Archive

2018 year, issue 2

2-2018

Herus Liudmyla
MOTIVATION AND THE WAYS TO THEREALIZATION OF THE PROJECT «UKRAINIAN DECORATIVE ART 1990—2020`S: ETHNIC MEANING OF THE CREATIVE PRACTICES»

305–309

Nykorak Olena
MYKHAILO STANKEVYCH — THE RESEARCHER OF DECORATIVE ART THEORY

310–318

Fedorchuk Olena
THE CONCEPT OF THE ETHNIC ARTISTIC TRADITION OF BEADED DECORATION OF FOLK BURDEN OF UKRAINIANS (Part 2. factors of formation, evolution and actual ethnic art tradition)

319–327

Lebedieva Alona
«FOLK DESIGN»: THE DEFINITION THAT HAS NOT BECOME THE TERM

328–332

Fedorchuk Olena Stepanivna, Kutsyr Tetiana Vasylivna, Kumpikaitė Eglė, Milašienė Daiva
IN THE SEARCH OF ETHNO-ARTISTIC IDENTITY: Ukrainian-Lithuanian Studios (the First Meeting)

333–338

Boliuk Oleh
THE CURRENT STATUS OF CREATIVE PRACTICES OF UKRAINIAN ARTS AND CRAFTS (NARRATIVES OF INTERNET SOURCES): The first question: attempts to classify useful information

339–343

Kutsyr Tetiana Vasylivna
UKRAINIAN FOLK COSTUME RECONSTRUCTION AS A WAY OF FINDING NATIONAL IDENTITY

344–352

Vinnikava Mariia
HEADDRESSES IN THE TRADITIONAL COSTUME OF BELARUSIAN-UKRAINIAN BORDERLAND (WESTERN POLISSIA)

353–362

Triska Oksana
TRADITION OF HOME ICONS ON GLASS: REVIVAL, INTERPRETATION (on the example of lviv cell)

363–371

Kozakevych Olena
THE TRADITION OF BELTS` WEAVING ON AT HUTSULSHCHYNA IN THE XX — THE BEGINNING OF XXI CENTURY

372–384

Hasanowa Valida
THE PUBLICATION OF THE AZERBAIJAN FOLK TALES

385–390

Tsymbaliuk Olena
CUSTOM FLORISTIC IN SLOVITA VILLAGE FROM LVIV REGION IN THE BEGINNING OF XXI CENTURY

391–396

Ivashkiv Halyna
CERAMICS OF TWO GENERATIONS OF CHORNYI`S FAMILY: TRADITIONS AND INNOVATIONS

397–409

Hiliazova Nataliia
STAINED GLASS IN THE RESTORED SACRAL BUILDINGS OF IVANO-FRANKIVSK XX — EARLY XXI CENTURY

410–415

Makohin Hanna
FOLK ART STYLIZATION IN THE CLOTHES DESIGN OF THE EARLY XXI CENTURY

416–420

Lukovska Olha
CORRELATION BETWEEN TRADITIONS AND MODERN TRENDS IN UKRAINIAN ART TEXTILE AT THE TURN OF XX—XXI CENTURIES

421–424

Sydor Vitalii
SACRAL LANDSCAPE SCULPTURE OF HALYCHYNA OF THE END OF XX — BEGINNINGS OF THE XXI CENTURY: TYPOLOGICAL NOVATIONS AND ICONOGRAPHIC CHARACTERISTICS OF THE IMAGE OF CHRIST

425–435

Dutka Romana
WAYS OF UPDATING UKRAINIAN FOLK PRINTED FABRIC IN THE XXI CENTURY

436–440

Oliinyk Olha
WEAVING OF POKUTTIA IN THE END OF XX — THE EARLY XXI CENTURIES: TRADITION AND FIGURATIVE-STYLE INSPIRATION

441–447

Yamborko Olga
MODERN AND TRADITIONAL ASPECTS IN THE CARPETS OF OLENA AND OLHA KULCHYTSKY

448–453

Moisei Liudmyla, Babina Yuliana
FORMATION OF THE ETHNO-ARTISTIC CULTURE OF STUDENTS IN THE SPHERE OF ARTS AND CRAFTS

