give an opportunity to perceive figuratively a piece of art, but not only as a realistic transfer of the landscape onto the textile. For example, in a rec- tangular work “Silvery fountain” (2000) of Ivano-Frankivsk artist Liliia Lytkan, woven by the technique “on oblique and straight thread” (into the eye) using cotton threads, the elements of the waterfall are delivered in geometrized, rhomb-like lines (Picture 1). By virtue of such a structure of the composition, the tapestry is first perceived dynamically, though by using symmetry expression is slightly muddled and softened in this work.

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