454–462

Motyl Romana Yaroslavivna
THE TRADITIONAL CERAMICS IN THE SYSTEM OF THE ARTISTIC EDUCATION (by the example of the Kosiv State Institute of Applied and Decorative Arts named after Vasyl Kasiyan of the Lviv National Academy of Arts)

463–468

Chikh-Knysh Bohdana
THE ROLE OF KOSIV CENTER OF ART EDUCATION IN THE PRESERVATION OF TRADITIONAL CRAFTS OF HUTSULSHCHYNA

469–477

Klymchyk Iryna
ORGANIZATION OF EDUCATIONAL PRACTICE IN THE DNIPROPETROVSK ACADEMY OF MUSIC NAMED AFTER. M. GLINKA

478–482

Selivachov Mykhailo
THE ROLE OF VASIL PARAKHIN IN THE UKRAINIAN FOLK ART ON THE EDGE OF 20th AND 21st ct (to the 80th anniversary of birth)

483–493

Shpak Oksana
TRADITIONAL PAINTING OF YAVORIV DISTRICT AS A SOURCE OF ARTISTIC INSPIRATIONS OF NATALIIA DIUG

494–501

Berezutska Maryna
MODERN BANDURA ENSEMBLE REPERTOIRE: SYNTHESIS OF FOLK AND ACADEMIC

502–506

Vavrukh Mariia
FACTOR OF NATIONAL SELF-IDENTITY IN LVIV PAINTINGS IN SECOND HALF OF 1960 — BEGINNING OF 1970

507–513

Flikop-Svito Halyna
ICONS ON GLASS IN BELARUS: THE ORIGINS OF CRAFTS, WORKS OF THE 1920’S AND 1930’S. IN MUSEUM COLLECTIONS AND PRIVATE COLLECTIONS

514–522

Our authors
On field exploration of russian and belarusian ethnologists and etnolinguists in Ukrainian Polisia 1945—1980s
In the study based on a wide range of literary materials have been comprehensively characterised field research in Polisia of Ukraine, performed by Russian and Belarusian ethnologists during 1945—1980s as well as Moscow ethnolinguists and other researchers from ethnologic centres of Russia, Ukraine and Belarus in the course of realization of Ethnolinguistic Atlas of Polisia program. Particular attention has been paid to geography, methods, themes and research results of scientific projects.
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Traditional folk clothes of velikobychkovsky hutsuly of XIX — the first half of XX century
In the study based upon numerous field materials, literature sources as well as ethnographic, historio-cultural and regional museum collections has been performed complex analysis in traditional folk clothes by Hutzul population of Velyky Bychkiv village in Transcarpathian region. Detailed descriptions of femi­nine and masculine clothing complexes of the mentioned area have been presented. In characterizing of those main attention has been paid to the detail of cut in separate components of dress; cut of feminine shirt has been added as an illustration.
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Wax candle as ukrainian Christmas and epiphany ritualistic text
For the first time in native ethnology the article has brought some results of special study in sign functionality of a wax candle under the context of Ukrainian Christmas and Epiphany ritualistic text (ritualism of Christmas Eve, New Year, Epiphany Eve and Feast of Epiphany). The study has stated extremely high semiotic position of a wax candle as projection of Sun, mediator between the spheres of sacral and prophane elements, symbolic analogue of human existence, apotropy, cultural symbol re-establishing borders of acculturated space.
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On bessarabian and moldavian ukrainians in the studies of historical ethnography
The article has thrown some light upon a sum of scientific findings got during XIX to XXI cc. in historio-ethnographic studies of Bessarabia and Moldavian Ukrainians. In the pre­sent paper has been given author’s answer to the problem of lacking progress as for the numerous themes concerning Ukrainians. State and achievements of the research-works in Ukrainians’ material and spiritual culture by the scientists of Moldavia and Ukraine through the years of independence has been exposed.
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